back issues

Back Issues: The Amazing Spider-Man #102

Dr. K4 Comments

Story Title: “Vampire at Large!” (also includes “–The Way it Began” and “The Curse and the Cure!”)
Published: November 1971
Writer: Roy Thomas
Artist: Gil Kane

The Background:
After achieving incredible success with the Fantastic Four, Marvel editor and head writer Stan Lee created Peter Parker/Spider-Man, a teenage superhero who unexpectedly became one of Marvel’s best selling titles. Spider-Man’s popularity was such that he featured in a number of spin-offs, including Marvel Team-Up, which partnered him with other, less mainstream superheroes, and he quickly amassed one of the most colourful and memorable rogues galleries in all of comicdom. Doctor Michael Morbius was just one of these; the creation of writer Roy Thomas and Gil Kane, and billed as a “Living Vampire”, Morbius came into being thanks to the Comics Code Authority finally relaxing its ban on vampires and other supernatural beings in comic books, but was actually the product of science rather than magic. Morbius would go on to feature in a number of Marvel crossovers and stories, generally those involving supernatural characters such as Eric Brooks/Blade and the various Ghost Riders, but the only time I’ve ever encountered him is in his neutered depiction in the 1990’s Spider-Man cartoon. After years of stop/start efforts to make it onto the silver screen, Morbius inexplicably made his live-action debut recently, so I figured now is as good a time as any to revisit the Living Vampire’s debut and see if he’s really worth his own solo movie.

The Review:
Before tackling “Vampire at Large!”, it’s probably best to also give a bit more background on Morbius and the events surrounding his introduction. The character actually appeared in “A Monster Called…Morbius!” (Thomas, et al, 1971), a story which opened with Spider-Man startled to find that his attempt to cure himself has resulted in him growing four additional arms! Struggling with the despair and horror of his newfound predicament, Peter makes a desperate call to Doctor Curt Connors/The Lizard and is invited to stay at the Connor’s Long Island beach house until he can find a solution. However, after working tirelessly for two days straight, Spider-Man is frustrated by failure, but has little time to dwell on his misery as he is attacked by a grotesque, pale figure garbed in an elaborate cape ensemble.

While trying to rid himself of his for extra arms, Spidey is attacked by first Morbius…and then the Lizard!

This previous story also details how this vampiric man known as Morbius was found adrift in the ocean and slaughtered the crew of a vessel under the darkness of night. Washing ashore, Morbius flees to Connor’s summerhouse to sleep in the belfry and avoid the draining influence of the daytime sun, but awakens to find the six-armed Spider-Man awaiting him. The Living Vampire isn’t one for villainous monologues; he simply attacks, surprising the wall-crawler with his deathly visage, his superhuman strength, and his sharp fangs. Fatigued after working without a break for two days, Spider-Man is in little condition to fight and is knocked unconscious following a massive blow. Morbius’s meal is interrupted, however, by the unexpected arrival of Dr. Connors; stunned by the vampire’s horrific appearance, Connors transforms into the Lizard and “Vampire at Large!” begins with Spider-Man being caught between a brutal throwdown between the two tortured monstrosities.

Dr. Connors struggles to maintain his humanity and help Spider-Man whip up a cure.

With Morbius desiring to feed on Spider-Man’s blood and the Lizard fixated on killing the wall-crawler, the two monsters are almost evenly matched in strength and ferocity; however, Morbius gains the upper hand by sending the Lizard flying into an electrical gizmo, which renders the reptilian unconscious and easy prey for the Living Vampire. Unable to see anyone, least of all a tragic soul like Dr. Connors, fall victim to such a fate, Spider-Man intervenes and tries to get answers from Morbius, but the enigmatic vampire chooses to fly out into the night, unaware that Spidey has tagged him with one of this spider tracers, and leaving him with the weakened Lizard. Although Connors briefly returns to a reptilian version of his human form, he finds himself trapped as the Lizard but retaining some semblance of his humanity thanks to the effects of Morbius’s bite. Spider-Man and the Lizard resolve to combine their resources and intelligence to help cure both of their conditions; the Lizard theorises that Morbius’s vampiric bite must have infected him with an enzyme, but time is against them as the Lizard grows wilder and more animalistic with every passing minute.

In trying to cure his mysterious fatal disease, Morbius becomes a Living Vampire craving human blood!

We then re-join Morbius in the throes of another soliloquy regarding the anguish he feels during the day time, the screams and accusations of his victims, and his need to sleep through the day to keep those nightmarish thoughts out and remain at full strength. As he sleeps, however, Morbius not only begs for forgiveness from his victims but dreams about how he came to be; it seems he was once Doctor Michael Morbius, a Nobel Prize winning scientist stricken by a facial deformity and ravaged by a rare disease that he hoped to cure by conducting research on vampire bats using experimental shock treatment. Desperate for a cure so that he can give his beloved Martine the life she deserves, Morbius has his friend and colleague Nikos help him by subjecting him to an untested dosage of electrical current while garbed in a special suit; however, Morbius emerges forever changed, transforming into a monstrous, man-made vampire during the night and he accidentally kills Nikos with his bare hands. Horrified by the monster he has become, Morbius attempts to lose himself in the ocean’s tumultuous waves, only for his survival instinct to kick in, forcing him to the surface…and to an undead life of feeding upon the blood of the living.

Although Spidey recovers the serum, Morbius is seemingly lost beneath the sea.

While Peter’s friends, family, and colleagues worry after him, Spider-Man and the unpredictable Lizard finally manage to track Morbius down and, conscious of time being against him, Spidey is able to finally render the Living Vampire unconscious so that the Lizard can extract the enzyme they need from Morbius’s blood. Without even waiting to test it, the Lizard injects the serum into himself and becomes Dr. Connors once more; however, Morbius suddenly awakens, catching Spidey off-guard and making off with the serum in order to drink it for himself. Dr. Connors finally recognises Morbius as Morbius (I mean…the clue’s in the name, right?) and Spider-Man is compelled to help him, sympathising and identifying with his horrific fate, but Morbius is so determined to escape and live free that he collides a bridge and appears to drown in the river. On the plus side, Spider-Man is able to snag the serum before Morbius disappears beneath the water and successfully rids himself of his additional limbs, but guilt over Morbius’s fate weighs heavily on the web-slinger’s mind.

The Summary:
“Vampire at Large!” is a very different, and yet very familiar, Spider-Man story; of course you’ve got all the usual tropes you’d expect from a swingin’ Spidey tale set in the late seventies, but Peter’s usual depression, bad luck, and lamentations are made all the worse by the presence of his additional arms. Although Peter is cured of his four extra arms by the conclusion of the story (and you can bet such a plot point would be dragged out for months or even years today), it’s an entertaining and visually interesting sight to see Spider-Man swinging around with these four extra arms sticking out of his side, but they don’t really factor into the story that much beyond giving Peter something new to despair over and driving him to tirelessly find a cure for his condition. What I mean to say is that he doesn’t really get to use the extra arms in an interesting way; they’re simply a plot point, something to make him feel like a freak and an outcast and thus relate to the plight of the Lizard and the debuting Morbius even more.

Morbius’s superhuman strength and unending hunger make him a formidable foe.

I have to say that I wasn’t expecting the Lizard to show up in this story, but it does make sense that Spider-Man would turn to the one man who has experience in trying to cure a limb problem (even though Dr. Connors has been…less than successful in his attempts) and it’s a good job that he does go to Dr. Connors for help or else he would have been another of Morbius’s very victims. Morbius himself is, of course, the big star of the story; mysterious and enigmatic, Morbius makes a visual impression with his chalk-white skin, gruesome bat-like visage, and elaborate outfit that is like a superhero reimagining of Count Dracula’s regal attire. Able to fly at will, sporting superhuman strength, and driven by an overwhelming need to drink human blood, Morbius is a conflicted individual; he sought to cure himself of his fatal ailment, and instead became a monstrous creature of the night that laments having to prey upon his fellow man, and his condition, and yet is also motivated by an irresistible desire to survive at any cost. Initially, Morbius attacks with a silent, driven fury and, thanks to Spidey’s fatigue, easily overwhelms the web-slinger but, as the story progresses, he becomes much more loquacious and prone to the same soliloquies and grandiose boasting so closely associated with comic book villains.

All three struggle with their monstrous afflictions but only Morbius gives into it completely, to his undoing.

And yet, Morbius remains a tragic figure. There’s a definite theme in “Vampire at Large!” regarding humanity as each character has a monstrous condition that leaves them a freak of nature and a threat to their loved ones and fellow man: Peter is distraught that his four arms could shock his beloved Aunt May to death and spell the end of his secret identity and the few relationships he has left, Dr. Connors is continuously battling for control of his mind and body and against the animalistic urges of his scaly other half, and Morbius has seemingly given in to his gruesome urges. Indeed, he actively shuns the daylight not just because it weakens his vampiric abilities but also because he sees only the faces of those he has killed and is haunted by the screams of his victims. Initially, he is so horrified by his condition that he seeks to end his existence, but chastises himself for his short-sightedness, his survival instinct overriding his anguish, and is seemingly destroyed by his obsession with maintaining his freedom by the finale. Personally, I’ve never really been that big a fan of Morbius; he’s okay, but hardly a character I would deem to be a game-changer but his debut here was well handled as it was tied so closely with Spider-Man’s bizarre appendage predicament. He definitely had a mystery and aura around him, though his origins were ill-defined and vague compared to later iterations, and he had a striking appearance that set him apart from Spidey’s abundance of green-and-purple-garbed villains, but he’s definitely more at home in Marvel’s more supernatural and horror-themed books and, for me, little more than a footnote in Spider-Man’s history.

My Rating:

Rating: 3 out of 5.

Pretty Good

What are your thoughts on Morbius’s debut? Are you a fan of the character and, if so, what are some of your favourite Morbius tales? Were you disappointed with how brief Peter’s struggles with his four extra limbs was or do you think it was a good idea to not drag the concept out too long? What did you think to Morbius’s depiction, origin, and powers? Do you think the Lizard was necessary to this story? Are you excited for Morbius’s live-action debut or, like me, do you consider it a waste of time and money? Sign up to leave your thoughts on Morbius below or comment on my social media, and be sure to check back in next Friday for my review of Morbius’s big-screen debut.

Back Issues [Mario Month]: Super Mario Adventures

Dr. K1 Comment

So, for no better reason than “Mar.10” resembling Mario’s name, March 10th is widely regarded as being “Mario Day”, a day to celebrate Nintendo’s portly plumber, an overalls-wearing mascot who literally changed the videogame industry forever and shaped the home console market of the nineties. To commemorate Mario Day this year, I have been celebrating everyone’s favourite Koopa-flattening plumber every Thursday of this month in a little event I call “Mario Month”.

Story Title: “Super Mario Bros. Adventures” and “Mario vs. Wario”
Published: 25 October 2016
Originally Published: 1 January 1992 to 31 January 1993
Writer: Kentaro Takekuma
Artist: Charlie Nozawa

The Background:
By the early 1990s, Nintendo’s mushroom-stomping mascot was well-established as an icon not just in the videogame industry but in mainstream pop culture as well; with over sixty videogames to his name, and with Super Mario All-Stars (Nintendo EAD, 1993) proving a blockbuster release for Nintendo (and a pivotal title in the on-going “Console Wars” of the time), merchandising and licensing opportunities naturally began to increase as Nintendo sought to capitalise on the portly plumber’s popularity. In July/August of 1988, Nintendo of America began publishing a monthly review and strategy magazine, Nintendo Power (1988 to 2012), which soon included comic book and manga adaptations of its most popular videogame titles and, naturally, Super Mario was one such character who found his adventures chronicled in the magazine.

The Review:
Super Mario Adventures starts with a cute little musical introduction to the titular plumber duo, who operate as the Mushroom Kingdom’s “plumbers extraordinaire” and claim that “there’s no pipe [they] can’t repair!” The plumber brothers have been called to an emergency situation at Princess Toadstool’s castle: the pipes are a leaking, broken mess and need to be fixed for the Princess’s big party that night. Although Luigi (affectionately called “Weege” by Mario) is suffering from hunger pains, Mario enthusiastically takes to the job and encourages him to get stuck in and fix up the castle’s pipes.

Bowser attacks the kingdom, turning many to stone, and the Mario Bros. race to assist the princess.

However, his eagerness is cut short when a series of larger green pipes suddenly start sprouting up through the ground and a hoard of Koopas, Goombas, and other nasties pop out and attack the castle. Although Mario fights off the invaders, his efforts are brought to a halt when Bowser, the King of the Koopas himself, arrives in his Koopa Copter and alongside his Koopalings to lay claim to the entire kingdom through his superior forces and his proposal to marry the princess to make his takeover official. When the princess adamantly refuses his offer, Bowser uses his magic wand to turn her loyal Toads (and, amusingly, their distraught cries) to stone. Although Mario is also caught in the blast, leaving Luigi hysterical, the princess refuses to bow to Bowser’s demands and leads a group of Toads into battle against him. The Toads take the petrified Mario to the Minister of Massage, an aged oriental Toad who cures him of his ailment and, determined to get his revenge against Bowser and rescue the princess, Mario boldly charges after the two and he and Luigi end up being dropped right onto Dinosaur Island.

While Mario and Luigi make a new friend, Princess Toadstool manages to escape her cell.

There, they meet Yoshi, a friendly green dinosaur who helps them out when they’re attacked by a giant Wiggler and then speeds them off to Yoshi Village and they’re introduced to Friendly Floyd, a travelling salesman who randomly lives in the otherwise Yoshi-centric population. Floyd tells them that Bowser has been kidnapping Yoshis and punishing anyone who gets in his way and then scams them out of ten Coins by selling them a book to help them communicate with Yoshi that turns out to be basically useless. Mario’s anger at Floyd is quickly shifted back onto his main objective, though, when the princess’s Guard stumbles, bruised and hurt, into town and informs them that the princess was captured by an army of Bowser’s minions, the Lakitu. Back at Bowser’s Tower, Bowser reveals an additional motivation to his plot is to provide his rambunctious kids with a mother, and demands his chef make a cake that is one hundred times bigger than the humongous dessert he’s already made and orders the Koopalings to make sure that the princess doesn’t escape. However, when they go to check on her, the princess easily fools them by hiding up in the rafters and then escapes from her cell, locking them inside instead.

