A look back at the first year of All-Star Squadron

I discussed writer & editor Roy Thomas’ great fondness for the Golden Age of comic books when I took a look at The Invaders miniseries published by Marvel Comics in 1993. That four-issue series brought back the World War II era team of superheroes whose adventures Thomas had previously chronicled in the mid to late 1970s.

Penciled by Rick Buckler, inked by Dick Giordano, lettered by Gasper Saladino and colored by Tatjana Wood

As much as Thomas liked the original Timely / Marvel superheroes from the 1940s, he has an even greater fondness for the Justice Society of America, the original superhero team, who were published by DC Comics in the pages of All-Star Comics from 1940 to 1950. In fact, Thomas was born on November 22, 1940, the very same day that All-Star Comics #3, the debut of the JSA, went on sale. Perhaps he was destined to become one of the JSA’s biggest fans. Whatever the case, some of the earliest comic books Thomas read were the All-Star Comics issues featuring the JSA which were published in the second half of the 1940s, and they made a huge impression on him.

It had long been Thomas’ ambition to write the JSA, but working at Marvel for the first decade and a half of his career he never had the opportunity. A dispute with Marvel editor-in-chief Jim Shooter led Thomas to seek work with DC and beginning in 1981 he wrote & edited several titles for them. Among these was All-Star Squadron, a series set on the parallel reality of Earth-Two during World War II that featured not just the JSA but nearly every single costumed crime fighter from that era.

By the late 1980s Thomas was back at Marvel. I didn’t begin following comic books regularly until that time, and so I unfortunately missed all of the books Thomas did for DC, instead becoming a fan of his via his new work for Marvel. I also spent most of the 1990s searching through the back issue bins at comic shops and comic cons to assemble a complete run of The Invaders.

Written by Roy Thomas, penciled by Rich Buckler, inked by Jerry Ordway, lettered by John Costanza and colored by Carl Gafford

I’m surprised it took me this long to seek out Thomas’ work on All-Star Squadron and its two spin-offs, Infinity Inc. and Young All-Stars. There’s a thrift store in my neighborhood that regularly has comic books for sale for a dollar each, and I’ve discovered some great stuff there. Well last November I came across a few issues of All-Star Squadron at that store. I really enjoyed them, and that really whetted my appetite for the series. Since then I’ve been working on assembling a complete run of the series. I acquired the early issues on eBay, but for the later ones I’m trying to see how many I can find the old-fashioned way. It’s a fun challenge.

The series actually made its debut in a special 16-page insert included in Justice League of America #193, cover-dated August 1981, which led directly into the first issue of All-Star Squadron a month later.

I commute to work on the subway, and my trip is usually about 45 minutes each way. After I acquired the first few issues of All-Star Squadron, I brought them with me to read, and I just barely managed to finish the first issue in the time it took to get from Queens to Midtown Manhattan. Thomas wrote very dense, verbose scripts for this series! Look at all that text!

Written by Roy Thomas, penciled by Rich Buckler, inked by Jerry Ordway, lettered by John Costanza and colored by Carl Gafford

Seriously, I really lament the trend of decompressed storytelling at both DC and Marvel, especially as individual issues continue to have increasingly-higher cover prices. I definitely miss comic books like this where you more than got your money’s worth. I don’t think I’d mind comics costing so much nowadays if we still got this sort of value.

The initial All-Star Squadron storyline takes place on December 7, 1941, with Imperial Japan’s attack on the U.S. naval base at Pearl Harbor serving as the backdrop. Per Degaton, the time traveling fascist, intends to utilize the chaos of that “day of infamy” in order to alter history and conquer the world.

I have to admit, I found it an odd decision for Thomas to launch the series with this story. Due to the JSA not encountering Degaton for the “first” time until 1947, all of the characters end up forgetting almost everything that takes place in the first three issues. That’s such a weird way to kick off your series!

Written by Roy Thomas, penciled by Rich Buckler, inked by Jerry Ordway, lettered by John Costanza and colored by Carl Gafford

Thomas endeavored to have the history of Earth-Two remain as close as possible to our own real world. As such, he detailed why, following Pearl Harbor, the JSA and the rest of the newly-formed Squadron didn’t simply use their fantastic abilities to quickly win the war. Certainly when you have a series set in a world where Superman, Wonder Woman, the Spectre and Doctor Fate exist, you’re going to need to address that!

The explanation Thomas devised was that Nazi Germany and Imperial Japan acquired the Spear of Destiny and the Holy Grail, respectively, and the mystical energies of those two artifacts prevented the All-Stars from entering any territory occupied by the Axis powers. That meant they were forced to operate in the Western hemisphere and other unconquered countries, where they would only be able to prevent the Axis from advancing any further. Obviously still a formidable task, especially as the Naxis are revealed to have their own super-powered agents, but one that meant that, just as in actual history, the war in Europe and Asia would have to be won by ordinary men & women on the battlefield.

Issues five and six see a contingent of the All-Stars travel to Mexico to prevent a Nazi-backed coup that would install a fascist puppet government controlled by the Third Reich. This is then followed by a three issue arc in which the armored Baron Blitzkreig infiltrates the United States to stage an assassination attempt on President Roosevelt and Prime Minister Churchill during a summit meeting in Washington DC. This later story enables Thomas to utilize a number of pages of artwork from the unpublished sixth issue of Steel, the World War II series created by writer Gerry Conway that was abruptly canceled four years earlier during the infamous DC Implosion.

Written by Gerry Conway & Roy Thomas, penciled by Don Heck, inked by Jerry Ordway, lettered by John Costanza and colored by Carl Gafford

All-Star Squadron #10-12 (June to August 1982) are, with the benefit of time, quite interesting. A group of well-intentioned scientists fakes an alien invasion in an attempt to bring an end to World War II and unite the world. Yes, it’s the same basic concept that Alan Moore would famously utilize five years later in Watchmen. It’s also the plot to The Outer Limits episode “The Architects of Fear” broadcast in September 1963, as well as “The Last War on Earth” in Weird Science #5 published by EC Comics in January 1951. And I’m sure there are few other examples of the trope out there. In Thomas’ version for All-Star Squadron, though, the scheme is subverted by Hawkman’s immortal arch enemy Hath-Set, who wants to rule the world himself.

Thomas ties a bow on the first year of All-Star Squadron with issue #13. “One Day, During War…” is set a month after Pearl Harbor, in mid-January 1942. The various All-Stars are afforded a brief pause in the ongoing hostilities of the war to take stock of all that has happened to them recently. It’s a very well-done character piece. When I met Thomas at Big Apple Comic Con a few months ago this was one of the issues I got autographed by him.

Thomas also utilizes this story to address the virulent anti-Japanese sentiment that erupted following Pearl Harbor, which led to the shameful interment of over one hundred thousand American citizens of Japanese ancestry. That is one of the qualities of All-Star Squadron that I appreciated, namely that while Thomas does utilize somewhat idealized depictions of real-life figures such as FDR and Churchill, he also did not shy away from the morally complex areas of the era.

