In the last couple of years, with immense thanks to David Simpson, I have collected thousands of old comics as part of a pile of DVD-Roms about three inches high. At first these were the British weeklies I remembered from my youth in the Sixties that is now gone, but along the way I discovered that I could get complete or near-complete runs of Golden Age series. Not just the run of All-Star Comics that I had in hardcover Archive format but the four titles featuring the adventures of the characters who made up the Justice Society of America.
Yes, the Golden Age comics are rough and ready, naïve, clumsy, amateurish, but energetic and enthusiastic. Most of all, they have been an opportunity to read and learn, to know what the stories were, to not have to rely on sketchy references and re-tellings that never give the details I automatically thirst for.
I have always wanted to know. Summaries, however accurate, are never enough. Only the original will do.
I haven’t yet reached the end of these revelatory DVDs, the latest of which is Detective Comics Inc.’s Leading Comics, an initially quarterly title introduced in Winter 1941. The title was conceived by Mort Weisinger and artist Mort Meskin in emulation of sister company All-American Publications’ All-Star and the JSA.
The idea was for Detective to have its own team of characters, coming exclusively from Detective’s titles. These were The Green Arrow, with Speedy, from More Fun, The Shining Knight from Detective, The Vigilante from Action, The Star-Spangled Kid, with Stripesy, from Star-Spangled and The Crimson Avenger from Adventure. Apart from the Shining Knight, who had magic armour and a flying horse, none of the team had actual superpowers.
Nobody seemed to know exactly what to call this team. The last panel of their debut adventure, in Leading 1, names them for the first time as the Seven Soldiers of Victory, though it has the feel of a description rather than a title. On the other hand, the team – which had no headquarters – were also referred to as The Law’s Legionnaires.
My first exposure to the Seven Soldiers came in Justice League of America 100-102, the first three-part JSA team-up and the first to introduce a third team. Len Wein brought them back from almost thirty years obscurity as a second Earth-2 team, time-tossed and forgotten, with a recap of the team’s origin in the form of a skeletal summary of the story from Leading no 1. It was a delight, another forty-six years on, to read that story myself.
The Seven Soldiers become a team by accident. Master criminal The Hand, believing himself to be dying of cancer, recruits five villains – Professor Merlin, The Needle, Big Caesar, The Red Dragon and The Dummy – to carry out his five best unworked plans, and challenges our five borrowed features to stop them. Needless to say, the heroes stop them, the Vigilante aided by sidekick, veteran Billy Gun and the Crimson Avenger by his aide, Wing, in every respect an eighth Soldier except for not being on the team. The team then follow the Hand, who has just learned his cancer is curable after all, to his lair, where their attempts to escape his death-trap lead to – not a very subtle irony – The Hand dying.
Until he comes back in Justice League of America in 1972, which was where I came in.
Though Leading Comics was an anthology title, it adopted the same approach as All-Star. There was one story running through the sixty-four page comic, a couple of comic strips excepted, but the heroes, with and without sidekicks, all went off on their own to fight the villain’s schemes separately. In the Forties, no-one seemed to properly grasp the idea of a team.
I was already familiar with the story in issue 2 from when it was reprinted over two issues of the 100-page Giant Justice League of America in 1974. Indeed, that’s the version that’s on the DVD, complete with colouring errors. It’s interesting that the Star-Spangled Kid, who calls the team together, refers to them as the Legionnaires, but more interesting to note that the story is structurally identical to the first one: a master plotter sets up five criminals to execute his plans, concealing his plan to collect the real object, and dying of his success.
And stone me, but issue 3 was identical! This time it was The Green Arrow who saw the problem. An evil scientist, Dr Doome (note the ‘e’) brings back five of history’s greatest dictators to rob precious metals for a time machine to go forward and take over the future. Same as before, five defeats later.
We are definitely talking formula here, and much more rigid than the JSA, but if Mort Weisinger is writing this, are we necessarily surprised?
Thankfully, there was a change made for issue 6, as the Seven Soldiers team-up to recover a billion dollars of Inca Gold for Uncle Sam’s War Effort, only to find various of its members turned against each other as a bad guy joins the race. This more sophisticated approach was used again for the next issue, but it was back to solo adventures again in no. 8, as The Dummy sent them back in time in a failed attempt to strand them.
And another twist was introduced in issue 10, as the Soldiers head to the Pacific to rescue a missing scientific expedition, get shipwrecked and split up and have to get themselves out of it in unexpected teams. This story emphasised one aspect of this team that was missing from the JSA, the sense of comradeship. The Seven Soldiers mixed a bit more and looked out for each other a bit more openly. In contrast, comradeship in the Justice Society was more of a case of pulling Johnny Thunder out of whatever hole he’d gotten himself into this time.
The story in issue 11 was barely a team-up at all. The Soldiers meet up, JSA-style, in the first and last chapters, to settle the hash of underworld boss Handsome Harry, in both, but in between they’re not on missions, just going about their ordinary business, solving crimes linked by the Hard-Luck Hat. This is Harry’s hat, which he loses in chapter 1, and which goes on from head to head, bringing disaster in its wake, before returning to Harry in the final chapter, by which time he’s become a hobo. If we’re to take this story at all seriously, which I wouldn’t recommend, years must pass during it. How silly is that?
In passing, I’ll mention that issue 13 was the first to appear in the interregnum when Detective and All-American were separated. Naturally, the Superman DC logo was unchanged by the list of comics promoted in the inside front cover was suddenly diminished by the exclusion of the latter company’s titles.
But the Seven Soldiers of Victory were only the number two team, and they never acquired the traction of the Justice Society. Issue 14’s goofy story of battling figures from literature, accidentally given life, was fun, and some splendidly vigorous writing went into the dialogue of Long John Silver and Sir John Falstaff especially, but it was the swansong for the Law’s Legionnaires. Though one last script existed, to be drawn as a curiosity, and serialised in Adventure Comics in 1975, the Spring 1945 issue was the end for them.
Why they were less successful will always be a matter of conjecture but most people agree, and I share that opinion, the overwhelming reason was that the JSA had the big guns, whilst the Seven Soldiers consisted of second stringers. The absence of actual super-powers, save for the Shining Knight, was another reason in limiting the appeal of the team, and the final factor was the times. The War was in its final year, Starman and The Spectre were about to lose their series, other costumed characters were falling by the wayside.
As well as its superhero series, Detective Comics had begun to introduce funny comics, like All-Funny and the teenster series, Buzzy. If the Seven Soldiers were to be removed, there was a lot of comic to fill. And the answer was funny animals. With issue 15, Leading Comics was transformed, the first DC title to drop its superheroes completely.
That’s not what I wanted to read. Nevertheless, in fairness I scanned issue 15. Six new funny animal features, including a funny animal version of Sherlock Holmes (is there anything less funny than a funny animal version of Sherlock Holmes?), all of them dross.
Nero Fox was the cover feature until issue 23 until he was replaced by Peter Porkchops. From issue 34, the series was retitled Leading Screen Comics, in which form it lasted until 1951 and issue 77.
I wanted to read the short career of the Seven Soldiers of Victory, and now I have.
Getting my hands on a DVD-Rom of More Fun Comics, a National Allied Publications/Detective Comics inc./National Periodical Publications Golden Age title published from 1934 to 1947, completes my collection of what I think of as the Big Four, that is, the four comics who contributed characters to All-Star Comics and the Justice Society of America.
That’s my angle of interest, but it must be acknowledged that More Fun has a historical significance of its own. As New Fun it was the first ever comic book to feature all-new material, and in issue 6 it offered the first published work by Cleveland teenagers Jerry Siegel and Joe Schuster, two instalments of Henri Duval, Swordsman of France, before creating Doctor Occult in issue 8. By then, the title had become More Fun, as of issue 7 and, finally, More Fun Comics with issue 9.
My DVD-Rom is more in the mould of Flash and All-American than Adventure, but like the two All-American publications books, the title did not survive the Fories, being cancelled with issue 127, by when the reason for my interest had long since gone by the board. It starts with issue 8, so let’s look at that to begin with.
Cover-dated February 1936 and published by More Fun Inc., headquartered in Missouri, issue 8 is a revelation. It’s the last of the original, larger-scale format, 44 pages with card covers. Comic books began as reprints of newspaper strips and despite the all-original boast, the comic is still trying to stick with that formula. With the exception of a prose serial, everything appears for one page only, laid out like a Sunday strip: four tiers, mostly square panels containing illustrations more suited to books that comics, no animation or attempt at movement, a mixture of B&W, limited colour and full-colour, funny strips and adventure ones, multiple genres. When I said this was all-original, that only meant that none of this stuff had been printed before: there isn’t an original idea in the entire issue, and nothing is remotely readable.
The next issue shrank to comic book size and expanded to 64 pages, with some series jumping to two pages, and some new features appearing. If you’re expecting to hear about these, you’ll have to find another blogger: I’m an analyst not an annalist.
It’s more-or-less a given that Major Malcolm Wheeler-Nicholson used original art because he couldn’t afford the Syndicate fees for strips, and the young writers and artists he used were much cheaper. I’ve heard them described as rough, naïve, inexperienced and, reading between the lines, too untalented to make it on newspaper strips. Now I know they weren’t exaggerating.
None of this is of more than historical interest to me, except for an almost unbelievable letter of praise from a girl reader living in Newton Heath, Manchester, and there’s a lot of it to get through before we reach the meat of the run for me.
The change I had my eyes open for finally showed up in issue 31, May 1938. Gone was Malcolm Wheeler-Nicholson. Vincent Sullivan was now Editor, not assistant Editor. More Fun was now owned by Detective Comics Inc. And inside the front cover there was a full-page ad for a new title: Action Comics no. 1.