Luigi and the princess swap places, free Mario, and bring Bowser’s Tower crashing down.

While Mario and Luigi struggle to reach Bowser’s Tower thanks to the surrounding waters being full of piranhas, the princess proves capable enough to fight and threaten her way out of the tower by use of a “cape-achute”. Although the princess manages to get to safety and meet up with Luigi, Mario ends up crashing into the castle when he saves his brother from a Bullet Bill and winds up being chained up in his own cell. Bowser has his Mechakoopa’s deliver Luigi a threatening ultimatum to deliver him the princess or lose his brother forever and, rather than send the princess back into the jaws of danger, Luigi opts to have Floyd make him up into a decoy. While the princess resolves to go save the two, Luigi is able to successfully fool Bowser with his performance and delay Mario’s execution by ordering pizza for the Koopalings. The princess, who is dressed in Luigi’s clothing, bursts in holding a bomb and demands that Mario be set free; the Koopalings’ confusion soon turns to anger as Luigi swipes the keys from Roy Koopa and, thanks to a distraction from Yoshi, is able to free Mario just in time for the two of them to help fight off the Thwomps and Chucks who threaten to crush the princess, Yoshi, and Floyd to death. Unfortunately in the commotion, the fuse on the princess’ bomb catches fire and the tower collapses in a massive explosion!

Bowser recaptures the princess but Dr. Mario helps cure the Boos of their shyness.

Although blasted to safety and pleased with their victory, the group realises that they’re still stuck on Dinosaur Island so one of the princess’s Toads offers to fly back to the Mushroom Kingdom for help. When help arrives, though, it turns out to be a bunch of Bowser’s minions in disguise and Bowser himself shows up to capture the princess once again. After fighting off Koopa’s forces, Mario and Luigi are astounded to see Yoshi sprout wings from over-eating; however, in their haste to chase after the Koopa King, they end up getting lost and crash-landing before a spooky chalet in a fog-strewn forest. Luigi suggests that they rest in the house, not realising that it’s another of Bowser’s devious traps, and, despite Mario’s better judgement, the two are lured inside by the irrespirable smell of Provolone. Trapped inside and separated from Yoshi, the duo are attacked by Boos; although the little spirits blush uncontrollably when looked at, they charge at the plumbers when their backs are turned, eager to take a bite out of their behinds! Eventually, Mario and Luigi find themselves trapped between a gaggle of Boos and the mighty Big Boo but are finally able to escape by luring the Big Boo into a faux therapy session where Mario gets to the roots of the ghost’s debilitating fear of humans.

Mario, Luigi, and an army of Yoshis interrupt the wedding ceremony and defeat Bowser.

Having scammed their way out of the chalet, Mario and Luigi hop back onto Yoshi and race off to Marvy Mansion to keep the princess from marrying Bowser. Everyone in the Mushroom Kingdom is present for the wedding thanks to Bowser’s forces making up the majority of the guests and Magikoopa hypnotising the rest into compliance. With security type, and the hypnotised Yoshi’s willingly allowing themselves to be encased in eggs, Mario and Luigi sneak into the fortress using a pipe and end up being attacked by a Thwomp in a lava pit! While Bowser admires himself and his super sexy white suit, the princess throws a massive tantrum and continues to refuse to go through with the wedding, so Bowser has Magikoopa hypnotise the princess into falling in love with him. Thankfully, Mario crashes the party before the princess can say “I do” but, thanks to Magikoopa’s influence, ends up being beaten and tied up when the princess refuses to leave her beloved’s side. The ceremony is interrupted again, however, when Luigi and Yoshi free all other Yoshis from their eggs and the cuddly little dinosaurs quickly trample all over Bowser’s forces, including Magikoopa. After keeping Bowser from escaping in his little ‘copter, Mario fights his nemesis atop the gigantic wedding cake and merges victorious when the cake collapses, apparently taking Bowser with it, and thus saving the princess and the Mushroom Kingdom for another day.

Wario lures Mario into an ambush as payback for his childhood trauma.

The fun doesn’t end there, though, as the collected edition includes an additional tale that is basically an adaptation of Super Mario Land 2: 6 Golden Coins (Nintendo R&D1, 1992). Unlike in the videogame, rather than Wario usurping Mario’s castle and forcing him to collect the titular six Golden Coins to retake his home, “Mario vs. Wario” shows Wario as the king of his own castle and inviting Mario to a reunion after twenty years of having not seen each other. In this story, Mario and Wario were childhood friends but their memories of those days differ wildly; while Mario recalls the two having fun playing in the garden, “[experimenting] with Coins”, and playing cowboys, Wario remembers Mario as a bully and a liar who got to get all the best vegetables while Wario got bitten by piranhas, how Mario got the Coins while Wario got flattened by a Thwomp, and (worst of all) how Wario was always forced to be the cattle rustler who was beaten by Mario’s sheriff. Mario has very quick run-ins with the bosses from the videogame, the majority of whom he has no idea are actually looking to cause him harm and whom he defeats (or kills, in one case) simply by being helpful or friendly. When he reaches Wario’s home, though, he is attacked by a big, mean incarnation of his old friend but Mario quickly takes the wind out of Wario’s sails, quite literally, by deflating his balloon-like form. Mario then makes amends with Wario but Wario’s grievances with his rival are rekindled when Mario busts out a cowboy hat and water pistol and casts himself as the sheriff once again!

The Summary:
Super Mario Adventures is a colourful, endlessly fun little adaptation of the Super Mario videogames, most prominently Super Mario World (Nintendo EAD, 1990). Perfectly capturing the look and feel of the videogames, the manga-like presentation of the story is immediately appealing and the artwork is consistently vivid and amusing all the way through. Add to that the moments of humour, sight and physical gags, and little details like characters playing a Super Mario substitute (with either with Mario or Bowser as the hero) or Luigi and Princess Toadstool swapping outfits really add to the quirky nature of the story.

Mario and Luigi quickly transform from energetic plumbers into princess-saving heroes.

Mario is characterised as an energetic, brave do-gooder with a playful nature and a quick temper at times, especially when he’s scammed by Friendly Floyd. He is committed to helping the princess by any means necessary, whether it’s by fixing her pipes (oi-oi!) or rescuing her from Bowser and is constantly keeping his brother focused on the tasks at hand. While he’s not a complete coward or a stick-in-the-mud, Luigi has a running gag throughout the story where he’s constantly distracted by his hunger. At first, he seems to lack the courage to act without his brother by his side and would rather eat or slink away than work or fight Bowser’s minions but, when Mario is captured, he voluntarily switches places with the princess and uses his wiles to free his brother and he’s directly responsible for helping to stop the wedding and provide much-needed back-up when he helps free the Yoshis.

Yoshi proves a valuable ally though the princess’s fiery nature means she’s no pushover.

While Yoshi is merely just a cute, cuddly sidekick, his motivations are called into question when he’s introduced as the duo (especially Luigi) are initially worried that he must be intending to eat them, he proves essential to their quest thanks to his insatiable appetite and ability to sprout new abilities as he gobbles up Goombas and such. As for Princess Toadstool, she’s an absolute bad-ass in this story! Right away, she adamantly refuses to submit to Bowser and only ends up being captured in the first place because she chooses to bring the fight to the Koopa King rather than let him run roughshod over her kingdom. Indeed, while the duo try valiantly to rescue her from Bowser’s Tower, she actually escapes without their help and only ends up being recaptured because of them. In the end, her demeanour and rage are so fervent that Bowser is forced to resort to hypnotising her to force her to go through with the ceremony, which is something I’ve personally never seen him stoop to in any of the videogames or adaptations.

Bowser is little more than a blowhard with largely ineffectual minions.

As for Bowser, well…he’s a very loud, bombastic figure here and certainly commands a great deal of dangerous forces but he’s not actually very effectual as a villain. He’s more concerned with winning the princess over, the cut of his suit, and the size of the wedding cake than spitting fireballs at Mario and their final confrontation is pretty humiliating for the Koopa King. Indeed, Bowser spends more of his time delegating down to his Koopalings, who are young and easily distracted and fooled by the antics of Mario, Luigi, and the princess. Magikoopa is, without a doubt, Bowser’s most useful minion as, without the maniacal wizard, he would never have been able to subjugate the Yoshis and the rest of the kingdom and, when Magikoopa is taken out of the equation, it’s surely no coincidence that Bowser is buried beneath a pile of sweet frosting soon after.

Mario and Wario have wildly different memories of their childhood days.

And then there’s Wario, easily my favourite character in the entire franchise, who is reduced to a bitter, snivelling child thanks to a lifetime of resenting Mario. It’s interesting that “Mario vs. Wario” paints Mario in such a negative light; here, he’s extremely naïve and insensitive to the feelings and concerns of others and is focused only on having a good time playing with his friend without considering Wario’s perspective. Indeed, the ending seems to suggest that Wario’s version of their childhood is more accurate since Mario not only calls him a “wimp” for getting upset but goes right back to type by chasing after him as the “sheriff”. It’s a fun enough little epilogue to the main story but all-too-brief for an adaptation of Super Mario Land 2 and, while it provides an interesting twist on the Mario/Wario rivalry from the time, it ends up veering a bit too far away from Wario’s more popular portrayal as a greedy, disgusting, self-obsessed mirror of Nintendo’s portly mascot.

My Rating:

Rating: 5 out of 5.

Fantastic

Have you ever read Super Mario Adventures? What did you think to it? Were you a fan of the manga’s quirky art style and humour? How do you think it worked as an adaptation of Super Mario World and the franchise’s gameplay mechanics? Did you read and collect Nintendo Power? If so, what were some of your favourite sections and inclusions in the magazine? Did you enjoy Mario’s other comic book adaptations as well and would you like to see another produced some time? Feel free to leave your thoughts on Super Mario Adventures, and Mario in general, down below and thanks for being a part of Mario Month.

Back Issues: Batman: Year One

Dr. K12 Comments

Story Titles: “Chapter One: Who I Am – How I Come to Be”, “Chapter Two: War Is Declared”, “Chapter Three: Black Dawn”, and “Chapter Four: Friend in Need”
Published: February 1987 to May 1987
Writer: Frank Miller
Artist: David Mazzucchelli

The Background:
Capitalising on the success of Clark Kent/Superman’s debut, artist Bob Kane drew up a design for a new masked crimefighter, the “Bat-Man”. Thanks to the tireless and long-suppressed work of artist Bill Finger, the Bat-Man was transformed into the figure who would become a mainstream cultural icon. Over the many years since his debut, however, Batman underwent significant changes and alterations to his character and supporting cast; he gained a kid sidekick to appear more appealing to younger readers and was transformed into a much softer, more fantastical character. Indeed, although writers like Dennis O’Neil helped to rectify this in the 1970s, it’s safe to say that Batman’s image had been tainted somewhat by the glorious camp (and incredibly popular) 1960s television show. After wiping their continuity mostly clean in the Crisis on Infinite Earths (Wolfman, et al, 1985 to 1986), DC Comics sought to retell the origins of many of their most popular characters, with Batman being chief among them. Following his mainstream success with his work on Daredevil, writer and artist Frank Miller signed a contract with DC Comics that led not only to his seminal Batman: The Dark Knight Returns (Miller, et al, 1986) but also a revamped origin for the Dark Knight. Assured he would be given full creative control, Miller expanded upon Batman’s original story to craft one of the most lauded and well-regarded Batman stories that would go on to influence numerous Batman films, stories, and interpretations for years to come.

The Review:
Batman: Year One is as much a story about James “Jim” Gordon as it is about Bruce Wayne’s first appearance as the Batman. The story is split between the two men and their separate narratives, with each having their own distinct text boxes, perspectives, and experiences within Gotham City. This helps to show the parallels between the two and how they are both driven to extremes due to the city’s bleak, depressing, and corrupt nature and we see their differing perspectives right off the bat (no pun intended) with their respective arrivals in the city in January. Lieutenant Gordon, who has just transferred to Gotham and whose wife Barbara (not that Barbara) is currently pregnant with their first child, laments the state of the city, which he experiences first-hand by mistakenly arriving by train. Twenty-five-year-old Bruce, however, thinks the exact opposite; he wishes that he’d arrived by train to “see the enemy” rather than by air, where the city almost looks civilised. While Bruce is mobbed by reporters desperate for the story of his twelve year absence from Gotham, Gordon is met at the train station by the hulking Detective Arnold Flass, who assures him that “cops got it made in Gotham”.

Both Bruce and Gordon struggle with the harsh nature of Gotham City.

While Gordon grits his teeth through his first meeting with the detestable Commissioner Gillian Loeb, Bruce returns to his familial home, Wayne Manor, and his faithful butler, Alfred Pennyworth. Bruce spends the next month or so mentally preparing himself for the task ahead of him; physically, he’s well-trained and highly capable, able to smash through bricks and topple a tree with a single kick, but he feels something is missing for his plans for Gotham. Gordon, however, is immediately introduced to the ugly side of Gotham’s police force as Flass randomly assaults a group of youths for no good reason at all. Gordon keeps his opinions to himself but takes care to study Flass’ movements and physical capabilities for later, but soon finds himself under suspicion as Flass disagrees with his morals. Having brought this to Loeb’s attention, Flass is given permission to put a beating on Gordon in an effort to teach him how important it is to “fit in” in Gotham. Although Gordon has a military background, it has, in his words, “been a while” and, while he puts up a good fight, he takes a bit of a beating from a few masked assailants wielding baseball bats. Riled up, Gordon heads over to Flass’ favourite bar and runs his drunk-ass off the road. Tossing his gun aside, Gordon offers Flass a baseball bat as a “handicap” and sets about taking the big man to school. Beaten and left naked and cuffed in the snow, Gordon feels confident that he has taught Flass not to mess with him again.