Penciled and inked by Joe Kubert

Although various members of the JSA appear throughout the run of All-Star Squadron, Thomas very quickly placed the focus on much lesser-known Golden Age superheroes such as Johnny Quick, Liberty Belle, Hawkgirl, Robotman and the Shining Knight. He also soon incorporated Conway’s character Commander Steel into the cast, as well as introducing Danette Reilly, a female version of the ultra-obscure 1940s costumed crime fighter Firebrand. With her red hair and that first name, Firebrand was undoubtedly based on Thomas’ wife & writing partner Dann (formerly Danette) Thomas.

Thomas sought to place his own All-Star Squadron stories as smoothly as possible in-between the original JSA adventures. All-Star Comics had been published on a quarterly schedule for much of the 1940s, and that gave Thomas plenty of space in which to insert his new stories. Nevertheless, having the primary focus on Johnny Quick, Shining Knight, Robotman et al enabled Thomas to really develop those characters, and to plot out their story arcs, in a way that was not possible for the JSA members who had well-established histories to take into account. I also get the feeling that Thomas very much enjoyed developing the relationship between Johnny Quick and Liberty Belle, playing them off one another and giving them a real sexual tension.

One other note on these stories: While reading through the early issues of All-Star Squadron it suddenly occurred to me that those comic books are now as old as some of the issues of All-Star Comics were at the time when Roy Thomas was referencing them in his stories. Yeah, it sort of blows my mind that we are now as far away from the 1980s and the 1980s were from the 1940s.

Forty years ago is a long time ago, right? Right?!?

The initial art team on All-Star Squadron was penciler Rich Bucker, inker / embellisher Jerry Ordway, letterer John Costanza and colorist Carl Gafford. Buckler had already been working regularly for a decade at this point, having established himself at Marvel both on the flagship series Fantastic Four and his own creation the cyborg anti-hero Deathlok in Astonishing Tales. Buckler was definitely an artistic chameleon. His penciling on All-Star Squadron is very much reminiscent of Neal Adams’ style.

Ordway, in contrast to Buckler, was very new to comics, and All-Star Squadron was his first ongoing assignment. It’s interesting to look at the evolution of Ordway’s style. His inks on the JLA #193 preview and the first issue of All-Star Squadron are very muted (part of that is probably due to several of Buckler’s penciled pages from the first issue getting lost in the mail, requiring Ordway to ink photocopies of them on vellum).

By the second issue, though, you can really see Ordway’s characteristic style & flourishes beginning to appear. Ordway was often required to bring Buckler’s pencils “on model” by making certain the clothing, vehicles, buildings, historical figures and other real-world elements were all accurate for the early 1940s.

Written by Roy Thomas, penciled by Adrian Gonzales, inked by Jerry Ordway, lettered by Ben Oda and colored by Carl Gafford

Adrian Gonzales becomes the new regular penciler with issue #6, and Ordway remained on as inker. The two made a very effective art team. Initially I wasn’t sure how I would feel about Buckler departing the series so early in its run, especially as offhand I was unfamiliar with Gonzales’ work. But I found myself appreciating the collaboration of Gonzales & Ordway even more than I had the issues by Buckler & Ordway.

The unpublished Steel #6 had been penciled by the very underrated Don Heck and inked by Frank Chiaramonte. To be honest, I’ve never been overly fond of Chiaramonte’s work, and as such I’m glad the Heck pages were re-inked by Ordway when they were incorporated into All-Star Squadron #8-9. The combination of Heck’s solid, effective storytelling and Odway’s very polished, slick inking worked very well indeed.

Mike DeCarlo guest inked All-Star Squadron #13 over Gonzales’ pencils. The result is finished art rather different than when Ordway provided inks. But it suited the quieter, character-driven nature of that particular issue.

Written by Roy Thomas, penciled by Adrian Gonzales, inked by Mike DeCarlo, lettered by Ben Oda and colored by Carl Gafford

Finally, looking at the covers, a few of them were penciled by Buckler and inked by Dick Gordano, another solid collaboration. Veteran artist Joe Kubert illustrated the covers for #2 and #7-13. Some of Kubert’s earliest work was drawing the Seven Soldiers of Victory, a team that included the Shining Knight, in the early 1940s. A few years later he regularly worked on the Hawkman chapters of the JSA stories in All-Star Comics. Given Kubert’s historic connections to those two Golden Age heroes, Thomas was undoubtedly happy to have him contribute to this series.

Kubert’s covers with their raw, shadowy inking definitely stand in contrast to the slick finishes Ordway was providing on the interior art, but I nevertheless liked them. He contributed several striking images.

Penciled and inked by Joe Kubert

As I continue in my quest to put together a complete run of All-Star Squadron — 67 monthly issues and 3 annuals, for those who are counting — perhaps I’ll take other looks back at this great series.

The Art of Mike Machlan

Comic book artist Mike Machlan passed away earlier this month. Machlan’s career in comic books lasted from the early 1980s to the mid 1990s. He worked primarily as an inker, although he did do the occasional penciling job. His art had a fun quality to it.

Brian Cronin at CBR has already put together an in-depth obituary of Machlan. So here on my blog I’m going to present several examples of Machlan’s work that I feel demonstrate his skills as an artist.

All-Star Squadron #24 written by Roy Thomas, penciled by Jerry Ordway, inked by Mike Machlan, lettered by David Cody Weiss and colored by Gene D’Angelo, published by DC Comics in August 1983

Machlan was a longtime friend of fellow artist Jerry Ordway. They were both from Wisconsin, and the two had met in the mid 1970s when they were working on fanzines and self-published comic books. Ordway broke into professional comic books first, and one of his earliest regular assignments was doing inks / finishes on All-Star Squadron. Written by Roy Thomas, All-Star Squadron featured the Justice Society and their numerous costumed allies fighting against the Axis powers during World War II.

Ordway assumed the penciling chores on All-Star Squadron with issue #19, and two months later on issue #21 (cover-dated May 1983) Machlan had joined him as the series’ inker. The two worked very well together, as can be seen by this superb splash of Batman page from All-Star Squadron #24 which evokes the character’s Golden Age origins.

All-Star Squadron #28 written by Roy Thomas, penciled by Mike Machlan and inked by Jerry Ordway, published by DC Comics in December 1983

Roy Thomas and his wife Dann devised a spin-off for All-Star Squadron. Set in the then-present of the early 1980s, Infinity Inc. would feature the sons, daughters & other successors of the JSA on Earth-Two. Other than the already-existing Power Girl and Huntress, the members of Infinity Inc. were new characters devised by Roy & Dann Thomas, Mike Machlan & Jerry Ordway. Machlan and Ordway worked closely together to design the visuals of the team members.

As Ordway recounted in Modern Masters Volume 13: Jerry Ordway, published by TwoMorrows Publishing in 2007:

“I think Jade and Obsidian were the two characters that were closest to me and to Mike, because we really had the most input on them. And there was some stuff that Mike did on his own. I don’t think I went over every one of those things, and he turned out a lot of sketches. He turned out Mr. Bones, a new Hourman, and a male version of Harlequin.”

Above is the double page promo piece by Machlan & Ordway that ran in All-Star Squadron #28 to promote the upcoming series.

Infinity Inc. #9 pencils & inks by Mike Machlan, published by DC Comics in December 1984

The initial plan was for Machlan to pencil Infinity Inc. with Ordway inking him. However, at the last minute the two artists switched roles, with Ordway penciling and Machlan inking.

