Back Issues: The Amazing Spider-Man #15

Story Title: “Kraven the Hunter!”
Published: 12 May 1964 (cover-dated: August 1964)
Writer: Stan Lee
Artist: Steve Ditko

The Background:
After his success with the Fantastic Four, Marvel editor and head writer Stan Lee created teenage superhero Peter Parker/Spider-Man, whose debut issue became one of Marvel’s best selling publications. Spider-Man’s popularity grew to the point that he headlined other comics, including being partnered up with other, less mainstream superheroes in the pages of Marvel Team-Up, and amassed one of the most colourful and memorable rogues galleries in all of comics. Sergei Kravinoff (better known as Kraven the Hunter) was created by Spider-Man co-creators Stan Lee and Steve Ditko and made his debut in this story, though he’s perhaps best known for his epic (if temporary) death in the celebrated story arc “Kraven’s Last Hunt” (DeMatteis, et al, 1987). Kraven has long hounded the web-slinger as part of the Sinister Six and across a variety of media, featuring in videogames and the 1990’s Spider-Man cartoon. Finally, after years of stop/start efforts to make it onto the silver screen, Kraven inexplicably made his live-action debut in 2024.

The Review:
Our story begins in classic sixties Spider-Man fare, with Spidey dropping in on a bunch of crooks and breaking up their party. In a change of pace, though, Spider-Man doesn’t just beat them up with ease and grace while expositing how his super strength gives him the edge of New York City’s normal, everyday mooks. Instead, he shoots out a web to trap three of the would-be bank robbers but the fourth, who he presumes is their leader, makes a hasty exit out the window. The leader manages to give Spider-Man the slip by activating a special gas from the inside of his suit that instantly changes his appearance into a harmless old man and, when he gets back to his apartment, reveals his true identity as Dmitri Smerdyakov/The Chameleon, the man of many faces who was the very first supervillain Spider-Man ever encountered. Realising the threat Spider-Man poses, and bitter about being deported and exiled after their last encounter, the Chameleon decides to hire an “old friend”, Kraven the Hunter, to destroy the web-spinner once and for all! It turns out that Kraven has amassed a hell of a reputation as the world’s most accomplished hunter. His achievement of having trapped and defeated every type of animal with his bare hands is so impressive that even cantankerous Daily Bugle editor J. Jonah Jameson is in awe of the hunter’s prowess.

Kraven’s world-famous prowess initially sees him get the upper hand on Spider-Man.

Seeing Kraven’s arrival in the United States as a big scoop, Jameson orders his secretary, Betty Brant, and his long-suffering freelance photographer, Peter Parker, to accompany him to the pier to get an exclusive. There, Betty is unreasonably salty when Peter arrives at the same time as Liz Allen and Eugene “Flash” Thompson but Kraven’s mere presence and physical stature are enough to turn their heads and put a stop to the relationship drama. Kraven turns down Jameson’s request for an exclusive with a dismissive bark, so determined is he to “hunt the most dangerous game of all”, and then gives Peter the shock of his life when he single-handedly rounds up the ship’s animal cargo with speed, strength, and wiles so honed that all Spidey can do is watch in amazement. So fantastic is Kraven’s display of power that Spidey completely forgets to take any pictures, angering Jameson. The newspaper editor’s vexation is replaced with intrigue, however, when Kraven lets slip that he’s there to hunt Spider-Man. Peter’s so stunned by this revelation that he’s speechless when Betty gives him the cold shoulder after Liz showers him with attention, which also riles up her muscle-bound flame, Flash. After all that drama, Kraven meets with the Chameleon to read up on his prey using the research and first-hand experience he has acquired, confidentially assuring his ally that the superhuman strength and reflexes he has been afforded by a witch-doctor’s secret potion will enable him to succeed where others have failed. To allow Kraven to stalk Spider-Man more effectively, the Chameleon hires some goons to cause a ruckus, which naturally attracts Spider-Man. Kraven watches with a begrudging respect for his foe’s power, agility, and cunning, impressed with how easily he fights, evades, and subdues multiple crooks, and then catches the web-spinner by surprise by waiting for him on a nearby rooftop.

Kraven’s potion and confidence cause undue stress to the troubled teenage superhero.

Kraven rushes his quarry, explaining that he’s motivated only by the hunt and the personal triumph that defeating Spider-Man will bring him. He immediately puts his enhanced abilities and research to good use by snatching Spidey out of mid-air and tossing him to the ground. Relentless, Kraven presses his attack with a “nerve punch” that Kraven boasts can “down a full-grown charging rhino”. Spidey takes the shot on the arm, which goes completely numb, and surprises Kraven by fending him off with just one arm. In desperation, the hunter resorts to pricking Spidey with one of his special potions, a concoction designed to sap his spider-strength. Kraven then makes a tactical retreat to allow the drug to do its work and Peter returns home, woozy and suffering from tremors as a result, while Kraven astonishes the Chameleon by revelling in the thrill of the encounter and the battle yet to come. Although Peter awakens back at full strength, he’s alarmed to find his hands are still twitching uncontrollably. He desperately tries to hide his condition from his doting Aunt May, who has arranged a blind date with him the niece of their neighbour, Anna Watson, and is relieved when the twitching dies down by the time he gets to the Daily Bugle. There, his exasperation with Betty’s unprovoked jealousy is quickly replaced by astonishment when Kraven comes barging out of Jameson’s office. Although Jameson hates Spider-Man with a vengeance, he refuses to endorse Kraven’s methods since there are laws against hunting human beings. Kraven’s confidence shakes Peter so badly that his hand tremors make a dramatic and embarrassing return while he’s in Science class, much to the amusement of his peers and the annoyance of his professor, Miles Warren. Peter’s condition is so bad that he can’t aim his webs straight and he’s forced to resort to leaping from building to building as Spider-Man as he aimlessly searches for any sign of his would-be hunter.

Kraven’s cunning and prowess ultimately fail to match with Spidey’s spider-sense.

Fully aware that his prey would seek him out, Kraven arranges for the Chameleon to brazenly walk around town in disguise as the world-famous hunter and lure Spider-Man into Central Park to renew the hunt. Despite his suspicions and his blaring spider-sense, Spidey follows the fake and ends up briefly trapped beneath one of Kraven’s nets. Thankfully, exerting the full limits of his spider strength is enough to snap one of the connecting chains, but he’s so disorientated by one of the Kraven’s loudly beating a drum that he’s unable to stop the other Kraven from slapping metal braces to his right forearm and calf. Designed to “hold a hunger-mad tiger”, the manacles have a magnetic attraction so strong that it takes all Spidey’s incredible strength to keep them apart. They also jingle every time he moves to instantly alert Kraven to his presence, however. Relying on his superhuman reflexes and spider-sense, Spidey stays one step ahead of his hunter and buys enough time to spray the manacles with “liquid web fluid”, which successfully negates their properties. His uncanny sixth sense alerts him to someone hiding in the nearby bushes and Spidey is stunned to unmask the Chameleon as the fake Kraven. This victory reinvigorates the web-head, however, and he quickly turns the hunt against his foe, chasing Kraven deep into the woods using his spider signal. No matter where or how he tries to run and hide, Kraven is continually spotted by his foe and resorts to trying to sneak attack him with his nerve punch, only for Spidey’s spider sense and unmatched agility to keep him off-guard. Angered by Spider-Man’s mocking taunts and realising that he’s lost every advantage, Kraven again tries to make a tactical retreat, but this time runs head-first into one of Spider-Man’s webs. Spidey thus leaves him and the Chameleon there, beaten and humiliated, to be deported by the authorities (though, naturally, they both swear revenge). In the aftermath, Jameson is so elated by Peter’s photographs of the action that he allows Peter to have one of his secret stash of chocolate bars. However, the youngster’s relationship dramas continue to mount even after Mrs. Watson’s niece cancels their blind that as Betty gives him the brush-off and Liz goes out dancing with the hunky Flash.

The Summary:
Considering I don’t think much of Kraven and consider both him and the Chameleon to be two of Spider-Man’s bottom-tier foes, I actually enjoyed “Kraven the Hunter!” quite a bit. Steve Ditko continues to set the standard for how Spider-Man should move and fight in his comics and the action is fast and packs a hell of a punch whenever the two are trading blows or showing off their superhuman skills. I always enjoy the visual difference between Peter and Spider-Man, how being in the costume is such an exhilarating and freeing experience for the socially-inept photographer, and it was a neat twist to see him go toe-to-toe with someone not just seemingly as strong and agile as he, but also far more cunning and ruthless. As ever, Peter’s relationship and personal drama is a constant distraction from his current predicament. While I’m always glad when stories from this era don’t reduce females to babbling bimbos, Betty’s raging jealousy was a serious pain in the ass here. She gets mad at Peter simply because he arrives at the same time as Liz and Flash, assuming he “[came] with her” even though they’re not even near each other in the panel, and acting like a clingy, co-dependent brat just because Liz fixes his tie and calls him “Petey”. While it’s true that Betty probably should be worried about Liz, especially as she’s one of the few to admonish Flash for his attitude towards Peter, all she ends up doing is pushing him towards Liz, with comical results. This may very well have been the first of many hints towards Peter’s most famous love interest, Mary Jane Watson, though Peter’s actually relieved when she cancels their blind date as he already has enough troubles on his plate and isn’t optimistic about the state of Mrs. Watson’s mysterious niece.

Despite the relationship drama and the Chameleon’s presence, Kraven gets a good showing.

Although this issue features the return of the Chameleon, his presence is thankfully downplayed in favour of the far more visually and physically interesting Kraven. The two are depicted as close friends, which is a nice change as it’s not every day you see supervillains palling about so amicably. Naturally, the story goes out of its way to show that Kraven more than meets expectations. The ship’s animal cargo spontaneously getting loose is the perfect excuse to show how fast, smart, and strong he is and prove that he’s more than capable of subduing even the most dangerous of animals with his bare hands. Living for and relishing the thrill of the hunt, Kraven sees Spider-Man as the ultimate prey and goes to some lengths to get a sense of his prowess. I say “some” as Kraven only spends a few panels observing Spider-Man rather than days, which may have contributed to his downfall as he underestimated Spider-Man’s strength and tenacity and was forced to resort to one of his potions and a hasty retreat. Although Kraven’s potion causes Spider-Man some troubles, all it really does is take away his ability to shoot webs straight and in the end all Spider-Man needed to win was his extraordinary spider-sense and superhuman reflexes. Still, Kraven does match blows with Spider-Man and even briefly cripples one of his arms and is proven to be just as agile and physically strong as the web-spinner but, ultimately, he’s undone, in part, by his own hubris. This all made for a surprisingly enjoyable first appearance of Kraven the Hunter. I can’t say it’s changed my opinion of him, or his lame outfit, but it definitely made for a pretty entertaining villain-of-the month Spider-Man story.

My Rating:

Rating: 4 out of 5.

Great Stuff

What are your thoughts on Kraven’s debut? Are you a fan of the character and, if so, what are some of your favourite Kraven tales? Were you annoyed by the relationship drama in Peter’s life, or did you enjoy it as a character-building tool? What did you think to Kraven’s depiction, powers, and personality? Are you a fan of the Chameleon or, like me, do you find him disappointing? How excited were you for Kraven’s live-action debut? Feel free to leave your thoughts on Kraven below and be sure to check out my other Spider-Man content.

Back Issues [F4iday]: Fantastic Four #48-50


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.


Writer: Stan Lee – Artist: Jack Kirby

Story Title: “The Coming of Galactus!”
Published:
9 December 1965 (cover-dated March 1966)

Story Title: “If This Be Doomsday!”
Published: 11 January1966 (cover-dated April 1966)

Story Title: “The Startling Saga of the Silver Surfer!”
Published:
10 February 1966 (cover dated May 1966)

The Background:
In 1961, Stan Lee and Jack Kirby introduced readers of Marvel Comics to the dysfunctional Fantastic Four in a direct response to DC Comics’ Justice League of America. While the team’s creation has been contested by both, Lee and Kirby popularised the “Marvel Method” of writer/artist collaboration and brought comic fans real and relatable characters who introduced pivotal Marvel staples in the following years. Perhaps none are more crucial than the cosmic devourer of worlds himself Galactus. Created by Lee and Kirby and debuting in this trilogy of issues, the entity once known as Galan had Biblical connotations and was specifically designed to challenge pre-conceived notions of “good” and “evil”. Many subsequent stories have characterised Galactus as a force of nature, if not the universe, as inevitable and necessary as life and death. A complex being who spreads genocidal destruction to satiate his never-ending hunger, Galactus is typically served by equally mighty “heralds”, most notably Norrin Radd/The Silver Surfer, and either at the forefront or lurking in the background of Marvel’s cosmic crossover events. Galactus has brought to life in Marvel’s various animated ventures, often appears in Marvel videogames, and was notoriously represented as an indistinct swirling cloud in Fantastic Four: Rise of the Silver Surfer (Story, 2007) before finally being brought to life in live-action in the Marvel Cinematic Universe in 2025.

The Review:
The Fantastic Four’s greatest threat begins with them still struggling against Marvel’s newest batch of bizarre costumed superhumans, the Inhumans. Specifically, Maximus Boltagon/Maximums the Magnificent (or, more accurately, Maximus the Mad) has set off the dreaded “Atmo Gun”. While this has no effect on his Inhuman brethren, it’s caused deadly planet-wide vibrations that threaten all human life. While even the hyper-intelligent Doctor Reed Richards/Mister Fantastic cannot fathom the cause of such an event, Blackagar Boltagon/Black Bolt, leader and monarch of the Inhumans, immediately confronts his insane brother, a creature so vile and spiteful that he’d happily destroy every human just so the Inhumans could walk the Earth uncontested. For his mad schemes, Maximus earns a swift backhand from the dangerously mute Black Bolt and is both astonished to find the Fantastic Four still alive and dismayed when his brother easily disables the Atmo Gun’s effects. Regardless of the pleas of the beautiful, red-headed Inhuman Medusalith Amaquelin/Medusa, who’s pledged her life, heart, and loyalty to Black Bolt, Maximus refuses to accept any similarities between the two races. Stubborn to the end, he throws off the Inhumans restraining him and lunges for the Atmo Gun once, more, maliciously reversing its effects before anyone can stop him. The result is the entire Inhuman sanctuary, Attilan, being encased within an impenetrable “Negative Zone”. Thinking fast, the Fantastic Four race to safety and escape before they are also trapped inside, leaving Johnny Storm/The Human Torch heartbroken at being separated from Crystal Amaquelin, Medusa’s pretty little sister who Johnny immediately fell for and who unwittingly brought the two groups together in the first place. Johnny reacts with anger, desperate to burn his way back into Attilan and pleading with Reed to find some way to be reunited with Crystal. However, Johnny’s left to despondently realise that there’s no hope and, sympathetic to his plight, Ben Grimm/The Thing secretly vows that none of them will ever give up hope that the two can see other someday.

Johnny’s anguish at being separated from crystal is supplanted by Galactus’ dreaded arrival.