Bruce’s first night goes pretty bad, leading to him assuming a frightening persona.

Coincidentally enough, this occurs on the very first night that Bruce attempts to strike back at the city’s criminal underworld; disguising his identity with some make-up and a fake scar, he goes out looking for trouble in the Red Light District and ends up taking a beating of his own. Stabbed in the leg, mauled by a cat-like prostitute, and shot by some of Gotham’s finest, Bruce manages to escape police custody and, with his last ounce of strength, stumble back to Wayne Manor. Bleeding out, he contemplates his failures and begs his deceased father, Doctor Thomas Wayne, for guidance on how to do better and to strike fear into the hearts of criminals. Tormented at having witnessed the brutal and random deaths of his parents as a small boy, he resolves to let himself die unless he can find the answer and, at that moment, a gigantic bat crashes through the window of his study. Just like that, Bruce has his answer and vows to “become a bat”. By April, Gordon has built up something of a reputation as a soft touch, which brings him into direct opposition with Sergeant Branden of Special Weapons and Tactics (S.W.A.T.) and the support of the press (which makes reprimanding him extremely difficult for Loeb). Gordon’s mounting aggravation and depression at bringing his wife and pregnant child to such a cesspit is interrupted by reports of a “giant bat” in the city as, across town, the Batman makes his dramatic first appearance. Thanks to his fearsome appearance and an animalistic growl, Batman is able to frighten a group of thieves a little too well as one of them topples over the edge of the balcony they’re on. So determined is Batman to keep the perp from falling to his death that he puts himself at risk to save the guy’s life and only manages to come out of it relatively unscathed due to his adaptability, strength, sheer for of will, and (as he chastises himself) a great deal of luck.

Batman threatens the city’s mobsters but runs afoul of the trigger-happy police.

To ensure that the criminals and corrupt know that they are living on borrowed time, Batman makes a dramatic show of himself at a dinner function hosted by noted mob boss Carmine “The Roman” Falcone and attended by corrupt commission Loeb. News of the Batman, of course, reaches the Gotham police department; Flass is just one of the officers to have encountered the vigilante, who is widely regarded as a horrific, winged demon. Ordered by Loeb to bring Batman in, Gordon’s efforts are met with failure; staged muggings go without incident and Falcone is left humiliated in his own chambers, and not just because of Batman’s wily prowess as Assistant District Attorney Harvey Dent has entered into a secret alliance with the Dark Knight. Batman and Gordon’s paths finally cross when the two both risk their lives to save a homeless woman from being run down by a truck. Despite Batman’s heroic actions, Gordon orders his men to take the vigilante alive; however, Batman receives a bullet to the leg and is quickly left trapped and wounded thanks to Branden laying waste to the building he’s hiding in. The spreading fires destroy Batman’s utility belt and leave him with only his wits and ninja training to survive, which are more than enough to pick off the S.W.A.T. team one by one despite his leg wound. Cornered and running out of tricks, however, Batman is barely able to avoid another round of gunfire but manages to elude capture by attracting a flock of bats all the way from Wayne Manor that cover his escape, leave many of the cops and bystanders in hospital, and go a long way to adding to the Batman’s dramatic mystique.

Gordon’s efforts to uncover Batman’s identity lead him into a passionate affair.

Humiliated by this incident, Gordon increases his efforts in trying to decipher the Batman’s true identity. Initially suspicious of Dent, it is Detective Sarah Essen who nudges his attentions towards Bruce Wayne because of his wealth and traumatic childhood. Over the course of the last few months and pages, the two have grown extremely close since Gordon is spending more and more time at work and trying to shield Barbara from the atrocities in Gotham. This leads to a passionate affair between the two that Gordon immediately hates himself for; his guilt is matched only by his confusion regarding Batman, who is clearly taking the law into his own hands and yet may very well be the most righteous and incorruptible person in the city. Bruce, however, is able to throw Gordon’s suspicions off by playing up the role of a wealthy, bored socialite but, after Batman’s efforts see Flass incarcerated for taking part in a massive drug operation, Loeb threatens to expose the Lieutenant’s affair to his wife.

Bruce saves Gordon’s son and gains a valuable ally in the process.

Although he already ended the affair, Gordon decides to admit to his wrongdoings to his wife in order to begin repairing his marriage (something also aided by the birth of their son, James Junior) and to dispel any leverage the corrupt have over him. Batman’s world, however, becomes a little more complicated when the prostitute he countered on his first night, Selina Kyle, decides to craft a costumed identity of her own and begins targeting Falcone’s operation as Catwoman. After Catwoman scars his face, Falcone (who believes that the two are in cahoots) orders his men to kidnap James Jnr. Gordon arrives too late to save his son but is able to keep Barbara from harm; however, he also shoots and wounds Bruce (who is disguised in a motorcycle jacket and helmet) in the process. The two of them chase after Falcone’s goon and a fight breaks out on the bridge; overpowered by the thug, Gordon is helpless to keep his baby boy from falling to the cold, shallow water below. Luckily, Bruce dives after the boy and saves him, earning Gordon’s respect and gratitude. In the aftermath, Loeb is forced to resign after Flass spills the beans on all his dirty dealings and Sarah moves away to New York. As for Gordon, he and Barbara agree to attend marriage counselling, he is in line for a promotion to Captain, and he has found himself a friend to help tackle a manic named “The Joker” who has poisoned the city’s reservoir.

The Summary:
Of all the Batman stories crafted by Frank Miller, Batman: Year One is still my favourite. It’s a gritty, bleak, grounded reinterpretation of Batman’s origin and first year in Gotham City and paints him as a regular man (albeit one well trained and with more wealth than you or I) who isn’t yet the hyper-prepared, experienced vigilante with a network of allies and resources. The artwork is simple but gorgeous, with everything taking on a wash of waterpaint-like noir that emphasises deep shadows and harsh lights and has the majority of the story taking place in the dank, depressing darkness of night. One of the main reasons I dislike The Dark Knight Returns (and other Batman stories by Miller) is the dialogue (and the artwork). Miller has a very…shall we say “distinctive” way of having characters talk and likes to kind of just spit words and odd statements at the reader. For the most part, Year One is relatively light on these “Miller-isms” but they do still show up here and there (mostly when Batman is eluding or attacking people). Thankfully, Alfred’s trademark dry wit makes up for this and seeing Bruce act like an complete cad to throw off Gordon’s suspicions was absolutely fantastic.

Year One is focused much more on Gordon’s perspective of the city and its vigilante.

It’s interesting that Batman: Year One is such an effective Batman story considering it’s much more of a Jim Gordon story. We learn very little about Bruce, his background, or his training and, instead, focus more on Gordon and his struggles to adjust to and cope with life in the city. Everything we learn about Gotham and the state of its police force comes from Gordon, a flawed man who has made mistakes and is trying to hold onto his morals but struggles in the face of near-endless corruption and his own temptations towards Sarah. Bruce’s tragic origin is recounted very briefly and much of his training and motivation is delivered through exposition or his thought boxes, which take on a cursive slant that can be difficult to make out at times. Still, it provides a fascinating glimpse into Bruce’s early struggles to find the means by which to fight crime in the city and the preparation that goes into his various traps and assuming the guise of the Batman. At its core, Batman: Year One is a story of struggle and trust; both Gordon and Bruce struggle to find their place in Gotham and figure out how to conduct themselves and their mission in a city that is constantly fighting back against them and both of them feel alone in this endeavour. It isn’t until their paths cross and they see how selfless the other is that they both begin to consider changing their position; while guys like Branden just want to shoot Batman dead no questions asked, Gordon would prefer to see him brought in alive to get to the root of his mystery and Bruce realises that he needs the good-natured  lieutenant onside if he is ever to be effective as Batman and avoid getting shot on a nightly basis.

As it’s Batman’s first year, he’s a far more inexperienced and flawed character than usual.

This comes to a head in the finale where, rather than Batman saving Gordon’s son, it is Bruce in a questionable disguise. Indeed, the artwork and dialogue makes it intentionally vague as to whether or not Gordon truly recognises his boy’s saviour or not and, in the end, he decides it doesn’t matter who the Batman is as he has learned to think of him as a friend in a lawless city. As a tale of Batman’s earliest days in action, it’s hard to get much better than Year One. Personally, I love Batman stories that show him to be vulnerable and flawed and we definitely see a lot of that here as he’s constantly being stabbed and shot and hurt and forced into tight corners. This is a Batman who is lacking many of the bells and whistles of his later career; there’s not really a Batcave, no Bat-Signal or Batmobile, and a limited array of Bat-themed gadgets, all of which means that Batman has to use his wits and adaptability a lot more than his fancy high-tech toys which, again, I also find incredibly appealing. The portrayal of Batman’s influence is equally great; most treat the idea of a giant bat-garbed vigilante as ridiculous until they come face-to-face with him and then they are scared witless and this goes a long way to painting the Batman as this urban myth amongst the just and unjust alike.

My Rating:

Rating: 5 out of 5.

Fantastic

Have you ever read Batman: Year One? What did you think of Frank Miller’s reinvention of Batman? Are you a fan of Miller’s work, especially on Batman? What did you think to Year One’s focus on Jim Gordon and the depiction of a Batman without all his bells and whistles? What was your first experience of Batman and how are you celebrating his debut this month? Whatever your thoughts, sign up to drop them below and be sure to check in next Saturday for my review of Batman’s newest big-screen outing!

Back Issues: Detective Comics #140

Dr. K4 Comments

Story Title: “The Riddler”
Published: 23 August 1948 (cover-dated October 1948)
Writer: Bill Finger
Artist: Dick Sprang

The Background:
After Clark Kent/Superman proved to be a massive success in their Action Comics title, National Comics Publications wanted more superheroes under their banner and charged Bob Kane with creating a new masked crimefighter. Thanks to the long-suppressed influence of artist Bill Finger, Bob Kane’s concept of a “Bat-Man” not only became one of DC Comics’ most popular characters but also a mainstream cultural icon. Over the years, the Batman has matched wits against many colourful supervillains, with some of his most memorable challenging his reputation as the world’s greatest detective, and perhaps none have tested his intelligence more than Edward Nashton, a.k.a. Edward Nygma, a.k.a. The Riddler. Another creation of Bill Finger (alongside artist Dick Sprang), the Riddler has confounded Batman for over eighty years and has earned a reputation as one of the Dark Knight’s most devious and intelligent enemies. Brought to life with delicious relish by the late, great Frank Gorshin, the Riddler has played an integral role in Batman adaptations for years, overwhelming players with riddles and collectibles, seeking to suck the brain waves out of Gotham City, provoking anarchy as a twisted serial killer, and being at the forefront of some of Batman’s greatest stories.

The Review:
Our story begins by giving us some backstory on Bruce Wayne/Batman and Dick Grayson/Robin’s newest confounding criminal as we flash back to the youth of the Riddler, known here as Edward Nygma and shown to be a conniving little creep even as a schoolboy. When his teacher sets the class an assignment to complete a jigsaw puzzle to win a prize, Nygma cheats by taking a picture of the completed puzzle using his “flash camera” and continuously humiliates his class mates by challenging them to solve puzzles and using slight of hand and other underhanded tricks to showcase his supposed skill. As he grows into adulthood, Nygma becomes an accomplished con man, fooling and cheating the general public out of their money as “E. Nygma – The Puzzle King”, but grows bored of the lack of challenge his cheating ways bring him. He becomes so sure of his genius and talent with puzzles that he decides to test his abilities against not just the police, but the Batman himself, donning a garish question mark-themed costume and taking the name of the Riddler for the first time.

The Riddler bamboozles Batman and Robin with his deceitful riddles.

The Riddler’s first heinous act is to commandeer a massive advertising billboard that features a crossword theme and challenge Batman and Robin to learn a clue regarding his planned crime. Within two panels, Batman and Robin decipher the solution to the Riddler’s crossword and accordingly head to the Basin Street Banquet. However, when they blunder in hoping to apprehend the crook, they find the city’s upper class safe and sound and are stunned to learn that the Riddler tricked them with word play and actually flooded a nearby bank (“bank-wet”). The Riddler floods the bank’s underground vaults using a water main and robs the bank after easily figuring out the combination to the vault, and is safely washed away to safety using the sewers. Bamboozled by the Riddler, Batman is doubly determined to nail his newest adversary, who delivers a massive jigsaw puzzle to Police Commissioner Jim Gordon at police headquarters. Batman has the police transport the giant jigsaw to the football stadium and directs them, via loudspeaker and microphone, in solving it to determine that the Riddler plans to target the Eyrie nightclub atop a skyscraper. The Dynamic Duo head to the Eyrie later that night, and Batman sends Robin in alone, where the Boy Wonder is left to see Gotham’s socialites party away with no sign of the Riddler.

Batman comes up with an inspired solution to escape the Riddler’s death trap.