Machlan did still get to pencil a few of the Infinity Inc. covers, which Ordway inked. Machlan also did the full artwork for a number of profile images of the various team members, which were published throughout the series’ run.

Continuing his account of Infinity Inc’s origins, Ordway explained:

“But then you had Fury, and then finally Silver Scarab. And I think Fury and Silver Scarab are pure Mike Machlan-channeling-Kirby kind of designs.”

Above is Machlan’s profile pic of Silver Scarab, one of the characters on which he was primary designer, which appeared in Infinity Inc. #9.

West Coast Avengers #29, written by Steve Englehart, layouts by Al Milgrom, finished by Mike Machlan, letters by Bill Oakley and colors by Gregory Wright & Bob Sharen, published by Marvel Comics in February 1988

Ordway and Machlan both departed from Infinity Inc. after the series’ first year. Machlan went on to ink Chuck Patton and George Tuska on Justice League of America, and Rafael Kayanan on The Fury of Firestorm, as well as doing a few inking jobs for First Comics.

Machlan began working for Marvel Comics in 1987, providing finishes over Al Milgrom’s layouts on West Coast Avengers beginning with issue #24. I felt Milgrom & Machlan made a solid team. One of the best examples of their collaboration was West Coast Avengers #29. “Death Run” features Moon Knight on a single-minded pursuit of Taurus, head of the Zodiac crime cartel. Machlan’s finishes really helped to enhance the intense, moody tone of writer Steve Englehart’s story.

Marvel Fanfare #41 penciled by Mike Machlan, inked by Al Milgrom and colored by Greg Wright, published by Marvel Comics in December 1988

The anthology series Marvel Fanfare that Milgrom edited frequently featured pin-up galleries that spotlighted the work of different artists. Milgrom especially enjoyed giving artists who were best known as inkers the opportunity to contribute pin-ups, enabling them to demonstrate their penciling abilities.

Marvel Fanfare #41 had a gallery of Mike Machlan pin-ups which featured various characters & events from the Silver Age. A different artist inked each piece. In an interesting reversal of their roles on West Coast Avengers, Machlan was inked by Milgrom on the pin-up of Captain America and his rogues gallery.

Avengers West Coast #50 written & penciled by John Byrne, inked by Mike Machlan, lettered by Bill Oakley and colored by Bob Sharen, published by Marvel Comics in November 1989

In 1989 John Byrne became the writer / artist on West Coast Avengers, and the series was soon re-titled Avengers West Coast in a move to make sure the book would be stocked on the shelves right next to the main Avengers series, hopefully increasing sales.

Machlan remained on Avengers West Coast for several issues, inking Byrne’s pencils. Once again, I felt Machlan did a good job, complementing Byrne’s work. Above is a page from Avengers West Coast #50 featuring the continuity-shattering meeting of the Vision and the original android Human Torch.

Amazing Spider-Man #338 written by David Michelinie, penciled by Erik Larsen, inked by Mike Machlan, lettered by Rick Parker and colorer by Bob Sharen, published by Marvel Comics in September 1990

Machlan hopped over to Amazing Spider-Man in 1990, where he was paired with penciler Erik Larsen. I’m a huge fan of Larsen’s work, and I like the quality that Machlan brought to the finished art in those days before Larsen did his own inking. Machlan remained on Amazing Spider-Man for about a year.

Following this, Machlan worked on another Spider-Man project. Once again paired with Al Milgrom, he inked the four issue Deadly Foes of Spider-Man series in 1991.

Justice Society of America #1 written by Len Strazewski, penciled by Mike Parobeck, inked by Mike Machlan, lettered by Bob Pinaha and colored by Glenn Whitmore, published by DC Comics in August 1992

Machlan also began working for DC Comics again in the early 1990s. His main assignment saw him return to the heroes of the Golden Age with the all-too short-lived Justice Society of America series that ran for 10 issues between August 1992 and May 1993. I recently blogged about this great, underrated series. Machlan was a good match for series penciler Mike Parobeck.

The mid-1990s saw a major downturn when the inflated speculator bubble finally burst. Machlan, like a number of other comic book professionals, departed the industry to find work elsewhere.

While no longer working for any of the major publishers, in recent years Machlan did commission work for private collectors. He did several great pieces for fans Michael Dunne and “Marvel Two-in-One Guy” which can be seen on Comic Art Fans.

Although Machlan’s career in comic books only lasted about a decade and a half, he did really good, quality work during that time. Many fans, myself included, fondly recall his art, and were saddened by the news of his death.

It Came from the 1990s: Justice Society of America part two

Welcome back. In my last post I took a look at the Justice Society of America miniseries published by DC Comics in 1991. That limited series was unexpectedly successful, and it led DC to bring the JSA back into current continuity, and to give them an ongoing title.

The Justice Society had previously been exiled to Limbo where they were destined to spend all of eternity fighting to prevent Ragnarök. The four-issue miniseries Armageddon: Inferno written by John Ostrander published in 1992 concluded with the demonic servants of the villainous Abraxis taking the JSA’s place in Limbo, enabling the heroes to at last return to Earth.

The ongoing Justice Society of America series launched in August 1992. Len Strazewski, who had written the miniseries, and Mike Parobeck, one of the pencilers on it, both returned to chronicle the JSA’s modern-day adventures, along with editor Brian Augustyn. They were joined by inker Mike Machlan, letterer Bob Pinaha and colorist Glenn Whitmore.

The JSA were very much the odd men out of mainstream superhero comic books in the early 1990s. Even though their time in Limbo had partially restored their youth & vitality, they were still much older than nearly all of DC’s other characters. The JSA had been the greatest heroes of the 1940s but now, nearly half a century later, they found themselves wondering what role, if any, they had to play in protecting the world from crime & tyranny.

In the first issue the JSA’s triumphant public return is violently interrupted by a giant monster sent by one of their old enemies. They are unable to stop the rampaging behemoth, and it falls to Superman to defeat the creature. To add insult to injury, Superman finds himself thinking how underwhelming his foe is:

“What a sorry excuse for a monster! Compared to some of the dangers I’ve faced, this is kid stuff!”

Obviously Superman doesn’t voice those thoughts to the JSA, heroes who he himself regards as an inspiration for his own battles against evil. Nevertheless, the dispirited JSA cannot help feeling like a fifth wheel.

As the series progresses, Strazewski depicts the various members of the team struggling to adapt to their new circumstances. He does a good job showing the different ways each of the crime fighters react, from Green Lantern and Flash enthusiastic belief that there is still a role for the team to play, to Wildcat’s skepticism and the Atom’s depression, with Hawkman & Hawkgirl deciding to quit the superhero biz entirely to return to their first love, archeology.

Unlike most comic book heroes at DC who were set in a “sliding timeline” where everything always happened within the past 10 or 15 years, the JSA have always had their origins rooted in the 1940s. As such they’ve been some of the few characters to have aged in real time. When they were revived in All-Star Comics in the second half of the 1970s writers Gerry Conway and Paul Levitz were first to lean into the idea of the Justice Society as an intergenerational team. Strazewski  continues that theme in this series.