With the Inhuman saga wrapped up for now, the story then switches to the vast depths of the cosmos where we’re introduced to the enigmatic Silver Surfer for the first time. Deftly dodging a meteor shower as he rides through the void, the Silver Surfer catches the watchful eyes of the Skrulls, who react with panic at detecting his presence, knowing that where the Silver Surfer rides, mighty Galactus is sure to follow. Using their incredible technology, the Skrulls “[black] out” their solar system, apparently causing the dreaded Silver Surfer to pass by. Thus, the Silver Surfer rockets to our solar system, spotting a lush and fertile planet that will satisfy his master’s needs. Meanwhile, while returning from Attilan, the Fantastic Four are stunned to see a second Sun appear in the sky and then flames seemingly engulf the atmosphere. When the Human Torch investigates, the predictably fickle and understandably panicked New Yorkers blame him for the phenomenon and attack. Thankfully, Reed, Ben, and Susan Storm/The Invisible Girl arrive on a suitably Kirby-esque sky cycle and the Thing quickly quells the enraged mob, and Reed ushers them back to his lab to investigate further. A time jump apparently occurs between panels as Reed is suddenly sporting some five o’clock shadow and working himself into a stress, snapping at Sue for interrupting him and, predictably, upsetting her since he’s too busy trying to figure out what’s going on to pay attention to his wife. More concerned for her husband’s wellbeing than the mysterious rocks that’ve now appeared in the sky and determined to not be shut out, Sue forces her way into his lab and is stunned to find Uatu the Watcher has been causing the strange events using his “Matter Mobilizer”. Though normally unable or unwilling to interfere in human history, Uatu has tried to shield the Earth from the Silver Surfer, knowing that catastrophe that will come if he arrives. Unfortunately, the Watcher was unsuccessful; the Silver Surfer arrives, easily evades the Human Torch, and signals for Galactus.

Even the Fantastic Four are powerless to oppose Galactus, who seeks to devour the Earth.

Although the Thing gives the gleaming alien a good clobberin’, the Silver Surfer simply uses the attack as a good excuse to depart and prepare for his master’s arrival, which comes moments later courtesy of an oddly surreal, photorealistic depiction of the being’s incredible technology. A gigantic ship then lands and from it steps forth not the purple/blue, armour clad devourer you may recognise by a massive titan decked out in green and red with a big, stupid “G” on his chest. This colour issue is corrected in the next issue (and can be explained by the Watcher’s statement that “[Galactus] is what he wishes to be!”), in which the giant ignores the Fantastic Four as though they were less than gnats and argues morals with the defiant Watcher. Galactus immediately reveals himself to be a creature of surprising depth by expressing his displeasure at having to harm living creatures, though he’s no less determined to destroy the Earth to sustain his vast energy and quell his never-ending hunger. Displeased by the Thing’s insolent tone, Galactus refuses to find a suitable dead world and, when the enraged Thing dares to strike him, gasses the stony superhero like an insect. Despite the Watcher’s warnings, the Human Torch tries his luck, only to be blasted by Galactus’ eye beams and have his flame doused by soot and ash. Humbled, the Fantastic Four regroup within the Baxter Building, bickering with each other as they lick their wounds, completely unaware that the unconscious Silver Surfer has collapsed into blind sculptor Alcia Marsters’ apartment. Ben’s caring, concerned love immediately tends to the stranger and reveals himself to be a melancholy creature, one baffled by Earth customs and seemingly resigned to sweeping such lives away in service of his demanding master. Galactus sets to work achieving this by constructing an elaborate machine – the “Elemental Converter” – around the Baxter Building, one that will siphon Earth’s very elements into his being as a source of sustenance. The Fantastic Four are horrified when the Watcher shows the destructive impact this weapon will have, reducing the Earth first to a lifeless husk and the shattering the remains before Galactus searches for another world to repeat the process.

It’s only when the Silver Surfer is convinced to help that the battle turns in Earth’s favour.

Alicia is similarly horrified to learn this from the impassive Silver Surfer. She lashes out at him with an emotional outburst, emphasising the strength of the human heart and questioning his aloof servitude. For a moment, the Silver Surfer falters, admiring her courage and feeling the first stirrings of an emotion, one he soon identifies as pity as he sees the panicked masses react to Galactus. The titan is enraged, however, when the Thing delays his plan by trashing a vital part of the Elemental Converter. Angered and insulted when Mr. Fantastic dares to strike him, Galactus summons the Punisher (no, not that one), a strange, frog-like android, to deal with the impudent mortals while he repairs the damage. Though Johnny is eager to help his family in the fight, he’s held back by the Watcher, who has a plan to stop Galactus that requires Johnny’s abilities. Trusting the stoic overseer, Johnny is teleported across space and time to Galactus’ massive, mechanical space station at “the center of infinity”. While the pig-headed Thing tests his mettle against the Punisher’s raw power, Sue keeps the creature at bay with her forcefield long enough for Galactus to tire of the conflict and withdraw his pet. Meanwhile, the Silver Surfer is aghast at the suggestion that he use his great Power Cosmic to defy his master; yet he cannot deny that Alicia’s belief in his quiet nobility has some merit. Thus, having found a world worthy of his protection, the Silver Surfer pleads with Galactus to spare the human race. However, mighty Galactus is unimpressed by his newfound compassion, forcing the Silver Surfer to turn his powers against his master. Amazed by his herald’s betrayal, Galactus is trapped within a vortex and encased within a cocoon, for the Silver Surfer wishes only that they leave the Earth rather than to harm his master. Unfortunately, Galactus is not so easily caged and quickly breaks free, enraged and easily deflecting his herald’s attacks, bombarding him with flaming meteors and offering to spare him harm if he but reaffirm his allegiance.

Galactus begrudgingly leaves to avoid his destruction. but not without punishing his herald.

Powerless to aid their new ally, the Fantastic Four place their faith in the Watcher, a faith rewarded when the Human Torch arrives back on the Earthly plane, briefly overwhelmed by the cosmic wonders he’s seen, and hands Reed a mysterious device he acquired from Galactus’ space station. The Watcher immediately advises caution lest Reed foolishly annihilate the entire solar system trying to explore the machine, which Galactus identifies as the “Ultimate Nullifier”. The Silver Surfer fights valiantly, despite his blasts having no effect on Galactus, who effortlessly conjures giant icicles and threatening to turn his wrath against the humans. Tired of the conflict, Galactus prepares to destroy his once loyal herald, only to react with shock when Reed threatens him with the Ultimate Nullifier. Astonished to see a mere human wielding a weapon so powerful that it could destroy the entire universe, Galactus demands that Reed relinquish the weapon and then chastises the Watcher, stunned that he would “[give] a match to a child who lives in a tinderbox!” However, the Watcher simply affirms that humanity has the right to defend themselves and emphasises their great courage. Weary of the battle and in need of sustenance, Galactus agrees to spare the Earth in return for the weapon. Reed hands it over peacefully as the Watcher swears Galactus to stay true to his word, however the world devourer makes sure to punish his herald before departing. With a blast of his eye beams, Galactus removes the Silver Surfer’s ability to roam the galaxies and banishes him to the planet he defended so bravely. And, with that, Galactus disappears in a brilliant flash of light, leaving the Fantastic Four relieved and amazed. In the aftermath, Ben is distraught by how captivated Alicia seems by the eloquent Silver Surfer and falls into a depression. The Silver Surfer departs to explore his new world, Reed continues to anger Sue by focusing on his work, and Johnny heads off to college, meeting the annoying Wyatt Wingfoot for the first time and still pining for Crystal.

The Summary:
The “Galactus Trilogy” is unquestionably one of the most important story arcs not just for the Fantastic Four, but for Marvel Comics in general. It wraps up the initial Inhumans arc, trapping them in Attilan for a spell and adding some significant character growth for Johnny, who spends his days pining over his lost love. While I question how he can be so attached to Crystal despite barely knowing her, it’s a humbling experience for the outspoken Human Torch, who reacts with equal parts and anger and despair, and this informs his defiance of Galactus. Indeed, he shows an unprecedented emotional maturity when he willing goes along with the Watcher’s plan to steal the Ultimate Nullifier, despite being transported to a part of the universe so unknowable and strange that it briefly warps his mind. His characterisation is more akin to the Thing’s at times, since Ben is so often decrying his monstrous appearance and feeling like an outcast. This isn’t a factor until the final parts of the story, where he feels incomparable to the articulate and mysterious Silver Surfer. His reaction, however, comes from his own insecurities and the commonplace reaction to his appearance rather than being reflective of Alicia’s true feelings. Though she finds the Silver Surfer alluring and wishes to foster his emotions and humanity, Alicia breaks a common cycle in comics from this time by not instantly falling in love with the mysterious stranger and is instead more focused on encouraging him to turn on his master and spare the planet. Relationships are a focal part of this arc, as is often the case with the Fantastic Four. As ever, Sue is constantly, selfishly slighted by Reed pouring more of his time into his research than her, a characterisation I normally can’t stand but I enjoyed the wrinkle that Sue is concerned for his welfare rather than simply being upset at being ignored. Though Reed works tirelessly to understand what’s happening, he’s as astonished and powerless as the others against Galactus’ threat. While Ben and Johnny are happy to attack without thinking, Reed holds back and tries to think up a more viable plan, only to end up relying on the Watcher to provide a solution to their unbeatable foe.

The mysterious, enigmatic Silver Surfer is convinced to defy his all-powerful master.

Before I talk about Galactus, let’s discuss the Silver Surfer a bit. An impassive and stoic individual, we learn nothing of the Silver Surfer’s origins here. Indeed, he doesn’t even speak until partway through the second part, though his mere presence is enough to terrify even the mighty Skrull empire. The Silver Surfer’s powers are vast and unquantifiable; slicing through the skies and the cosmos on his signature board, his very appearance summons a being beyond human understanding and, once Galactus arrives, the Silver Surfer simply lets nature take its course. Unlike their previous exploits, the Silver Surfer makes an emotional connection with Alicia. Though confused by human customs such as eating and emotions, Alicia’s mere presence stirs feelings in him long forgotten and, having heard her pleas and seen the panic in the streets, the Silver Surfer comes to admire the human heart and spirit. Thus, he does the unthinkable and turns his powers against his master. These powers are, of course, vaguely defined; he has no need for air or sustenance and simply converts matter into energy to sustain himself, but it’s enough to stun and even briefly imprison his titanic master. Despite Galactus regarding humans, and even the Fantastic Four, as mere annoyances and little more than insects, he’s aghast when his herald turns on him. Indeed, Galactus goes to great lengths to avoid injuring or killing the Silver Surfer during his attack, showing that he does care for and value his herald, but even Galactus’ patience has its limits. Thus, though Galactus admires his herald’s passion, he spitefully banishes him to Earth to teach him a lesson, proving that Galactus triumphs even in defeat. Of course, the star of the show here is Galactus himself, a being so powerful and terrifying that the Skrulls choose to hide themselves rather than risk his attention and the Watcher, a cosmic being sworn never to interfere in human lives, breaks his sacred vows to defend the Earth. Bizarre colourations and stupefying “G” emblem aside, Galactus is an awe-inspiring being, a creature said to be capable of altering his appearance at will and who travels the space ways in a spherical craft around the size of our Moon.

Galactus is a terrifying, complex cosmic being who defies general conventions.

Galactus is an imposing presence, one so vast that he barely acknowledges the presence of humans, even ones as awesome as the Fantastic Four. He sees them as peons, meaningless lives beneath his stature, and refuses to listen to their pleas, much less those of the Watcher. While he and the Watcher don’t come to blows, Uatu does provide the Fantastic Four with the means to deter Galactus, showing that even a being as mighty as he fears utter annihilation. In fact, Galactus shows a lot of depth, far more than you might expect from a cosmic, world-devouring being. He doesn’t relish or enjoy snuffling out billions of lives and has no interest in conflict, shrugging or swatting away attacks or unleashing his cybernetic lapdog on the Fantastic Four when they interfere with his Elemental Converter. Though the Punisher probably could’ve broken through Sue’s forcefield (her strength was already weakening during its attack), Galactus calls it off. Similarly, he tires of the debate and conflict at the end and simply acquiesces. However, he does this on the condition that Reed hand over the Ultimate Nullifier, a small weapon powerful enough to lay waste to the entire universe. Faced with the very real possibility of his destruction and weary from hunger and moral debates, Galactus leaves, promising never to return. While the public naturally debate whether the whole thing was some elaborate hoax, Galactus fundamentally changes the nature of the Marvel Universe, not least because he remains a viable threat but also because the Silver Surfer ends up trapped on Earth. Thus, Marvel’s characters and readers were introduced to two of the most powerful and important beings in this colourful universe. The story is essentially a humbling experience for the Fantastic Four, who are powerless to intervene without the Watcher’s aid, and a debate on the morality of the fickle and dangerous human race. The conflict between the heroes and Galactus is enjoyably one-sided and devolves into a Mexican standoff, with Reed having to bluff his way to a temporary victory, and Galactus is presented as a strangely compelling, morally dubious force of nature, making him a fresh (if ungainly designed) take on the standard depiction of a villain.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to the first appearance of Galactus and the Silver Surfer? Were you impressed by his stature and complex characterisation? What did you think to the Silver Surfer’s change of heart and the battle between him and Galactus? Were you surprised at how powerless the Fantastic Four were against Galactus? Can you name some of your favourite Galactus stories and moments? Whatever you think about Galactus or the Fantastic Four, go ahead and leave a comment below and check out my other Fantastic Four content.

Back Issues [Asterix Anniversary]: Asterix the Gaul


Asterix the Gaul (and his best friend Obelix) first debuted on 29 October 1959 as a serial in the French/Belgium magazine Pilote. Since then, the plucky Gauls have gone on to have many adventures in comic books, videogames, and feature-length productions and Asterix himself has become a popular and enduring character in his native France and around the world as Asterix’s stories have been translated into over a hundred languages across the world.


Story Title: “Asterix the Gaul” (French: “Astérix le Gaulois”)
Published: 29 October 1959 to 14 July 1960
Writer: René Goscinny
Artist: Albert Uderzo

The Background: 
After years of struggling to find work as a comic strip writer, René Goscinny met reluctant artist Albert Uderzo while working for the World Press agency in 1951. The two worked on many projects over the next ten years before they created an instant hit in the pages of Franco-Belgian comics magazine Pilote with Asterix, a plucky Gaulish warrior who battled invading Roman forces alongside his wacky friends. The idea came about through a brainstorming session between the two. Inspired by the mostly overlooked Gaulish period in French history, the two were enthused at the potential and relished infusing the stories with as many puns as they could. After being serialised in Pilote, Asterix’s first adventure was released in a single volume, the first of an annual series, until 1997 when Goscinny tragically died. Although he continued solo for a while, Uderzo eventually signed the rights over to a new generation of creators so that Asterix’s stories could continue. Since then, Asterix has become an incredibly popular character all over the world, selling nearly 400 million books, and has been adapted into videogames, toys, and both live-action and animated features (the first of which was, fittingly, an adaptation of this very story). 