There was no immediate change. New features replaced old but More Fun stayed the same. Dr Occult was dropped but Seigel and Schuster’s Radio Car, a Police series, continued its irregular course. Old features drifted on, unchanging. But with every month that passed, DC, as I suppose we should now call them, were becoming more aware of what a hit they’d bought from Siegel and Schuster, and Bob Kane, enlivened by ideas from Bill Finger, was shaping his own costumed character. Unseen and unheard, there was a tide rising and it was going to overflow soon.
For now, e.g., issue 41, the mix was still the same, various miscellaneous adventure series, a couple of gag strips. More pages were in full colour, through these continued to be distributed haphazardly throughout the comic, favouring the front of the book. The biggest difference was that every strip got at least two pages and several as any as four, making for only a dozen different series.
Issue 43, cover-dated May 1939, was released alongside Detective 27, with plugs for the new action-adventure strip starting that month, the Batman. And Charlie Gaines had established All-American Publications and All-American Comics. And by issue 49, there wasn’t a single gag strip in the book.
But patience eventually pays off. The long life of the original More Fun Comics, little changed from the title put together by Major Malcolm Wheeler-Nicholson, ended in issue 51, cover-dated January 1940. in honour of that, let me list its contents. These were; Wing Brady, a Foreign Legion adventurer; Biff Bronson, an adventurer; King Carter, a globe-trotting cowboy adventurer: The Buccaneer, a sea-going adventurer; Kit Strong, a private detective adventurer, Lieut. Bob Neal of the Sub. 662, a Naval adventurer; The Flying Fox, an aviator adventurer; Detective Sergeant Carey, a Police detective adventurer; Sergeant O’Malley of the Red Coat Patrol, a Canadian Mountie adventurer; Bulldog Martin, an adventurer, and a single comic page starring Butch the Pup.
But the Buccaneer was ending. Its creator, Bernard Bailey would be drawing a new strip the following month, written by Jerry Siegel.
He’s there on the cover, with his green cape and hood, gloves and trunks, arms folded as he looks sternly down over a gang of crooks, The Spectre coming to turn More Fun around. Inside, he’s the lead feature, the first of a two-part telling of his origin as Jim Corrigan, hard-boiled Police Detective. The story’s familiar, as it should be given how often it’s been reprinted, but by the end of the episode, the ghost of Jim Corrigan is still wearing a tuxedo.
There’s one thing about the story that doesn’t sit all that well with me. Corrigan has blown out a party in honour of his heiress fiancee Clarice Winston to knock off some of ‘Gat’ Benson’s mob. Clarice is understandably angry with him for that. Corrigan’s hardly apologetic: indeed, he roundly tells her there’s only going to be one boss in this marriage, and that’s him. Clarice calls him a tyrant and a bully, but she still loves him.
Ok, it’s 1939, when marital relationships were looked on in a totally different light, and it’s hardly out of step, but it still jars modern sensibilities, or at least my modern sensibilities. But knowing more now of Jerry Siegel’s marriage and his personal history than I once did, I can’t help but sense a personal issue being worked on here. Jerry the mother’s boy, the nerd-before-there-were-nerds, who married against his Mother’s wishes, wouldn’t be the first writer to make his personal problems ‘work’ in his fiction.
The rest of the issue is unchanged, though I couldn’t help noticing that Bulldog Martin suddenly got a bottle of invisibility pills at the same time.
The other half of the story completes the tale with Corrigan’s revenge on Benson and his mob: dealing death with a glance, withering one into a skeleton, driving the rest out of their senses, you can already see where Michael Fleisher got his ideas from. Corrigan also revives Clarice from near death, breaks off their engagement rather woodenly, moves out of the apartment he shares with his best friend, all the time acting so strangely, and then sews himself a costume to wear as The Spectre. All these limitless super-powers and he gets out a sewing machine. It’s not the most favourable of signs.
Somewhat surprisingly, Corrigan gets the chance to relinquish his powers and receive eternal rest in his third episode, summoned to the edge of Heaven and getting an either-or offer from the Voice. Since he’s summoned in the split instant that a crooked Swami has fired a bullet at Clarice, who is proving impressively hard to shake off, Corrigan has no choice but to go for Option B: to be earth-bound, fighting crime until all traces of it are exterminated.
Only four episodes in and I have to say there’s a strange intensity about these early Spectre stories that just doesn’t come over in the solo chapters in All-Star Comics, which is self-evidently because those are written by Gardner Fox. Siegel brings a twisted perspective to Corrigan/The Spectre’s determined rejection of all human connection and an angry nihilism to the superficially charming Zor’s role as The Spectre’s evil equivalent.
I’m also intrigued that, whilst Corrigan and The Spectre are one being, the latter is already and constantly ’emerging’ from the former’s body, foreshadowing a significant development later in the series.
The Spectre had obviously made a hit because in issue 55 he was joined by his partner in the supernatural, Doctor Fate. It’s a most odd first story as there is no origin, and whilst I knew this is held back some time, reprints had always centred upon Fate’s first meeting with debutante Inza Cramer. Here though, we start with Fate’s evil enemy, Wotan, targetting Inza to draw Fate’s attention, with the good Doctor – not described as possessing magic but rather the great secret of transforming Matter into Energy and Energy into Matter (what a gloriously meaningless attribute that is!) – not appearing until halfway.
So that was now two costumed heroes, both magical. Dr Fate took the cover for the first time in issue 56, continuing his battle with Wotan but overcoming him permanently (?), whilst the Spectre merely fought a gang of crooks. Elsewhere, More Fun was settling into a consistent run of adventure series, most of them veterans of the comic, though there was a new character, aviator Captain Desmo, who kept his face permanently concealed by flying helmet and goggles just as much as if he were a superhero.
And a new series, about Africa-based adventurer Congo Bill, facing up to a Phantom-esque villain called the Skull, started in issue 56. It’s a pretty basic adventure strip but it would last a surprisingly long time, hopping from title to until 1959, when, as we’ve already seen, it arrived in Adventure Comics, where Congo Bill was transformed into Congorilla.
The Doctor Fate strip also runs with a frenetic intensity. Gardner Fox just freewheels through each adventure, hurtling from one action to another, with very little evidence of a composed plot and a high-risk magical apocalypse threatened on every page. It’s gloriously goofy and gloriously weird. Both these strips burn in a way none of the other Justice Society members ever do. Though the basis of Fate’s power is still unsettled, now being an atomic force within him.
But the Gothic/Lovecraftian atmosphere of Fate’s series was fairly quickly decided to be a bit too intense for the readers, and this had to be dialled down. The first step, in issue 66, was to have the Doctor remove his helm and reveal a blond-haired handsome face: a human being, in fact, in response to Inza’s wish for someone she might love instead of a mysterious sorceror. Kent Nelson’s somewhat grisly origin, involving involuntary patricide, followed in the next issue.
At the same time, Congo Bill bowed out his short run in the comic.
Since their respective debuts, The Spectre had been the lead feature in More Fun and Doctor Fate closing things out. Now, in issue 68, the roles were reversed.
Despite Fate and the Spectre, More Fun had never wholly accepted superheroing.
Now the time was coming when this would change rapidly. Johnny Quick, a rip-off of The Flash in issue 71, Aquaman, a rip-off of the Sub-Mariner and The Green Arrow, a rip-off of Batman both in issue 73, all created by Mort Weisinger. In between times, Dr Fate got the toning down I knew was coming, getting rid of the supernatural and the eerie in favour of a half-faced helm that exposed his nose and mouth, and aiding his sudden vulnerability to attacks on his lungs. Only Radio Squad and Clip Carson survived the transition.
And Fate was not the only supernatural character to get toned down as issue 74 introduced The Spectre to Percival Popp, the Super-Cop. I have long read about, but never read, this comic relief character who was to dog Corrigan and his ghost for the rest of the series. Popp turned out to not be a cop but rather a private detective, determined to work side-by-side with Jim Corrigan. He was a short, skinny guy with a big nose, glasses and a shock of dark red hair. He could have been worse but he was bad enough: a comic relief character in January 1942?
The rest of the title was not at all impressive. Johnny Quick was crude. Aquaman and Green Arrow were as bland as their spells in the Fifties in Adventure, just cruder in style to begin with. And Doctor Fate had exchanged gothic/sinister tones for obsessive, pun-based wisecracking of a kind that makes Spider-Man look sophisticated.
The first history of The Spectre I ever read, as long ago as 1966, made mention of the time when the Avenging Ghost was permitted to resurrect Jim Corrigan’s body to life. I’d always been under the impression that this had preceded the arrival of Percival Popp, but in fact it followed it, by one issue.
Issue 75 saw Clarice Winston trying to re-enter Corrigan’s life. His cruel rejection of her in his origin is always held up as a key factor in that story but it leaves the impression that that was that for the lovelorn heiress. But Clarice remained as much in love with him as ever, and hopeful of getting married, and Jim still found her hard to resist. Now Popp, in his second apearance, took a hand in trying to put the two back together.
But Clarice was becoming the victim of an artist who was draining her life, and who was having a sculpture thrown into the river, exactly where Benson’s men had thrown Corrigan’s cement barrel. To prevent his body being found, and blowing his identity, The Spectre sought and received permission to restore Corrigan to life.
And the first thing Corrigan did was seek out Clarice.
It was a touching reward for her faith and patience. Now his excuse for not marrying her was, you’ll pardon the phrase, dead in the water. Did he get engaged to her? No, you’d think he was engaged to Percival Popp, in both his existences, since the little man became co-star of the series two issues later.