We see Wally West, the young modern day Flash, seeking advice & guidance from Jay Garrick, the original Flash. Jesse Quick, the daughter of 1940s crime fighters Johnny Quick and Liberty Belle, joins the JSA, with the team serving as her mentors. Johnny Thunderbolt adopts a teenage ward Kiku who discovers she has a rapport with Johnny’s mystic Thunderbolt genie.

I have to admit, back in 1992 I found the circumstances of the Justice Society somewhat difficult to identify with. I was only 16 years old, in high school, and the JSA were pretty much the same age as my grandparents. Three decades later in 2023, well, I’m now middle aged, I’ve got more than a few gray hairs, my joints are starting to ache, and I’ve got advertisements for AARP showing up on my Facebook timeline! So, yeah, I definitely find these guys somewhat more relatable!

The first five issues of Justice Society of America involve the team uncovering the machinations of their long-time adversary the Ultra-Humanite, a body-hopping mad scientist who now controls his own multinational corporation which he uses as a cover to conduct his experiments in genetic engineering. It’s a good, solid setup for the series.

The next two storylines do feel a bit rushed, though. In #6 and #7 the JSA go to Bahdnesia, the tropical island home of the mystic Thunderbolt, to investigate the disappearance of the native population. Then, in #8 to #10, the alien sorcerer Kulak, another old foe of the team, utilizes television broadcasts to hypnotize the entire world and turn it against the team.

I definitely think both of those stories could have used an extra issue. Unfortunately the series was canceled with issue #10. I’m guessing there was probably enough advance notice that enabled Strazewski to truncate the storylines he already had planned. Well, even if they both do end somewhat abruptly, at least they were told in some form or another.

There’s also what appears to be an odd continuity mistake in issue #10, a flashback to the team’s last encounter with Kulak featuring Doctor Mid-Nite, Black Canary, Flash and Green Lantern, with a footnote refers readers to All-Star Comics #2, published in 1940. I was wondering how that could be possible, since the JSA’s first appearance was in All-Star #3, and they didn’t actually work together on a case until issue #4. I looked on the DC Database and according to that “The Curse of Kulak” in All-Star #2 was a solo story featuring the Spectre. And the team fought against Kulak in All-Star Squadron #28, which took place in 1942.

I fielded the question on the Justice Society of America group on FB, and the general consensus was that this was supposed to be a previously-unrevealed JSA adventure, probably set in the late 1940s, and that someone incorrectly added a footnote to All-Star #2.

When I did my write-up of the Justice Society of America miniseries I didn’t comment on Mike Parobeck’s penciling, because I knew I’d be discussing it extensively here.

Parobeck had this really fun, colorful, cartoony style. After the 1991 miniseries he and Strazewski worked together on DC’s Impact Comics imprint, on a revamp of the Archie Comics superhero the Fly. I really enjoyed their work together on The Fly. Unfortunately the Impact line only lasted about a year and a half. I was disappointed at the cancellation of those titles. Parobeck also penciled an enjoyable Elongated Man miniseries in early 1992.

I’m glad that Strazewski and Parobeck had the opportunity to work together again so soon on the ongoing Justice Society of America series. Much like The Fly, I wish that had lasted longer.

Parobeck’s style was regrettably looked upon as “simplistic” or “silly” by too many readers in the early 1990s, as the hyper-detailed work of the Image Comics founders and those they inspired was ascendent in mainstream superheroes. That was a huge shame, because Parobeck’s work was just such a joy to behold. He had some dynamic storytelling abilities, and his covers were exciting and well-designed. It was definitely a pleasure to re-examine his work during my re-read of this series.

Parobeck did finally gain some much-overdue recognition when he became the regular penciler of The Batman Adventures with issue #7 in April 1993. That series was set in the continuity of the hit Batman: The Animated Series. It was specifically targeted to an all-ages audience, and readers were expecting an “animated” style, so Parobeck’s work was very warmly received.

Tragically, Parobeck passed away in July 1996 at the much, much too young age of 30. It’s been subsequently observed that he was ahead of his time, his work presaging the highly-popular “cartoony” styles of artists such as Mike Wieringo and Humberto Ramos.

There is one scene in Justice Society of America, though, where I was sort of left squirming. In issue #10 Kulak is molesting a hypnotized Hawkgirl with his tongue. That just feels so wrong when rendered in Parobeck’s cartoony style, and I really wish Strazewski hadn’t included it in his plot.

Like, ewww, dude! Geeze, what do you think this is, a Chris Claremont comic book or something? 🙂

AHEM! Moving along…

The main inker on Justice Society of America is Mike Machlan, another creator who had a prior connection to the Justice Society. Machlan had previously worked on several issues of All-Star Squadron, and he had co-created the spin-off series Infinity Inc. with Roy Thomas & Jerry Ordway which featured the sons & daughters of the JSA in the present day.

Machlan does a really good job inking Parobeck. I feel they made an excellent match. Machlan is another good, solid, underrated artist. Regrettably there seem to be all too many of those working in the comic book industry, never receiving the recognition they probably should have earned for their work. It’s certainly a shame.

I do want to briefly comment about the sudden cancellation of Justice League of America. There’s been some debate over the years as to the reasons. Officially, the reason cited by assistant editor Ruben Diaz in the lettercol of #7 was that, after the first issue did very well, sales then fell “substantially” on subsequent issues.

However, it’s been alleged that the series was actually selling well, and that other factors were at work. In a 1998 interview Strazewski had this to say about the cancellation:

“It was a capricious decision made personally by Mike Carlin because he didn’t like Mike’s artwork or my writing and believed that senior citizen super-heroes was not what DC should be publishing. He made his opinion clear to me several times after the cancellation. As a result, I think it would be nigh onto impossible that I will work at DC again.”

To the best of my knowledge Mike Carlin has never publicly commented on Strazewski’s allegations. Neither had Brian Augustyn, the actual editor of the series, who regrettably passed away last year.

Speaking only from my perspective as a reader, in general I’ve found Carlin to be a highly qualified editor. He was in charge of the Superman family of books when they had basically become a weekly series produced by four separate creative teams, something that must have been a logistical nightmare to maintain the schedule for, but one that he kept running smoothly for several years. Carlin also edited The Power of Shazam, which as I’ve blogged about in the past is one of my all-time favorite comic book series.

It does seem, though, that the cancellation gave someone at DC the idea that the JSA were passé. A year later in the 1994 crossover Zero Hour several members of the team were brutally, senselessly killed off, something myself and other readers found very disappointing.

But just as I feel Mike Parobeck’s artwork was ahead of its time, so to do I think the revival of the Justice Society was, as well. In 1999 writers James Robinson & David S. Goyer launched an ongoing JSA series, once which really developed the intergenerational aspect of the team. Strazewski & Parobeck’s creation Jesse Quick would become a prominent member of this incarnation of the team. JSA was very successful, and since then, the occasional absence due to DC’s periodic cosmic reboots aside, the original team of superheroes have never gone away.

So, while Justice Society of America may not have been a success in the early 1990s, it did set the stage for the team’s latter triumphs.

Unfortunately, DC has never reprinted the Strazewski & Parobeck series. I recommend searching out the back issues. They’re pretty affordable and easy to find.