The Review:
If you’ve ever read an Asterix book or watched one of the movies (or even played one of the games), you’ll know there’s always a little introduction piece that sets the scene for the story and the world of these books. Asterix the Gaul is, naturally, the first instance of that and expands upon this paragraph of text in its first few panels. The year is 50 B.C. and ancient France (known as “Gaul”) has been conquered by the Romans. In the face of such overwhelming military might, Gaulish chiefs like the legendary Vercingetorix (literally) lay their arms at the feet of the power-hungry Julius Caesar and “peace” reigns throughout conquered Gaul. However, while the Romans have laid claim to the entirety of ancient France, one small village of indomitable Gauls refuses to surrender. Baffled by the Gaul’s stubborn nature, Caesar sets up four Roman camps (Aquarium, Totorum, Laudanium, and Compendium) to surround the village and orders repeated attacks, only for his troops to be bested time and again by brave warriors such as our titular hero, Asterix, and his hulking friend, Obelix. Over a dinner of piping hot roast boar, Asterix laughs off the Roman threat, which he and his fellows constantly repel thanks to the magic potion brewed by their druid, the venerable Getafix. As luck would have it, Asterix is due his daily dose of the potion so he and Obelix pay Getafix a visit. Getafix cooks up a batch of the magic potion, whose recipe is a closely guarded secret amongst his kind and one sip of which bestows incredible superhuman strength, but only for a short time. Since he fell into a cauldron of potion as a baby and drank the entire batch, Obelix is permanently empowered and is denied any potion out of fear for his safety, though he believes the druid is treating him unfairly.

Crismus Bonus sends Caligula Minus in to discover the Gauls’ secret.

At Compendium, the camp centurion, Crismus Bonus, is enraged that four of his soldiers could be so easily bested by one measly Gaul and vows to discover the secret of their superhuman strength. However, the Gauls strength is so feared that volunteers to infiltrate their village are scarce. Thus, Crismus orders his troops to play musical chairs to decide on a volunteer, and poor Caligula Minus loses out. Since his only options are to act as a spy or be roasted alive, Caligula reluctantly agrees to be disguised as a Gaul, much to the amusement of his peers, and paraded through the forest as bait for the Gauls. Luckily, Asterix and Obelix just so happen to be strolling through the forest looking for a fight. They don’t suspect a thing and make short work of Caligula’s “captors”, rescuing him and bringing him back to their village to keep him safe, where he gives his name as “Caliguliminix”. Caligula is astounded by the Gaul’s village, where everyone (even the children) is armed and ready to fend off Roman attacks. He’s welcomed by the village chief, Vitalstatistix, and amazed to see that the Gauls use their bare hands to temper metal, deliver menhirs, and lug around giant carts full of felled trees. While eating with Asterix and Obelix, Caligula enquires about the secret to their strength and produces crocodile tears when Asterix initially refuses to share their secret. Deciding to help their fellow “Gaul”, the duo take him to Getafix, who’s equally convinced to help when Asterix and Obelix guilt-trip him into it to get Caliguliminix back “home” to his “family”.

Asterix arrives to rescue Getafix but decides to stick around and have some fun with the Romans.

Though initially uncertain of the potion’s effect, Caligula revels in his ability to manhandle a giant boulder, but learns the hard way that the potion only makes one super strong, not invulnerable. His cover is quickly blown when his fake moustache is pulled off during a traditional Gaulish dance and he blasts back to Compendium at super speed before the Gauls can stop him. Back at Compendium, Caligula excitedly reveals the secret to Crismus and demonstrates the potion’s power, first by beating up a bunch of soldiers and then holding a large boulder over his head. Despite the Gauls stating that the potion’s effects are only temporary, it takes “several hours” before Caligula returns to normal. As the soldiers take their revenge for their earlier beating, Crismus dreams of stealing the potion for himself to usurp Caesar and orders his troops to kidnap Getafix when he goes into the woods for ingredients. When Getafix refuses to divulge his secret, Crismus straps him to a table and subjects him to the horrific torture of…having his feet tickled by a feather! Yet, the druid holds his resolve, even when Crismus tries to bribe him with “Sestertii”, the currency of the era. Concerned about Getafix’s welfare, Asterix searches the forest and comes across an ox dealer with a quandary: if he sells his oxen, he won’t be able to pull his cart. He’s so grateful to Asterix for providing him with a solution (selling his cart and keeping the oxen) that he gladly gives the Gaul a lift to Compendium after revealing he saw a druid being taken there in chains. After sneaking through the camp, Asterix first overhears Crismus’ plan to overthrow Caeser with the aid of his number two, Marcus Giantonicus (though the two secretly plan to betray each other), and then discovers Getafix. Rather than rescue the druid, though, Asterix decides to have some fun with the Romans and promptly surrenders to them, winding up in chains alongside his friend.

The Gauls make fools of the Romans and are set free by Caesar’s grace.

When Asterix refuses to speak, Crismus brings in his overly enthusiastic torturer and prepares to loosen Getafix’s tongue by having him witness his friend’s suffering. However, when Asterix comically pleads for mercy at the torturer’s merest touch, Getafix finally caves and requests to go into the forest for ingredients. After making fools of his escort, Getafix insists that he needs strawberries to complete the potion. Despite them being out of season, Crismus orders his troops to go find some and, days later, one soldier returns with a tiny (and expensive) punnet…only for Asterix and Getafix to scoff the lot and demand more! Driven to tears by frustration and rage, Crismus is ecstatic when Getafix whips up the potion regardless and forces the ox dealer to try it in case it’s poisonous. Since the Romans are reluctant to take another bashing, Asterix volunteers to test the man’s newfound strength and summarily drops to the ground as though the “sky had fallen on [his] head”. The ox dealer leaves, dreaming of profiting from his great strength, and Crismus and his troops greedily devour the potion, convinced of its potency, only to find it’s caused the hair of their heads and faces to grow uncontrollably! The duo tease Crismus with their lackadaisical attitude and hair-related puns, but promise to make an antidote. After another amusing trip to the forest, Getafix makes a big cauldron to cure the hair problem and a small pot of real magic potion for Asterix. Once they’ve had their antidote, Crismus orders his troops to attack, only for Marcus to summarily manhandled. Although the Gauls find themselves surrounded when they leave the camp and Crismus delights in his pending victory, they’re all stunned when Julius Caesar himself shows up for an update. After learning of Crismus’ ambitions, Caesar banishes him to out Mongolia and allows the Gauls to go free, though both promise to continue their vendetta.

The Summary:
As big a fan of Asterix as I am, I have to say that I’ve never been a big fan of this book, or the character’s early tales. The artwork is a little off; it’s less cartoony and more “sketchy” than in later stories, and the characters aren’t quite themselves yet. The most obvious example is Obelix, who’s less of a simple-minded, brutish oaf and more a morose bystander who doesn’t get much of anything to do here. The same is true for all the villagers who aren’t Asterix and Getafix; the only other one who stands out is Cacofonix, whose musical arts aren’t appreciated (unless they want to dance and then they’re all for it). I don’t say this to knock Asterix the Gaul; it’s the first story so obviously I don’t expect every character to be fully fleshed out and it’s true most of them become one-note caricatures as the books continue on, it’s just a little jarring when compared to later stories. Still, much of the patented Asterix humour is here; that means puns aplenty, especially in the characters’ names, and some fun fisticuffs. However, there’s a lot of padding here: the characters visit Getafix and pop into the forest more times than the story needs, repeating a lot of the same gags (like Getafix pricking himself on his sickle) and demonstrating the potion’s abilities in scenes that not only read the same, but look the same, too. It is essential, of course, for showcasing the effects of the magic potion to the Romans and the reader, but I do wonder if a bit of visual variety wouldn’t have worked better than seeing characters lift rocks over their heads all the time (though I do admit that the payoff – “I’ve done it! I’m a superman!” – always makes me giggle).

Though not infallible, Asterix is presented as a capable and shrewd warrior.

Much of the story is focused, fittingly, around establishing Asterix as a character. Not only is he a capable fighter, but he’s shown to be cunning, mischievous, and intelligent, too. He could’ve easily rescued Getafix and stormed out of Compendium, but he chose to stick around and have some fun with the bungling Romans, making fools out of them with needless tasks, mockery, and Getafix’s hair growth potion. He’s shown to be shrewd enough to sneak into the camp and adaptable enough to tattle on Crismus to Caesar, thereby ensuring his and Getafix’s safe return to the village and the first of many feasts. However, he’s not perfect; he’s as fooled as anyone else by Caligula’s Gaulish disguise and decides to help his fellow “Gaul” despite the village keeping their potion a closely guarded secret. While this doesn’t really result in any immediate consequences for the village beyond the Romans discovering the source of their strength is a potion and thus targeting Getafix, it does show that even the insightful Asterix makes mistakes, which the druid calls him out on. While I much prefer these stories to have a bit more Roman bashing, there’s some fun to be had in Asterix the Gaul. I liked the wild strawberry chase Asterix sends them on and him and Getafix messing with Crismus, and the book nicely lays the foundation for what would become long-running gags for the next seventy-odd years and, while I prefer other Asterix stories, this is still a highly recommended read.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to Asterix’s first story? Did you like the less cartoony art style of his earlier adventures? Were you disappointed that Obelix and the others didn’t have more to do or did you like the way the story established Asterix’s character traits? Which of the puns was your favourite? How are you celebrating Asterix today and what are your favourite books or moments of his? Whatever your thoughts on Asterix, please leave a comment below  and go check out my other Asterix content!

Back Issues [Brightest Month]: Green Lantern Co-Starring Green Arrow #87


Although February 2014 was dubbed “Green Lantern Day” (because, by the American calendar, the date read as “2814”, the sector of space assigned to Earth in DC Comics), the significance of this date has passed as the years have changed. Instead, as perhaps the most popular iteration of the character, Hal Jordan, first appeared in October of 1959, I’ve been dedicating every Sunday of October to the Green Lantern Corps!


Story Title: “Beware My Power!”
Published: January 1972
Writer: Dennis O’Neil
Artist: Neal Adams

The Background:
Initially presented as magically empowered railroad engineer Alan Scott, Martin Nodell and Bill Finger’s colourful Green Lantern was significantly reinvented by writer John Broome and artist Gil Kane in 1959, becoming a more science-fiction-oriented superhero. Almost ten years later, Groome and Kane planted the seeds for a diverse peacekeeping force, a Green Lantern Corps, with the introduction of Guy Gardner, a volatile individual who acted as a backup to Harold “Hal” Jordan, popularly known as the greatest Green Lantern of all time. Arguably, however, many fans are more familiar with military-minded John Stewart as Earth’s go-to Green Lantern, particularly after his inclusion in the popular Justice League cartoons (2001 to 2004; 2004 to 2006). Created by Neal Adams, who favoured shelving Guy Gardner for an African-American Green Lantern, John was originally depicted as a belligerent architect whose methods and sensibilities clashed widely with Hal’s, and famously refused to hide his identity. John was later retconned to be a former United States Marine, a change that would come to define his character, and became burdened by guilt after accidentally committing genocide. In addition to serving on the Justice League, John became the first mortal Guardian of the Universe, was one of the rare male members of the Star Sapphires, and has prominently featured in DC adaptations, appearing as a skin for Green Lantern in multiple videogames and very nearly making it to live-action on more than one occasion.

The Review:
Things get off to a dramatic start here as an earthquake rocks Southern California just as Hal Jordan is charging up his ring. Although the tremors are brief and have cause only minor damage, Green Lantern swoops over the city to help out where he can, do-gooder that he is. And he’s not the only one; outside the city, the quake has wrecked a bridge and sees little Suzie teetering over a fatal drop. Luckily, Guy Gardner is on hand to help talk her down, but the poor girl’s so terrified that she’s rooted to the spot. With the remains of the bridge unstable and a plummet into the canyon awaiting them both, Guy makes a desperate run for the girl just as Green Lantern arrives to help. Hal shows up just in time to see Guy get smashed by a bus(!) as the section collapses, rescuing them both from the fall but grieved to see that Guy was critically injured from the impact. When doctors at a local hospital inform Green Lantern that Guy should fully recover in six months’ time, Hal is left dejected. Since Guy has been pegged as his successor, Hal has been relying on him taking over if his personal issues become too overwhelming. Luckily, one of the enigmatic and all-power Guardians of the Universe senses Hal’s anxiety and, aware of the situation, suggests that a new substitute be picked in case the worst should happen. Hal agrees and the Guardian takes him to meet his new replacement in the last place Hal expected to go: an urban ghetto. 

When Guy is injured, Hal begins training socially-minded John to be his backup.

There, we’re introduced to John Stewart in a way that perfectly encapsulates his alternative sensibilities. When a police officer threatens two Black youths with disciplinary action for playing dominoes on the pavement, John intervenes, questioning his authority and calling the cop out on his obvious racism. Hal, however, is unimpressed (though not, as the Guardian suggests, because he’s equally prejudiced) by John’s apparent ego. Though he disagrees with the choice, Hal agrees to approach John as Green Lantern and offer him the position as his backup and John, who’s struggled to find work as an architect because of his race, readily agrees to the opportunity to shake off his reputation as a “square” as a superhero, jokingly suggesting he change his name to “Black Lantern”. Thus, Green Lantern (who doesn’t reveal his true identity to John) begins teaching John about the powers and limitations of the power battery and the ring. Hal teaches John the Green Lantern oath (which he finds “corny”), reminds him to charge his ring every twenty-four hours, and temporarily empowers John with his own Green Lantern uniform so they can begin field training, John, however, refuses to hide his identity behind a mask. He also takes to his training like a natural, mastering the ring easier than avoiding muggers and bigots, and is quickly given the chance to put his skills to the test when they spot an out of control fuel tanker heading towards a crowd at the airport. Although they succeed, Hal is enraged when John purposely causes Senator Jeremiah Clutcher to receive a face full of oil, giving John the chance to insult him with a racist quip. John, however, justifies his actions since Clutcher is a known racist who openly oppresses John’s people in his bid to become President of the United States. 

Despite their clash of personalities, John earns Hal’s resect for his deductive reasoning.

Hal chastises John and, to teach him a lesson, orders him to guard Clutcher from reprisals; he also objects to being called “Whitey”, especially considering John’s so pent-up about racism. Later, Clutcher makes an impassioned speech to his supporters, openly mocking “The Darkies” and accusing them of being of lesser intelligence, which only further raises John’s ire. Although Hal doesn’t approve of Clutcher’s insensitive attitudes, he’s so strait-laced that he believes the senator has the God-given right to free speech, meaning he leaps into action when a Black man suddenly shoots at Clutcher during his tirade while John refuses to get involved. Hal quickly tackles the gunmen, noting that the assassin never tried to put up a fight, while John subdues a White gunman outside the stadium. Hal reprimands John for his prejudice, accusing him of bringing disgrace to his uniform, but John simply shrugs him off and teaches Hal a lesson of his own: he spotted both gunmen at the airport and was suspicious to note that one was shooting and the other was missing. Hal’s stunned to learn that the Black man’s gun was filled with blanks as part of an elaborate frame. The Black man was a patsy, setup to make it look like the “Blacks are on a rampage” and winning Clutcher the Presidency at the cost of an all-out civil war. Hal condemns the senator’s actions and is impressed by John’s deductive reasoning. Hal still has apprehensions about John’s methods and style, but the content architect simply brushes it off and the two seem to finish the story with a mutual respect for each other. 