It turns out that the Riddler actually meant that he was planning to rob the home of Harrison Eagle, a millionaire collector, but this time Batman is smart enough to figure this out and interrupt the Riddler…though he is momentarily stunned by the Riddler’s gas bomb and the puzzle master is able to slip away as Batman is forced to break apart an elaborate steel rod trap before Harrison Eagle suffocates to death. Riding high on his momentum, the Riddler’s next conundrum is a little more direct and dangerous to the general public as he sends a truck careening through the streets carrying a massive corncob and a devious riddle: “Why is corn hard to escape from?” Luckily, Batman and Robin are on hand to halt the out of control vehicle with the Batmobile, and Batman deduces that the solution is “maize”; or, more specifically, the big glass “maze” at the Pleasure Pier amusement park. Despite arriving in time to spot the Riddler fleeing into the glass maze, having robbed the park, the Dynamic Duo find themselves trapped in the translucent labyrinth and left at the mercy of the Riddler, who has planted a bomb in the maze that is set to go off in half an hour! Although the glass is shatter-proof, Batman marks their route using the “diamonds on [his] badge” but, when they reach the exit, they find it closed up and the Riddler watching them as time ticks down. Batman comes up with the unlikely ingenious plan to pile up rolls of carpet against the glass panel and set it alight; the heat expands the glass just enough for Batman to force the pane open, but the Dynamic Duo are left with no time to apprehend the villain as they have to dive for cover to avoid perishing in the Riddler’s explosion. Trapped on the edge of the pier, the Riddler is flown into the sea, cursing his failure, and leaves behind only a question mark where he landed and the lingering riddle of whether he drowned or escaped to bewilder the Dark Knight another day.

The Summary:   
I was pleased to find that the Riddler’s conundrums weren’t as simple as they first appeared; Batman and even Robin easily decipher the Riddler’s clues, only to be fooled by the master of puzzles thanks to wordplay and deceit, as is his speciality. Thanks to his devious ways, the Riddler is able to make fools out of the Dynamic Duo and get away with bags full of loot, and his victories only spiral his superiority complex into overdrive. Crucially, however, it’s important to note that the Riddler eludes capture, and Batman, at every turn; even when Batman is upon him, Nygma slips away using a smoke bomb and endangering an innocent man’s life. The Riddler constantly stays one step ahead, and traps the Dynamic Duo within the glass maze, and is only undone because his hubris demands that he lord it over his adversaries. However, even in defeat, he remains ultimately victorious as he eludes capture, imprisonment, and consequences for his crimes, and is even afforded the luxury of being assumed dead so he can carry out more elaborate crimes at a later date.

A colourful tale, and villain, that is as ridiculous in its execution as you’d expect from the time.

“The Riddler” is certainly a colourful and whimsical debut for one of Batman’s most notorious and clever adversaries; Edward Nygma is presented as an arrogant and deceptive little creep who cheats and uses underhanded tactics to bamboozle others with his supposed genius when, in actuality, he’s just a liar and a con man. Having cheated his way to victory countless times over the years, his narcissism is exacerbated by an inflated sense of accomplishment to the point where he’s no longer satisfied with duping the general masses and wishes to pit his “skills” against the Gotham police and the ultimate challenge: The Batman. Ultimately, “The Riddler” is a wholly ridiculous but fun little tale from Batman’s Golden Era, one that is more about presenting a quick, colourful tale that taxes Batman in a new way with a bombastic new villain, but I can’t say it’s the most memorable or influential story of Batman’s early years. It’s fun seeing the absurd means that the Riddler delivers his puzzles, and to see him outwit Batman on technicalities and semantics, and the bizarre ways that Batman gets out of his predicaments during this time is always amusing, but there are definitely better Batman stories from this era – and Riddler tales – to find.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever read “The Riddler”? What did you think of the Riddler’s debut and the puzzles he threw Batman’s way? Did you correctly solve the Riddler’s conundrums or were you also outwitted by his deceptive ways? What are some of your favourite Riddler stories? Which interpretation of the Riddler, whether animated, pixelated, or live-action, is your favourite? Whatever you think about the Riddler, sign up to share your thoughts below or leave comment on my social media, and be sure to check back in next Saturday for more Batman content!

Back Issues: “The Cat” (Batman #1)

Dr. K5 Comments

Story Title: Technically untitled, but commonly known as “The Cat”
Published: March 1940
Writer: Bill Finger
Artist: Bob Kane

The Background:
Following the huge success of Clark Kent/Superman, National Comics Publications set Bob Kane to work creating another masked crimefighter to add to their repertoire. Thanks to the long-suppressed influence of artist Bill Finger, the “Bat-Man” soon became not only one of DC Comics’ most popular characters but also a mainstream cultural icon. In the years that followed, the Batman matched wits against numerous costumed supervillains, but none more alluring or enticing that Selina Kyle/Catwoman. Debuting in Batman’s first solo comic book, Kane and Finger collaborated on the creation of a femme fatale who would add some sex appeal for their readers; originally calling herself “The Cat”, Catwoman began life as a beguiling and wily burglar and jewel thief whose inspirations were actresses like Jean Harlow and Hedy Lemarr. Following this inauspicious debut, Catwoman would go on to be a constant thorn in Batman’s side; their on-again-off-again relationship has been explored in both mainstream and non-canon stories and the character is often cited as one of his greatest adversaries and a powerful feminist icon in her own right. Naturally, Catwoman has featured in many of the Dark Knight’s forays into videogames, cartoons, and live-action, and even starred in her own dreadful standalone feature film before being brought to life in a far more comic-accurate portrayal in The Batman (Reeves, 2022).

The Review:
Our story opens to find a luxurious yacht, the Dolphin, out on stormy seas, where Dick Grayson/Robin is currently working undercover. We learn that, some days prior, wealthy philanthropist Bruce Wayne spotted in the newspaper that Martha Travers arranged for a select group of guests to join her on a yacht party and get a glimpse of her ludicrously expensive emerald necklace. Bruce has a hunch that this will attract every crook in town; however, since he has a prior engagement, he requests that his ward take point on this investigation, something Dick is only too eager to sign up for.

Dick discovers plenty of suspects willing to steal from wealthy Martha Travers.

Thanks to Bruce’s connections, Dick is easily placed onboard the Dolphin as an unassuming young steward and sets to work eavesdropping on Martha’s conversations for any hint of any potential threat to her. However, he overhears nothing more suspicious than the affluent lady’s “favourite nephew”, Denny, introducing her to the wizened and hobbled Mrs. Pegg, but one of the other stewards shares a titbit that Denny is little more than a shameless moocher who’s no better than all the other guests and constantly leeching off Martha’s vast fortune and generosity.  Later, Dick overhears a heated argument between Martha and her brother, Roger, where she vehemently refuses to lend him the money he desperately needs to pay off his stock losses and he makes a thinly veiled threat against her as a result. Dick’s suspicions are raised even further when he spots a letter from the mysterious “Cat” in which the villain is colluding to steal the necklace and, sure enough, the Cat makes good on their threat and Martha is devastated to find that her necklace has been stolen from her room!

The Batman has Robin teach the thugs, and younger readers, a lesson about relying on guns.

While Denny and the other guests console her, the cost guard quite conveniently come aboard to help, but are quickly revealed to be heavily armed gangsters looking to hijack the boat and steal the necklace for themselves. Although Martha convinces the captain to offer no resistance, she is driven to laughter at the demands and the crooks are stunned to find that the Cat has beaten them to their prize! Believing that the necklace must have been swiped by one of the guests, the gangsters begin accosting the passengers and Dick finally leaps into action, tackling and fighting the goons before diving into the water and shedding his guise to switch to his Robin persona. The crooks speed away from the Dolphin with their loot but are quickly apprehend by the Batman, who has finally showed up after the trail on his other case ran cold. Oddly, Batman decides to teach the thugs a lesson in humility by disarming them and having Robin pummel all four of them at once in a fourth-wall-breaking moment designed, I guess, to teach any young readers that armed criminals are all cowards deep down.

Batman unmasks the Cat, but is so captivated by her beauty that he allows her to slip away!

Anyway, Robin catches Batman up to speed and the Dark Knight immediately suspects that Denny is in league with the Cat, but has his own suspicions about who amongst the guests is the enigmatic Cat. He exposes the true culprit by making a splash at Martha’s costume party, handing over the stolen jewels and spotting that the elderly Mrs. Pegg is quite spritely (and shapely) for an old woman when she races off at the sound of a fire alarm. Mrs. Pegg tries to make a run for it but is collared by Robin and dramatically revealed to be a beautiful young woman in disguise. Batman then wallops Denny when he tries to take the necklace at gunpoint, but turns down the Cat’s proposal that the two of them join forces as partners in crime. However, when the Cat leaps overboard while being transported back to dry land, Batman makes no attempt to stop her and even gets in Robin’s way when the Boy Wonder tries to pursue her. Robin is less than impressed by how smitten Batman was with the Cat, and the issue ends with the Dark Knight musing over the beautiful thief’s captivating eyes.

The Summary:
Well, this was certainly a short and whimsical tale full of the same ridiculous conveniences and elements you’d expect from a Golden Age Batman tale. I’ll never not be amused by the sight of Bruce Wayne sucking on a pipe, or the odd, corny inclusions in tales from this era. Just the fact that the story wastes so many panels on having Robin beat up unarmed thugs is incredible in so many ways; I get that the idea is to show that, deep down, bullies and criminals are cowards who hide behind guns but the message also seems to be “Hey kids, don’t be afraid to get into a dust up with adults as long as they’re not packing heat!” The Robin fan in me enjoyed how big a role the Boy Wonder played in this story, going undercover and building a healthy list of suspects and even being very hands-on with the crime busting and apprehension of the Cat. Unfortunately, his efforts are completely overshadowed by the Batman; after hearing all of Robin’s evidence, he immediately pegs the culprit as “Mrs. Pegg” despite the fact that other passengers actually seemed much more viable, and his explanation for figuring our Mrs. Pegg’s true identity is paper thin, to say the least.

While an alluring femme fatale, the Cat lacks everything that makes her later incarnations so iconic.

If you’re a big Catwoman fan, this probably isn’t the best issue for showcasing her character; we never learn anything about the Cat beyond the fact that she takes a perverse thrill in conning the wealthy out of their prized jewels, and we don’t even learn her real name. Additionally, she’s not technically Catwoman here either; she has no cat-themed accessories and is far from the sultry femme fatale she would come to be known as. Instead, this is a Catwoman at the very beginning of her career, one who relies on disguises and subterfuge rather than claws and agility. One thing that is very familiar about her, though, is the mutual attraction between her and Batman; she practically throws herself at him, impressed but his strength and charisma, and he is so captivated by her that he actively breaks his own code to let her go free. It’s pretty clear that the Cat would be inspired by Batman’s iconography to take on her more theatrical appearance in later stories, but in her debut she’s just another wily, self-serving swindler who presents a mystery for Batman to solve with his uncanny deductive abilities. The Cat is able to stand out from Batman’s other rogues by being an alluring, beautiful woman but I’d argue that seeing Batman so lovesick by her beauty actually makes him seem like a bit of a fool by the end, and I much prefer the more playful, physical back-and-forth the two would build up in subsequent meetings.

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever read “The Cat”? What did you think to Catwoman’s debut story and the mystery of her true identity? Did you guess who was behind the theft or were you surprised when Batman fingered Mrs. Pegg? What are some of your favourite Catwoman stories? Which interpretation of Catwoman, whether animated, pixelated, or live-action, is your favourite? Whatever you think about the Catwoman, sign up to share your thoughts below or leave comment on my social media, and be sure to check back in next Saturday for more Batman content!

Back Issues & Knuckles: Sonic Adventures #1

Dr. K2 Comments

Following a highly anticipated release, bolstered by an extravagant marketing and release schedule, Sonic the Hedgehog 2 (SEGA Technical Institute, 1992) not only improved on every aspect of its influential predecessor but also went on to become the second best-selling SEGA Mega Drive game of all time. Expectations were high for the equally-anticipated third entry, a game that ended up being so big that SEGA made the decision to split it into two, birthing perhaps the greatest 2D Sonic adventure in the process.

Story Title: “In the Claws of Doctor Robotnik”
Published: October 1994
Writer: Smoldo
Artist: Mister B

The Background:
It didn’t take long at all for SEGA’s supersonic mascot to achieve an unprecedented level of mainstream success; Sonic basically single-handedly allowed SEGA to usurp Nintendo’s position at the top of the videogame industry and the company almost immediately set about capitalising on the Blue Blur’s popularity with  a slew of videogames and merchandise such as cartoons and comic books. While the most notable Sonic comic books were the long-running series published first by Archie Comics and then by IDW and the United Kingdom’s Sonic the Comic (StC), there have been a number of lesser known Sonic books, comics, and manga released over the years but one of the most intriguing for me has always been the two Sonic Adventures comics published only in France by Sirène in 1994 to promote the release of Sonic the Hedgehog 3 & Knuckles (SEGA Technical Institute, 1994). The series only ran for two issues, with one being the full-length comic book I’m talking about today and the other being more of a character/game guide to Sonic 3. As a lifelong fan of the Astérix series (Various, 1959 to present), I was immediately drawn to the expressive and vibrant art style of “Dans Les Griffes De Robotnik” but what really makes this comic stand out is how obscure it is. I’ve never been able to find a copy only but, thankfully, a fan translation by Sonknuck and Manic Man is readily available to read online. Like a lot of Sonic media outside of Japan at the time, Sonic Adventures pulls much of its lore from the now defunct Mobius and Doctor Ovi Kintobor storyline, depicts Doctor Eggman (or “Robotnik” as he was widely known then) as his Adventures of Sonic the Hedgehog (1993 to 1996) counterpart, and features an interesting twist on Sonic 3 & Knuckles’ story that omits Knuckles the Echidna altogether, includes Amy Rose, and actually has some similarities to later narrative elements introduced in Sonic Adventure (Sonic Team, 1998).

The Review:
“In the Claws of Doctor Robotnik” begins in the skies of Mobius, specifically on board Doctor Robotnik’s airship. Robotnik, whose design is ripped directly from Adventures of Sonic the Hedgehog, basks in his victory and own magnificence when his Penguinators present him with Sonic bound in chains. Although initially musing on why Sonic was doing wandering about the “Marble Temple” on Angel Island, he is driven into a rage when Sonic taunts him by briefly referring to Robotnik’s origin as the kindly Professor Kintobor.