It Came from the 1990s: The Power of Shazam part four

My reread of The Power of Shazam by Jerry Ordway and friends enters the fourth year. This is, regrettably, the home stretch. This has been such an enjoyable series to revisit, and I really with it had lasted longer.

We begin with a storyline that literally had my jaw hitting the floor the first time I read it.

Ordway did a very good job of balancing the serious and the whimsical on this series, but with issue #38 the $#^+ totally hit the fan. Mister Mind, the sole surviving member of the telepathic caterpillars from Venus that tried to invade Earth, manages to take control of Sarge Steel, director of Metahuman Affairs. Previously the government had taken custody of the nuclear-powered robot Mister Atom, and now Mister Mind dispatches it to destroy Bill Batson & Mary Bromfield by having it home in on Billy’s Justice League. communicator. Landing in the town of Fairfield, right outside the Bromfields’ house, Mister Atom self-destructs, obliterating the entire town, killing thousands of innocent people!

Billy and Mary in their Captain Marvel forms are in Fawcett City when they see the mushroom cloud on the horizon. They are understandably horrified, especially as they believe their adopted parents Nick & Nora Bronfield are among the dead. The sorcerer Ibis manages to neutralize the radioactive fallout, but he can do nothing for all those who have already perished.

The two Captains fail to prove Sarge Steel is being controlled by Mister Mind. Mary heads over to the laboratory of Professor Bibbowski (the genius brother of tough guy tavern owner Bibbo Bibbowski from the Superman books) and asks him to try to find a way of detecting & neutralizing Mister Mind.

Billy and Mary return to Fawcett, where they are relieved to learn that Nick & Nora managed to survive by pure dumb luck; they were heading out of Fairfield by car to try to find Billy and Mary when the bomb went off.

Mary uses the device invented by the Professor to drive Mister Mind out of Sarge Steel’s head, and to prevent the worm from taking over the President. Mind has already dispatched thousands of clones of himself to take over innocent people, sending them to nuclear facilities across the world, planning to destroy the Earth as revenge for his own species’ destruction. Mind also found out from possessing Sarge Steel that the government had custody of a massive alien exoskeleton another of his species used 50 years earlier, which we saw in the flashback during the Starman crossover.

Mind rampages across Washington DC in the exoskeleton. Jim Barr, aka Bulletman, watches this on TV, and it causes him to at long last remember his encounter with the alien armor during World War II, and to recall that the Green Lantern Abin Sur defeated the alien menace all those years before. Bulletman calls former GL Alan Scott, who in turn contacts current GL Kyle Rayner. Kyle flies to Washington accompanied by a time-displaced Hal Jordan (looooong story). Billy, Mary, and the two GLs have to figure out what is real and what is an illusion caused by Mind, but at last they crack open the armor. Sarge Steel then kills the murderous alien worm, which in turn causes Mind’s clones to die, saving the Earth from nuclear destruction. Whew!

“The Monster Society of Evil” (so named by Ordway after the original Mister Mind storyline from the 1940s) was an emotional rollercoaster. The series had only shifted its setting to Fairfield about a dozen issues earlier, so there really wasn’t too much time for the readers to get to know the new supporting cast, but it’s still a gut-punch to see the entire town destroyed, especially when it appears that Nick & Nora are among the dead.

I was genuinely relieved that the Bromfields had survived. Billy & Mary had already lost their real parents, and the idea that they might be made orphans a second time was horrifying. Plus I like how Nick & Nora, even if they were on the staid, conservative side, nevertheless very quickly adjusted to learning Billy & Mary were the Marvels, and tried their best to be there for the siblings.

POS #38-41 were Peter Krause’s final issues, and he really does a great job on this storyline, conveying the intense emotions and choreographing the dramatic, action-filled scenes. Inker Dick Gordano, letterer John Costanza and colorist Glenn Whitmore fill out the creative team. Whitmore’s coloring definitely plays a major role in setting the mood of these issues. Mike Carlin edited the whole shebang.

With issue #42 writer & cover artist Ordway also assumes penciling duties, with Giordano providing inks / finishes. Ordway is such a great artist, and I was glad to see him now both writing & drawing. Whitmore and Costanza continue as colorist and letterer.

Following the destruction of Fairfield, the President dedicates a memorial to all those who have died. Billy, Mary and Freddy are all there in their superhuman forms. This is the first time we see all three of them together since Mary changed to her new costume, and so this was the moment when it finally occurred to me that Ordway had now given them red, white and blue uniforms. What can I say? Sometimes I’m not the quickest on the uptake.

Billy, Mary, Nick & Nora move to Fawcett City, where they are joined by Freddy, who has returned to settle his grandfather’s estate. Freddy shows Billy and Mary the classic car he inherited, and the three go for a spin. Unfortunately the metahuman Chain Lightning who suffers from multiple personality disorder is obsessed with Freddy, and she attacks the three teens while they’re driving, causing the car to go off the cliff. The teens try to summon the magic lightning to transform into the two Captains Marvel and CM3, but Chain Lightning somehow intercepts it. Billy, Mary and Freddy all end up in the hospital in critical condition. The magic somehow gives separate physical forms to each of Chain Lightning’s personalities, who go on a rampage in Fawcett City.

Ordway has said that one of his favorite comic books when he was growing up was Avengers by Roy Thomas & John Buscema. The form that Chain Lightning’s personality Amber takes looks like a cross between Arkon the Magnificent and Thundra the Femizon, both of whom were created by Thomas & Buscema.

With the Marvel Family out of action Deanna Barr dons the costume of her late mother Bulletgirl to protect Fawcett, although she uses her Air Force codename Windshear. Her father Jim comes out of retirement to help her, but the two of them can barely hold their own against Amber. Only the intervention of Amy, the “good” Chain Lightning personality, saves them.

Uncle Dudley and Tawky Tawny travel to the Rock of Eternity, hoping they can find some way to heal Billy, Mary and Freddy. The sorcerer Ibis tells Dudley and Tawny that they need to find the Mother Boxes that enable the teens to summon the magic lightning while the Wizard Shazam is on New Genesis.

Issue #42 and #43 are certainly compelling and suspenseful, although I wonder if Ordway would have embarked on this storyline, putting the main characters in the hospital, if he had known cancellation was just around the corner. Fortunately there are still a few more issues to go. Whatever the case, the artwork by Ordway & Giordano is top-notch.

We are now at the editorially-mandated DC One Million crossover issue. This one is a bit painful to read, not because it’s bad, but because the series would be cancelled in just a few short months, and it’s sad that Ordway was forced to cut away from his ongoing storylines to do a totally-unrelated issue set in the far-off 853rd Century.

Nevertheless, Ordway turns in sold work here. We previously saw an ancient Billy Batson having assumed the Wizard Shazam’s role in The Power of Shazam Annual #1. Now, even farther into the distant future, Billy still keeps vigil at the Rock of Eternity, only to have his home overrun by thrill-seeking rich kids from the planet Mercury.

Man oh man, the people in this story are awful. They’re behaving exactly like modern-day humans. Humanity is never going to survive to the 22nd Century, much less the 853rd, if people keep acting like this!