The Summary:
First and foremost, I have to praise the stunning artwork of the late, great Neal Adams. Adams first came to my attention when I read Batman annuals as a kid and I’ve always loved his bold, kinetic, square-jawed depictions of DC’s superheroes. He brings Hal and John to life in such a dynamic way, depicting them as lean, muscular heroes and giving a fluidity to their actions, and it’s always a joy to see his art on the page. Sadly, the scans I’m reading don’t do the art justice. The colours are muted, messy, and robbed of their “pop”, though this does give “Beware My Power” a bit of a dark edge to it that is reflected in the nature of the plot. Next, I have to comment on Guy Gardner. While he tries to help a girl endangered by the earthquake, he’s unceremoniously taken out when a bus smashes into him, leaving him bedridden like a chump. This element was so random, so unnecessarily over the top, that it may as well have killed Guy (and, realistically, should’ve) since it was a pretty extreme and unintentionally hilarious way to put him on the shelf. It was also weird that Hal’s concern was less for Guy’s welfare and more for his own. His entire concern is on what will happen to him and the Green Lantern mantle if he’s unable to perform his duties and less on how the injuries will impact Guy’s future. It’s pretty selfish, if I’m honest, and does as little to endear me towards the “greatest Green Lantern” as his unwavering commitment to the concepts such as authority and free speech. 

With his outspoken nature and unique appearance, John makes a great first impression.

This means he naturally clashes with John Stewart. While John admittedly has a chip on his shoulder and is overly suspicious of authority figures, he has every right to be since he’s an out of work Black man struggling to make a living in the ghetto and facing unfair persecution wherever he goes simply for the colour of his skin. His attitude might be confrontational, and he might ruffle Hal’s feathers with his cavalier nature, but John’s entirely justified since the story depicts a cop persecuting young Blacks for no justifiable reason and then paints Senator Clutcher as such an exaggerated racist bastard that it’s almost comical. Of course, this is probably truer to reality at the time than we realise. The segregation and public dismissal of Blacks was commonplace and African-Americans had every right to take issue with it. Unlike many of them, John is given the power to affect real change when he agrees to become Hal’s backup Green Lantern. He easily masters the ring (potentially because of his creativity as an architect but also because of the strong sense of injustice he feels) and immediately clashes with Hal in his approach towards using his power. While Hal obviously doesn’t agree with racism, he’s a stickler for the rules and believes everyone should have basic human rights, even dirty scum like Clutcher, so he constantly reprimands John, who frankly doesn’t give a shit about Hal’s opinion. Being a product of the 1970s, the story naturally infuses John’s dialect with a bit too cliché “Jive talk” for my tastes, but it instantly gives him more personality than Guy; as does his refusal to wear a mask, his confrontational behaviour, and his unique look. Consequently, I’d definitely say John makes a better first impression than Guy, Hal, or even Alan. While they were all quite bland and cookie cutter in the debuts, John is bold and outspoken.  He might be a bit of a hypocrite at times (he exhibits the same prejudices towards Whites as he receives from them) and in need of some seasoning, but his introduction was the shake-up the book needed at the time and I’d go as far as to say that both Guy and Hal should’ve been taken out by that bus so the Guardian could’ve empowered John to take over the comic! 

My Rating:

Rating: 3 out of 5.

Pretty Good

Did you enjoy John Stewart’s debut story? What did you think to his characterisation and the personality clash between him and Hal? Were you as unimpressed by Guy’s accident as I was? What did you think to the racism angle threaded throughout this story? Do you think John was justified in his actions or do you think he needed tempering a little to approach things more diplomatically? Where does John rank in the Green Lantern hierarchy for you and what are some of your favourite stories and moments of his? How are you celebrating Green Lantern this month? I’d love to hear your thoughts on John Stewart so leave them below, and go check out my other Green Lantern content across the site! 

Back Issues: Spawn #1-4

Story Title: “Questions” (Part One to Four)
Published: May 1992 to September 1992
Writer / Artist: Todd McFarlane

The Background:
Born in Calgary, Alberta, Canada, artist and comic creator Todd McFarlane started drawing at an early age and cut his teeth in the comic book industry working on Coyote before getting his big break illustrating Batman: Year Two (Barr, et al, 1987). After jumping to Marvel Comics and working on The Incredible Hulk, McFarlane made a name for himself for his dynamic and kinetic work on The Amazing Spider-Man. Bringing new life to Spidey through his art and his hand in creating popular anti-hero Eddie Brock/Venom, McFarlane eventually became dissatisfied with his lack of creative control over stories and, alongside other Marvel creatives, quit the company and formed their own independent comic book publisher, Image Comics. To spearhead this new venture, McFarlane revisited an old sketch from his teenage years and revised the concept into Al Simmons/Spawn, a former mercenary reborn as a brooding warrior for Hell’s army. Spawn’s debut issue became a record-setting release; selling 1.7 million copies, it was the most successful creator-owned comic of all-time. This success put Image Comics on the map and, aside from a few slumps here and there, Spawn has remained a popular and successful publication for the upstart publisher. This success catapulted McFarlane to new heights, leading to a successful line of action figures, solo and guest spots in videogames, a cult hit animated series, crossovers with DC Comics, and even a muchmaligned live-action adaptation in 1997.

The Review:
The saga of Spawn begins with Al Simmons, fittingly, tormented by questions. Although Al’s aware of some aspects of what’s happened to him (he died and made a deal to return), he doesn’t know what compelled him to come back from the beyond and feels separated from the mortal realm. His memories are fragmented, giving him flashes of a life he can’t quite recall. He remembers he was in love, though he can’t picture her face; he remembers there’s someone he hates, though he can’t recall his name; and he remembers that he was a good and loyal soldier for his country. Crucially, he’s haunted by the grinning visage of a skull and the feeling of being betrayed and brutally murdered. The more Al broods on his disparate memories, the more scant images come to mind. He pictures a beautiful woman, one who he was so desperate to return to that a wicked demon granted his request but on his terms, dumping him back on Earth with incredible power and an awesome costume but with no idea who he is or what any of his memories mean. Confident that the beautiful woman he sold his soul for will remember him and fill in the blanks, Spawn heads into the night to find her and the one who betrayed him, his thoughts already turning to revenge. Of course, we get scant clues to his true origin through McFarlane’s employment of media reports relating to Al’s decorated career, his untimely death, and Wanda Blake’s grieving process. These are presented in a very Dark Knight Returns (Miller, et al, 1986) format, showing reporters and pundits addressing the reader next to blocks of text, all accompanied by a mysterious countdown that we later learn tracks Spawn’s current power supply. Such interludes are juxtaposed with our first introductions of detective duo Sam Burke and Maximillian Williams/Twitch, who are currently baffled by gruesome murders that’ve left the victims without their hearts.

The tormented Spawn finds only further pain and questions at every turn.

Spawn’s journey across town takes a detour when he spots a gang of lowlifes attacking a woman. Though he effortlessly dispatches the punks, Spawn terrifies the young lady when he’s suddenly bombarded by memories. The woman’s face taunts him and bleeds into memories of his funeral, where his disembodied soul cried out in anguish only to be ignored by his love. Thanks to the girl he rescued comforting him and bringing him back to reality, Spawn slowly realises that the woman he’s been seeing was his wife and that he’s been gone for five years. Desperate for answers, he claws away his mask and talon-like gloves, horrified to find a scarified body beneath his skin-tight leather and chains. While Spawn weeps in the dank alley and Sam and Twitch stew over reports of a costumed figure in a red cape and chains taking out street punks, the wicked, horned demon Malebolgia relishes in Spawn’s pain from his burning inferno. As Spawn broods, questioning his humanity and feeling comforted by his costume and defending the innocent, he ponders the limits of his powers. Focusing his will, he turns his power on himself to restore his human visage and is aghast to find he’s been transformed into a bleach-blonde surfer dude instead of his true form as a Black man. Enraged, realising that he’s being toyed with, Spawn explodes with anger, trigging a fresh set of memories. He puts a face to new name of his employer and mentor: Jason Wynn moulded him into the perfect soldier, only for them to clash when Simmons took issue with Wynn’s increasingly brutal and cold-hearted ways. Overcome with emotion, Spawn collapses in the alley, where he’s approached by a comical, clown-like figure. Spawn had spotted this squat, colourful individual earlier and readers were treated to him dramatically introducing himself and all the ways he plans on torturing and humbling Spawn to appease his boss, the aforementioned Malebolgia. The clown, introducing himself as the Violator, piques Spawn’s interest when he dubs him a Hellspawn and quickly blows his cover.

Spawn’s outrage at having his life stolen is preyed upon by the demonic Violator.

The Violator goes on a tirade, listing all the ways he could slaughter Hell’s newest soldier. Naturally, given the clown’s diminutive stature, Spawn scoffs at his threats and walks away, completely missing the clown’s transformation into a large, horned, slack-jawed demon, the same creature that’s been ripping the hearts out of mafia bosses all over town. Still, for now, the Violator is content to let Spawn go, primarily because Malebolgia gets off on making his creation suffer. As he aimlessly wanders, Spawn is elated to finally remember his wife’s name. He also remembers having parents and brothers and the location of the Central Intelligence Agency (CIA) headquarters and an armoury. He stops by the CIA skyscraper first, accosting creep Billy Miller and threatening him to keep his hands to himself and pay his child support, and retrieves Wanda’s file. However, Al’s distraught to learn she’s moved to Queens and engaged to his former best friend, Terry Fitzgerald. With no other choice, Spawn assumes his blonde visage and heads over there with the vague hope of convincing her to see past his façade, only to be left speechless by her beauty and the unexpected presence of a child, Cyan. The added realisation that he was the problem when it came to giving Wanda a child adds to Spawn’s mental anguish and causes him to black out. Wanda and Terry tend to him and he shares some of his pain with them, only to be met with warmth and kindness. Retreating back to the alleys, Spawns rages, openly challenges the being that’s toying with him and fed up with playing games. Luckily for him, the Violator answers his challenge and, this time, Spawn witnesses the clown’s transformation into his true, horrific form. Caught completely off-guard, Spawn is powerless to keep the Violator from plucking his still-beating heart from his chest. However, the crude, leering demon is stunned when Spawn gets up, a burning hole in his chest and all fired up for a scuffle.

Malebolgia interrupts his “children’s” squabbling to torment and punish them.

This leads into the final issue of this four-part arc, which finds the Violator incensed to learn that Malebolgia lied to him about Spawn’s powers. Fully expecting to have killed the Hellspawn with his attack, apparently unaware that humans are being gifted powers greater than the denizens of Hell. After expending energy reattaching his heart and healing from the damage, Spawn launches a blast of hellfire at his foe, returning the favour by blasting a hole right through the demon. However, the Violator easily survives the attack, boasting of his superiority, and manhandles Spawn. To the Violator’s frustration, Spawn meets his arrogance with disrespect and the two start shamelessly mutilating each other over a two-page spread consisting solely of dismembered limbs and sound effects. The mindless battle grows so intense that Malebolgia himself manifests in the alley to break them up, chastising such pointless escapades. Addressing the two as unruly siblings, Malebolgia lays out his grand plans to storm the gates of Heaven and go to war with God, a concept baffling to a lifelong atheist like Simmons. Still, Malebolgia emphasises that God is now Spawn’s enemy and details that Spawn’s past life as a hired killer made him the perfect candidate to become a Hellspawn. Malebolgia also explains that Spawn’s power, though vast, is not infinite and relishes in giving him a simple choice: bow to Hell’s whim, expend his power killing “bad guys” and accelerate his return to Hell while bolstering Malebolgia’s armies, or do nothing and watch innocents suffer. Malebolgia then fully heals Spawn, reattaching his arm so as not to waste any more of his energy, and angrily rebukes the Violator when he takes exception to this. Malebolgia punishes him by banishing him to Earth, removing his ability to switch forms, and returns to Hell. Insulted and frustrated, the Violator storms off in a huff, leaving Spawn to brood over his newfound lot in life. Meanwhile, across town, Wanda awakens from a terrible nightmare in which she sees Al begging for help and it’s revealed she’s as haunted by her memories and love for him as he is of her.

The Summary:
I mean…first things first, let’s talk about Todd McFarlane’s unparalleled artwork. Every page, every panel, is so detailed and full of edgy, moody visuals. Barely a scene takes place in the daytime, bathing New York City, its depressing alleys, and, crucially, Spawn himself in oppressive darkness and shadow. Thus, when Spawn goes to Wanda’s in his forced guise of a blonde, white man, the juxtaposition of colour is like a slap in the face. It clearly shows that a normal, human, happy life is now far beyond Spawn’s reach and he stands out, despite his seemingly normal appearance, due to his jagged and distorted speech bubbles, hammering home that he doesn’t belong in that world any more. Spawn himself makes an immediate visual impression. Sure, there’s a lot of Spider-Man, Venom, and Danny Ketch/Ghost Rider in his design but he’s actually more like Bruce Wayne/Batman since he’s mainly brooding or dramatically standing rather than web-slinging across the city. Garbed in a sleek, black costume, Spawn casts an intimidating figure with his burning green eyes and flowing, blood-red cape and McFarlane never wastes an opportunity to depict him against gargoyles, crosses, cutting through the air like a tiger, or seeped in darkness. Considering his monstrous visage is hidden behind his mask for most of these issues, Spawn expresses a lot of emotion. Tormented by memories, he cries out in pain and anguish and lashes out at every opportunity, unaware that even by doing good he’s fuelling Malebolgia’s will since he’s either expending his finite energy or sending more despicable souls to Hell. While the news report sections are less visually engaging for me and simply a copy of Frank Miller’s narrative style, McFarlane makes up for it with his depiction of demons. The Violator and Malebolgia are horrific, gruesome creatures with a constant cackling visage and they represent an explicit, external personification of the dark power Spawn now wields. This, as much as anything else, is what angers the Violator so since he believes humans are unworthy of such vaulted positions in Malebolgia’s ranks.

Spawn and his demonic adversaries shine thanks to McFarlane’s merticulous artwork.

These first four issues set a precedent that would continue throughout Spawn’s publication, creating a constant air of mystery around the titular anti-hero. Simmons walks the alleys with fragmented memories, barely remembering anything of his past life and being tormented by scattered faces, feelings, and recollections of a previous life that eludes him. This brings him great torment and is the design of Malebolgia, who delights in torturing his “child”, fostering his dark ambitions, and humbling him. Malebolgia gets off on spoon-feeding Spawn memories and information, never once letting him forget who he really serves, and takes great glee in explaining that Spawn serves him no matter what action or inaction he takes. Malebolgia’s chief agent on Earth is, of course, the rancid Violator, a boastful little sprite with a chip on his shoulder. He seeks to spread chaos throughout the city by tearing the hearts from his victims and inciting a gang war, confident in his Hell-born power being greater than Spawn’s and eager to showcase his worth to his master by maiming and killing his newest recruit. Instead, the Violator finds himself in a brutal deadlock, with neither he or Spawn able to land a killing blow. Of course, neither thinks to go for the head and this isn’t strictly true as Spawn would inevitably lose due to his reckless use of his powers. At this point, Spawn barely understands what he is let alone the nature of his “Necroplasm” so he expends his energy without thinking. Healing wounds, firing energy blasts, and transforming his appearance all cause the helpful countdown to decrease, showing the reader just how close Spawn is to ending his new unlife and returning to Hell. Malebolgia explains these rules to him, leading to Spawn constantly considering his energy cost in future issues, but it does give a taste of what Spawn’s capable of since we see him reattach his heart, blow a hole through the Violator, and alter his appearance using his dark magic.

These issues perfectly set the scene for Spawn’s subsequent battle against the dark forces.