The success of the Green Arrow took me completely by surprise. By issue 76, he’d claimed the lead story and, an issue later, took over the cover. Clip Carson was dropped as from the same issue.
It might be germane to ask, if Green Arrow had become the most popular character in More Fun, as he self-evidently had, why was he not drafted into the Justice Society of America? There are two answers to that: America had entered the War, paper was rationed, no new titles were to be launched for the duration, and had they topped any reader’s polls, neither The Spectre nor Doctor Fate had anywhere to go to make room.
More pertinently, Green Arrow – and Speedy – already had a team to call home, Detective Comics’ Seven Soldiers of Justice, aka the Law’s Legionnaires, denizens of the recently created Leading Comics. More Fun was now firmly a superhero comic. Clip Carson had gone, leaving only the long-running Radio Squad to disrupt the line-up. The Green Arrow’s stories were no better or worse than the ones in Adventure in the Fifties, the main distinction being that the Emerald Archer only fires real arrows, with points not gimmicks. Aquaman deals with mainly realistic sea adventures, without the constant ‘finny friends’ business, but he’s the entirely human son of a famous submarine scientist who’s taught him scientific ways of living under the water. Johnny Quick, now enjoying some solid art from ‘Mort Morton’, is the best of the bunch.
As for the old stagers, the de-powered Doctor Fate is not a patch on the full-helmed version. There are no magical or super-scientific foes, just ordinary crooks. The series is energetic enough and Inza is doing a sterling job of showing that you really don’t need to hide your identity from your girlfriend, but it’s still pallid stuff compared to the beginning. And The Spectre has now resigned himself to a full-time role alongside the ridiculous Popp. At least we no longer have to suffer the incessant and tiresome demands of the Cliffland Chief of Police that Jim Corrigan capture The Spectre because The Spectre is behind everything. Obviously. Not that much of a relief, sadly.
The War came to More Fun in issue 84, on the cover at least and, in passing, in Green Arrow’s strip. The next issue was billed as a big change in Doctor Fate’s life as the Doctor became a Doctor, retraining as a physician. This made me think: once again, the histories I’ve read of characters have not been as accurate as they might. Kent Nelson has always been portrayed as an archaeologist, like his father Sven, who changed profession to Doctor to be more useful during the War years. When he was revived in 1965, he was back in the digging business. Incidentally, having jettisoned the lower half of his helm, Fate dispensed with his golden cape as well.
In fact, throughout Fate’s series to date, once Kent Nelson was revealed, there was not one word about his profession. And how could he go on digs when he spent all his time in that walled tower in Salem?
Incidentally, the story revealing Nelson’s new profession saw Fate meet a plastic surgeon blackmailed into creating new faces for crooks over a brother in a prison camp in Germany, exactly the same set up as the Green Arrow story in the same issue.
Though he didn’t displace the Green Arrow from the leading position, Johnny Quick did get onto the cover for issues 86 and 87. As for issue 88, The Spectre story had him, and Jim Corrigan, as just a ghost again. There had only been one additional story after issue 75 to specifically reference Corrigan as human again (and dating Clarice), but this was a definitive continuity-reversal.
There was one final story to reference Corrigan and The Spectre as separate, and this was the one in which they separated. Corrigan the human could finally pass the physical, and went into officer-training, to fight the Japanese, leaving the Spectre behind to keep helping out Percival Popp. But separation from his host had the unexpected effect of leaving the ghost invisible. In possession of all his other powers alright, just not visible. So the once-mighty Spectre, who could kill at a glance, was now the stooge. Thankfully, not for much longer.
The same issue did include a development I was glad to see, the re-entry of Inza Kramer, fiancee to that dashing young Interne, Doctor Nelson. Aww, so sweet. Clarice Winston must have been green. But that would prove to be Inza’s final appearance in the series.
A minor detail that intrigued me by this point was a succession of adverts for Prize Comics, and then Prize and Headline Comics. No such titles were ever published by Detective or All-American, and these turned out to be titles published by Crestwood Publications, who had the bright and possibly unique idea of advertising in their bigger rivals line!
With paper rationing starting to bite, in the form of an order to reduce usage by 10%, More Fun, which had been monthly since it established itself, was demoted to bi-monthly status for the duration. All this was to was was to delay the changes lying directly ahead.
In the meantime, a slip on the cover of issue 93 plugged The Green Arrow and Speedy, whilst the Aquaman story was, for once, worth reading. The Monarch of the Sea guards a delayed freighter bringing supplies to Murmansk. The twist is that it has an all-female crew and, whilst Aquaman and the Germans patronisingly underestimate the ladies, they perform with calm confidence and aptitude, needing no condescension. Oh, and the Captain turns into a red-headed babe in a backless evening dress when they arrive!
Little things: Johnny Quick’s stories had adopted a comfortable formula by which the Mile-a-Moment hero has to help someone by doing a job that would take a dozen men a month to complete, but do it in less than twenty-four hours. At the back end of his run and using only the most minimal talents, Doctor Fate was only now being referred to regularly as ‘the Man of Magic’. And issue 94 saw the debut of Dover and Clover, twin private detectives who made Percy Popp look competent.
Nevertheless, they quickly proved to be so popular that they shared the cover of issue 98 with Green Arrow and Speedy, who were quoted as claiming this was “Our Mag”. Not for much longer it wouldn’t be but this issue saw the final appearance of Doctor Fate, in a sadly stupid and unbelievable little escapade that was below even the standards his series had sunk to. Cover date July-August 1944: in All-Star Comics 21, cover-dated Summer 1944, the Doc and Sandman were active in their last Justice Society adventure.
Fate was not replaced, unless you count a one-page comic historical feature a replacement. Two issues later, More Fun reached its historical 100th issue, without fanfare, celebration or effort of note, though Johnny Quick got the cover and the lead slot and Green Arrow was bounced back to fourth slot. More Fun used to be The Spectre’s comic. It was so for the last time in issue 101 (January-February 1945). And the Ghostly Guardian, or else the Dark Knight as he was so frequently called over four decades before Frank Miller’s first Batman story, made his last appearance in All-Star in issue 23, Winter 1944. Like Doctor Fate, the disappearances were virtually simultaneous, and the last story undistinguished. Both had been undistinguished for a long time.
The Spectre’s replacement was introduced in a five-page prelude in issue 101. Superman had long been human until he reached manhood. Now he had a career to be revealed as Superboy, though not the Superboy Jerry Siegel had envisaged, nor a Superboy Siegel had any part in, More Fun‘s line-up would now consist of Superboy, Aquaman, Green Arrow and Johnny Quick, plus the stupid Dover and Clover. Sound familiar? It ought to, for reasons we’ll shortly learn.
Anyway, Superboy’s full-scale debut didn’t merit him the cover, which went to the twin detectives, nor even the lead slot, which was Green Arrow again. It was a younger Superboy than we would get used to, somewhere around age eight, and a Clark Kent who didn’t wear glasses and acted like a normal kid. There was some way to go yet.
And there was no rush to exploit the new character, though he was mentioned on issue 103’s cover, as Green Arrow and Speedy once again call out Dover and Clover for trying to take over ‘their book’, only for the clueless crime-crackers to turn up again to point out Superboy’s in it. And they showed him on the cover of the next issue, with the crime-fighting archers.
Superboy might have started without Jerry Siegel, but his name was on it, alongside Joe Schuster, next time around. There were none of the familiar characters, no Ma and Pa Kent, no pretty redhead next door. They wouldn’t come until later, and in a different title.
Because, after issue 107, cover-date January-February 1946, More Fun underwent a wholesale change of direction, to emulate its name by becoming a comic comic. The regulars, Superboy, Johnny Quick, Green Arrow and Aquaman, were shipped out en masse, to, as we have already seen, Adventure Comics, where they would stay for over a decade.
With issue 108, Dover and Clover took over the cover, and the lead slot, greeting Genius Jones, who had travelled in the opposite direction and dropped into place behind them. The rest of the comic was new, or rather old – old hat, that is. A parade of silly characters and silly situations, without any of the ingenuity or humour of the newspaper strips of the era, or any of the rich cartooning abilities of their artists. But the next month, for the comic had been returned to monthly status now the war was over, just in time for its great change, Genius Jones – a creation of Alfred Bester, my life – had both cover and lead slot and the detectives were back at the back.
In fact, they were settling in to alternate cover billing.
Now it’s fair to say that, with the exception of Sheldon Mayer’s Scribbly and the Red Tornado, I get nothing from the Golden Age humour strips. Even Johnny Thunder was nigh on intolerable at times, when Peachy Pet took the lead. So from More Fun‘s change of direction to the end of the run, there is little to interest me. Nevertheless, I read each issue (semi-) diligently to check for anything requiring comment.
For the record, the line-up after the alternating leads consisted of Curly’s Cafe, Windy, The Gas House Gang, Rusty, Cabby Casey and Cunnel Custard, but if you want any more details than that, buy your own DVD!
That was until issue 121, which introduced Jimminy and his Magic Book, a fairytale adventure that got not merely cover status but two well-drawn stories inside. Genius Jones and Dover & Clover continued, as did Rusty, Windy and the Gas House Gang but everybody else was dropped.
There wasn’t much left. Howard Post’s art on Jimminy (whose other name was Crockett) may well have been the best ever to appear in More Fun, with a foreshadowing of Walt Kelly’s Pogo, but More Fun was heading for cancellation. Superman crossed the cover of issue 125, Cabbie Casey replaced Rusty in issue 126, and with issue 127, cover dated November-December 1947, with no less than five Jimminy stories and one final Dover & Clover, it was gone.