Sonic makes a desperate escape from Robotnik’s air ship.

Robotnik’s mood lightens once more, however, when the Penginators present him with a bag full of Chaos Emeralds (which Sonic had been carrying on him) and the mad scientist boastfully proclaims himself to be the “king of the world!” Robotnik’s victory is extremely short-lived, though; Sonic breaks free on his chains, punches the Chaos Emeralds from Robotnik’s grasp, and leaps out of the airship to plummet back to the planet alongside the legendary gems. Luckily, Sonic had spotted his friend, Miles “Tails” Prower, skulking about outside the ship and the two-tailed fox is able to save Sonic just in the nick of time.

After fending off the local wildlife, Sonic and Tails retreat from Robotnik’s all-out attack.

The two land in an “unexplored [region]” of Mobius; although Robotnik immediately leads his Badniks down in pursuit, Sonic’s primary concern is shaking himself loose from the jaws of ordinary piranhas using the same technique players used in Hydrocity Zone. Unlike his videogame counterpart (but similar to Sonic’s depictions in cartoons at the time), Sonic has no problem swimming once he shakes off the critters but he and Tails are soon forced to make a desperate retreat when Robotnik and his Badniks bombard the area with fire (similar to Angel Island Zone; Robotnik’s craft even somewhat resembles his contraption from the finale of that Zone).

Sonic and Tails are swept away to an ancient city populated by savage echidnas!

With RhinoBots literally raining down around them (on cute little parachutes, no less), Sonic and Tails are driven down a waterfall (Tails having, apparently, forgotten how to fly despite flying in the panels leading up to this plummet). Luckily for them, they find a cache of Golden Rings at the bottom of the river; Sonic, however, decides that discretion is the better part of valour and allows the river to carry them away from danger rather than use the Rings for a power boost. Instead, though, the river leads to another waterfall and the two are dumped into a hidden echidna society that bares a resemblance to the one seen in Sonic Adventure that is too uncanny to just be a coincidence. The echidna “savages” (whom Sonic describes as being “fools [that] are descents of Mobius’ first race” and all of which look exactly like Knuckles despite him being entirely absent from the story) attack the two with spears in an attempt to kill them, leading to Sonic destroying their wooden boats with his patented Spin Attack and a “knuckle sandwich”.

Robotnik holds the feisty Amy hostage while Sonic and Tails are condemned to death by Princess Alucion.

Meanwhile, Robotnik has captured Amy Rose (whose hair, much like in StC, has been erroneously stylised into a high sweep because of that one piece of Sonic the Hedgehog CD (SEGA, 1993) artwork) and plans to use her as leverage against Sonic. While Amy was characterised as a meek, lovesick damsel in distress in Sonic CD, here she’s a snarky, defiant tomboy who openly mocks Robotnik at every opportunity. Back at the ruins, the echidnas have captured Sonic and Tails (mainly because the two are more used to smashing robots and didn’t want to hurt the savages). They are taken to Princess Alucion, the ruler of the echidna tribe, who has the long-lost Grey Emerald imbedded in her crown. Alucion showcases the grandeur of “the antique city of the first people” and then prepares to push them down a tube so that they can be roasted alive inside a volcano that somewhat resembles the one from Lava Reef Zone.

Once again, Robotnik seems to have claimed total victory in the finale.

Fortunately, Robotnik attacks at exactly the right moment; Sonic and Tails dive down the tube, taking Alucion with them, to avoid Robotnik’s missile attack and, while the mad doctor believes them to be dead, Sonic revels in the twisting, turning slide that carries them to their doom. When a Penguinator shows Robotnik that his prey has survived, he moves to intercept them and, in to process, kidnaps Princess Alucion. Tails saves Sonic from a dip in molten lava (again, right at the last second) and, despite the obvious trap, rushes to save Amy when she is flown past tied up to a bunch of Jawz Badniks. Amy berates Sonic’s plan, since the two are left suspended over the volcano, and Robotnik swoops in to cut the rope and send them plunging to the burning crater (taking a picture for prosperity).

After clearing the Special Stage, Sonic assumes a powered-up form to battle Robotnik.

When Robotnik moves to retrieve the Grey Emerald from Alucion, she bites him and dives after Sonic and Amy while Tails is left wailing in despair and vows that everyone will know of their bravery and courage. His lamentations are premature, however, as the volcano is home to a Big Ring, which transports Sonic and Amy to a Blue Sphere Special Stage. Thanks to his super speed, Sonic easily bests the challenge and Alucion praises his achievement and awards him with the seven “magical emeralds, the golden armour, and the power to be transported wherever [he] wants”. While Tails is regaling their friends in Green Hill Zone with the tale of Sonic’s end, Sonic and Amy miraculously materialise before them. Tails is elated to see his friends and awestruck to see Sonic transformed by the “golden armour” into a glowing, super-powered form and the comic ends with Super Sonic promising the Robotnik’s problems are just starting.

The Summary:
“In the Claws of Doctor Robotnik” is one of the best of Sonic’s obscure comic tales; similar to Sonic the Hedgehog Story Comic (Unknown, 1991), the comic is full of some truly gorgeous artwork that reminds me of the Astérix comics and contains many of the gameplay mechanics and hazards from the source material. While Sonic is sporting his much-maligned Mohawk design, I seriously cannot get enough to the artwork here; characters are cartoony and exaggerated, similar to in Adventures of Sonic the Hedgehog, but also full of snark and attitude, exactly like Sonic should be.

The comic is full of humour but also suffers a bit from the translation.

Of course, being that it’s a fan translation, there are some oddities to be found in the comic; referring to Super Sonic as the “golden armour” sticks out the most but there are a number of odd grammatical errors and inclusions to be found as well. Still, Sonknuck does a pretty good job at adapting the original French text for an English-speaking audience and the story is peppered with all kinds of quirky comedy and phrases; Sonic loves to exclaim “Darn and blast!” and there’s some amusing sayings such as “I haven’t seen the movie” and “No need to send me post cards!” Other translations don’t land quite so well, however, and I would love to see this comic officially translated and released some time.

A fun piece of obscure Sonic media with some excellent artwork and humour.

Still, “In the Claws of Doctor Robotnik” is a lot of fun; it appears to read like this quirky amalgamation of the Western Sonic lore and as a prelude to Sonic 3 & Knuckles, though obviously the Mobius story doesn’t really align with that presented in the videogames. The imagery used, though, is fascinating; it’s amazing how closely the echidna civilisation seen in Sonic Adventure resembles what we see in the comic and it was fun seeing mechanics from the videogames crop up. Obscurity and nostalgia also play a large part in my appreciation for “In the Claws of Doctor Robotnik” but that doesn’t change the fact that you should try and seek this one out online and give it a read sometime.

My Rating:

Rating: 5 out of 5.

Fantastic

Have you ever read “In the Claws of Doctor Robotnik”? If so, what did you think of it? Have you read the original French comic and, if so, how does this translation measure up? Did you enjoy the art style and quirky humour in the comic or do you prefer the Archie and IDW comics? What did you think to the original characters and would you like to see this comically officially translated and more widely available some day? How are you celebrating the anniversary of Sonic 3’s release today? Whatever your thoughts, please feel free to share them and your memories of Sonic 3 & Knuckles below.

Back Issues [Sci-Fanuary]: The Silver Surfer #1

Dr. K4 Comments

January sees the celebration of two notable dates in science-fiction history, with January 2 christened “National Science Fiction Day” to coincide with the birth date of the world renowned sci-fi writer Isaac Asimov, and HAL 9000, the sophisticated artificial intelligence of Arthur C. Clarke’s seminal 2001: A Space Odyssey (1968), being created on 12 January. Accordingly, I’ve been spending every Sunday of January celebrating sci-fi in all its forms.

Story Title: “The Origin of the Silver Surfer!”
Published: August 1968
Writer: Stan Lee
Artist: John Buscema

The Background:
In 1961, comic readers everywhere were introduced to Marvel’s “First Family” of superheroes, the Fantastic Four. Doctor Reed Richards/Mister Fantastic, Susan Storm/The Invisible Girl, Johnny Storm/The Human Torch, and Ben Grimm/The Thing were characterised as a dysfunctional, but loving, family of superpowered scientists and adventurers and their creation was not only the first collaboration between the legendary Stan Lee and Jack Kirby but also the beginning of the unique “Marvel Method” of writer and artist collaboration. In 1966, the team faced their greatest challenge yet when they faced the God-like Galactus, who came to Earth looking to devourer it and satiate his unending hunger for worlds. When Kirby turned in his artwork for the story, he included a brand-new character that had not been part of his previous discussions with Lee; Kirby crafted a herald for the all-mighty being and, tired of drawing spaceships, had this silvery being ride a surfboard instead. Though initially hesitant, Lee ran with the idea and, following the conclusion of the Galactus arc, the Silver Surfer received his own self-titled series in 1968 that, while short-lived, was one of Lee’s favourites to work on. Since then, the Silver Surfer has appeared consistently within Marvel Comics; he’s been a part of the Defenders, joined and fought against his old master numerous times, and featured not only in the Fantastic Four’s animated and live-action adaptations but also received his own self-titled cartoon that ran for thirteen episodes in 1998.

The Review:
When he was introduced in the pages of The Fantastic Four, the Silver Surfer was a mysterious and enigmatic cosmic entity about whom we learn very little; he was painted as Galactus’ obedient herald and servant, wielded vast and ill-defined cosmic powers, and was compelled to defy his master’s intentions to consume the Earth after a desperate plea from Alicia Masters. Having grown to care for the fate of the human race, if primarily out of pity, the price for the Silver Surfer’s defiance was to be forever (well, obviously not forever as nothing in comics is ever “forever”) banished to Earth by his master and, accordingly, The Silver Surfer #1 finds the cosmic entity still bound to the world he chose to save.

The conflict he encounters on Earth leads the troubled Silver Surfer to recall his own home world.

In the opening pages, the Silver Surfer immediately acts to save the life of Colonel Jameson, whose space capsule crash-lands in the ocean depths. Of course, for the Sentinel of the Spaceways, things such as water, air, and metal are of little concern and the Silver Surfer is easily able to dive beneath the ocean and rescue the Colonel. Despite returning the astronaut to a military vehicle, the Silver Surfer finds himself hounded by fighter jets and, similarly, as he streaks across the skies of the planet he now calls home, the Surfer is attacked by missiles and encounters only discord and war. Lamenting the foolishness of men that would seek to harm the lush and fertile world that has captured his heart and imagination, the Silver Surfer is compelled to recall his own home world, a planet far across the galaxy called Zenn-La which, unlike the Earth, had long ago eradicated war, crime, and disease after ten thousand centuries of conflict. Back then, the Silver Surfer was known as Norrin Radd and was simply a man who, though he lived in a virtual nirvana, was left despondent that his people and world no longer had any drive or ambition to achieve anything new. Having inherited the peace and advanced technology of their forefathers, Zenn-La’s inhabitants are largely happy to indulge in the luxuries and benefits of these; they have lost the spirit of adventure and seem content to simply allow technology to fulfil tasks they would have once sweated over.

Memories of his distant and recent past haunt the Silver Surfer and cause him much strife.

Restless and eager to understand why only he seems to find their utopia so stagnating, Norrin reviews the history of his world through advanced virtual reality and discovers that an age of enlightenment put an end to all conflict and that his people ventured far out into the universe before eventually settling on staying put on their home world. Back in the present, the Silver Surfer comments that the Earth is at a similar crossroads between destroying themselves through war and being united in a common cause; even while being randomly attacked by savage yetis, the Silver Surfer laments the innate sense of distrust and fear that touches the hearts of men and turns even beasts such as those (and Doctor Bruce Banner/The Hulk, whom the Silver Surfer once hoped would be an ally as they have both been unfairly ostracised by humanity) into hate-filled barbarians. Similarly the Silver Surfer recalls how Doctor Victor Von Doom/Doctor Doom easily duped him and briefly stole the mysterious “Power Cosmic” from him, an event that caused the Silver Surfer to never again trust another human lest their selfish and manipulative nature get the better of him.

Rejecting his society’s complacency, and despair, Norrin heads out to confront their invader.

Stumbling upon the ruins of an ancient civilisation now forever lost to the ravages of time and the elements, the troubled Silver Surfer is again haunted by his lost world, and his beloved Shalla Bal. Despite Shalla’s plea that he turn his focus back to the wonders offered by Zenn-La, Norrin finds himself alone in a world where indulgence is the norm, knowledge is simply gifted rather than earned, and the citizens want for nothing. However, Norrin’s lamentations and concerns for the stagnation of his people are interrupted when a gigantic spacecraft breaches the planet’s “nuclear defences” and the people are warned to prepare for an invasion; while Shalla weeps at the prospect of war, especially as Zenn-La has no space fleet or weapons to speak of, Norrin practically relishes the idea of such an event forcing his complacent people into action. With the people giving in to panic, Zenn-La’s computer system decrees only one course of action: the deployment of the “Weapon Supreme”, a solution that literally rips the neighbouring planetoids from their orbits and hurls them at the orbiting craft with such force that it devastates the entire infrastructure of Zenn-La. This devastating solution is ultimately futile, however, as the invading probe simply slipped into the fourth dimension to avoid being damaged and, having decimated their world and with no hope left, the entire planet gives in to despair. All, save for Norrin Rad who, fuelled by the spirits of his ancestors, urges the remnants of Zenn-La’s scientific community to craft him a ship so that he can commune with the craft as he refuses to lose hope.

To spare his world, Norrin volunteers to become Galactus’ herald and is reborn as the Silver Surfer!