Sam and Twitch are also introduced in these issues and offer a fun side plot to Spawn’s constant brooding and rage. Essentially a reimagining of Commissioner James “Jim” Gordon and Detective Harvey Bullock, the two couldn’t be more different: where Sam is loud, gruff, and obnoxious and a lot like the Violator, Twitch is quiet, subdued, and methodical. The two are baffled by the Violator’s brutal murders and somewhat at odds regarding the caped vigilante stalking the streets, since Sam is far more lenient regarding Spawn as he doesn’t have to worry about due process. Spawn’s path doesn’t directly cross with these two here, but they’re nicely set up as supporting characters, as are Wanda and Terry. Again, we don’t learn too much about them at this point, especially Terry, but the story does a decent job of emphasising Wanda’s beauty and Al’s undying love for her. He’s haunted by her face, in agony at being denied her and being able to give her a child, and torn between wanting to confess everything to her and stay away from her idyllic new life. These emotions only fuel his anger and Malebolgia’s glee, driving him to chastise others who so freely take their blessings for granted or brutalise rapists and demons alike to vent his frustrations. While I admit the first issue doesn’t have much going on and largely exists to whet the reader’s appetite and the fourth issue devolves into an exposition dump from Malebolgia, there’s a lot to like in these first four issues. The mystery surrounding Al’s life and death is nicely set up, leaving breadcrumbs regarding Wynn and Al’s killer, as is the uncertainty regarding Spawn’s powers. The artwork is the main reason to delve into these issues, and all of McFarlane’s work, but the narrative is intriguing and strong, appealing to the brooding, edgy nineties kid in me. All the key players make a great first impression through McFarlane’s stunning and visceral art and the stage is set from a dramatic and explosive exploration of the dark path Spawn will eventually follow as he tries to piece together his past, have his revenge, defend the innocent, and defy his demonic master.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Spawn’s first four issues? Did you pick up a copy of issue one? What did you think to Spawn’s costume and powers? Are you a fan of Todd McFarlane’s art style? What did you think to the demonic antagonistic and the mystery surrounding Spawn? Which Spawn characters and story arcs are your favourite? Whatever you think about Spawn, feel free to leave your thoughts below and be sure to check out my other Spawn and horror-related content on the site.

Back Issues [Brightest Month]: Green Lantern #59


Although February 2014 was dubbed “Green Lantern Day” (because, by the American calendar, the date read as “2814”, the sector of space assigned to Earth in DC Comics), the significance of this date has passed as the years have changed. Instead, as perhaps the most popular iteration of the character, Hal Jordan, first appeared in October of 1959, I’ve been dedicating every Sunday of October to the Green Lantern Corps!


Story Title: “Earth’s Other Green Lantern!”
Published: March 1968
Writer: John Broome
Artist: Gil Kane

The Background:
Martin Nodell and Bill Finger’s original version of the Green Lantern, Alan Scott, was a magically empowered railroad engineer rather than a space-faring peacekeeper. However, following the successfully reinvention of the Flash in 1956, John Broome and artist Gil Kane changed the Green Lantern mythos forever with the introduction of test pilot Harold “Hal” Jordan, widely regarded as the greatest Green Lantern of all time, in 1959. Nearly ten years later, Groome and Kane revealed that Hal was just one of the potential candidates for Abin Sur’s power ring, the other being volatile Guy Gardner, who first debuted in this issue. Not only was Guy relegated to backup status, he soon found himself gravely injured and briefly trapped in the Phantom Zone. Then, he was replaced by another and developed brain damage, becoming even more hostile and egotistical, especially regarding his status as a Green Lantern. Guy is perhaps best known for his time on Justice League International, where he often clashed with his teammates, as much as his unstable temperament, which saw him kicked out of the Green Lantern Corps and wielding Thaal Sinestro’s yellow power ring. Guy’s backstory was significantly altered in the early-1990s, revealing him to be of Vuldarian heritage, before he returned to the Green Lantern Corps as one of Earth’s many emerald defenders. Whether wielding a green, yellow, or red power ring, though, Guy has maintained a vocal fanbase, despite his flaws. Though allegedly cut from the universally derived live-action film, Guy’s appeared, in some form or another, in various DC adaptations and is due to be portrayed by Nathan Fillion in James Gunn’s reimagined DC Universe movies. 

The Review:
Our story opens with Hal Jordan on Oa, the headquarters of the Green Lantern Corps and home to the enigmatic Guardians of the Universe, for an intensive two-day training course. Yes, it seems even intergalactic space cops have to endure team meetings sometimes, folks! However, rather than learning trust exercises, Hal is shown a gigantic, Jack Kirby-esque telescope that displays current events all across the universe and even keeps a record of a person’s life after they die as a “mental post-mortem”. Hal jumps at the chance to see the last thoughts of his predecessor, Abin Sur, and to learn why he, of all the millions of people on Earth, was chosen to become his successor. As in Hal’s origin story, Abin is fatally injured in a crash and tasks his power battery to find a worthy inheritor of his power ring, but there’s a twist: the battery claims that there are two equally strong candidates! One is, of course, fearless test pilot Hal Jordan and the other is the hitherto-unknown Guy Gardner, a schoolteacher who lost out on becoming Green Lantern simply because Hal was closer. After reliving Abin’s dying soliloquy over the next few panels, Hal is left astonished to learn that there was another potential candidate. Luckily, the Guardians’ incredible machine can also show Hal potential alternative timelines and, at his request, program it to show what would’ve happened if Guy had been selected instead. 

In another life, Guy became Green Lantern and embarked on a very similar superhero career.

In this version of events, gym instructor Guy is whisked away by the green energy and readily accepts the ring. However, since he’s not subjected to the same monologue as Hal, it takes Guy a hot minute to figure out how to use the ring, though he’s no less committed to using its power to battle injustice as Green Lantern. Like Hal, Guy’s first mission was confronting a group of saboteurs. Unlike Hal, who phased through walls and bullets and was dazed by a yellow lamp, Guy crashes through walls and erects an energy shield to block their bullets, hesitating to directly use his ring against them in case he “[crushes] them to a pulp”. Instead, Guy relies on his physical superiority to beat them into submission. Victorious, he also embarked on a fantastical superhero career, tackling colourful supervillains and even defeating renegade Green Lantern Thaal Sinestro. This victory saw Guy finally summoned to Oa and learning the true extent of his powers and responsibilities, but it’s in his return journey home that the biggest deviations occur between Hal and Guy’s lives. Guy was distracted by a series of intergalactic explosions that saw him detour to the planet Ghera to interject in a duel between two alien robots. Their conflict quickly turns against him, though he easily bested the two droids and learned that the planet is populated solely by human children. The robots explain that the Gheran parents created them before being wiped out by a mysterious yellow plague. This same virus kept the children from growing and, in their boredom, they programmed the robots to engage in war games for their amusement, meaning the planet is constantly in a state of conflict between the orange side and the blue side. Amazed, Guy vows to show the children that they’re walking a dark path, confident that he can teach them the benefits of peace, only to suddenly find himself completely paralysed when the children of the blue side not only sense his presence but take control of his body with their mental powers (a feature the robots conveniently neglected to mention earlier).  

Guy eventually breaks free and brokers peace, only to succumb to a fatal disease.

Thinking Guy is an advanced automaton and using their incredible psychic powers to learn his name (but, strangely, not his true purpose), they send him against their enemies. Completely under their sway, Guy has no choice but to obey and is forced to defend them against a mechanical bird the orange’s send to attack the blue’s city. Next, he’s set against the orange’s fish-like submarine, resisting its lightning attacks and scuppering it with a giant green energy hand. Impressed by his abilities, the blue’s send him to wage an all-out attack on the orange’s city. However, after besting their defences, he finds himself caught in a mental tug of war as both sides try to control his mind and body with their mental powers. Desperate to save himself, Guy summons all his willpower to break free and conjure a suit of armour to protect him from further mental attacks. This form is also enough to convince both sides to agree to a parlay; a simple suggestion for “enjoyable sport and exercise” is enough to convince the children to stop their conflict. However, it’s not just Guy’s words that sway the children; he uses his ring to subtly influence them, making them “normal” and unifying them in peace. Pleased, Guy leaves to recharge his ring (uttering an amended version of the classic Green Lantern oath), only to suddenly fall violently ill. Having contracted the yellow plague while on Ghera, Guy quickly finds himself facing certain death and wills his power ring to search out a replacement. The ring brings Hal to him and, just as in the main timeline, the stunned test pilot is gifted the power ring and the Green Lantern mantle, though he “makes up” his own oath since Guy never got to teach him it. Amazed by these visions, Hal returns to Earth to meet Guy in his civilian guise. He joins the same athletic club Guy attends and quickly becomes fast friends with him, eager to keep an eye on him out of respect for his candidacy for the mighty Green Lantern Corps. 

The Summary:
“Earth’s Other Green Lantern!” is one of those classic misleading comic books as the cover advertises the promise of a physical confrontation between Hal and Guy, one that sees the upstart Gardner usurp Hal to become Earth’s only Green Lantern. In truth, this never happens, nor is Guy’s personality anything like the cover depicts. Ironically, the cover paints Guy as an egotistical hothead, which would become his defining personality trait, but the actual story shows him to be as bland and generically heroic as Hal. Indeed, much of the narrative is geared towards showing how similar the two are, which I feel is a massive missed opportunity. Hal is excited by the idea that he wasn’t the only one considered as Abin Sur’s replacement, but Hal and Guy’s superhero careers are functionally identical save for Guy having less initial instruction on the ring and his side quest to Ghera. I have no idea if Hal went to this planet and encountered the strange psychic children, but Guy’s time there isn’t massively significant except that it sees him prematurely killed and handing the mantle to Hal, meaning this alternative timeline really isn’t all that interesting. Now, if Guy had been his later cocky, overconfident self, utilising more direct or brutal methods, maybe things would’ve been more interesting. There are hints that Guy approaches his duties slightly differently, such as being more creative with his energy constructs and being more physically capable than Hal, but there’s not enough deviations between the two to really make me care. 

The differences between Hal and Guy are sparse, and the story’s a fantasy anyway!

The story tries to say that things took a dramatic turn on Ghera but…they don’t, really, except that it sees Guy killed. It seems like it’s going in a different direction, maybe having the kids turn Guy rogue or expanding on him using his power ring to influence their behaviour and having him be reprimanded for that, but that doesn’t happen either. The Ghera sub-plot is actually quite dull. I enjoyed the Jack Kirby influences on the art and visuals of the planet, but the random mental powers came out of nowhere and their control over Guy seemed more like an excuse to show off his control of the power ring than anything else. Indeed, the whole escapade makes Guy seem secondary to Hal since it took him a while to summon the willpower to shake off their influence, and then he just ends their long-running thirst for war with a few words and subtle influences. I’ll admit that I wasn’t expecting Guy to die at the end, though I probably should’ve considering the nature of the yellow plague. Again, it might’ve been more interesting if the virus had been affecting him throughout the story, adding an extra dimension to his plight, but…again, no. In the end, this read like another of those crazy imaginary stories DC liked to publish in the Golden Age where nothing really matters because it’s all a dream or some elaborate fantasy. Sure, it led to Hal seeking Guy out by the end but even that is a bit weird. There’s no suggestion here that he befriends him in case he needs a backup, it’s more out of curiosity and respect, so I can’t help but feel like the whole issue can be skipped as it’s ultimately meaningless in the short term (and even in the long term, as Guy’s personality was eventually completely different). 

My Rating:

Rating: 2 out of 5.

Could Be Better

What did you think to Guy Gardner’s debut story? Were you shocked to learn that Abin Sur had two choices to pick from? What did you think to Guy’s characterisation here and were you disappointed by how bland he was? Would you have liked to see more differences between the two and more from the concept? Where does Guy rank in your Green Lantern hierarchy, and what are some of your favourite stories of his? There’s a comments section below, so share your thoughts there and go check out my other Green Lantern content!  

Back Issues: Ghost Rider #1-3

Writer: Howard Mackie – Artist: Javier Saltares

Story Title: “Life’s Blood”
Published:
13 March 1990 (cover-date: July 1990)

Story Title: “Do Be Afraid of the Dark”
Published:
10 April 1990 (cover-date: June 1990)

Story Title: “Deathwatch”
Published:
8 May 1990 (cover-date: July 1990)

The Background: 
In 1967, Dick Ayers, Gary Friedrich, and Roy Thomas introduced Marvel Comics readers to Western gunslinger Carter Slade/Ghost Rider, who later became known as the Phantom Rider in the wake of his more popular successor, Johnny Blaze. Initially planned to be a villain, Friedrich lobbied to do more with the character, with artist Mike Ploog asserting that he provided Ghost Rider’s trademark look and the legendary Stan Lee dreaming up his civilian name. After ridding himself of the Ghost Rider curse and the demon who caused it, Zarathos, Blaze and his flame-headed alter ego vanished from Marvel Comics for the better part of seven years. However, the Spirit of Vengeance rose again in this story, which introduced a new host for the demon in teenager Danny Ketch, who would later be revealed to be Blaze’s half-brother. During his tenure as the Ghost Rider, Ketch teamed up with both his half-brother and other supernatural or bloodthirsty Marvel anti-heroes, being a prominent member of the Midnight Suns and even temporarily giving his life to stop Zarathos and vampire queen Lilith from conquering the world with their demonic army. While it’s Blaze who is generally depicted as the go-to Ghost Rider whenever the Spirit of Vengeance appears in other media, many of the character’s most recognisable traits come from his successor. Ketch had a sleeker, more streamlined Hellcycle, employed the Penance Stare, and sported a more fearsome, spiked attire, all of which would later be adopted by Blaze when he resumed the mantle. Still, Ketch has appeared in various Marvel cartoons throughout the nineties, though a planned videogame was cancelled and his sole live-action appearance as of this writing is as a child in the poorly received Ghost Rider: Spirit of Vengeance (Neveldine and Taylor, 2011). 

The Review:
Our story begins in Cypress Hills Cemetery, where bickering siblings Danny and Barbara Ketch have come to scope out Harry Houdini’s gravesite…on Halloween Eve, no less…so Barb can take pictures of alleged psychics trying to commune with him. Anxious Danny, not so quick to dismiss the cemetery’s morbid reputation, is spooked when a bunch of kids (the so-called Cypress Hill Jokers) in Halloween masks give them a fright and try to steal Barb’s camera. She sends them packing with a swift kick and forces Danny to investigate sounds of a gunshot and a scream. Peering into Gallagher’s junkyard, they see some of Wilson Fisk/The Kingpin’s goons threatening the mysterious Deathwatch after the masked man shot dead one of their couriers. When the mobsters are executed by the killer’s crossbow-wielding hoodlums, Barb lets out a scream, landing her with an arrow through the chest. While one of the kids, Paulie Stratton, swipes the case Deathwatch killed for, Danny desperately props the bleeding Barb against an abandoned motorcycle; touching it with his bloodstained hands, he undergoes a sudden and dramatic transformation into the Ghost Rider! His body possessed by the Spirit of Vengeance, Danny’s personality gives way to that of the Ghost Rider’s, who takes out the hooded foes using his demonic chains and his signature Penance Stare, which forces his victim to “suffer the pain” they inflicted on others. Paulie slips away as the cops arrive; they fail to apprehend the Ghost Rider, humbled and manhandled when his bitchin’ new Hellcycle blasts him up a wall to safety. Under the light of dawn, Danny regains his senses and his self, eventually collapsing before his terrified mother and Police Captain Arthur Dolan. When he comes to, Danny learns that Barb is stable, but stuck in a coma, and is devastated at having let her down.