So ended DC’s oldest title and Genius Jones andDJimminy went with it. Depending on dates, Dover and Clover may have had as much as ten more appearances in them across other titles, but they ended up in deserved limbo too. And, in the absence of a DVD of either or both of Leading Comics and Star-Spangled Comics, that completes my adventures in the Golden Age.
It’s February 1958, though the cover date says April, standard comic book practice then and for decades to come to try to fool newstands, drugstores and Mom-and-Pop stores to leave the comic out on display for longer and longer, before tearing the strip with the title off the cover and returning it for credit. The new Flash had appeared in two issues of Showcase, both big sellers, but the management at National Periodical Publications (you didn’t shout the word ‘Comics’ too loudly in the Fifties) would require two more, this year, before trusting him to a series of his own. The Silver Age was struggling to be born but Adventure Comics and its editor, Whitney Ellsworth, was about to make their greatest contribution to the new era. He, writer Otto Binder and artist Al Plastino were about to introduce the Legion of Super-Heroes.
Appropriately for the time, it’s a bit of a jerky story. Three kids from the future, Cosmic Boy, Lightning Lad and Saturn Girl, the latter two of which looking nothing like the incarnations we would become familiar with in the future, and all of which boast artificial super-powers that, at this stage, are not the inherent abilities stemming from their respective home planets, ‘tease’ (i.e., horrify) Superboy by knowing his dual identity, invite him 1,000 years into the future to join their superhero club, put his through competency tests in which they deliberately sabotage him, and all for fun. Remind me again, why did he join this bunch of creeps?
We only get to meet these three Legionnaires, although the group includes at least four other identified members, one of which is green-skinned and could possibly have been Brainiac 5. We also learn that, ten centuries on, feminism hasn’t arrived, since Saturn Girl is ‘only a girl’ (curl lip in contempt). Of such acorns do oak trees grow, however implausible, but if superheroes are on the way back, the idea’s a doozy.
There are still our hapless D-listers, The Green Arrow and Aquaman, to go through, and it was back to Superboy solo next month, But the Silver Age had visited and left its calling card on the table. The In-Between Age was doomed..
As this is a new run, I actually started reading the back-up stories, or enough of them to finally pick up on the patterns. Green Arrow’s stories are always about the arrows, and how the crime-fighting archers have to keep using different ones, whilst Aquaman is about him acting out of character for some secret purpose that gets revealed on page 5. And it was interesting to see that, when Adventure hit issue 250, one of a very small number of titles to do so, absolutely nothing was done to mark it.
Or did it? For that and the next six issues, Green Arrow gained a new artist, the King, Jack Kirby. No, it’s not particularly memorable art, or that distinctly Kirby, and apparently it was being inked by his wife, Roz, but it’s Kirby. And in issue 252, not only did Superboy encounter Red Kryptonite for the first time (but not its more antic aspects), but Green Arrow’s story was continued into a second part!
A major change arrived in that second issue. It was not Superboy teaming up with a time-travelling Robin the Boy Wonder but rather the introduction of the Silver Age staple, the letters page.
I was also pleased to see the occasional resumption of house ads, particularly the full-pagers devoted to new characters in Showcase, such as Space Ranger and Adam Strange, under the rubric ‘Adventures on Other Worlds’. But on the debit side, Aquaman’s series was now adorned with his own sidekick, his pet octopus, Topo. Don’t anyone tell Jason Mamoa about this.
But we are really getting into some deep and, frankly, scary psychological terrirtory, especially with the Superboy story in issue 255, which sees some Martian Red Kryptonite split Superboy in two, one of them the Boy of Steel and the other a merely human Clark Kent. Clark goes criminally batty and Superboy ends up killing him in an explosion. That’s right, killing him, or rather himself, without qualm or regret. That’s seriously disturbing shit.
Kirby’s last Green Arrow, featuring the most identifiably Kirby art of his run, was a re-telling of his origin in it’s pre-Speedy form. In fact, the letters page, and several requests for who, what and why, seems to have inspired a sweep of origin recaps across the Superman titles generally, not to mention another ludicrous team-up in issue 258, this time with Superboy trying to inspire new-kid-in-town Oliver Queen to take an interest in archery… In time, practically half of DC’s characters would pass through Smallville during Superboy’s youth.
When I mentioned that Whitney Ellsworth was editing Adventure, I was surprised to see his name in the indicia, as I’d always assumed Mort Weisinger’s legendary possessiveness about Superman would not allow anyone else to be in charge. Weisinger replaces Ellsworth as of issue 259, reminding me that when Ellsworth was editor of All-Star, it was Julius Schwartz doing the work. I think Ellsworth was editor in the same way Stan Lee et al were editor-in-chief at Marvel: the overall boss but not the hands-on man. I think Weisinger’s hand was on the real controls all along. Now, it just became official.
One of those origin stories appeared in issue 260, as Aquaman’s origin was retold for the first time in eighteen years, or rather retconned, for now Arthur Curry was named for the first time, and he was revealed as being Atlantean, though not yet as the rightful king of that undersea world. Next issue, the Boy of Steel met a teenage Lois Lane at camp, sharing a cabin with Lana Lang and deploring the latter’s constant efforts to discover Superboy’s identity: Lois would never do that. All-in-all, it was a chance for the Boy of Steel to anticipate his adult self’s trait of acting like a dick to two women who love him.
By now, it was clear that the Legion hadn’t caught the imagination of Superboy’s readers first off. In fact, it took twenty issues for the teenagers of tomorrow to reappear, in issue 267, and they were still dicks, humiliating the Boy of Steel, driving him off Earth, imprisoning him. It was the same trio but this time all in the uniforms with which we would be familiar in the Sixties, except that Saturn Girl was brunette, not blonde.
Two issues later, Aquaman met Aqualad, an Atlantean expelled from Atlantis for being afraid of fish, cured his fear and ending up with the kid imprinting himself on the King of the Sea and adopting him as a surrogate father with no legal proceedings whatsoever.
For issue 270, the first of 1960, there was a sudden change as Green Arrow’s series was replaced by Congorilla, big game hunter Congo Bill who, by rubbing a magic ring, could transfer his mind into the body of a golden gorilla for an hour. Remember too that 1960 was the year the Justice League of America debuted, consisting of seven of DC’s eight adult superheroes. The only one to miss out was… Green Arrow. Is there a connection?
Next issue, Superboy met the young Lex Luthor, farm boy in Smallville, Superboy hero-worshipper and would-be scientific genius, and we see that Luthor becomes a Superman-hater after Superboy causes all his hair to fall out. Don’t laugh so much, there are sound psychological underpinnings to this rationale, I merely looks goofy. And increasingly the letters page is becoming a source of inspiration, with the kids raising questions that prompt stories being written to explain the answers. Weisinger certainly knew his audience.
After Robin, Lois and Luthor, it was inevitable that Superboy would meet a young Bruce Wayne when his parents, the great philanthropists and benefactors of Gotham City, decided to move to Smallville; well, wouldn’t you? Who wants to live in a plush mansion when you could live in a hick town? Bruce gets the hots for Lana who agrees to let him take her to the Prom if he finds out Superboy’s identity, which he does, being smart, only Superboy shows him film of the future where he’s Batman and they’re best friends, so he doesn’t. Funny how the Boy of Steel omits the bit about why young Bruce becomes Batman…
Both back-up series had a change of title is issue 277, to introduce their kid partners: Aquaman and Aqualad, Congorilla and Janu, with National announcing that, in response to many such requests, they were giving the first pair a two-issue run in Showcase to see if they could carry their own title.
Issue 280 saw the Mermaid Lori Lemaris become the latest Superman character to pre-empt her first meeting with Supes by turning up in Smallville years early. As usual, the story was 90% silly, the exceptions being the provision of an entirely sensible explanation for Lori’s Atlanteans having fishtails whilst Aquaman’s have two legs, and the instinctive effort of the jealous Lana to save the life of the ‘girl’ she fears as a rival. It was also announced that, from the next issue, the first of 1961, Congorilla and Aquaman would alternate as back-up, their combined pages giving the opportunity for thirteen page adventures.
This time, it took only fifteen issues for the Legion of Superheroes to return, in issue 282, with a new member, Star Boy (albeit one with super-strength, electrical vision and supercool breath, instead of mass controlling powers), as well as a cameo from the previously unseen Chameleon Boy. Unfortunately, the story was an excuse for Lana to cook up one of her least reputable plots to discover Superboy’s identity. Not even the sight of Lana in a most un-1961 short skirt and her frank admission that she loved the Boy of Steel kept him from acting like just as much as a dick to her. Just fly her off and snog her, you fool!
Congorilla’s brief run came to an end in issue 283, with the announcement that he was being replaced by the more Superman-oriented Tales of the Bizarro World. It was supposed to be just him but, come the day, Aquaman was sent swimming too. But three issues later I was hoping for one or both of them to return, as the Bizarro stories were stupid beyond belief. And they’re getting all the covers, too! The time between Legion stories was rapidly diminishing, with Sun Boy, the “Seventh Legionnaire” being introduced in issue 290.
And the big three of Cosmic Boy, Lightning Lad and Saturn Girl were back after only three issues, this time introducing, wait for it, the Legion of Super-Pets. Yes, that’s right: Super-Pets. These were Krypto, plus Beppo the Super-Monkey, Streaky the Super-Cat and even the as-yet unnamed Comet the Super-Horse, pet and occasional lover of Supergirl (don’t go there, just don’t) who hadn’t even been introduced in Supergirl’s series yet (hey, every young girl is into horses, right?)
There was a letter of protest about the Bizarros in issue 296 which brought forth a stinging rebuke from Weisinger, about how Adventure‘s sales figures had rocketed to their highest ever since the feature began, and that every month they got 5,000 postcards with suggestions from ‘Bizarro business’. Yeah, but that still doesn’t mean the series isn’t crap.