Drawn within the mighty spherical craft, Norrin is overwhelmed by his insignificance next to the craft’s size and technology and is then driven to his knees by a blast from the ship’s owner and operator, all-mighty Galactus! Though he has no desire to, and takes no pleasure in, destroying Norrin’s people, the World Devourer is adamant that his quest cannot be assuaged as he is compelled to feed his unending hunger lest he be consumed by it. Harbouring no malice or ill-will, Galactus compares his mission to that of a man casually stepping on an ant hill and states that it simply is, but Norrin pleads with him to spare Zenn-La and instead feed upon a world devoid of sentient life. When Galactus laments that he has not the time to seek out such a world since even he is but one being, Norrin offers to become the World Devourer’s herald, to seek out lifeless worlds in order to appease Galactus’ hunger, and gladly sacrifices his personal well-being in order to be transformed by the all-mighty’s vast cosmic powers. Reborn as the Silver Surfer, Norrin is rendered immune to the ravages of space and gifted his trademark board with which he can swiftly travel the stars to seek out ne worlds for Galactus to consume. Thrilled to have a lifetime of adventure and exploration amongst the stars finally within his grasp, Norrin bids an emotional farewell to his beloved and departs Zenn-La fully committed to serve his new master, alone and haunted by Shalla’s face in every star and sun he comes across. The Silver Surfer finds his pain eased as he successfully spares worlds teeming with sentiment life from Galactus’ ravages but had no choice but to lead his master to Earth as the gnawing hunger grew unbearable for the God-like being. And it is there that his story ends, with Galactus stoically removing his herald’s ability to travel amongst the stars and the man once known as Norrin Rad left exiled to another world he hoped to spare from destruction.

The Summary:
“The Origin of the Silver Surfer!” is indicative of many of Marvel’s tales from back in the day; featuring a number of references, flashbacks, and cameos, the story is as much a recap of the Silver Surfer’s prior appearances as it is an exploration of his beginnings. Crucially, though, it’s not just the Silver Surfer’s unconquerable cosmic powers that separate him from other Marvel superheroes; the character is perhaps the most loquacious of Stan Lee’s comics characters (matched only by the verbose Dr. Doom) and probably the second most conflicted character he’s created next to Peter Parker/Spider-Man. But, whereas Dr. Doom boasts only of himself and his needs and Peter laments such day-to-day problems as money and relationships, the Silver Surfer’s concerns are with being denied access to the vast cosmic skies and observing the sheer animosity that threatens to consume his adopted world.

Norrin is one of the most loquacious and complex characters in Marvel’s line-up.

The Silver Surfer’s previous life as Norrin Rad was hardly a carefree existence either; while the inhabitants of Zenn-La were perfectly content to life stagnated lives where they wanted for nothing and had sacrificed ambition and advancement for peace and tranquillity, Norrin finds himself concerned for the long-term welfare and overall development of their society since they no longer need to apply themselves to do or achieve anything. Everything around them was left to them by previous generations; knowledge is simply downloaded directly into their brains and all of the thinking and decisions are made by advanced computer systems and a puppet government. Where once Zenn-La had fought tooth and nail for survival and reached out beyond the universe, now they were content to simply indulge their whims and life lives free from the burden of struggle or failure. Amongst the entire planet, only Norrin feels as though the world has lost its way and should strive for more and thus it is only he who has the temerity to face their would-be conqueror head on.

Galactus, though destructive, does not delight in his need to feast on worlds.

As is generally always the case, Galactus is presented as a force of nature; something unconquerable and inexorable and a force beyond any in the known universe, and certainly beyond the peaceful people of Zenn-La. Ironically, it isn’t Galactus that leaves Zenn-La in ruins but the people themselves as they decimate their world by tearing small planets out of their very orbit, making them, for all their enlightenment, no better than the World Devourer himself. Indeed, while Galactus doesn’t act out of any malice or emotion, the same can’t be said for Zenn-La’s people, who first react in violent fear and panic and then give in to despair entirely; Galactus takes no pleasure in his destructive existence but must consume worlds to survive and even he is willing to listen to reason. Galactus makes Norrin his herald not because he is won over by his desperate plea but simply because it makes logical sense for him to have a herald out there finding new worlds for him to consume and to spare lives from his nature because, while Galactus does consume inhabited worlds, it’s only because he is forced to by his great hunger.

Delving into the Silver Surfer’s past adds much more emotional depth to his decision to aid Earth.

In the end, this was a poignant and fascinated story; the Silver Surfer makes for one of the most emotionally complex and layered characters in all of Marveldom, especially in his earliest appearances where he is both captivated by the Earth and saddened by our propensity towards destruction and violence. Seeing Norrin Rad as a man dissatisfied with utopia and craving the thrill of scientific and societal advancement was an interesting twist and witnessing him sacrificing his very being and all he knows in order to spare his people only adds further context to the Silver Surfer’s somewhat abrupt decision to aid humanity in his debut arc. The comic is beautifully rendered by John Buscema, who perfectly evoked the grandeur of Jack Kirby’s artwork to deliver wondrous and imaginative technology and surroundings, to say nothing of his awesome rendition of the towering Galactus, who fittingly appears both fearsome and God-like in his regality. While I haven’t actually read a great deal of the Silver Surfer and can understand people having trouble connecting with him due to his near-limitless powers, I’ve always had a bit of a soft spot for the Sentinel of the Spaceways, especially his early appearances where he was exiled to Earth, and found this to be a captivating glimpse into his unique backstory.

My Rating:

Rating: 4 out of 5.

Great Stuff

Have you ever read Silver Surfer #1? If so, what did you think to the title character’s origin story? What did you think to Zenn-La and Norrin Rad’s troubles with his society? What did you think to Norrin Rad’s sacrifice to save his people? What are your thoughts on Galactus, his motivations and his characterisation? Are you a fan of the Silver Surfer? If so, what is it about him you like and, if not, why is that? Who would you like to see portray the Silver Surfer in the Marvel Cinematic Universe? Whatever you think about the Silver Surfer, leave a comment below and thanks for joining me for Sci-Fi Sunday.

Back Issues [JLA Day]: The Brave and the Bold #28

Dr. K18 Comments

To celebrate the release of Justice League (Snyder/Whedon, 2017), DC Comics named November 18 “Justice League Day”. Sadly, this clashes with another pop culture holiday but, setting aside all the drama surrounding that movie, this still provides a perfect excuse to dedication some time to talking about DC’s premier superhero team, which set the standard for super teams in comics by bringing together DC’s most powerful heroes.

Story Title: “Starro the Conqueror!”
Published: 29 December 1959 (cover-dated March 1960)
Writer: Gardner Fox
Artist: Mike Sekowsky

The Background:
All Star Comics (1940/1941), brought together eight superheroes from a number of different publishers for the first time as the Justice Society of America (JSA). This not only heralded the birth of the first ever superhero team in comics but also allowed readers to see their favourite characters interacting all for the same price as reading any one comic. The JSA’s roster expanded and changed over the years but the team underwent their most significant change when, in the late 1950s, then-editor Julius Schwartz asked writer Gardner Fox to reintroduce and rebrand the team as the Justice League of America (JLA) to capitalise on the popularity of the American Football League and Major League Baseball’s National League. Though the team debuted in The Brave and the Bold #28, a title famous for featuring team-ups between various fictional and superheroic characters, the team’s actual origin wasn’t revealed until the ninth issue of their self-titled series, which became one of DC Comic’s best-selling titles. As with the JSA and other super teams, the JLA’s roster has changed over the years and many splinter groups and spin-offs have been introduced but perhaps there is no more iconic line-up than the JLA’s original roster that was comprised of DC’s heavy-hitters: Clark Kent/Superman, Bruce Wayne/Batman, Diana Prince/Wonder Woman, Hal Jordan/Green Lantern, Arthur Curry/Aquaman, Barry Allan/The Flash, and J’onn J’onzz (referred to here as “John Jones”)/Martian Manhunter.

The Review:
“Starro the Conqueror!” begins with the odd choice to not detail the first time these superheroes joined forces and, instead, starts off with the seven heroes already having agreed to come together in times of crisis (they each have a signalling device to summon the others). I kind of like this on the one hand as it suggests that DC’s top superheroes already set aside their differences for the greater good without any real fuss and it helps speed things up but, on the other hand, it feels a bit out of place to not detail the first meeting of these heroes. Anyway, the first member of the team to become aware of an impending threat is Aquaman who, thanks to information provided to him by a puffer fish, is learns of the arrival of the gigantic extraterrestrial starfish known as Starro.

Aquaman’s summons is answered by some of DC’s greatest superheroes.

This monstrous being has travelled across the depths of space to Earth with one goal in mind: conquest. To that end, Starro…somehow…transforms three of Earth’s starfish into replicas of itself and spreads them across the world to begin its mad scheme. Aquaman’s summons are immediately picked up and answered by Wonder Woman (who is in the middle of an awkward conversation with her beau, Steve Trevor, regarding marriage), Green Lantern (who, as Hal Jordan, was in the middle of a test flight), the Flash (who quickly disperses of a potentially life-threatening tornado), and the Martian Manhunter (who was simply about to start his vacation…). Each of these introductory panels immediately gives the reader and idea of what each character is capable of: Aquaman can breath underwater and talk to fish, Wonder Woman has an invisible jet, Green Lantern’s ring allows him to perform virtually any task, the Flash is super fast, and the Martian Manhunter can shape-shift. Aquaman’s signal also reaches Superman and Batman but the two are unable to respond right away since Superman is busy taking care of a potentially dangerous meteor shower and Batman is in the middle of stopping a crime spree. You might think that Superman would have spotted Starro’s arrival from space but he was dealing with a great deal of meteors (it’s also entirely possible that Starro caused the meteor shower specifically to distract Superman) and I guess it’s in character for Batman to prioritise Gotham City’s safety over a JLA summons (though a JLA-level peril is surely more threatening for Gotham than a crime spree…)

Green Lantern is able to defeat the Starro duplicate with relative ease.

Regardless, the five heroes meet at the “modernistically outfitted cavern” that serves as the JLA’s headquarters. Having been informed of Starro’s threat and where it intends to strike, the Flash, as the JLA’s chairman, orders the team to split up and it is at this point that the story diverges from the team-based format and instead switches to cover each individual mission. The first sees Green Lantern battling one of Starro’s deputies in the skies above Rocky Mountain National Park; Hal arrives in time to see the gigantic creature but is too late to stop it from attacking a passing air force jet-bomber and relieving it of its payload: nothing less than an atom bomb! Green Lantern is able to save the aircraft when it goes into a deadly freefall but is unable to keep the Starro duplicate from detonating the atom bomb! Thankfully, Hal’s energy shield protects him from the blast and he watches in horror as the creature absorbs the energy released from the bomb. Hal pursues and is nearly blasted from the sky by a scorching beam fired from the creature’s tentacle. However, Green Lantern is easily able to avoid the creature’s thrashing limbs and attacks and reduce it down to a regular starfish by scoring a direct hit on its massive eye.

Starro’s duplicate falls before the might of Wonder Woman and the Martian Manhunter.

Next, the story switches to “Science City” where Wonder Woman and Martian Manhunter (why Diana has to team up with another hero is beyond me…) find another of Starro’s deputies abducting the “Hall of Science”, where the greatest scientific minds of the United States are gathered. The creature intends to bring the scientists into the upper atmosphere so it can absorb their brainpower and knowledge; Wonder Woman attempts to use her magical lasso to prise the creature’s tentacles from the building but ends up being yanked off of her invisible jet and onto the Hall of Science thanks to the giant starfish’s incredible strength. Meanwhile, J’onn uses his super-breath to bombard the creature with fragments of the meteors Superman is destroying and uses the same technique to cause a torrential rainfall when flames from the building threaten his life. Starro’s deputy then attempts to destroy them both by firing bolts of nuclear energy their way but Wonder Woman is, of course, able to deflect them with her magical bracelets and J’onn shields himself using the building’s conveniently lead-lined roof. Diana then whips her lasso around her jet and uses the momentum to forcibly drag the building out of the sky. The effort of battling both heroes at once soon takes its toll on the creature, which plummets from the sky and begins to revert back into a regular starfish.

The Flash makes short work of the final Starro duplicate.

When then join the Flash as he confronts another of Starro’s deputies at Happy Harbour; this part of the story is easily the worst simply because it introduces one of the most annoying and aggravating characters ever conceived: the JLA’s “mascot”, Snapper Carr. Snapper is a hip, super cool teenager with the annoying habit of constantly snapping his fingers all the God-damn time who is shocking to find his family, and the entire town, enthralled by Starro’s trance. For whatever reason (possibly due to being high, judging by the way he speaks!), Snapper is immune to Starro’s influence so he needs to be saved from certain death by the Flash. Despite Starro’s best efforts to vaporise the Scarlet Speedster, the Flash (literally) runs rings around the creature and ultimately defeats it when it tries to hide in the sea. In the process, the townsfolk are freed from their trance and Snapper’s family are able to tell Flash where they were ordered by the creature to head to: Turkey Hollow.

The JLA defeat Starro with ridiculous ease and make Snapper an honorary member!

The final part of the story sees the team reunite to take on the real Starro at Turkey Hollow; despite the defeat of its deputies, Starro remains confident since it was still able to absorb the power of that atomic bomb, the knowledge of Earth’s scientists, and…whatever it is the townsfolk of Happy Harbour contributed to its mind (local Earth knowledge, I guess?) Starro plans to use all that it has learned to force humanity into destroying the world with nuclear weapons and then use the influx of nuclear energy would then allow it to conquer other worlds across the universe. When the JLA arrive, Starro immediately puts its abilities to good use by reading Hal’s mind and turning itself yellow to render itself immune to his power ring but the Flash notices that Starro’s awesome energy ray has absolutely no effect on Snapper (who he, of course, brought along for the ride!) Flash orders Wonder Woman and the Martian Manhunter to distract Starro while Hal uses his power ring as a spectroscope to discover that Snapper is covered in lime from when he was mowing the lawn earlier. Apparently, lime is deadly to starfish so Hal dumps a whole bunch of it onto Starro to weaken it. Martian Manhunter then uses his super-breath to blow a load of calcium oxide (which is, apparently, also lime) onto the creature and thus imprison it within an unbreakable shell of lime. With Starro’s threat ended, Superman and Batman return just in time to see the Flash making Snapper an honorary member of the JLA and…boy, do they look thrilled to be there!