The new Ghost Rider on the block is quickly tormented by failure, bad press, and brutes.

Feeling responsible, Danny tests to see if his demonic experience was real or some fantastical dream and soon finds himself possessed by the Ghost Rider again when the resulting turf war between Deathwatch and the Kingpin leaves Paulie’s friend Raphie critically injured. Luckily, the Ghost Rider arrives in time to intervene, easily shrugging off bullets and even a bazooka, retaliating with lethal force and spiriting Ralphie to safety. However, Danny is stunned to find Captain Dolan has pinned everything on the Ghost Rider, a monstrous force that renders Danny a passenger and leaves him tormented at having failed his sister. Regardless, the Ghost Rider continues to defend innocent lives, specifically the Cypress Hill Jokers, who are constantly threatened by both sets of mobsters. Though still using lethal and violent force, the Ghost Rider is sure to interrogate one of the Kingpin’s goons, subjecting him to the Penance Stare but getting no closer to learning what’s in the briefcase the two crime lords are so willing to kill for. His newfound life already taking its toll on him physically and mentally, Danny is as horrified by Captain Dolan’s smear campaign as he is by the terrifying allure of the Ghost Rider. Elsewhere, the sadistic Blackout enters the fray, murdering a cop and his family to learn where the Cypress Hill Jokers hang out and offering to tie up loose ends for Deathwatch, who’s more than pleased by the brute’s cruel methods. Despite a sensitivity to light, Blackout can freely move through shadows, easily slipping into Ralphie’s home, killing his parents, and attempting to defenestrate him in search of the canisters. Once again, the Ghost Rider is on hand to save the boy, and a brief fight ensues between the two superpowers. While Blackout’s attacks are useless against the Ghost Rider’s power, he demonstrates an uncanny deftness and swiftly flees using the shadows, eager to match blows with the Spirit of Vengeance in another time and place.

Though he triumphs as the Ghost Rider, Danny remains conflicted about his violent alter ego.

Strangely unable to recall exactly where she and the Cypress Hill Jokers stashed the briefcase, Paulie is of little help to the cops and even less help when Deathwatch, Blackout, and their goons storm the station, kill everyone, and kidnap her. In response, Captain Dolan steps up the guard around the comatose Barb, leading to Danny returning to the cemetery to try and help. There, he finds Deathwatch and Blackout in the process of murdering Paulie’s friends to try and find the final canister, which contains a mutated biotoxin Deathwatch plans to unleash upon the city. Angered by Deathwatch’s insolence and aptitude, the Kingpin orders his aide, Oswald Silkworth/The Arranger, to intervene and the bureaucrat successfully convinces Deathwatch to hand over the cannisters by surrounding the duo with dozens of armed men. Unfortunately, Blackout isn’t so willing to comply and violently lashes out, taking the cannisters for himself, ordering his men to attack everyone (even Deathwatch), and salivating at the prospect of blanketing the world in a cold, dark nuclear winter. However, the Ghost Rider enters the fray, taking out Blackout’s goons and tackling him before he can open a canister. Though still able to use the Ghost Rider’s strength against him and resist the Penance Stare, Blackout is burned by the demon’s flames, horrifically scarring him and twisting his already warped mind. The next day, the Kingpin muses over his heroic deeds and vows to watch Deathwatch closely. As for Danny, he returns to Barb’s side, still torn between giving up the cursed motorcycle and his dark alter ego and continuing his dual life as a violent (but effective) protector of the innocent.

The Summary:
Although my reading experience with the Ghost Rider is limited, Danny Ketch’s time in the role is the one I’m most drawn to. As a typical 1990s comic anti-hero, Danny ticks all the boxes: he’s a reluctant hero, tormented by his violent powers, rides a bad-ass motorcycle, and transforms into a cackling, flame-skulled demon who shreds baddies with chains! Just in terms of the art and the storytelling, Danny’s debut blows Johnny Blaze’s out of the water; but then, the 1990s was a different time. Interestingly, Danny’s debut issues aren’t as over the top and fantastical as you might first expect; the story is firmly grounded, save for the supernatural elements, quick to return time and again to Danny’s turmoil over his sister. In bringing Danny to life, the creators have drawn from multiple other heroes to set the tone: Danny’s as unsure of himself as Peter Parker/Spider-Man, as ruthless in his superheroics as Frank Castle/The Punisher, and is faced with violent gang wars headed by the Kingpin, much like Matt Murdock/Daredevil. Indeed, the story closely echoes the tone and atmosphere of Frank Miller’s time with the Man Without Fear and definitely veers more towards a grounded, gritty aesthetic than fantastical, supernatural adventures. The city police only reinforce this by adopting a “shoot first, ask questions later” mentality towards the Ghost Rider, one exacerbated by catching him in the middle of breaking a man’s neck. Captain Dolan’s J. Jonah Jameson levels of persecution against who he sees as a dangerous individual also see the entire force’s efforts focused on the Ghost Rider rather than the turf war between the two crime lords.

Deathwatch and Blackout make for an enigmatic and sadistic bad guy duo.

Deathwatch makes for an interesting, enigmatic, and mysterious individual. Unlike the Kingpin, he hides behind a literal mask and employs hooded assassins not unlike the ninjas of the Hand. He also exhibits supernatural abilities, forcefully reading his victim’s mind with a touch, and isn’t afraid to get his hands dirty. While the Kingpin prefers to operate from the shadows as an elusive puppet master, Deathwatch readily joins Blackout and his men in terrorising the Cypress Hill Jokers, though he slips away when the Ghost Rider shows up. How Deathwatch obtained his powers and what his true origin is remains as much of a mystery as Blackout’s backstory, but I assume these villains were further fleshed out in subsequent issues. Blackout makes quite the first impression, threatening a child and murdering his family with relish, and appears quite happy to kill others, even children, to get his hands on the bioweapon. No mere mindless brute, Blackout is eloquent, savvy, and well trained in martial arts, to the point he can use an opponent’s momentum and strength against them and therefore knock even the overpowered Ghost Rider off his feet. He also possesses seemingly supernatural powers, moving through shadows and showcasing a near-superhuman durability…until he tries to mess with the Ghost Rider’s flames. Deathwatch and the Kingpin’s underlings are no less lethal, happily shooting and stabbing kids to threaten their victims, and engaging in all-out firefights in the middle of the street. The Kingpin’s goons even break out heavy-duty ordinance like bazookas, while Deathwatch’s are happy to destroy an entire junkyard to ensure they take care of any witnesses. The Cypress Hill Jokers, in comparison, are less than small fry; they’re just kids trying to be tough who get in way over their heads when they steal Deathwatch’s briefcase. Paulie largely exists to repeat this plot and look dumb when she can’t remember where they stashed the third canister, resulting in her friends being badly hurt or killed. Still, protecting her and the other Jokers becomes the Ghost Rider’s short-term mission as, despite their assumed petty crimes and rebellious ways, they remain “innocent”.

The new Ghost Rider reinvigorates the character with a visual bang.

As for the Ghost Rider himself…well, he steals the show. Sporting what I would argue is his definitive look, the Ghost Rider bursts to life whenever Danny touches the cursed motorcycle (which, I assume, is Johnny Blaze’s) and immediately seeks to avenge the innocent with brutal and efficient force. Commanding sprawling chains and easily flipping police cars, the Ghost Rider is a physics-defying, unstoppable force of Hell-born justice; immune to bullets, blunt weapons, and most attacks, it takes a lot to even get him off his feet let alone injure him. In fact, his only weakness appears to be daylight and Danny’s troubled conscience since barricades, walls, and near-superhuman foes barely slow him down. These issues finally helped shed a little light on the nature of this transformation. Danny’s personality takes a back seat when the Ghost Rider takes over, leaving him in a dark place both alluring and terrifying. He appears to have little to no control over the Ghost Rider, even struggling to resist making the change at one point, while retaining full knowledge of his actions as the Spirit of Vengeance. Yet, for all the Ghost Rider’s power, he cannot help Barb and his abilities are used to punish, not heal. His demonic visage terrifies most people, making it difficult for him to earn the trust of the innocent and get the injured to safety, but he perseveres, even though his lethal methods see him branded a menace and a killer. The Ghost Rider’s primary personality is spouting his sacred mission and he will allow nothing, and no one, to keep him from defending the innocent and punishing the wicked, making him an extremely dangerous and driven anti-hero. The conflict within Danny is palpable; he can see the potential for good in the Ghost Rider but is worried about hurting others or losing himself to the darkness. This dichotomy makes me interested to read more, to learn what happens to him and Barb, and to find out more about Deathwatch and Blackout. Thus, I really enjoyed these three issues, especially as it injected a bit of the macabre and supernatural into the gritty, urban warzone Marvel calls New York.

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to Danny Ketch’s debut as the Ghost Rider? Is this the look you most associate with the character? What did you think to Deathwatch and Blackout, especially their ruthless natures? Did you like the more grounded depiction of the fantastical elements? What are some of your favourite Danny Ketch stories or moments? Whatever your thoughts on Ghost Rider, share them below and be sure to check out my other Ghost Rider content.

Back Issues [Brightest Month]: Showcase #22


Although February 2014 was dubbed “Green Lantern Day” (because, by the American calendar, the date read as “2814”, the sector of space assigned to Earth in DC Comics), the significance of this date has passed as the years have changed. Instead, as perhaps the most popular iteration of the character, Hal Jordan, first appeared in October of 1959, I’m choosing to dedicate every Sunday of October to the Green Lantern Corps!


Story Titles: “S.O.S. Green Lantern”, “Secret of the Flaming Spear”, and “Menace of the Runaway Missile”
Published: October 1959
Writer: John Broome
Artist: Gil Kane

The Background:
In July 1940, Martin Nodell and Bill Finger introduced readers of All-American Comics to Alan Scott, the very first Green Lantern. Far from an intergalactic lawman, Alan was a magically empowered railroad engineer who became a regular fixture of the title and DC Comics’ first super team, the Justice Society of America (JSA). However, after Gardner Fox, Harry Lampert, and Julius Schwartz successfully reinvented the Flash in 1956, a new green-hued superhero began operating under the codename Green Lantern in 1956. Re-envisioned as fighter pilot Harold “Hal” Jordan, the Green Lantern concept was drastically reimagined to incorporate a science-fiction slant, and Hal later became he de facto Green Lantern after the universe-shattering Crisis on Infinite Earths (Wolfman, et al, 1985 to 1986) saw Alan Scott and his teammates briefly banished from DC continuity. A hotshot pilot with an eye for the ladies, Hal fully represented the Green Lantern Corps. He opposed tyranny in all its forms, even making an enemy of his tyrannical mentor, Thaal Sinestro, helped found the Justice League of America, and even formed an unlikely partnership with liberal spokesman Oliver Queen/Green Arrow. Widely regarded as the greatest Green Lantern of all time, Hal isn’t without his flaws; his despair at seeing his hometown obliterated by Hank Henshaw/Cyborg-Superman, saw him infested by the malevolent entity Parallax and briefly become a genocidal madman before being redeemed and retaking his place as the premier Green Lantern. This reputation means that Hal is popularly the go-to character whenever Green Lantern appears outside of comics. He’s appeared in numerous videogames and cartoons, even if just to characterise other Green Lanterns, and was the main character of the much maligned live-action adaptation

The Review:
If there’s one thing Hal Jordan is known for in his role as the greatest Green Lantern, it’s his ability to overcome great fear and this is emphasised on the first page of his first-ever story, when we’re introduced to “ace test pilot” Jordan who has a reputation for his “remarkable lack of fear”. It’s this quality that fatally wounded Green Lantern Abin Sur seeks after his spacecraft crash-lands in “Southwest U.S.A.”. Summoning the remains of his strength, the dying alien wills his Battery of Power – the titular green lantern – to seek out a worthy successor, one who is without fear, and sends an emerald-hued energy beam across the globe in search of the perfect candidate. Over at the Ferris Aircraft Company, hotshot test pilot Hal Jordan is tinkering with a “flightless trainer” (presumably some kind of simulator to train space pilots) when he and the craft and bathed in a green glow and, to his astonishment, blasted away at high speed to Abin’s crash site. There, Hal is momentarily stunned to behold the purple-skinned alien, who telepathically welcomes him and begs that he listen to his instructions for the green lantern, which is a weapon against injustice utilised by space-patrolmen across the galaxy. Although Hal is eager to help Abin and save his life, the alien waves off his concerns, accepting the inevitability of his death, and confirms that the lantern chose a worthy successor. 

Hotshot test pilot Hal Jordan is bequeathed a dying alien’s ring and becomes Green Lantern.

Abin then uses what little time he has left to share how his ship was unexpectedly battered by Earth’s radiation bands and he was momentarily blinded and left powerless by the flashing yellow lights. He goes on to relate that, for all the green lantern’s great power, it contains an “impurity” that renders it useless against anything tinted yellow, and that the power ring that channels the green lantern’s awesome might must be charged every twenty-four hours. Abin then hands Hal his ring, begs him to carry on the good fight, and promptly dies, much to Hal’s sorrow. On Abin’s instruction, Hal takes the alien’s slick, form-fitting uniform, tests the ring’s power by wiling a nearby cliff into the air, and vows to oppose evil in all its forms as Green Lantern. The issue’s next story, “Secret of the Flaming Spear”, introduces us to Carol Ferris, daughter of Carl Ferris, and Hal’s boss. Although she doesn’t approve of Hal’s tardiness, she’s more than wiling to go on a date with him, but their intimacy is cut short when pilot Frank Nichols suddenly calls in an S.O.S. when the controls of his experimental plane, the titular Flaming Spear, seize up on him. Feeling partially responsible since Frank’s only up there due to him being unavailable, and realising he has the power to intervene, Hal ditches Carol and utters a sacred oath before the green lantern: “In brightest day, in blackest night, no evil shall escape my sight. Let those who worship evil’s might beware my power… Green Lantern’s light!” Fully empowered, Hal takes to the skies as Green Lantern through sheer fore of will (noting how strange it is to fly without a plane) and easily guides Frank to safety using a burst of energy from his power ring. 

For all his power, Green Lantern can’t affect anything yellow or influence Carol’s heart.

However, on closer inspection of the Flaming Spear, Green Lantern realises that the incident was no accident. Radiation caused the controls to freeze, so Green Lantern uses his ring to follow the lingering radiation to its source, a group of saboteurs holed up in a house not far off. Like his predecessor, Green Lantern phases through the wall of their hideout and confronts them, intercepting their bullets in mid-air but being briefly knocked out when the lead saboteur tosses a yellow lamp at his face. His pride hurt more than his body, Green Lantern recovers and chases after them, only to find they’re making a getaway in a yellow car. Although Green Lantern can’t affect the car directly, he does burst the tyres by conjuring hard-light ice picks with his power ring, wrangling the saboteurs with energy lassos so they can be apprehended by the authorities. When Hal returns to Ferris Aircraft, he finds Carl and Carol delighted at Green Lantern’s actions and that Carl is planning to take a two year leave of absence to go travelling, during which time he officially names Carol as his worthy successor. Carol takes the promotion very seriously, immediately shutting down any romantic involvement with Hal and leaving him to ponder the quandary that his ring can perform any miracle…except win the heart of his love interest. This irony continues in the final story, “Menace of the Runaway Missile”, where Hal wows his colleagues with his fearless testing of a rocket-sled. While Hal has the bravery to endure the intense speed and g-force of the sled, he struggles to find the courage to ask Carol out, especially after she knocked him back. He decides the best way to win her over is to invade her personal space, call her “Honey”, and be overly pushy in asking her out to dinner. Carol maintains her cold demeanour, however, and not only rejects him but also states she has a more pressing appointment at the charity ball, an event with an exclusive guest list that doesn’t include a nobody like Hal. 