Finally, the suggestion came up of a regular Legion series, alternating with the Bizarros. So, with issue 300, the day finally came when the Legion, 53 issues after their debut, took a permanent role in Adventure.
And I’ll be back in two weeks for the next instalment.
Most people agree upon the periods of the Golden Age and the Silver Age of Comics, though there’s room for argument as to the Ages that have followed. The Golden Age, from Action 1 to All-Star 57, covers the years 1938 to 1950, whilst the Silver Age starts with Showcase 4 in 1956. That leaves a gap that has never been tagged onto any Age, metallic or otherwise.
For the second instalment of my review of Adventure Comics, I’m calling the period in question the In-Between Age, and I plan to go up to 1958, for two reasons. One is that, although the Barry Allen Flash debuted in 1956, he only made four appearances in three years before finally being unleashed on his own series, in 1959. I’d call that the true beginning of the Silver Age, but before that, in 1958, National would introduce a new idea in the pages of Adventure that was as Silver Age as you could wish. This essay covers the years leading up to then.
We begin with issue 167. The Shining Knight was fallen casualty to the times, leaving Adventure with a line-up, front to back, of Superboy, Aquaman, Johnny Quick and The Green Arrow (still with the definite article). Superboy has the perky, red-headed teenage beauty Lana Lang trying to uncover his secret identity, just as his adult contemporary has Lois Lane, and Lana gets the idea into her pretty head that an ancient helmet brought home by her archaeologist parents gives her Superboy-esque powers. Instead of just taking her for a long, slow ride at the next hayride and enjoying some enthusiastic smooching, Superboy has to pretend the helmet works to keep her from getting the right idea about why a robber’s bullet just bounced off him. Silly boy.
Lana was a seeming fixture for a few issues but then dropped out, which was a shame because she brought an element of personality to Superboy’s strip. It was still a mostly domestic strip, calling for no great effort on the kid’s powers but without the pretty redhead it was empty.
Indeed, going into 1952, the comic as a whole was dull. Aquaman, who was clearly the favourite of the DVD maker who manages to come up with the Sea King’s story even when nothing else of an issue is available, tends to fight pirates, Green Arrow and Speedy can’t even come up with new trick arrows anymore, and only Johnny Quick comes up with an interesting read, mainly because it still hearkens to its Golden Age look instead of the bloodless DC art of the era.
I’ll mention the story in issue 181, which featured Joannie Swift, Queen of Speed. Joannie is a typist who accidentally gains the same powers as Johnnie when a list of equations she reads out duplicates his Magic Formula. Joannie turns out to be brave, resourceful, athletic, intelligent, in short bloody good at being a super-speedster. Johnnie only wants her to go away, at first to save her from injury because, being a girl, she’s bound to be a weakling, but, as soon as he realises she knows her stuff, a rather too revelatory reason comes out: Johnnie doesn’t want to turn out second best to her.
Of course, that fate will never happen because, inevitably, Joannie’s afraid of mice, which causes her to forget the Formula. So, instead of a skilful, brave, worthy foe of crime, using her potential to the fill, Ms Swift is condemned to go back to the steno pool, because she’s a girl. Sometimes this stuff can make you want to barf.
Meanwhile, a whole year of the DVD goes by with only two complete issues but with every Aquaman story. These are formulaic, uninspired affairs, six pages of nothing: no wonder DC struggled in the early Fifties. Piracy still turned up, but also silly ideas like Aquaman running an undersea hospital or an undersea fire service.
When full service resumes, for a while, in issue 201, there’s another delightful Lana Lang story, with Superboy thinking he’s blown his secret identity to her Dad, and so relieved to find he’s wrong, he welcomes Lana’s determined pursuit of his secret: just kiss her, you chump, she’d be a great girlfriend.
The American comic book package started off at 64 pages. Thanks to paper restrictions during the Second World war, it was reduced to 56 pages, and then to 48, all at 10c, irrespective of size. But with issue 205, Adventure Comics was reduced to the 32 page size that’s been standard ever since. Johnny Quick missed out, though he returned the following issue at the expense of Green Arrow. But his final appearance was in issue 207, sadly not on the DVD. Henceforth, Adventure had only three features, and if I say that Superboy is the pick of them, you’ll appreciate how dull it is.
There was a landmark story in issue 210, with the initially temporary appearance of Krypto, the Superdog, nearly giving Clark Kent’s other identity away again to guess who? This was the only story for that issue, whereas next time we only had the Aquaman so I can’t say whether it was that or its absent predecessor where Aquaman switched from yellow gauntlets to the green ones we know so well. Either way, he was back to yellow for issue 212, that is, when he was coloured at all in a bizarre approach that saw him monocoloured pale blue in the majority of panels. Nobody seemed to be able to make up their mind as green and yellow alternated. Meanwhile, Krypto returned in issue 214 to prove that stories of the Superdog were likely to be pretty stupid.
The Superboy story in issue 216 had the Lad of Steel meeting Superman without time travel, but its twist was that the adult version was really archaeologist Professor Olsen. Rescuing him endeared Superboy to Olsen’s young son, Jimmy… And speaking of costume changes, Green Arrow started wearing a red cap as opposed to his usual green one in the occasional story.
Frustratingly, Superboy’s real parents, Jor-El and Lara turned up in issue 217, having escaped Krypton after all, preparing to take their son to their new off-world home. It’s a trick alright, from Superboy’s callous ignoring of the Kents to the con on death row who pieces together his identity as Clark Kent, even down to how the Els are only seen flying when Superboy is holding their arms, but this was a very rare two-part story and we only have Aquaman for issue 218.
One of the interesting aspects of reading Adventure during this period (it’s more fun than the two back-ups) are the in-house ads for DC titles of the In-Between Age. Lists and covers of all manner of titles unwanted and forgotten, a publishing era lost permanently. But the cusp of change is approaching. Issue 22 carries an ad for yet another new title, starring Fireman Farrell. He never set the world alight, and we know that the ad is full of lies when it describes the new comic as a response to all those reader letters requesting different subjects, requiring a new kind of comic to fit them all in. We know that the real reason was to try to control the losses, both in money and reputation, from the way nothing new was catching on. Fireman Farrell was the first subject, the star of Showcase 1. In six months time…
In fact, the Showcase ads are fascinating. No-one ever cares about the first three, overshadowed utterly by no 4. The second issue featured Kings of the Wild, three outdoor adventures. These adverts are a history lesson in themselves.
So they stop printing inhouse ads at all, and I don’t get to see 3, or 4, come to that. Has nobody any sense of responsibility to future generations?
Meanwhile, the Aquaman and Green Arrow strips are growing dumber. Aquaman no longer has to pursue pirates, not when his time can be taken up with nonsensical ‘stories’ about how he schools his finny friends to obey his instructions or how he apparently turns into an egomaniac except it’s all a secret scheme, whilst the Battling Bowmen go trading places with other archers or else emulate their own trading cards. Truly this was an age of inanity.
Superboy’s own series continued to be both silly and sententious, but the occasional nice moment came along. Taking advantage of the fact that a leaking special gas would give everybody amnesia for an hour, the Boy of Steel decided to reveal he was really Clark Kent to test if a secret identity was more of a burden than a benefit which, this being DC Comics in 1957 it self-evidently was a benefit. But there was a touching moment when Lana, the teenage pest so set on proving Clark and Superboy were one and the same, began to cry at the proof – because Clark was a dear friend and she would never see him again.
I had a surprise in issue 239, which saw Krypto’s return, for I had read this story before, a very long time ago. Not in Adventure but in a British Superboy hardback annual, reprinting this in black and white. The first in well over a hundred Superboy stories that I had previously seen.
And harking back to Lana’s genuine distress at the thought of losing her dear friend Clark, how does the Boy of Steel repay her in issue 240? By becoming as big a Superdick as his adult self and humiliating her in front of all of Smallville to conceal his secret identity. What did I say about this stuff making you want to barf?
Obviously Lana got over it by the next issue, in which Green Arrow and Speedy were joined by Queen Arrow, aka Diana Dare (any relation to Dan?), who temporarily hypnotised herself into acting out her deepest desire, namely to be told by her heroes that what they do is too dangerous for a girl. Once he joined the Justice League, did Ollie ever try that line on Wonder Woman?
Issue 243 is the last complete comic for this section, the next three issues represented by one story only, two of them the simultaneously tedious and ridiculous Aquaman. The last of these is cover-dated March 1958, making its actual publication most likely January of that year. Two issues of Showcase thus far have featured The new Flash. Two more would appear this year. The Silver Age was cranking up for the off. The next issue of Adventure would see a change that I’ll explore in the third essay in this series.
As crossovers go in general, this episode was pretty much of a bust, the last five minutes excepted, when the Dominators and their plans to invade Earth and give it some serious welly with ‘the weapon’ became more than a MacGuffin for the real intent of Arrow‘s 100th episode.
On the other hand, as episodes of Arrow go, this was bloody brilliant and better than anything we’ve seen in the last two series, if not more.
So: where we left off last night, Team Arrow (aka Ollie, Dig, Thea, Sarah and Ray) vanished. Back in Star City, Felicity and Cisco, with the respective aids of Rene/Wild Dog, Curtis/Mr Terrific and Rory/Ragman, tracked down where they were being held captive. This required a brief altercation with some real throwaway enhanced woman, for which Flash and Supergirl turned up to turn her over. Our missing quintet were found to be on the Dominator spaceship, which they exited in some kind of mini-ship, pursued by a whole swarm of mini-ships intent on death and destruction, until rescued by the Waverider and Nate Heywood (who’s been left out so far).