I think Tanist, the new champion of Shazam introduced in this story, popped up in a couple of other DC One Million stories, but hasn’t been seen since. It’s sort of disappointing that Ordway took the time to create this new character and no one else has bothered to use him, because that might have helped save this story from being completely inconsequential.

Anyway, returning to the year 1998, issue #44 resumes the plot of the teens being hospitalized, their powers having been stolen by the multiple personalities of Chain Lightening. Freddy and Mary are attacked by Lightning’s “inner child” and “id” personas. Nick & Nora risk their lives to save her, and the severely injured Mary shows she’s also willing to sacrifice herself for them, all of which surprises Lightning, a survivor of parental abuse. Inner Child and Id make off with Freddy, but he manages to convince them not to kill him, that he isn’t to blame for Lightning’s problems.

Meanwhile, Dudley and Tawky Tawny travel to the Rock of Eternity again, still looking for a way to help the hospitalized teens. Ibis, still suffering from the immense exertion needed to dissipate the radiation from the destruction of Fairfield, is wrapped up as a mummy by his immortal wife Taia so that he can enter suspended animation.

Oh, yeah, I love Tawny’s line… “Dud! Save me! It’s a talking dog!” Dudley and Tawny really did make a great double act.

Taia, working with Dudley, catapults Tawny into the timestream surrounding the Rock, so that the tiger can search for a future incarnation of Captain Marvel to help the teens. Tawny locates CeCe Beck, aka Thunder, previously seen in Annual #1, and is attempting to bring her back to the present when a force knocks them apart. Thunder disappears into the timestream… but don’t worry, she ends up materializing in the 30th Century in Legion of Super-Heroes #110, where she joins the team.

Tawny gets pulled back to the Rock, but he’s not alone. He’s accompanied by the former champion of Shazam turned villain, the infamous Black Adam. Uh oh!

Issue #45 sees Black Adm back on Earth. Surprisingly, rather than acting in his usual villainous manner, Adam is filling in for the still-hospitalized Billy, Mary & Freddy. Understandably skeptical, the Justice League is keeping a close eye on the so-called “Mighty Adam” as he performs heroic deeds across the globe.

Throughout his run Ordway has been peppering this series with nods to Jack Kirby’s New Gods, with the Marvel Family using Mother Boxes and Boom Tubes, the events of the Genesis crossover being referenced, and the Wizard Shazam relocating to New Genesis. Now we finally get an appearance by one of the New Gods as Orion stops by the hospital to look after Billy and give him advice. And when Black Adam shows up, Orion is more than ready to mix it up with him. Sadly we only get to see them trade blows for a few panels, so who knows how that fight might have gone?

Black Adam insists to the JLA that he is not Theo Adam, the criminal who murdered Billy & Mary’s parents, but an entirely different person, and demands his day in court to argue his case.

If there is a weakness to these last several issues it’s that the story feels somewhat disjointed. First there was DC One Million interrupting things for a month, and now, when #46 opens, events have suddenly leaped forward an unspecified amount of time, with Black Adam having been declared not guilty. The first time I read this I really thought I had missed an issue. Obviously this is Ordway doing the best job he can to fit his storyline into the remaining issues he had left.

For the first time since the accident caused by Chain Lightning, Billy calls on the Wizard’s power, transforming into Captain Marvel, ready to pound Black Adam into the pavement. Superman reluctantly intervenes, as in the eyes of the law Black Adam is not guilty… although it isn’t at all clear as to the specifics of how that works, and how he convinced the courts that he’s not Theo Adam, other than them having different fingerprints. Presumably this is something that Ordway would have explained in more detail if he’d had more issues.

Captain Marvel and Superman trade blows for several pages, until Mary and Freddy also transform, causing Billy’s own powers to weaken enough for Superman to beat him. The Man of Steel departs, and Mary and Freddy finally get Billy to calm down.

Meanwhile, Adam has made his way to the Rock of Eternity where, in an effort to settle accounts, he intends to free his former mistress, the demonic Blaze, from her imprisonment there. Adam recruits the evil Doctor Sivana to help him, and they manage to release Blaze… only to find that they’ve been manipulated into also freeing the Wizard’s ancient adversary the Three Faces of Evil, aka King Ghidorah’s even uglier cousin.

As #47 opens, Mother Box calls up a Boom Tube and transports Billy to the Rock, also bringing the Wizard back from New Genesis. Billy, the Wizard and Adam join forces against the Three Faces of Evil. In a great example of Chekov’s Gun — or more precisely Chekov’s Mystic Raygun — Billy retrieves the mystical Scorpion weapon introduced two years earlier in issue #24 and uses it to seal the Three Faces of Evil back inside the Rock.

The Wizard transports Captain Marvel and Adam to the River of the Dead to settle their differences once and for all. Adan continues to insist that he is a different person than Theo Adam… but if he has to kill Billy to escape the River, he’ll do just that. At the last minute Billy transforms back to his human self, and Adam realizes that he cannot bring himself to kill a child, even if it’s the only way he’ll be free. This convinces both Billy and the Wizard that Adam is sincere, and they let him go on his own way.

The Wizard, having attained godhood on New Genesis, returns to his home on the Rock of Eternity. Billy and Mary’s stepparents Nick and Nora, overjoyed their children are once again healthy & whole, throw a party, inviting over many of the characters we’ve seen over the past four years, and everyone gets a happy ending.

It’s unfortunate the series got cancelled. Ordway revealed in interviews that he had the book plotted out thru to issue #50, and was really looking forward to reaching that milestone, so it’s regrettable that he wasn’t allowed to get there. Still, if you count the graphic novel, the annual, and DC One Million, that is 50 issues. Whatever the official count, POS was a great series.

By the way, looking at these last several issues, it’s now apparent they were a major influence on writers Geoff Johns & David S. Goyer, who just a couple years later made violent antihero Black Adam a central character in their JSA run.

On #45 and #46 Ordway is once again inked by Giordano, resulting in some nice work. Costanza letters #45, with Albert T. Guzman filling in on #46. Whitmore colors both issues.

The finale in #47 has Da Ordster doing full artwork and coloring, with Costanza’s letters. The issue looks great, closing out the series in style.

Ordway’s painted covers for all three issues stand out. Issue #45 has Black Adam fighting the JLA. Captain Marvel and Superman face off on the cover to #46, a homage to Nick Cardy’s cover for Superman #276. And finally #47 has Cap in a fight to the death with the Three Faces of Evil.

If you haven’t read this series then I highly recommend picking up the hardcover collection that reprints the graphic novel & the first 12 issues, and then seek out copies of the other issues. It’s definitely worth the search.

Thank you, Jerry Ordway, for a great read. More than two decades later The Power of Shazam is still incredible.

It Came from the 1990s: The Power of Shazam part three

I’m continuing my retrospective of The Power of Shazam published by DC Comics from 1995 to 1999.  This time I’m looking at issues #25-37, roughly the third year of the series. (You can find the first part here and the second part here.)

As always, the writer & cover artist on The Power of Shazam is the amazingly talented Jerry Ordway. Peter Krause and Mike Manley return as penciler and inker, respectively. John Costanza and Glenn Whitmore are the letter and colorist. Mike Carlin is the editor, with Chris Duffy providing assistant edits on #25 and #26, and Frank Berrios coming on beginning with #27.