Green Lantern captures a wayward scientist, but both his personas end up in Carol’s bad books,

However, Carol lets slip that the mysterious Green Lantern is invited to the ball, so Hal decides that Carol is going to go on a date with him whether she’s aware of it or not. He attends the ball as Green Lantern and spends the whole night dancing with Carol, much to her excitement. Ironically, Carol’s thoughts reveal that she did harbour feelings for Hal and thought they would end up together, but the masked enigma has got her heart skipping a beat and, when Green Lantern leans in for a kiss, she responds eagerly, completely smitten. Unfortunately, at that exact moment, a yellow-hued missile comes baring down on Coast City, catching Green Lantern’s eye and forcing him to abandon Carol mid-kiss, much to her outrage. Upon inspecting the titular runaway missile, Green Lantern discovers it’s armed with an atomic warhead, but he’s unable to stop it because his ring is powerless against yellow. Conveniently, however, the missile’s tip is red, so Green Lantern constructs an elaborate net to catch the missile, which an Army Colonel informs him is not U.S. Army property nor does it contain the deadly payload Hal suspected. The two deduce that the missile’s true target was a hydrogen facility, so Green Lantern questions local aircraft spotters to find the source of the attack, an elaborate facility concealed by a forest. Phasing inside, Green Lantern confronts the man responsible, the maniacal Doctor Parris, who’s amazed when the Ring-slinger turns his high-powered battering ram into water and collars him without breaking a sweat. A lengthy interrogation from the Colonel reveals that Dr. Parris allowed ambition to overpower his reason. Desperate to harness the secret of “H-Power” first, he sought to eliminate his competition, only to now be faced with a lengthy jail sentence. Green Lantern’s victory is short lived, however, as Carol spurns him for not “losing himself” to their kiss, accusing him of not being as into the moment as she was, meaning both Hal’s identities are left in the doghouse by the issue’s end! 

The Summary:
Showcase #22 doesn’t waste any time when it comes to telling Hal’s origin. Alan Scott’s origin story was longer than Hal’s, the bulk of which is taken up by exposition from Abin Sur as he delivers a soliloquy about the green lantern, its limitations, and his expectations for his successor. Unlike later revisions of Hal’s origin, there is no lengthy montage of Hal training with the Green Lantern Corps to be found here. Indeed, there’s barely a mention of the peacekeeping space cops to be found here, and Hal’s place in the grand scheme of the universe is largely cast aside the moment Abin Sur dies as Hal commits to defend Earth from evil, rather than the universe. It’s interesting, then, that John Broome and Gil Kane chose to so radically alter the nature of the Green Lantern for this revision. They lean more towards the science-fiction aspects of the character, but don’t commit to it, meaning we get no space-faring action here and everything is very grounded, which is a shame as I think one of these stories could’ve explored that. Thus, it’s fitting that I compared Hal to Alan in their shared methods of entering buildings with their phasing ability as Showcase #22 is essentially a retelling of Alan’s origin but expanded upon and tweaked here and there. Rather than the Green Flame informing Alan of his abilities, it’s Abin Sur telepathically giving Hal a crash course on the lantern; both channel the lantern’s power through a ring, the lantern comes from space, and the power is fuelled by both willpower and a twenty-four-hour charge limit. Hal also tests the ring’s abilities in similar ways, flying and phasing at will, but expands upon this by conjuring hard-light constructs, immediately demonstrating his greater degree of creativity compared to Alan, though Hal also has an equally arbitrary and ridiculous weakness. At least Showcase #22 makes a partial effort to explain the yellow impurity as an inherent flaw in the power battery. This would, of course, be elaborated upon to a dramatic degree decades later, but it’s just as illogical a weakness as Alan’s vulnerability to wood and leads to absurd scenarios where this all-powerful space cop is felled by a lamp or powerless against anything remotely yellow, which I guess is supposed to say something about the infallibility of even great cosmic power and the ingenuity of the Green Lanterns, but it just looks a bit silly, especially here. 

Hal’s relationship with Carol is uncomfortable and detrimental to both characters.

Although Showcase #22 doesn’t include any supervillains, or even Hal’s mentor-turned-villain Sinestro, and little in the way of a physical challenge for Hal, it does introduce many elements that became synonymous with the character. Chief among these are his reputation for being fearless, his vaulted skill as a test pilot and the arrogance and unreliability that comes with this, and his love interest, Carol Ferris. An independent and strong-willed woman, Carol doesn’t make life easy for Hal. She makes him work for her affections, expecting better from him at work and as a man, but immediately puts an end to any inappropriate flirtations once she’s promoted. Hal’s pursuit of Carol seems a bit undercooked here; his interest in her seems purely based on her looks and appeal as an authority figure since he never mentions anything he likes about her personality. Carol seems equally shallow in her reluctant attraction towards him, basically being interested purely because there’s no one better around, especially at work. Just as I was beginning to admire Carol’s no-nonsense attitude, she does a complete turnaround into full lovelorn Lois Lane the moment she’s face-to-face with Green Lantern. Excited by the masked man’s mystery, she melts into his arms and gives in to the allure, only to turn on him because his eyes weren’t closed during their kiss! The romance between the two, and the shaky attempt at a love triangle, feels tacked on and cheap. I definitely think it would’ve been better if Hal simply admired Carol for her strong will, feistiness, and no-nonsense attitude, with him only developing feelings for her during the ball and Carol’s inner monologue revealing that she secretly does want Hal, but is torn between her duty to her father and her heart, and is feeling conflicted since Green Lantern is so enigmatic. 

There’s a surprising lack of space action here and Hal’s a bit of a creep.

As I mentioned, it’s a bit of a shame that Showcase #22 doesn’t do more with its revised concept for Green Lantern. The origin is different, now firmly rooted in space and including aliens, the costume is way better (even with the useless domino mask), and we of course get the iconic Green Lantern oath and more creativity with the ring’s abilities, but it all feels a bit wasted as the stories are stuck on Earth. Hal isn’t facing anything more challenging than saboteurs and jealous scientists, who only cause him troubles because they just happen to utilise yellow in their schemes. If the lamp, car, and missile had been any other colour, Green Lantern would’ve neutralised these threats even faster, meaning the yellow impurity is simply a contrivance that honestly makes Hal look like an idiot as much as it showcases his adaptability. Hal definitely has to think a little outside the box on two occasions to stop the saboteurs getting away and halt the runaway missile, but apprehending Dr. Parris is a cakewalk for him since there’s no yellow involved, meaning Hal’s greatest obstacles in these stories come from his civilian life and his pursuit of Carol. This could be an intriguing aspect, showing that this all-powerful superhero is powerless in matters of the heart, were it not for how down-right creepy Hal acts towards Carol in “Menace of the Runaway Missile”. He’s a pushy, insistent, misogynist who won’t take “no” for an answer, and even plots to mislead Carol into going on a date with him by wooing her as Green Lantern. The worst part is that this works, completely ruining Carol’s formally forth-right character and turning her into another Lois Lane, and really doesn’t make Hal a very appealing protagonist as he’s just so brash and arrogant whenever he puts the “moves” on Carol. I was very surprised by this, and it did spoil the remainder of the issue, which features some bright, colourful art and makes Green Lantern immediately more visually interesting than his predecessor. I’ve never been a fan of Hal Jordan, though, and his debut issue didn’t do much to change that, casting him as a fearless flyboy whose questionable pursuit of Carol clashes with his righteous battle against evil, which was as disappointing to see as the lack of space-based action. 

My Rating:

Rating: 2 out of 5.

Could Be Better

Have you ever read Hal Jordan’s debut issue? What did you think to the revisions made to the Green Lantern mythos? Were you surprised by how pushy Hal was towards Carol? Would you have liked to see at least one of these stories be set in space? What are some of your favourite Hal Jordan stories and where does he rank for you in the Green Lantern hierarchy? How are you celebrating Green Lantern this month? Whatever you think about Hal Jordan, and the Green Lantern Corps, leave them down below  and be sure to check out my other Green Lantern content. 

Back Issues: Detective Comics #475/476

Writer: Steve Englehart – Artist: Marshall Rogers 

Story Title: “The Laughing Fish!”
Published: February 1978 

Story Title: “Sign of the Joker!”
Published: April 1978 

The Background:
After achieving success with Clark Kent/Superman, National Comics Publications tasked Bob Kane with creating a masked crimefighter to add to their superhero portfolio and, thanks to Bill Finger, the “Bat-Man” went on to become a mainstream cultural icon. Over the decades, the Batman has gone toe-to-toe some of comics’ most recognisable supervillains, though his greatest nemesis is unquestionably the self-styled Clown Prince of Crime, the Joker. Bob Kane, Bill Finger, and Jerry Robinson all claimed to have created the Harlequin of Hate, but it’s widely agreed that the Joker’s trademark visage was heavily influenced by The Man Who Laughs (Leni, 1928). A last-second decision from then-editor Whitney Ellsworth saw the Joker survive his first encounter with the Batman, though the character faded from the spotlight under the direction of editor Julius SchwartzDennis O’Neil and Neal Adams reinvigorated the Joker in the 1970s and 1980s with stories such as this classic two-parter that is such a pivotal Joker story that it was adapted for the hugely popular Batman: The Animated Series (1992 to 1995). The stories played a huge part not just in giving the Joker back his edge, but in reviving the character to terrorise Gotham City for years to come as the Batman’s number one antagonist. 

The Review:
This classic two-part Batman story begins, appropriately enough, in the murky dead of night with the Batman prowling across the rooftops of Gotham City, preparing for the greatest confrontation of his vigilante career. At this point in time, billionaire philanthropist Bruce Wayne had been dated wealthy socialite Silver St. Cloud, a gorgeous platinum-haired woman who quickly captured Bruce’s heart. They became so close that Bruce suspected that Silver had figured out his dual identity, so he swings by her apartment in the guise of the Dark Knight to confirm his suspicions. Although Bruce is convinced that Silver is aware of the truth, she denies that she has anything to confess to the Batman and her demeanour convinces him that there’s a shred of doubt in his assumptions. Realising that it’d be foolish of him to simply unmask in front of her if there’s even a one percent chance he’s wrong, the Batman bids her goodnight and leaves, only for Silver’s resolve to falter once he’s gone. Wracked by her knowledge of Bruce’s dual life, Silver makes the difficult decision to take a hiatus from both men, and Gotham City, to get her head straight. The Batman is still mulling over his complicated love life and the dichotomy between his two identities when he’s aroused by local fishermen, who frantically show him that all the fish they’ve caught have been horrifically mutilated to carry the Joker’s signature smile, perplexing both them and the Dark Knight. 

Batman’s personal issues are compounded by the Joker’s latest insane threat.

The phenomenon isn’t limited to Gotham City; over the next few days, reports of “laughing fish” come in from all across the country, shocking the nation. However, it’s G. Carl Francis who gets the biggest shock when the Joker himself, and his goons, storm into his office and demand that he helps to copyright the laughing fish so that the Joker can profit from every one sold. Unfortunately, Francis is duty-bound to inform the Clown Prince of Crime that fish can’t be copyrighted as they’re a natural resource, angering the Joker and causing him to threaten Francis to find a loophole before midnight or face his wrath. The Joker then pays a visit to crime boss Rupert Thorn, who’s already on edge after being seemingly haunted by the ghost of Professor Hugo Strange, whom he murdered tree issues prior. Since Thorn was one of many villains who tried to purchase the knowledge of Batman’s identity from Strange, the Joker warns him to stop trying to expose his rival’s identity as the Joker is eager to match his wits against the Dark Knight and believes unmasking him would rob his game of all its fun. With Thorn left slipping into insanity, Commissioner James “Jim” Gordon calls in the Batman to help with the threat against Francis’s life. After the Joker makes a televised promise to murder Francis, Batman meticulously checks the apartment and places him under lockdown, though he remains frustrated by the Joker’s madcap nature and unpredictable insanity. Still, the Batman acts swiftly when a mysterious gas suddenly floods the apartment. Be fixes a breathing apparatus to Francis’s face, but to no avail; Francis collapses, dead, his face twisted into the hideous smile of the Joker. Although Jim is confused since the gas didn’t harm anyone else, the Batman correctly surmises that the Joker must’ve secretly poisoned Francis at their meeting so the gas would have a lethal effect. 

The Joker outwits Batman, as Silver and Thorn struggle with their literal (and figurative) ghosts.

The Joker boasts of his victory through another pirate broadcast and vows to kill another bureaucrat if his legal claim on the fish isn’t approved by 3am, and the issue ends with the Batman aggravated and Silver skipping town courtesy of Rupert Thorn. The story continues in the next issue, with Batman, Jim, and Officer O’Hara keeping a vigil on the Joker’s next target, Thomas Jackson, lamenting that state laws prohibit them from simply executing the Joker since he’s clinically insane. Despite their best efforts, Jackson’s cat wanders in with a Joker fish in his mouth, which drives him to bite and instantly kill the Batman, leaving him with the pale grin of the Joker! However, Batman had actually switched places with Jackson using a clever disguise, but the cat recognised and attacked his master regardless. After the Joker mocks them through his broadcast, the frustrated Batman flees into the stormy night, momentarily spying Strange’s ghost and stumbling upon a vapor analysis meter. The story briefly jumps over to the Joker’s lair, where he somewhat breaks the fourth wall to chuckle at his wit and having bamboozled his foe, and even plots expanding his food-related antics to other products. Another detour delves into Silver’s troubled mind; she’s overwhelmed by her knowledge, unwilling to destroy the mystery of the Batman but pining for her lost love, while Thorn wrestles with the stress caused by his visions. When the radio mentions Batman, the two get into a heated debate about his presence and Thorn angrily ejects Silver from the car, leaving her by the side of the road. While she quickly finds another ride, Thorn is terrified when Strange’s ghost flies at him from the night and seemingly throttles him to death! 