All of which was the mainly thin gristle around the meat of episode 100, which featured Ollie’s own version of Flashpoint, the life he could have had, which perhaps he should have had, if one thing hadn’t happened. That signifying point was The Queen’s Gambit cruise.
Ollie didn’t die. His Dad didn’t die. Deathstroke had no reason to kill his mother. Sarah never joined the League of Assassins. Without one Black Canary there was never a need for a second, so Laurel didn’t die, in fact tomorrow is her wedding day. To Ollie. His Dad wants him to take over Queen Consolidated as CEO, without which the board will accept Ray Palmer’s buy-out. Detective Lance isn’t an alcoholic. Thea doesn’t know who her real father is. Tommy Merlin’s alive, and of all things he’s a doctor in Chicago (on Chicago Hope?). There is an arrow-wielding vigilante, nicknamed the Hood, and assisted by Ray’s fiancee, Felicity, but it’s Diggle.
It’s wrong, all wrong, every bad thing undone. I’ve seen it before in comics, it”s not original, it’s the idea that underpins The Last Temptation of Christ and I don’t expect it was new then. The hero’s real enemy is not defeat, or death, it is happiness. It’s been the underpinning of Arrow since episode 1 and it’s been the dire ruination of the series for these last two miserable seasons, and here it is, overthrown. What it could have been, what has been sacrificed.
It’s unreal, and at every turn things are thrown up, things that trigger all five victim’s memories, although mostly Ollie’s. The story is always the same and the end is always the same: the hero rejects peace, rejects fulfillment, the dirty and desperate reality is restored. But it’s so hard. Thea refuses at first, the little girl who has her parents back, her mother and her father, who can’t bear to repeat the loss. Who among us doesn’t respond to that? You know what I would give to havve my father come back, to have had that life instead. But she comes out to fight with the rest, for no reason given, overcomes her obstacles, awakens with the rest.
It’s The Flash 300, Cary Bates’ greatest story. It’s that episode of Red Dwarf where they discover it’s been a virtual reality game all along. It’s every story that’s ever ended ‘and they she woke up, and it had all been a dream’, except that the dream is the thing you want to carry on forever.
It’s a fine and memorable episode, but in terms of the crossover, they’re dumping one hell of a lot on Legends of Tomorrow‘s shoulders for the final part, and assuming all for get renewed for another season each (and there’s a very good case for denying Arrow the chance to get any more turgid), and they decide to do another crossover, they need to do something a lot better next time.
The Flash part of the Great DC Crossover was the true start, with the arrival on Earth of the Dominators, invading aliens, necessitating bringing together every known superhero to face them. Given that this Earth-menacing menace was so big, it needed the combined cast of four shows to tackle it, it seemed clunky that the on going continuity of the three combined series should still go rattling on, but hey, it all just added to the density of affairs.
We started with Team Flash still testing the newly-powered Wally West, who’s shaping up to be faster even than Barry, but who everyone wants to keep away from actually getting out there to fight the good fight. This is interrupted by the arrival of a meteorite in downtown Central City, which turns out to not be a meteorite but rather a spaceship, out of which clomped the Dominators, in some of the worst CGI the show’s come up with to date. Just as soon as Lyla Michaels confirms these are aliens who’ve been around before in the Fifties, Barry decides to set up a task force.
This means pulling Green Arrow and Spartan out of the way of the Vigilante’s machine guns, plus Speedy jumping out of retirement because, hey, its aliens and that’s cool, plus a time beacon to summon the Legends – Ray has out of nowhere rebuilt his Atom suit – and Barry dragging a reluctant Cisco off to collect an alien of their own in Kara per yesterday.
Incidentally, I know we’re not exactly sticking to the classic DC Multiverse but it was a little demeaning I thought to have Kara’s Universe down as Earth-38. Something in single figures, at least.
So, its everybody hurriedly practicing how to be an en masse team, Wally keep getting pushed out of the way, everybody crashing and burning against a Supergirl who wasn’t even sweating and time to advance a couple of Legends of Tomorrow plot-points. First, there’s this mysterious message from Barry itself that Jax and Professor Stein have been concealing from everyone else the past few weeks, which turns out to be for forty years in the future, confessing to the Flashpoint thing and warning everyone to beware because Barry could have fucked over all their futures.
Needless to say, Ollie counseled keeping it schtum, since Barry was Mission Leader (even though Ollie was giving the proxy orders), which didn’t even last ten minutes of screen-time before Cisco found the mp4 player, thus furthering his own Flashpoint-fuelled resentment of his erstwhile friend.
So, when everybody shot off to rescue the President from the cardboard cut-out CGI aliens, nobody wanted Barry around, and Ollie stayed with him out of sympathy.
(I haven’t forgotten the other Legends bit, the one about Martin Stein having headaches and visions about a dark pageboyed young woman who he loves, rather than Isabella Hofman, aka his blonde and still lovely wife, Clarissa. He gets Caitlin to accompany him to his home, where Pageboy jumps out at him, hugs him, says she loves him, puts the wind up him good and proper until she calls him ‘Dad’. Phew! Cue near sprint away).
Back at the crossover Team Everybody But the Leaders walks into a trap that has them mind-dominated by the Dominators (heh, heh) and coming to get Barry and Ollie, but not before our franchise-holders have done a bit of deep background bonding. Barry shows Ollie the hidden room from season 1, and the Crisis headline newspaper from 2024, whilst Ollie goes back to his season 1 to speak of how his Dad sacrificed himself so Ollie could live.
Then they face off against the rest of the teams, until Barry gets Kara mad enough to chase him and smash through the Dominators’ machine, restoring everyone to their right minds.
Or are they? For some reason everyone chooses to stand outside STAR Labs, in the pouring rain, to discuss their next move, which is going to ask Argus what to do. Suddenly, beams of light transport away everybody but Barry…
To be serious, given that bringing together so many characters into a single story posed serious logistic problems of itself, it did surprise me that The Flash devoted so much time to internal continuity, and more so that it crossed all three related series. We can only assume that that’s going to be the pattern for both Arrow and Legends of Tomorrow. It makes for densely-packed, if relatively thin TV, and it makes the crossover story, which after all is only an alien invasion that appears to have vaporised the President, fairly unimportant. We shall see where things go tomorrow.
Incidentally, I did thoroughly enjoy the cramming together into one super-superimposed tangled of every show’s logo – The Flash on top, of course – and look forward to tomorrow’s version.
Arrow‘s third season took a serious beating from critics and audience alike, so it was incumbent on it to come up with something much better this year. With one sterling exception, it didn’t up its game anything like as much as it needed to, and in one area the show broke a bond with one loyal member of the audience who’d been there from the beginning and who was willing to forgive much just because this was a show about Green Arrow.
Essentially, season 4 was same again, arranged slightly differently, from season 3. And season 2. And season 1. True, the show upped its game in the form of its chosen Big Bad whose season-long arc aimed at destroying Star City: I may have been among the few who enjoyed Matt Nable’s performance as R’as Al’Ghul last time, but Neal McDonough as Damien Darkh was an upgrade and a half: McDonough’s larger-than-life relish of his role was great to watch.
And the stakes were higher, since it was not just Star City that was up for destruction, but this time the entire planet.
Now that’s two mentions of Star City and one of Green Arrow already, when this show has lasted three seasons on the non-comics names of Starling City and The Arrow. It’s been a welcome development, but it really only emphasised where the show got it wrong in the first place, thinking that it had to go with more realistic names so as not to put off its audience.
Like The Flash, the first half of the series was limited by the need to participate in setting up Legends of Tomorrow, which in Arrow‘s case, primarily meant bending the story around reviving Sarah lance and returning to Nanda Parbat and re-evoking the rivalry between Malcolm Merlin and Nyssa Al’Ghul over the league of Assassins.
Meanwhile, Oliver is living happily in retirement with Felicity and planning to give her a ring until she drags him back to assist Team Arrow, which is drowning vertically. Felicity finds herself head of Palmer Technology, which leads into rescuing Ray Palmer for Legends, whilst Oliver fools everybody in the newly-rechristened (in honour of Ray, an offcomer who was only there for about nine months) Star City by appearing as the Green Arrow that nobody connects with the recently deceased no-colour Arrow who was functionally and physically identical to the Green one.
Complicate this with the mysterious flash forward at the end of episode 1, with Oliver (and Barry) mourning someone inknown who’d wound up in a grave, which the showrunners just threw in without any idea of who would end up in it, and the stage was set for another typically confused season, in which very little would make any coherent sense, especially if you took the trouble to compare the events of one episode with that of another (or sometimes even within the same episode).
This year’s flashbacks saw us back to Lian Yu, with Ollie sent in under cover to frustrate the mysterious efforts of Baron Riker to uncover something that turned out to have a magical link to Damien Darhk. As Ollie was away five years, seeing the final year of flashbacks link into the start of season 1 is my main motivation for staying on for season 5.
Because about two-thirds of the way through, a very large part of my connection to this series broke, suddenly and finally. I’ve always liked Felicity, and I like how Emily Bett Rickards plays her (and I like how Emily Bett Rickards looks when playing her). It’s been a rollercoaster this year: from idyllic retirement together, ending because Felicity couldn’t leave crime-fighting alone, to engagement, warmth, trust, tycoondom, paraplegia, and a completely hypocrital reversal over Ollie keeping secrets from her when it came to his son.
Never mind the concept that sometimes people have to keep secrets even from those closest to them, because they are not free to spread the information without the say-so of the person to whom it belongs, Felicity totally lost it over little William. And when Ollie decided that the only way to protect his offspring was to send his ex- and the boy away somewhere even he didn’t know – without consulting Felicity on something that had fuck all to do with her – and she broke up with him, I broke with the programme.