Issues #25-27 are a key turning point in this series, because … History has been changed!

As we witnessed at the end of the previous story, somehow, impossibly, CC & Marilyn Batson are once again alive, and they, rather than their children Billy & Mary, possess the power of the Wizard Shazam, enabling them to become Captains Marvel! And only the Wizard realizes that things are not as they should be, that the timestream has been altered!

The Wizard discovers that the evil Professor Sivana, following the defeat of Mister Mind’s alien invasion, accidentally ended up on the Rock of Eternity, Shazam’s home at the center of all time. Sivana, realizing that all his misfortunes began when Theo Adam murdered CC & Marilyn in Egypt, utilized the Rock to go back in time to warn his past self about what he should and should not do.

So now, in the altered present, things appear idyllic for the Batson family. And having witnessed CC & Marilyn’s deaths in the graphic novel, and the effects of this tragedy on their children, it’s genuinely moving to see them all together in this new timeline.

We also get to see the normal, unpowered Billy & Mary using their courage & intelligence to outwit their father’s arch-enemy Ibic, which really demonstrates why in the “real” timeline they were so worthy to be given the power of Shazam.

Unfortunately, Sivana is still Sivana, and in this altered timeline he still cannot help being evil & self-destructive, with tragic results for the Batsons. Meanwhile the fanatical time-monitoring Linear Men are warning the Wizard that if he doesn’t correct this alteration of time then they will.

CC learns what has happened and reluctantly agrees to go back in time and fix things, even though it will mean he and his wife will no longer exist. However, CC at first tries to go back in time even farther, to before Sivana became a criminal, to try to scare him straight. Waverider of the Linear Men intercedes, showing him that Sivana is a necessary part of the timestream, and without him all sorts of weirdness could occur. Sadly admitting Waverider is correct, CC stops Sivana from changing history, CC and Marilyn fade from existence, and Billy & Mary are once again orphans.

However, in the now-restored timeline, Waverider ensures that CC’s long-lost will, which was hidden by his greedy half-brother Ebenezer, at long last resurfaces. The will grants custody of the children to Nick & Nora Bromfield. Nick & Nora had already adopted Mary years before, and now they are able to take in Billy, officially reuniting the siblings, much to the Wizard’s joy.

Ordway’s story and the art by Krause & Manley really sell the powerful emotions of this storyline.

Plus you have got to love that page where Waverider shows CC some of the possible Captain Marvels that might occur if history is further changed. The scene is a fun nod to the Kree Captain Mar-Vell & Rick Jones, the Monica Rambeau Captain Marvel, the Captain Marvel from the Shazam: The New Beginning miniseries by Roy Thomas & Tom Mandrake, the wacky android Captain Marvel created by Carl Burgos whose arms, legs & head would split off, the expy Captain Thunder from Superman #276, and Hoppy the Marvel Bunny!

Issue #28 finds Billy feeling ambivalent about this adoption by the Bromfields; he is happy that he and his sister are once again living together, but he’s uncomfortable about once again having parents. Billy literally had to survive on his own since their parents’ deaths, and now he has to once again get used to having structure & parental authority in his life. He also misses his old home in Fawcett City, finding the suburban town of Fairfield very different.

I feel that Ordway shifting the status quo was a great move, because he gets a lot of interesting, poignant drama out of Billy, Mary and the Bronfields all having to adjust to this new situation. One of the things that really appealed to me about this series was that it was as much about Billy & Mary’s personal lives as it was about superheroics, and this continues that direction.

Issue #28 is also a spotlight on Mary as Captain Marvel, debuting a brand-new white costume. We’re never explicitly told why Mary made the change, but the implication is that she has some sort of subconscious memory of the alternate timeline in which her mother wore one like it. Whatever the case, it looks great on her, and it makes her stand out from Billy. This issue also introduces Professor Bibbowski, the intellectual brother of salty tavern owner “Bibbo” Bibbowski from the Superman titles. Guest artwork on this story is by the legendary Dick Giordano.

Next is #29, one of my favorite issues of POS, featuring Hoppy the Marvel Bunny. Peter Krause demonstrates his versatility as an artist in this fun story that sees Billy transported to a “funny animal” universe via a magician’s top hat… said magician being the Great Carlini, a nod to editor Mike Carlin.

At the end of the story we’re left wondering whether it was all an hallucination Billy had… but since just a couple issues back Waverider showed CC Batson that Hoppy was a possible incarnation of Captain Marvel, I’m going to say this really did happen. Besides, it’s too much of a great story to write off as a dream.

Giordano becomes the regular inker on with this issue. It’s interesting to compare his work over Krause to Manley’s previous inking. Manley enhanced the cartoony aspects of Krause’s pencils, whereas Giordano brings a slicker ink line. Definitely a good demonstration of how two inkers can have very different effects on the same penciler.

I haven’t previously mentioned Dudley, the middle aged janitor from Billy’s old school in Fawcett. Dudley was one of the few people who knew that Billy was living on his own, and that he was also Captain Marvel, and the kind-hearted maintenance man often covered for him. Dudley is a decent-enough guy, although he is definitely irresponsible and drinks too much. He was previously kept in line first by Billy and then by Tawky Tawny, but now that Billy is in Fairfield and Tawny is off making a movie, Dudley has a serious string of bad luck and gets fired.

Drowning his sorrows in alcohol, Dudley is visited by Mister Finish, a demon who looks like a werewolf. Finish tells Dudley that he’s going to die in three days… unless he comes up with seven other people to take his place! Dudley doesn’t actually accept the deal, but he understandably cannot stop from thinking about it, and Finish plucks the seven names from his mind. The inebriated Dudley rushes off to Fairfield to get Billy and Mary’s help, and they need to prevent Finish from claiming the seven victims. This is another one I liked a lot.

Issue #31 is a crossover with the Genesis event that John Byrne was spearheading. Ordway had a good working relationship with Byrne going back years, so it’s not surprising that POS has a significant tie-in with Genesis. Ordway used the preceding two issues to build up to it, and the actual crossover in #31 is anything by a throw-away story.

Due to the power losses caused by the events in Genesis, and by the Wizard traveling to New Genesis, Billy and Mary have become stuck in their Captain Marvel forms. Nick & Nora are convinced that Billy & Mary have been kidnapped by Dudley, who was the last person they were seen with before they went missing. In order to get Dudley released from jail, and to assuage the Bromfields’ fears, Billy & Mary find that they must reveal their secret identities to their adopted parents. So once again Ordway shifts the status quo, and from here on one of the major themes of this series is Nick & Nora trying their best to be parents to two kids who have superpowers.

After this there were a trio of stand-alone issues that featured some really great writing & character-development by Ordway.

Issue #32 introduces U.S. Air Force text pilot Deanna Barr, daughter of retired World War II costumed hero Jim “Bulletman” Barr. We also see Billy & Mary now using Mother Boxes given them by the New Gods to transform into the Captains Marvel as, following the events of the Genesis crossover, the Wizard has chosen to remain on their world of New Genesis. We also see Nick & Nora still adjusting to finding out their kids are superheroes. All things considered, they handle it pretty well.