Batman’s victory is tainted by ambiguity and personal heartache for the Dark Knight,

At dawn, the Batman and Jim prepare for the Joker’s next attack, but Jim is horrified when the vapour analyser drives Batman to suddenly attack one of his officers, who’s quickly revealed to be the Joker in disguise! Though rumbled, the Joker keeps the Dark Knight at bay with an acid-spitting flower and makes a hasty retreat using the fire escape. Arriving in town via a cab, Silver pulls up just in time to witness the Batman in action as he ventures into the rainswept night to apprehend his foe, surprisingly caught off-guard by an errant kick and almost tumbling to the street below. While the Joker gleefully taunts his rival, the Batman ponders his own mental instability since he’s the only one crazy enough to chase after the grinning madman, and their chase takes them to the city rooftops. The two come face-to-face atop a construction site, where the Batman is forced to take a desperate plunge to avoid getting a face full of acid, and the Joker is hit by lightning while laughing on a hanging girder. The Batman watches the Joker plunge into the raging river below and frantically checks for any sign of his foe, but it appears the Joker has finally perished. Batman is then stunned when Silver approaches him, confessing not only her love for him but also that that same love caused her great pain when she watched him in battle and realised that he could die at any moment. Unable to shoulder the loss of the man she loves, or expose his true identity, she tearfully begs him to leave her alone and runs off into the night, leaving him stoic and heartbroken. Even Jim’s news that Thorn was picked up, terrified out of his mind and spilling the beans on all his criminal activities, brings Batman little comfort and he simply swings off as a new dawn rises, his victory bittersweet and emotional. 

The Summary:
These two stories are representative of the kind of Batman stories I grew up with. I had a handful of Batman annuals as a kid, which contained assorted stories from the 1970s and 1980s and featured names like Steve Englehart and Denny O’Neil prominently. Consequently, I have a real fondness for the gritty, dark, neo-pulp art style on show here. Gotham City is seeped in gothic darkness and flooded by incessant rain, making it grimy and claustrophobic and uncomfortable to behold, and characters are rendered with a stark realism. Although I’m not the biggest fan of Batman’s blue-and-grey ensemble, he cuts an intimidating figure here and it’s fun seeing him operate so openly with Jim and others. He’s still regarded as a bit of an urban myth, but also respected as an informed mind and necessary evil to help combat threats such as the Joker. His presence in Gotham City is the subject of much debate at this time. Thanks to Thorn’s influence, the people and council have started to question the Batman’s necessity and his impact on the city, aspects which come to be reflected in Silver’s conflict regarding her knowledge of his identity. Though these stories are all I really know of her, I like Silver and it’s not often Batman gets a love interest who knows of his dual life. I enjoyed the emotional conflict between them both, where they both knew the other knew but didn’t dare say it aloud for what it would entail, and it brings a real humanity to Batman when she has to reluctantly end their relationship to spare herself greater pain and perpetuate his myth. 

Batman’s detective skills and limits are tested by the Joker and his complicated love life.

One aspect I really like about this time in Batman history is how much his detective skills are emphasised. Jim calls the Batman in as an advisor and immediately sets to work meticulously safeguarded each victim’s apartment, checking every inch for possible threats and desperately trying to prepare for every eventuality. Although his thoughts are shown to be completely focused on the task at hand, I think it’s pretty clear his frustration with the Joker’s antics is exacerbated by his personal issues with Silver. The Batman laments time and again that the Joker is nigh-impossible to predict as he just does whatever he wants for seemingly no reason, meaning Batman’s preparation and planning are meaningless as the Joker outwits him each time. Even swapping places with Jackson doesn’t help the Batman, and it’s only by utilising the analyser left for him by Strange’s ghost (or some other unknown ally) that Batman exposes the Joker’s disguise before he kills his last victim. The battle between the Batman and the Joker is depicted as a war of attrition, a game of one-upmanship, rather than a physical confrontation (at least, until the end). Like in his first appearance, the Joker hijacks television broadcasts to make threats and taunt his foe, and employs disguises and subterfuge to bamboozle even the World’s Greatest Detective. One thing I especially enjoyed here was that Bruce Wayne doesn’t appear in these stories. His personal life is of great concern to Batman, but he stays in costume throughout both issues, emphasising his unwavering focus on protecting the Joker’s victims and apprehending him. Another interesting aspect is, like in his first appearance, the Joker surprisingly holds his own against Batman thanks to being a slippery devil and surprising him with his acid flower, wild kicks, and daredevil nature. 

A fantastic return to form for the Joker that emphasises his insanity and menace.

Indeed, this is a fantastic return to form for the Joker after years of being a buffoonish clown or being absent from DC Comics. Drawn as what I would define as the quintessential depiction of the character (tall, gangly, in a purple suit, coat, and fedora, and sporting an elongated jaw), the Joker is a cackling maniac whose newest plot is to spread fear and profit from his laughing fish. His scheme is ludicrous in its simplicity; he’s tainted the water supply with his Joker toxin, killing the fish, poisoning their meat, and leaving them with his signature cheshire grin, all with the intention of profiting from their sale! Obviously, these demands are preposterous but the Joker won’t take no for an answer and mercilessly targets and kills the bureaucrats he believes are denying him his intellectual rights. As mentioned, the story takes hefty influence from the Joker’s first appearance and is, in many ways, an expansion and remake of that first story. The Joker is an elusive, diabolical, and maniacal figure who tests the Batman’s mind as much as his resolve. However, the Joker is also prideful and overzealous. He enjoys toying with Batman so much that he threatens Thorn to stop trying to unmask the vigilante and arrives, in person and in disguise, to finish the job by the end, a decision that proves to be his downfall. However, there’s a clear suggestion that the Joker doesn’t care; he doesn’t care about winning, losing, living, dying, or being locked up. He simply enjoys jousting with Batman and takes glee in their conflict, and the death and terror he spreads, fully aware that the Batman’s moral code keeps him from cross that line. In the end, these are two essential Joker stories; they highlight his outrageous nature, his chilling menace, and his versatility as one of the Batman’s most enduring foes. It’s also a great showcase for the Dark Knight; not only of his detective skills and standing amongst his peers but also the complicated dichotomy of his dual identity. In a nutshell, I’d say this two-parter is a must-read Batman tale, as is most of this run since this really was a great time in the Batman’s publication history. 

My Rating:

Rating: 4 out of 5.

Great Stuff

What did you think to the Joker’s plot to profit off his laughing fish? Did you enjoy this era of Batman’s history? Are you a fan of more cerebral challenges for the Dark Knight or do you prefer it when he’s beating villains up? What did you think to the subplots involving Silver St. Cloud and Rupert Thorn? Do you consider these two stories essential reading for any Batman and Joker fans? What are some other Joker stories you enjoy? Whatever your thoughts, leave a comment below or and be sure to check out my other Batman and Joker content across the site. 

Back Issues: Vampire Tales #8/9

Story Title: “Beware the Legions”
Published:
1 October 1974 (cover date: December 1974)
Writer:
Don McGregor
Artist:
Mike Vosburg

Story Title: “Bloodmoon”
Published:
3 December 1974 (cover date: February 1975)
Writers:
Marv Wolfman and Chris Claremont
Artist:
Tony DeZuniga

The Background:
Eric Brooks/Blade, the creation of Marv Wolfman and Gene Colan, was inspired by the 1970’s “Blaxploitation” and came about once comic creators were allowed to publish stories involving vampires and other supernatural creatures. Marvel Comics took advantage with their Tomb of Dracula series, where vampire hunter Blade would battle the titular Count and other supernatural creatures. Heavily inspired by the classic Hammer Horror films, it took some time for The Tomb of Dracula to find its feet as different writers and artists came and went, before Wolfman and Colan turned things around. Originally depicted as a jive talking, mortal vampire hunter, elements of Blade’s origin and motivation were first revealed in these two issues. However, Blade was basically a bit-player in Marvel Comics, despite his association with groups like the Nightstalkers and the Midnight Sons. Regardless, New World Pictures purchased the character rights in 1992, and the subsequent success and popularity of Blade (Norrington, 1998) transformed the character into a stoic, bad-ass Dhampir and saw him become an integral part of Marvel’s supernatural and horror stories.

The Review:
This gothic, black-and-white tale kicks off down a squalid London side-street, a back-alley slum for the poor and destitute suddenly brought to macabre life as “Billy-Blue’s” lifeless body is tossed through a window, drained of his blood, with “Beware the Legions” carved into his chest. His body is stumbled upon by courtesan Meva Whytte, leaving her distraught and vowing to avenge herself against “The Legion”. Next, we find exotic dancer Safron Caulder heading back to her dressing room when she’s suddenly grabbed by an unseen assailant, who turns out to be smooth-talking Blade. Since they’re lovers, she’s perfectly happy to be grabbed, smothered by a kiss, and get a playful smack to the ass by the jive Blade, though he’s far too jetlagged for much else. Blade heads to his hotel for a relaxing shower but is interrupted by Neva, who breaks down in tears and blames herself for not running away with Billy-Blue when she had the chance. Since Blade owes his life to Lady Vanity, the head of Neva’s vampire stalking organisation, he doesn’t hesitate to comfort Neva and get involved in the situation. On the drive, Blade relates how Lady Vanity saved and delivered him, how his mother was butchered by a mysterious vampire posing as a doctor, and how Lady Vanity raised him, teaching him everything he knows. Since then, Blade has devoted his life not just to hunting down vampires but also searching for the one who killed his mother, and that extends to defending Lady Vanity’s promiscuous cohorts from the judgemental comments of the local coppers.

When Blade’s allies are threatened, he leaps into action, despite being outnumbered.

One of Lady Vanity’s girls, Tamsin Ling, relates that Billy-Blue came knocking for Neva, like usual, but he was anxious, shaking, desperate for them to leave that very night. Then, a strange man arrived, one reeking of rotting fish and appearing little more than a gaunt skeleton. He commanded Ling to direct him to Billy-Blue and she was forced to obey by the power of his mesmerising gaze, leading to him being jumped and slaughtered by a bunch of bloodsuckers. Blade spends the next three nights preparing and sharpening his stakes, then visits Billy-Blue at the city morgue. The corpse awakens, sporting vampiric fangs, and Blade forces him to reveal where the vampire coven hangs out before regretfully cutting his throat, severing his head, stuffing it with garlic, and burning the remains. His thorough work accomplished, Blade heads to the address Billy-Blue gave and crashes in, stake at the ready, killing the vampires with a near-superhuman deftness. Though one pins him down and threatens to force him into joining their Legion, Blade easily stakes him through the back and tackles the remaining hoard with the same moxie, only to be subdued by the sadistic Lord Anton Vierken. However, while Vierken bites Blade’s neck, he refuses to kill him, instead revelling in his bite having made the vampire hunter little more than a mindless zombie. Blade is therefore helpless as Vierken boasts of their plot to use science to walk freely in the daylight and conquer the humans, even the accursed Van Helsings, enslaving them as livestock, slaves, and entertainment. Vierken’s speech is interrupted by a summons from his mistress, Marguerite D’Alescio, a sultry vampire queen who acts as a mediator between the Legion and their true master, Count Dracula.

Blade’s hatred of vampires only intensifies after Vierken kills his closest allies.

Speaking through Marguerite, Dracula orders Vierken to remain focused on eliminating threats to their species rather than getting distracted by his science projects. The irony is, of course, that Dracula’s distraction allows Blade to slip away, and with crucial data as well, since he has “a built-in immunity to vampire bites” that meant he was simply playing along this whole time. Through sheer tenacity and experience, Blade eliminates the one vampire who tries to stop him and returns to Lady Vanity for some backup, realising the even he can’t take on the entire Legion alone. While they tend to him, Blade calls up Quincy Harker to lend his aid and check out the information he stole from the Legion, but the call is interrupted when a swarm of vampires come crashing in as bats. They target Lady Vanity, biting her and cracking her skull against a wall, enraging Blade, who makes creative use of the nearby fireplace to take out the murderous vampire bats and avenge the only mother he’s ever known. However, the vampires also kill Ling and Neva, spilling their life’s blood across the floor, and flee before the breaking dawn, leaving Blade distraught and incensed at having witnessed his closest allies so brutally murdered before his eyes. A few days later, the crippled Quincy arrives, only to chastise Blade for being so caught up in his need for revenge that he refuses any further help. Marguerite (and, by extension, Dracula) is furious at Vierken for failing to kill Blade. Despite Blade being just one man (though an incredibly lucky one), Vierken is stunned to learn that Dracula fears the hot-headed vampire killer. Despite the  superior strength and numbers of the vampires, Marguerite orders that Blade’s death be Vierken’s top priority from now on…or his life will be forfeit, and the story ends with the two seemingly on a collision course.

The Summary:
Ooh, baby! The jive is funky in this one! While the Blaxploitation aspects of Blade’s early appearances are problematic, at best, they certainly do add a lot to Blade’s characterisation. This, as much as Blade’s English heritage, adds a distinctive “voice” to the character you don’t see with many, if any, other Marvel heroes from this time. It’s not exactly politically correct, but it sure makes Blade a jivin’, silver tongued bad ass. He’s alluring even to a coven of promiscuous ladies of the night, cocksure, and full of bravado, happily dropping into a gaggle of vampires without hesitation. His cavalier attitude towards his mission is juxtaposed with an incredible efficiency. The narration is almost poetic in describing how his movements are fast, sure, and precise, painting him as a character his overconfident, vicious foes often underestimate. At the same time, Blade’s hatred of vampires is a very personal one; he wants to make them all pay for one vampire killing his mother. More broadly, he has been searching for the one responsible for her death and come up short but is happy to settle for any other bloodsucker that crosses his path. This vendetta only gets more personal by the end of this two-part arc as Vierken and his hoard kill the closest thing Blade had to a mother, Lady Vanity, his lover, and a close friend of his. This enrages the already hot-headed Blade so much that he refuses even old ally Quincy Harker’s aid (despite calling him for exactly that reason) and he’s determined to make the Legion of the Damned pay for their senseless slaughter of his closest allies.

His depiction might be dated, but Blade sure brings a lot of personality to his vampire slaying.

Vampires are presented as demonic, voracious creatures. They’re eloquent enough, showcasing an awareness of impending danger (daylight, fire, and such) but seem overcome by an insatiable bloodlust. They’re also depicted as overconfident; sporting supernatural powers, they’re used to easily swarming and manhandling their prey. Blade, however, has twenty-eight years of training and experience under his belt and is purposely armed specifically to kill the undead. Therefore, he easily catches them unawares, staking them through the heart and even taking the time to properly dispose of Billy-Blue’s body when simply staking him would’ve been sufficient (say what you will about Blade, but he’s thorough!) Lord Vierken appears to be an anomaly among his kind; despite sporting a traditional, decrepit look, he turns to science to improve his race. He’s been so focused on perfecting his daylight research that Count Dracula himself is starting to question his focus, especially as his Legion seems happy to indulge and draw attention to themselves by leaving carved up bodies for the police to find. Vierken’s followers are onboard with his project, but far more comfortable sinking their teeth into human prey or attacking as a swarm of bats. There’s not much to note about Marguerite D’Alescio; indeed, the story doesn’t explicitly state that Dracula is talking through her. Sometimes (especially at the end), it’s not clear which character is meant to be talking. However, she appears to be revered as Dracula’s emissary and shares his goal of wanting Blade dead, simply because he’s a very dangerous man the other vampires constantly fatally underestimate. In the end, this was an interesting glimpse into Blade’s backstory, the scope of his operation, and his reputation amongst the vampire nation. The black-and-white style captures that atmosphere of classic Hammer horrors and allows for some surprisingly bloody action, though it did seem to end anti-climatically and to primarily exist to establish an ongoing vampire threat.

My Rating:

Rating: 3 out of 5.

Pretty Good

What did you think to this glimpse into Blade’s backstory and world? Did the Blaxploitation aspects of the character bother you? Were you surprised by the violence on show her? What are some of your favourite Blade stories? No matter what you think, share your thoughts below and be sure to check out my other Blade content.