If they want to go to such contrived lengths to fuck around with a successful and valuable relationship, sobeit, but I completely lost interest. Ever since, I’ve been watching solely from habit and the primeval urge to know how it comes out, but I can no longer invest anything of myself into the show.
It ended up being Laurel (Black Canary) Lance in the grave, the showrunners finally giving way to nearly four years of hatred by getting rid of Katie Cassidy (not without a last words declaration that it was always Ollie she loved that rang about as true as a three dollar coin). Incidentally, showing my shallow side here, in nearly four years on Arrow I never found Katie Cassidy attractive, but one ten minute guest spot on The Flash as the Earth-2 villainess, Black Siren, and boy was she hot!
One positive for next season is the announcement that Echo Kellum will be a regular. Kellum has appeared sporadically in season 4 as a genius level inventor at Palmertech, but although he’s been saddled with the name Curtis, instead of Michael, he’s been seen designing T-spheres, so I hope next season we’ll be looking at Team Arrow expanding to include Mr. Terrific.
As Terrific is another old favourite of mine, I am hoping for spin-off material.
The season ended with the same disregard for practicality and emotional logic that the show has developed from the beginning, except that a show four years old should have grown out of it by now and this one’s only getting worse by the episode as the emotional beats are being tortured into ugly and impossible shapes in order to service the latest plot contrivance.
So Damien Darhk dies, at the Green Arrow’s hands, in public, the Green Arrow that’s Star City’s investment in hope. Diggle and Thea resign to cater to their inner demons, Thea to sit on a couch, picking at the hem of her designer jeans and Diggle to re-enlist in the military (makes perfect sense to me, folks). Oliver gets sworn in as Mayor for giving an inspirational speech whilst stood on the roof of a taxi (which wasn’t moving, thankfully) that somehow managed to get people rioting in panic over being about to die from a nuclear missile to stop and listen to, even when the missile was visible in the sky, racing towards them.
And Felicitysticks with Oliver which, by my count, is about the seventy-third different and incompatible emotional stance she’s struck this series alone.
It’s been a busy season. I’ve bailed on Lucifer already, and had Agent Carter cancelled out from under me. I’ve gotten hooked on iZombie which will come into next season’s mix, and I’ve also gotten into Person of Interest, which won’t because it’s rapidly closing in on the end of its final season. The rest look good for another year, but I am very close to dropping over the edge with Arrow, which needs to have an exceptional season 5 if it wants to keep me on board for any season 6. Based on its record to date, I’m not expecting miracles.
So, summer’s here and, except for Preacher it looks like being three months or so of catch-up. I’ll try to finish off Parks and Recreation and Spartacus. See you in September.
Of all the returning shows, Arrow was the one with the most to do to re-establish itself. Season 3 was a mess and came close to busting the show apart. And with The Flash outdoing its parent by presenting a much more upbeat tone, changes were going to be needed. Happily, season 4 got off to a good start in resetting things.
Needless to say things haven’t changed all that much. This is still going to be a grim series, with grim themes: there are limits to how much a show can seriously change its spots, especially overnight, as Gotham demonstrated last week. Oliver and Felicity may have ridden off into the sunrise to Ivy Town (a nod to Ray Palmer’s comic book base) where the only running through woods in a green hood that Oliver’s doing is his morning jog, and they’re so happy Ollie can actually joke “Felicity Smoak, you have failed this omelette,” but back home, Team Arrow is up against it, and you know it’s not going to last.
In fact, overall the episode was like yesterday’s season-opener on The Flash: five months have passed and the status quo needs resetting.
Team Arrow, consisting of Laurel (Black Canary) Lance, Thea (Red Arrow but everyone still calls her Speedy) Queen and John (no code name but now wearing a very dubious black helmet) Diggle, is up against it. Star City, now officially rebranded in memory of Ray Palmer, is dying. It hasn’t got a Mayor, people and businesses are leaving in droves and it’s afflicted with Ghosts, aka armed bands that appear and disappear at will, leaving neither the Police nor Team Arrow with the slightest clue.
Except for the tall, burly, blond guy who walks into a meeting of the four officials who are running Star City, claiming responsibility for the Ghosts and promising to kill Star City. This is season 4’s bad guy, Damian Darhk, and Neal McDonough is already killing it in the role.
Three of the Committee subsequently die quickly, whilst the fourth, our old friend Captain Quentin Lance, is merely shot in the shoulder, thanks to Black Canary’s intervention. Though, in a neat twist at episode’s end, it turns out that Lance is working for Dhark. That’s going to be very interesting.
Needless to say, in all of this, Team Arrow turns to their exiled leader and begs him to return. Or two-thirds of them do, since Diggle can’t forgive, or trust, Ollie, not after Ollie had his wife and baby kidnapped last season. You can see his point.
Ollie’s unwilling, but Felicity (who’s been helping Team Arrow out all along) is all for it. She loves him, she loves their life, but she’s getting bored without the adrenaline and the do-gooding. So too is Ollie, once he admits it, and he’s eager to try to build a more positive role for himself, in the face of both Captain Lance and Diggle accusing him to his face of being a monster with nothing but darkness in him.
So, in a neat counterpart to the opening with its Welcome to Star City, Ollie takes to the airwaves to promise the citizens hope. The Arrow is dead, but a new figure has arisen to inherit his mantle. And his name is… Green Arrow. Yaaaayyy!!
Two other things remain to be mentioned. We have another year of flashbacks, covering year 4 of Ollie’s exile prior to his appearance as The Hood in season 1. His arrival in Coast City, home of Hal (Green Lantern) Jordan turns out to be either a massive fake-out or a drastic change of plan as, after a complete balls-up of a debut as The Hood, Ollie is drugged by Amanda Waller in a bar (camera pan across the chest of an airman whose name-tag reads ‘Jordan’ and, the next thing you know, he’s being kicked out of an aircraft, with parachute, to carry out a mystery mission on, guess where, Lian Yu.
The other is a flash-forward. All episode, we have Ollie planning to propose to Felicity, and leaving his mother’s engagement ring in all sorts of cutesy-pie places for her to discover (but not yet). Then we jump to six months later, to Ollie with black-tie in a graveyard, kneeling by a freshly-dug plot. Barry Allen appears, apologising that he couldn’t make the funeral, due to Zoom. Ollie swears he will kill the man who has done this.
We don’t see the headstone but the inference is very strong that it is Felicity that they are both mourning. It may be that such a bold, striking step is being planned, but right here, right now, I am willing to bet it’s a fake-out, and that it’s not Felicity who is going to be killed (and I’m also guessing that, whilst we’re equally being tipped to expecting Darhk to be the murderer, there’s at least a 50% chance it’ll be Captain Lance, in which case the body is likely to turn out to be Laurel’s…).
Then again, since we viewers are such sophisticated creatures these days, maybe it really is going to be Felicity, and the joke’s on me for being so clever-clever. I think finding out exactly what’s going to happen is going to be much more enjoyable than season 3.
Justice League of America 100, “The Unknown Soldier of Victory!”/Justice League of America 101, “The Hand that Shook the World”/Justice League of America 102, “And One of Us Must Die!” Written by Len Wein, art by Dick Dillin (pencils), Joe Giella (inks, issues 100, 101 and part 102) and Dick Giordano (inks Part 102), edited by Julius Schwarz.
The Justice League’s Satellite headquarters is empty and quiet. It is the League’s one hundredth meeting, and in honour of the occasion, everyone who is or was a Justice League member, together with associates Metamorpho, the Elongated Man and Zatanna, have gathered to celebrate at the League’s original cave sanctuary, outside Happy Harbor in Rhode Island.
With Batman shanghaing former Wonder Woman, Diana Prince, into attending, the only ones missing are the Martian Manhunter, deep in space on New Mars but still thinking of the occasion, and former mascot ‘Snapper’ Carr who, despite being sent an invitation, is still too ashamed at his betrayal of the League to face his former friends.
But as the girls lift the cake cutter, everybody fades out, an experience familiar to most of those present, because it means they are being transported into Earth-2 again.
The augmented League arrives at the headquarters of a very sombre Justice Society, most of whose members are present. Doctor Fate explains that Earth-2 is under threat of destruction from a giant, nebular hand, threatening to crush the Earth, unless its master, the Iron Hand, is given world domination within 24 hours. Twice the JSA have gone against the nebular hand, and twice they have failed. Now they seek the JLA’s assistance.
By the use of his magic, Doctor Fate has found an unidentified grave, high in the Himalayas. He proposes that Zatanna and the Thunderbolt should join theirs magic to his to summon the being known as Oracle to seek his assistance. Oracle responds, at first belligerently, but agrees to advise due to the respect he believes is due to Doctor Fate. He explains that the Nebular hand can only be defeated is with the help of the Seven Soldiers of Victory: which is all very well, but nobody can remember who they are.
Oracle explains that they were a team of seven heroes who were first drawn together to combat the evil plans of the villain, the Hand. The Vigilante, Green Arrow and Speedy, the Crimson Avenger, the Shining Knight and the Star-Spangled Kid and Stripesy each fought personal villains who were in the pay of the Hand: Having defeated their foes, the septet arrived at the Hand’s base to foil his plans, with the Vigilante causing the Hand’s machine to fall on him, seemingly crushing him.
Taking the name Seven Soldiers, the heroes stayed together as a team, until they had to face the Nebula Man. Working together, the Seven Soldiers built a Nebula Rod, whose energies destroyed the Nebula, but killed the soldier who used it: his is the mysterious grave. The other Soldiers were blasted randomly through time, causing the modern world to forget them.