The Summary:
I don’t mind telling you that I am a bit disappointed by “Starro the Conqueror!”; the story started pretty strong but fell off a cliff pretty quickly at the end, becoming little more than a science class rather than a big old fight between Earth’s greatest heroes and an alien menace. I suppose it speaks to the intelligence of the JLA (specifically Barry) to come up with a way to outwit, rather than outfight, the creature and the sudden introduction of lime as the might Starro’s one weakness is arguably no less lame than fire being J’onn’s weakness and yellow being Hal’s and there is a lot of action prior to the finale but still…the entire point of the comic is to see these heroes joining forces and we don’t really get that.

Aquaman is unfairly side-lined and does nothing except alert the JLA to Starro’s presence.

You might be wondering where the hell Aquaman was during this story; despite appearing to be a pivotal member of the team in the early panels, Arthur is little more than an early warning system to alert the team to Starro’s threat. Hell, when Barry is divvying out the JLA’s individual missions, Aquaman doesn’t even get to fight one of the creatures as he’s sent back to the ocean to watch out for any more of the duplicates and, when he does return to the story for the finale, he does absolutely nothing. It’s pretty sad considering the JLA were light on power with Superman out of the equation and when you consider that Arthur might have actually been really useful at Happy Harbour so could have easily teamed up with the Flash for that mission…but then we might never have gotten Snapper-fuckin’-Carr now, would we!?

Hal and J’onn are severely underutilised, with their powers reduced to the bare minimum.

Honestly, Snapper could have been dropped entirely from the story; he’s only there so the teenager readers can act like they’re fighting alongside their favourite heroes, after all, and it’s legitimately sad that he’s more important to the story than Aquaman! Seriously, drop Snapper, have Aquaman and the Flash go to Happy Harbour, and have Arthur get covered in lime while battling the creature in the water and reveal the key to Starro’s defeat. Seems like a pretty simple solution to me. Similarly, it’s pretty disappointing that Superman and Batman don’t play any part in the story at all. I can understand why as Superman’s power alone would probably be able to end Starro’s threat but it’s a bit of a let down that they don’t even join the team for the big climactic battle. Instead, we’re left with the likes of the Martian Manhunter, who is probably just as powerful as Superman if not more so and yet is reduced to simply puffing away with his super-breath. Similarly, Hal’s potential and power is also significantly reduced; his ring allows him to do virtually anything but, in the end, all he really uses it for is to fly about, rescue a falling plane, and zap at Starro with energy blasts.

Starro seems like a threatening villain but end sup being a massive disappointment.

Still, at least Wonder Woman gets a lot to do; she basically does all the work in her team-up with J’onn which, again, makes me question why she has to have a partner and no one else does. The implication may be that it’s because she’s a woman but she’s easily the most dependable and capable superheroine I’ve seen all year; she doesn’t even get bound or anything, which is refreshing. The Flash also gets far more chances to show off his abilities and competence; beyond his super speed allowing him to easily best one of Starro’s duplicates, Barry is portrayed as a decisive team leader and his intelligence is what ultimately wins the day over brute strength. Overall, Starro is just another in a long line of potentially dangerous foes that really don’t amount to a whole hell of a lot. It openly admits that its plot to conquer Earth is the first time it’s ever tried anything like that, exposing its naivety and inexperience in world conquest and battle. Its scheme seems pretty good to start with as it creates duplicates of itself and absorbs power and knowledge but it fails to really do anything with this beyond making itself yellow; it could have spewed flames at J’onn, bound Wonder Woman’s wrists, subjected Aquaman to intense heat, or slowed the Flash down with quicksand but it never does any of that. For all the power and knowledge it has, Starro ends up just being a giant alien punching bag that, arguably, the Flash alone could have defeated and, because of that, it’s simply a piss-poor excuse to see all these heroes band together and even then they spend the majority of the story working separately!

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to the JLA’s debut appearance? Were you happy to see five out of the seven joining forces for the first time or would you have liked to see all seven of them getting in on the action? What did you think of Starro as the principal villain and the introduction of Snapper Carr? Which era or incarnation of the JLA is your favourite and what are some of your favourite JLA stories? Who would you like to see in the JLA some day? How are you celebrating Justice League Day this year? Whatever your thoughts on the JLA, feel free to leave a comment below.

Back Issues [F4iday]: The Fantastic Four #1

Dr. K38 Comments

In November 1961, Marvel Comics readers witnessed four intrepid explorers be forever changed by mysterious cosmic rays. Marvel’s “First Family” of superheroes were the first of many colourful superheroes for Marvel Comics and are more than deserving of some attention today.

Story Title: The Fantastic Four!
Published: November 1961
Writer: Stan Lee
Artist: Jack Kirby

The Background:
The story of the creation of the Fantastic Four is a little…contested, to say the least. The popular notion is that Marvel Comics big cheese, Martin Goodman, wanted then-editor Stan Lee to create a team of superheroes in response to DC Comics’ Justice League of America. Creatively unsatisfied with the comics industry, Lee sought to use the opportunity to create stories and characters that were appealing to him and drafted a quick synopsis of his idea for a dysfunctional family of superheroes for the legendary Jack Kirby to provide the artwork for, thus creating the “Marvel Method” of writer/artist collaboration. Kirby, however, disputed this story and claimed to have come up with the idea, which was extremely similar to a similar concept he had developed for DC, the Challengers of the Unknown. Regardless, the two are credited as co-creators of Marvel’s First Family, a team that, even today, is unique in that it is comprised of a family dynamic that, for all their intelligence and abilities, is just as likely to come to blows with each other as with their enemies. This dynamic allowed the team (comprised of Doctor Reed Richards/Mister Fantastic, Susan Storm/The Invisible Girl, and her brother Johnny, the Human Torch (not to be confused with he android of the same name from the 1940s/1950s), and Ben Grimm/The Thing) to juxtapose their wacky adventures with a very real and relatable humanity. The team also stood out from other superheroes of that era since they didn’t hide their identities behind masks or from the public, were revered with a celebrity status, and didn’t even acquire their iconic outfits until the third issue of their series, which went on to introduce characters and concepts that would forever alter Marvel Comics in the decades that followed.

The Review:
“The Fantastic Four!” beings in medias res with a dramatic flare shot into the skies of Central City (courtesy of a mysterious, shadowy figure, the leader of the Fantastic Four) call out for the titular team. Upon seeing the signal, Susan Storm responds immediately by turning herself invisible and preparing to introduce the world to the Invisible Girl, shocking pedestrians and a taxi driver with her transparent nature.

Sue and Ben cause some disruption in answering Reed’s summons…

Elewhere in the city, a large, bulky man in a trenchcoat is attempting, unsuccessfully, to shop for clothing that will fit his broad dimensions. When the store attendant reacts to the signal for the Fantastic Four, the man discards his restrictive clothing, revealing himself to be a monstrous, rock-like man-monster! His appearance causing panic and fear, the creature escapes from police gunfire by ripping a manhole out of the street and fleeing through the sewers beneath the city, being mistaken for a Martian in the process. Finally, a young man named Johnny is busy getting his beloved car fixed up when, upon seeing the signal, he suddenly bursts into flames and blasts off into the sky in response! The presence of an unknown object flying through the city results in the Mayor alerting the National Guard and fighter jets being called into action. Despite the flaming Johnny’s pleas for the planes to pull back, he inadvertently reduces the jets to slag with his intense heat and is left at the mercy of a nuclear missile!

Despite Ben’s objections, the team easily get to their rocket and blast off into space.

Luckily, a fourth individual steps in to dispose of the missile before it can explode and kill Johnny (…and the entire city); he then rescues Johnny who, exhausted from the physical exertion, has lost his flame and in free fall. This fourth individual is able to accomplish all of this by use of super stretchy, elastic limbs and is, of course, Reed, the very same man who summoned these fantastic individuals in the first place. With the team united, the comic then flashes back to tell us who these people are and how they can do the extraordinary things we see. It seems their leader, Reed, was once a scientist working for the government and researching “cosmic rays” and planned to fly a ship into space to further his studies. His friend and colleague, Ben, initially refuses to pilot the ship since he believes that Reed hasn’t properly prepared for the potentially fatal effects of the cosmic rays but Sue (Reed’s fiancée) convinces him (more like manipulates him) into joining the expedition after believing him to be a coward who would allow “the Commies” to beat them to the task. Although it’s made somewhat obvious that Reed is the brains behind the research and Ben is the pilot, it’s not entirely clear why they bring Sue and her brother along; Sue simply insists on coming since she’s betrothed to Reed and Johnny, similarly, insists on going simply because his sister is. The race to beat the Commies is apparently so close that the group cannot wait any longer, or for official clearance; they simply race to the launch site, sneak past the one guard, and are able to take off completely under their own power.

The cosmic rays cause the team to undergo startling physical changes.

Though the ship performs perfectly, Ben’s worst fears are quickly realised when the ship is bombarded by cosmic rays that easily penetrate the ship’s shielding. Initially, there is no physical pain as the rays are “simply” comically charged radioactive rays of light but, all too soon, the four begin to feel the full transformative effects of the radiation. Despite being debilitated by the pain and physical mutations they are undergoing, the team’s ship is able to return safely to Earth thanks to its automatic pilot. Upon emerging from the ship, the team are shaken…but alive, with Sue lamenting the loss of Reed’s years of research and Ben still bitter at Reed not taking the proper precautions and endangering them all. While Ben’s fears become reality as Sue suddenly, briefly fades from sight, they are realised all too horribly when he transforms into a super strong, rock skinned…thing! Furious with Reed’s attitude, the Thing rips up a tree and tries to make him pay for his actions but Reed shocks everyone by abruptly displaying his powers of elasticity, which easily allows him to avoid Ben’s wild swings and ties him up in a mess of rubbery limbs. Panicked at the events unfolding before his eyes, Johnny unexpectedly bursts into flame but, unlike the others, he is elated to find this not only doesn’t harm him but gives him the ability to fly through the air.

The Fantastic Four are quickly separated after arriving on the mythical Monster Isle.

Taking stock of their predicament, Reed begins to make a speech about how the four must use their newfound powers fort he benefit of mankind but Ben, despite his grouchy demeanour, cuts him off and voices that conclusion as though it is the most natural recourse for powers such as theirs. The four then put their hands in, giving themselves their colorful code-names and dubbing themselves the Fantastic Four. The story returns to present day in the next part, “The Fantastic Four Meet the Mole Man!” where Reed reveals that he called the team together because of a series of gigantic holes that have swallowed up atomic plants across the world. At that very moment, Reed’s fancy radar machine picks up another cave-in happening right at that moment over in French Africa. The cause of the destruction is revealed to be a gigantic subterranean beast not too dissimilar to the Creature from the Black Lagoon, which might seem incredible but it’s nothing compared to the fact that Reed pin-points the source of the events to a land known as “Monster Isle” that, despite Ben’s claims of the island being a myth, they immediately fly to as though it’s a well-known tourist destination! Monster Isle, as you might be able to guess, is home to a wide variety of enormous monsters that, despite the powers and versatility of the Fantastic Four, cause the team to become separated.

The Moleman explains his unremarkable origin.

The third part of the story, “The Moleman’s Secret!” sees Ben and Sue, still trapped on the surface, come face to face with an huge rock-like creature; being a man of rock himself, the Thing steps in to defeat the creature with ridiculous ease thanks to his superhuman strength. Johnny and Reed, however, find themselves captives of the Moleman (or “Mole Man”, the story freely alternates between the two names/spellings), the master of Monster Isle, in his enigmatic abode beneath the island’s surface. Like any good supervillain worthy of his salt, the Moleman regales his captives with his origin story: it seems he was once a very odd looking hunchback of a man who was routinely mocked and turned away by society despite his qualifications because of his grotesque appearance. Bitter and dejected, he head out into the icy wilderness in search of solitude and found himself on the mythical Monster Isle; however, whilst exploring a cavern, he was…somehow…blinded by a terrible fall towards the center of the Earth but, despite this handicap, he…somehow…was able to not only tame the wild beasts that roamed the island but also build a magnificent empire for himself deep underground.

Ben and Sue arrive to rescue their team mates but are met by the Moleman’s massive creature!

Thanks to the strange “adhesive suits” the Moleman has forced Reed and Johnny into, the villain, clearly driven to insanity, easily beasts them in combat and reveals his mad plot to destroy every atomic plant in the world and then rise up alongside his monsters to destroy the surface world! Though Ben and Sue arrive (and Johnny and Reed are able to get out of their suits by simply burning through them or…taking them off, raising the question as to what the bloody point of them was in the first place), they are too late to keep the Moleman from summoning the most deadly of his creatures, the same one that we saw attacking the power plant in French Africa earlier in the story. Interestingly, despite the elaborate cover art, the Fantastic Four don’t even try to fight this gargantuan creature; instead, Johnny simply distracts it so that Reed can capture the Moleman and the team simply escape through the caverns beneath the island. Even a horde of underground gargoyles aren’t able to impede their progress as Johnny simply causes a rockslide to keep them at bay and the Fantastic Four escape the island safely…but without the Moleman! Yes, in the confusion, Reed decided to leave the villain behind since they had effectively sealed off his empire and, as they escape, the entire island explodes, apparently trapping the Moleman and his beasts underground forever. And…that’s kind of it as the issue ends in a pretty anti-climatic fashion.