Quickly dividing themselves into seven teams of three, with Oracle’s mystic assistance, the heroes are sent into the timestream to locate and return with the individual Soldiers. Only Diana Prince remains, to coordinate with any latecomers.
In the land of the Aztecs, Doctor Fate, The Atom1 and Elongated Man save the Crimson Avenger from committing human sacrifice under the influence of a radioactive stone. They are summoned back by Oracle.
Meanwhile, in a hidden HQ on Earth-2, the villain gloats. He names himself the Iron Hand, and his right hand is made of metal.
End of part 1.
Diana Prince updates latecomers Green Lantern2, Mr Terrific and Robin on the current situation.
In Ghenghis Khan’s day, Metamorpho, Superman and Sandman not only rescue the Shining Knight from his hypnotised servitude, but prevent the Mongol warlord destroying a village.
Green Lantern2 cannot stand sitting around waiting. He takes his two colleagues on a trip to the Himalayas, to find out which fallen Soldier occupies the mysterious grave. En route, they stop to save some children from falling into a crevasse caused by an Earthquake.
In Medieval England, Dr Mid-Nite, Hawkman1 and Wonder Woman2 rescue Green Arrow from Nottingham Castle, where he has taken the placed of a wounded Robin Hood.
Elsewhere, in the present, the Iron Hand identifies himself as the Law’s Legionnaires’ old foe, the Hand. He was not destroyed in their battle, though his hand was crushed, and he has replaced it with this destructive mechanical device.
In Ancient Egypt, Batman, Starman and Hourman escape capture and imprisonment in a pyramid to rescue Stripesy from slavehood, dragging stones.
At JSA headquarters, Diana Prince waits and worries, unaware of the Iron Hand creeping up behind her.
End of part 2.
Following a recap by Oracle, who continues to summon back the successful heroes and their Soldier after each adventure, in the Wild West, Black Canary, Green Arrow and Johnny Thunder rescue the Vigilante from a Red Indian tribe, despite the two heroes each trying to lay some pretty chauvinistic claims over the affronted Canary.
In prehistoric times, Wildcat, Green Lantern 1 and Aquaman prevent havoc being caused to the human race by a neanderthal tribe coming into contact with a flu-ridden Star Spangled Kid.
Finally, in mythical times on Crete, The Flash1, Zatanna and the Red Tornado escape being turned into hybrid human/animals in order to defeat Circe and release Speedy from his magical centaur form.
The heroes and the Soldiers are back. Almost simultaneously, Green Lantern2 and co return from the Himalayas, having found the grave, but the Crimson Avenger intervenes to confirm that is was his friend and associate Wing, the unofficial ‘Eighth Soldier’ who died, and who is buried with full nobility there.
There is no time for celebration, for the group of heroes is suddenly interrupted by The Iron Hand, clutching Diana Prince as a hostage. With his attention focussed on over thirty heroes ready to pounce, the Iron Hand is not ready for Ms Prince pretending to feint before throwing him in a judo toss and karate chopping his iron hand off. Unfortunately, that was how he was controlling the Nebular hand, which is now out of control.
Rapidly, the Seven Soldiers rebuild their Nebula Rod, which is taken into space and charged at the Sun. There then follows at argument: whoever delivers the Rod will die, like Wing, and the heroes compete over who might have the best chance of surviving,
In the discussion, no-one notices Red Tornado leave with the Nebula Rod, leaving behind a note in which he suggests that his android body might survive, and that if it does not, only a machine has been lost. By this time, it is too late: Earth-2 is shook as the Hand detonates and is dissipated. Red Tornado does not return.
Chastened at the loss of their android comrade, the heroes remember both him and Wing.
* * * * * Crisis on Multiple Earths Volume 3 contains the team-ups from 1971 – 74. It has a very interesting introduction from Len Wein, writer of three of the reprinted stories, detailing his thought processes in each of them, together with information on the background of each story.
Wein was asked to take over Justice League of America from Mike Friedrich without being told he was going to start with not only the landmark issue 100, but also the tenth annual Justice Society team-up. It was a mammoth task, but Wein approached it with vigour and determination to write a story worthy of the event, and succeeded splendidly.
It’s very much in the grand Gardner Fox tradition, or as much of it as was possible a decade on. Though 1972 is itself a long time ago, enough time had already passed that it would never be possible to write pure Fox again: plot-intense with the characters mere functionaries of what was necessary to direct the story. Wein could base his script upon the characteristics of Fox, but it would be leavened with the kind of character interplay, personality-driven moments that would have been an utter redundancy a decade before.
It’s a strange irony that an event that relied so heavily in its appeal on the nostalgia of seeing the heroes of a bygone age should in only ten years generate nostalgia for itself.
As far as the story is concerned, it is a very simple tale, more simple in its telling than anything Fox himself had ever produced: menace threatens Earth-2: the only people who can save Earth-2 are lost in time: the heroes rescue them: they save the day. What makes it three issues is the sheer volume of characters involved, what makes it work is Wein’s whole-hearted commitment, and the joy in what he’s doing which is very noticeable after O’Neil and Friedrich, who noticeably aren’t happy with what they have to do.
That this anniversary special became the first JLA/JSA team-up to go past the traditional two-issue length was Schwarz’s decision but Wein’s suggestion. In trying to develop a sufficiently spectacular story, Wein hit on the idea of returning to the roots of the first team-up by bringing back another team from DC’s Golden Age. The Seven Soldiers of Victory, who occasionally operated under the rubric of the Law’s Legionnaires, were National’s only other superhero team in the Forties: indeed, they were in a way National’s answer to All-American’s Justice Society. They were never remotely as successful, lasting fourteen issues of Leading Comics (not the two that Wein, in his introduction, misremembers).
As a one-off, a special adventure, it was a great idea, and that was Wein’s intention. Unfortunately, in conceiving the story, he had changed the annual JLA/JSA team-up forever as, with a handful of exceptions, it was no longer sufficient for the two teams to cross the vibrational barrier and meet. Instead, there must always be guests, some other team, no matter how contrived, to add spice to the mix.
On the art side, Joe Giella was reaching the end of his tenure on Justice League of America. Dick Giordano, one of the finest inkers of the period, with a crisp, clean line that gave Dillin’s pencils a sharper edge from which it clearly benefited, inked two of the chapters in the last issue of the story, and would take over full-time with the following issue.
As far as the cast goes, this is obviously the biggest number of heroes to date, no less than 32 costumed characters (counting Johnny Thunder’s inevitable sports jacket and bow-tie) and that’s without the non-powered Diana Prince! Of course, for the 100th issue, Wein had to use, or at least reference, all the past and present JLAers, and he adds to the Earth-1 cast by featuring Metamorpho (who memorably turned down JLA membership), Zatanna (whose quest to find her long-lost father, Zatara, ended in Justice League of America) and the Elongated Man (who had no previous contact with the JLA that I am aware apart from being one of The Flash’s best mates, but who would be inducted by Wein three issues after this story).
On the Justice Society side, Wein included as many of its members as he could, notably putting Doctor Fate in the forefront as usual: Fate’s popularity in these stories can be demonstrated by the fact that he had appeared in eight of the first ten, whilst for Wildcat this was only his second appearance. Basically, all those JSA members with direct counterparts in the League – excepting latecomer Green Lantern – are left out, along with the Spectre, who is dead-dead.
There’s really very little to say about the story itself, except to note that this is the only time the Earth-1 and Earth-2 Green Arrows appear in the same tale, and it’s interesting that they show not the slightest bit of enthusiasm for getting together with each other. Our familiar, bearded liberal crusader even responds with a great, fat “So what?” when he’s told he has a counterpart on Earth-2, and whilst he wouldn’t necessarily have been assigned to rescue his doppelganger, it’s abundantly clear that they have nothing to say to each other, even in the group scenes at the end.
I suspect that our own Ollie held the unreconstructed version that represented his past in a fair amount of contempt, and I wouldn’t mind betting that the clean-shaven Oliver had much the same opinions of his hot-headed, anarchic, alternate.
Fun though these three issues are, there are just a couple of points that must be mentioned, where things fall below the overall standard. The first of these was commented on in a subsequent letter-column: that the menace that had taken two-and-a-half issues to combat was knocked into a cocked hat by the non-superpowered Wonder Woman with a judo toss and a karate chop (which is as near as I can get to an exact quote, though I no longer remember the fan’s name). The other is its ending.
Just as in O’Neil’s second effort in 1970, the story ends in tragedy, and sacrifice. That time it was the Spectre who gave his pseudo-life to save the two planets, this time it is the Red Tornado, with a typically self-loathing reference to himself as a handful of cogs and circuits, who proves his innate humanity by giving up all claim to it and carrying the Nebula Rod to explode the Nebular Hand.
It ought to be a time of regret, of reflection, and Wein makes the appropriate noises, but the sad truth is that that is all they are: noises. The Red Tornado was created in 1968 and this team-up was only his fourth-ever appearance, each time as one of a team. When he appeared I described him as a character full of potential, none of which had been remotely approached since then, as indeed it never could be, as long as he was a member of the Justice Society. His ‘death’ was meaningless.
It was also somewhat ludicrous, as it took place against a background of superhero willy-waving, with people queuing up to claim a place on the suicide mission, whilst the rest of the team easily shot their pretensions towards invulnerability down. And whilst everyone is taken up with this, twenty-odd stone of metal has it away on its tippy-toes with the Nebula Rod, without anyone – not even Superman’s super-hearing – catching the slightest chink. It spoiled the mood.
As to post-Crisis status, I see no reason why it couldn’t be adapted with very little change.