The Summary:
Wow…so, once again, another debut issue just kind of falls of a cliff right at the end. It pains me to say it as I have a real soft spot for the Fantastic Four but, outside of the team’s origin story and diverse powers, The Fantastic Four #1 is a pretty terrible comic. I thought it was quite unique to introduce the team individually and already possessing their powers and to flash back to their origin as it’s not often you see that in comics but the comic wastes so much time showing what the team can do that it rushes through other equally important things, such as what motivated them to go into space in the first place and, of course, the ending. These introductory sequences provide the absolute bare minimum of exposition into the character of each team member: Sue is first seen having tea with a “society friend” and is both polite towards others and support of her fiancée…perhaps blindly so. Ben has legitimate concerns regarding the trip ones that Reed fails to heed and Sue dismisses; the way she manipulates Ben into joining the expedition seems really out of character and, even worse, when Ben turns out to be right Reed doesn’t even offer an apology! Instead, he takes offense to Ben’s “insults and complaining”, as though Ben were simply mocking Reed and moaning about a long car journey! The poor bastard almost died and now he’s a rock monster but all Reed cares about is that Ben has been a grouch the entire time! Johnny is basically a shell of his former self; sure, we see he likes cars and enjoys the power and freedom of being the Human Torch but that’s pretty much all we know about him.

Sue may as well be invisible the entire time since she really contributes nothing to the team.

The story kind of makes up for this by having him be one of the two most useful members of the team (the other being the Thing, whose strength gets them out of a bind numerous times), which puts him in a little higher standing than Reed or Sue. Reed basically spends most of his time rescuing the others, which is fine, or making decisions for the team’s actions; I’m not entirely sure, or convinced, of what makes him qualified to be their leader since the last time he lead them anywhere he almost got them killed! Sadly, there’s no sense of grief or guilt on Reed’s part or of the genius intellect that would come to define his character; he’s simply the older, pipe smoking man so he’s the leader by default. Still, the so-called Mr. Fantastic still gets more to do than the Invisible Girl; although she is spared the condescending, sexist attitudes that were prevalent towards women in comics at that time (for this issue, at least), Sue is still basically useless. She uses her invisibility to get through some crowded streets simply to test them out and that’s pretty much it as they (and she) really don’t factor into the finale at all. I’m sure that the intention was to have her be the “heart” of the team but…she really isn’t. She’s supportive of Reed, yes, but if hadn’t have been then maybe they would have been spared their fate and, beyond that, she’s just kind of…there to say stuff now and then. The only plus side is that she doesn’t get captured and need to be rescued but, honestly, I think I would have preferred that!

The Moleman’s threat is severely diminished by his ridiculously flawed plan for world conquest.

The biggest let down, really, is that the cover promises a big battle between the team with the giant creature in the middle of the city but this never happens! The creature hardly appears and, when it does, they don’t even fight it; they just…get away as easily as you could like. What is the point of having a team of superpowered individuals if you’re not even going to show them using their abilities in battle? Sure, they do showcase a lot of the diverse nature of their abilities when on the surface of Monster Isle but we don’t really get to see them working together as a team, which is one of the Fantastic Four’s biggest unique aspects. Similarly, the Moleman is a pretty poor villain; his motivations are paper thin and the ease with which he and his monstrous creatures are defeated is pretty pathetic, with Reed not even bothering to keep the villain captive when they escape. He could have easily had his monsters rampage across the globe using those emergence holes but, instead, he chose to target atomic power plants rather than military bases or major cities because, as we all know, when you plan to conquer the world with a bunch of horrific monsters, it’s the power plants that are the greatest cause for concern!

My Rating:

Rating: 1 out of 5.

Terrible

Were you a fan of The Fantastic Four #1? Do you feel I have committed the ultimate sacrilege by being unimpressed with the team’s debut story or do you agree that the Fantastic Four greatly benefitted from the input of other writers and artists over the years? Which of the four team members is your favourite and why? What did you think to the Moleman and who is your favourite Fantastic Four villain? Who would you like to see form a new version of the Fantastic Four and what are some of your favourite stories involving the team? How are you celebrating the debut of Marvel’s First Family this month? Whatever you think about the Fantastic Four, go ahead and leave a comment down below and let me know your opinions.

Back Issues: The Incredible Hulk #181

Dr. K9 Comments

Story Title: “And Now…The Wolverine!”
Published: November 1974
Writer: Len Wein
Artist: Herb Trimpe

The Background:
In 1974, Roy Thomas, then editor-in-chief at Marvel Comics, called upon writer Len Wein to introduce readers to the first Canadian superhero; a short, feisty character named “Wolverine” who would be as scrappy and fearsome as his namesake. Though it was the legendary John Romita Sr who sketched up the original design for Wolverine and thought up his now-iconic retractable claws, it was artist Herb Trimbe who finalised the character’s design. In what would become a staple for the character for many years, Wolverine’s past and true identity was initially kept a mystery; however, despite claims for years that Wolverine was to be a mutated wolverine cub, Wein insisted that this was never the plan and that Wolverine was always intended to be a Mutant. Of course, nowadays, James Howlett (better known as “Logan”) has been established as one of Marvel’s most popular characters but back in 1974, Wolverine was simply meant to be another in a long line of one-off characters to spice up an existing title. The character actually made his first, brief appearance at the conclusion of The Incredible Hulk #180 in a one panel cameo after being ordered by the Canadian military to put a stop to a raging battle that is taking place in the forests of Quebec, Canada between Doctor Bruce Banner/The Hulk and Paul Cartier/The Wendigo.

The Review:
“And Now…The Wolverine!” hits the ground running right from the first panel and doesn’t waste any time with copious flashbacks to the previous issue; we get a lovely one sentence recap of the Hulk’s origin at the top of the first page (which was the style at the time), a few dialogue boxes to give us context as to the place and what’s happening, and then jump right into the action…and rightfully so considering that the battle between the Hulk and the Wendigo was so fierce and destructive in the last issue that the Canadian military had to call in the mysterious “Weapon X” (which, of course, turned out to be “The World’s First and Greatest Canadian Super-Hero!”, Wolverine).

Wolverine attacks both the Hulk and the Wendigo without fear or hesitation.

A small, muscular figure in a skin tight yellow outfit, Wolverine makes an instant first impression not just for his striking appearance (not very many superheroes wore yellow back then and his cat-like mask and gleaming metal claws make him instantly unique) but also for leaping head-first into battle with two of Marvel’s most physically daunting creations. Despite being dwarfed by his opponents, Wolverine strikes without fear or intimidation, using his incredible speed and agility to compensate for the two’s superior strength. As mentioned above, Wolverine’s exact origin is largely a mystery but he does boast that his retractable claws are made of “diamond-hard Adamantium”. So dangerous are Wolverine’s claws and so vicious is his attack that he wounds the Wendigo and begins to not just hold is own but actually dominate their battle. Hulk, confused by Wolverine’s appearance and temperament, decides that if Wolverine (or “Little Man” as he calls him) is attacking the Wendigo, whom the Hulk sees as an enemy, then he (Wolverine) must be his (Hulk’s) friend so he jumps in to join the fight against the Wendigo, galvanised at the idea of fighting side-by-side with an ally. Wolverine takes advantage of the distraction and unnecessary assistance and, between the two of them, they are able to fell the Wendigo.

The Hulk is enraged when the Wolverine seemingly turns against him.

Wolverine delivers what appears to be a killing blow to the beast (which is quickly revealed to have only subdued the creature since the Wendigo is functionally immortal) but the Hulk’s momentary victory and elation turns to his trademark fury when Wolverine immediately lashes at him now that the Wendigo has been defeated. Enraged at the betrayal, the Hulk attacks mindlessly, earning Wolverine’s respect and frustration since the Green Goliath refuses to fall and only gets stronger and more enraged as the battle continues. While the fight is going on, Georges Baptiste and Marie Carter (who was the one who originally lured the Hulk to Quebec) take advantage of the situation to bring the Wendigo’s unconscious form to safety. It turns out that the Wendigo curse has overtaken Marie’s brother, Paul, and that she intends to use “the black arts” to transfer it from him and into the Hulk, much to Georges’ horror. To facilitate this, she evokes the “Spell of Subjugation” to render both Wolverine and the Hulk unconscious. However, Georges’ objections to Marie’s intentions are exacerbated when the two watch in stunned awe as the Hulk, now calmed, reverts back into the unconscious form of Bruce Banner. Georges leaves in protest at the idea of cursing an already cursed man to a fate even worse than that he already suffers with but Marie is determined to see her plan through out of the desperate need to see her brother returned to normal.

The Hulk delivers a decisive blow to the Wolverine, ending their fight as the clear victor.

After binding Wolverine with chains, she attempts to drag Banner’s unconscious form to the Wendigo and, in the process, triggers his transformation back into the Hulk. Hulk, equally furious at having been betrayed by Marie (or “Animal-Girl”), is stayed from turning his rage on her only by the sight of Wolverine’s prone and helpless body. Wolverine, however, suddenly and dramatically breaks free from his bindings and their battle begins anew. Marie uses the distraction to slip away but utters a heart-wrenching scream when she comes face-to-face with the Wendigo; this diverts the attention of the two combatants for a split second, which is more than enough for the Hulk to deliver a sudden, powerful blow to Wolverine’s head that finally puts him down for good. Marie’s horror at the Wendigo’s appearance turns to elation and then dismay when she realises that Georges has taken the curse upon himself, thus returning her brother to normal, out of his love for her. With the last of his humanity slipping away, Georges, now the Wendigo, retreats into the forest, leaving Marie a wreck of emotion. The Hulk, despite his rage and simple nature, comes across her and, in a moment of compassion, comforts her, the two of them briefly bound together in their tumultuous emotion.

The Summary:
“And Now…The Wolverine!” is a heavily action-packed story; the entire issue is just a long fight between the Hulk, the Wendigo, and the Wolverine and it’s pretty great, to be honest. I’ve read a few Hulk stories from the seventies and it seems like most of them revolved around the idea of the Green Goliath fleeing from human persecution, befriending or being manipulated by someone, and then lashing out in a rage at that person betraying him and a lot of that is packed into this story since the Hulk believes both “Little Man” and “Animal-Girl” have betrayed his trust. It’s a simple formula made all the more unique with the debut of the Wolverine; we learn next to nothing about this character but he makes an immediate impact because of his actions rather than his words. It’s easy to say now, with the benefit of hindsight and Wolverine’s immense popularity, but Wolverine really does may a dynamic first impression; he jumps right into a battle with the Hulk, probably the most indomitable of Marvel’s heroes, and the nigh-immortal Wendigo without hesitation and is more than capable of holding his own against the two, instantly making him a force to be reckoned with. Of course, Wolverine isn’t quite the character we know him as today; he never says “Bub” and his speech is a bit more eloquent than it would later be written, for one thing, but we do learn that he is a Mutant and that he was specially trained and crafted by the Canadian government and military to be their most savage warrior. Furthermore, while it’s not revealed that his skeleton is also coated in Adamantium and there is no mention of his heightened sense or healing factor, Wolverine is keen enough to partially sense the Hulk’s final blow to save himself from being killed.

The Hulk is much more child-like and quick to anger when he feels he’s been betrayed!

This was a common theme back in Wolverine’s earliest appearances; dialogue, thought balloons, and narration boxes often emphasised that Wolverine was in danger of serious injury or even death, which can be a little jarring since we’ve seen him completely regenerate from being reduced to a skeleton. Oh, also, if you’ve always wanted to know what Wolverine is “the best at”, the answer is right here in this story as he says: “Moving is the best thing I do!” I’ve mentioned a couple of times hits year how the Hulk was originally a far more articulate and intelligent creature rather than a mindless beast; by the seventies, it seems, the Hulk’s intelligence and vocabulary had degraded somewhat. Hulk is far more irritable at this time, with the temperament of a child; he wishes only to be left alone and is disgusted by “Puny humans” but also revels in combat, loudly proclaiming “Hulk is the strongest one there is!” at every opportunity. At the same time, though, he only fights when he is provoked or enraged and is desperately seeking a friend, usually a monster such as he, to connect with. As I alluded to, this basically never happens and every potential friend he encounters either turns against him, turns out to be a villain, or dies, leaving him in a constant state between rage and anguish. Unfortunately, there’s literally nothing for his human alter ego to do in this issue but, since the fight is the centrepiece of the story, I can’t imagine what Banner would have really been able to bring to the narrative and I like that the writers had Hulk ultimately defeat Wolverine in combat rather than the fight abruptly ending because he turned back into Banner.

The side plot exists to give us a break in the action but the main appeal is the fighting!

As for the Wendigo…well, I’ve never been a massive fan of that character. He’s a bit basic and doesn’t have much going for him besides the tragic nature of the curse; generally, he’s more animalistic and feral than even the Hulk, which is an obvious juxtaposition for the Hulk’s unadulterated rage (and, in this case, Wolverine’s primal savagery) and again it’s another of those ways of showing how truly cursed the Hulk is as at least the Wendigo curse can be passed on to another. If there’s anything that lets this issue down, though, it’s the side plot of Marie and Georges; it’s not as annoying as some side plots in other stories I’ve read but I doubt anyone is reading this issue to see Marie and Peter reunited! We’re here for Hulk vs. Wolverine and that is always going to be the more entertaining aspect of the story.

My Rating:

Rating: 4 out of 5.

Great Stuff

What are your thoughts on “And Now…The Wolverine!” and Wolverine’s impressive debut? Did you read the previous issue and, if so, were you intrigued to find out who this “Weapon X” was? What did you think to Wolverine’s depiction and characterisation here? Were you impressed that he held up so well against the Hulk and the Wendigo or was he just another one in a number of one-off characters? Do you like the Wendigo and the curse associated with the character? Which era/incarnation of the Hulk is your favourite? How are you celebrating Wolverine’s debut this month? Whatever you think about this issue, or Wolverine in general, leave a comment below and be sure to check in next Sunday for more Wolverine content!