Issue #33 is regarded by many as one of the best issues of the series. Billy and Mary are trying to find a way to help their friend & classmate Victor, who several years earlier was left horribly disfigured by their old enemy he superhuman pyromanic the Arson Fiend. This story has been reprinted twice, first in Shazam! The Greatest Stories Ever Told in 2008 and then in Shazam! A Celebration of 75 Years in 2015.

Issue #34 co-stars Jose Delgado, the vigilante Gangbuster, who has been on the run from the law for some time now. For the past few issues Jose has been working as a substitute teacher at Billy & Mary’s school in Fairfield. But when Billy is kidnapped, and unable to change into Captain Marvel, Jose is forced reveal his true identity to save the teen. Ordway utilizes this story to continue the Gangbuster story arc he wrote in a couple of recent issues of the Showcase revival, as well as to set up events for the upcoming crossover between POS and James Robinson’s Starman.

Krause & Giordano do a fine job with some very intelligent, emotional material in these three issues. Krause also once again does great with the comedic material. I love that scene of Deanna Barr giving Captain Marvel a smooch, and the panel of Billy & Mary sampling their stepmother’s attempt at baking cookies speaks for itself. The expressions on their faces!

That brings us to the crossover with Starman written by James Robinson. “Lightning and Stars” runs through Starman #33-40 and POS #35-36.

Jim Barr, has been framed for treason by neo-Nazis! Utilizing decades-old propaganda footage created by the Third Reich, these modern-day fascists have convinced the world that back in 1942 Barr was actually a Nazi double agent responsible for sinking the luxury liner The Normandie in New York Harbor on February 9, 1942.

Barr, in fact, was actually in Alaska on that very day, accompanying Ted Knight, the original Starman, on a top secret mission to prevent the Nazis from acquiring… something. Unfortunately all these decades later the mission is *still* classified, and Jim feels that he cannot reveal the details to the public, even if it’s the only way to clear his name.

Back during that mission Bulletman saved Starman’s life during a fierce battle above the Alaskan tundra, and so Ted now seeks to repay Jim by offering him sanctuary. Government bigwig Sarge Steel is more concerned with making sure the events of February 9th stay a secret than he is in clearing Jim’s name, though. Steel manipulates Captain Marvel into going after the retired Bulletman. This puts Billy Batson into conflict with Ted’s son Jack, the current Starman, in Opal City.

Meanwhile, Mary Bromfield, rather than rushing in blind, actually uses her head. Investigating, she figures out the footage of Bulletman’s treason is a fake. Turning into Captain Marvel, she stops her brother from getting into another fight with Jack Knight. The three of them return to Nick & Nora Bromfield’s home in Fairfield, where Jim and Ted are trying to figure out how to clear Jim’s name, a well-drawn scene I previously spotlighted in one of my Comic Book Coffee entries.

I liked the scene Ordway wrote between Billy and Jack at the end of the crossover. Jack and his father have an often-contentious relationship, But as the orphaned Billy points out to him:

“You — you’re really lucky, y’know — that your dad’s still around for you. And you for him.”

Krause appears to have drawn a great deal of inspiration from primary Starman artist Tony Harris. Krause’s work on these two issues really evokes the layouts & storytelling seen in the other series. As always, Krause does a great job with all of the character-driven sequences.

Ordway’s painted covers for these two issues are very nicely done, forming a single, larger image with scenes both past & present. And, yes, that is Green Lantern Abin Sur on the cover! The revelation of what exactly Bulletmen and Starman found in Alaska in 1942 was definitely an effective surprise. I really did not see it coming.

Finally we get to issue #37, which is a Captain Marvel Junior spotlight. Freddy Freeman hasn’t been seen in this series for quite a while, having joined the Teen Titans in New York City, and thus been busy appearing in that series. Freddy returns to these pages just in time to accidentally be exposed to the psychic mists of the evil Doctor Morpheus… no relation to the brooding goth fellow who hangs out with Neil Gaiman! As far as I can tell this is the Doctor’s only appearance. Freddy fights his way through the nightmares that Morpheus creates out of Freddy’s own fears & insecurities.

At the end of the story Captain Marvel Junior, who’s magic word is not “Shazam” but “Captain Marvel,” renames himself CM3, because he finally figures out that having a superhero name that he can’t even say without turning back to his non-powered self is not such a great thing. I don’t know if CM3 is much of an improvement, but what can you do?

This issue is interesting in that we see former inker Manley returning to pencil the story, with current inker Giordano providing embellishments. They do a nice job with the weird, creepy story by Ordway.

And with that we bring this installment of this retrospective to a close. Next time Ordway will once again be shaking things up in The Power of Shazam in a major way!

It Came from the 1990s: The Power of Shazam part two

I’m continuing my retrospective of the fantastic comic book series The Power of Shazam published by DC Comics from 1995 to 1999. You can find the first part here.

Today I’m looking at the second year of the title. The regular creative team is the same as before: writer & cover artist Jerry Ordway, penciler Peter Krause, inker Mike Manley, letterer John Costanza, colorist Glenn Whitmore, assistant editor Chris Duffy, and editor Mike Carlin.

Actually, this is where I first came in.

Yes, it’s true, I did not read the graphic novel when it originally came out in 1994, or the first 13 issues of the ongoing series. But I kept hearing such positive things about the series, so when issue #14 came out with guest pencils by the legendary Gil Kane, I decided to give it a try.

Freddy Freeman, aka Captain Marvel Junior, was a popular guy and a jock before he was crippled by Captain Nazi and then received powers from Billy Batson and Mary Bromfield, the two Captains Marvel. So when Freddy starts showing some interest in Mary in issue #13, Billy becomes extremely overprotective. Billy and Freddy end up coming to blows, and Freddy leaves Fawcett City.

Issue #14 picks up on Freddy, who has arrived in New York City. He encounters Chain Lightning, another teen metahuman, although she suffers from some form of multiple personality disorder, which makes her very dangerous & unpredictable.

Ordway did a great job writing a story that was simultaneously a stand-alone tale, and which also brought new readers such as myself up to speed on what had happened before. That sort of skill has unfortunately become rare in mainstream superhero comics. I found #14 a really engaging issue with great artwork by Kane, so I came back a month later for #15, and I was hooked. I subsequently sought out the graphic novel and the previous issues.

Thinking about it, I was probably also intrigued by the clever “cereal box” house ad that DC ran featuring Ordway’s cover painting for the upcoming issue #16 to promote the Mister Mind storyline. Now that is how you promote a comic book!

Mister Mind was the “big bad” behind the lengthy “Monster Society of Evil” serial that Fawcett Comics published back in the 1940s. Eventually revealed to be a tiny, cartoony-looking worm, Mister Mind’s cute appearance belied the fact that he was a cold-blooded killer. Nevertheless, I really don’t think the character would have worked in that form in the 1990s. Ordway reimagines Mister Mind as the vanguard of a race of millions of telepathic worms from Venus which possess a shared consciousness.

Just like his Golden Age namesake, this modern “Mister Mind” and his race plot to take over the world. The worms have a plan that manages to be simultaneously brilliant and ridiculous, specifically taking over the mind of Billy’s miserly uncle Ebenezer to build a giant casino in Fawcett City, and then have Captain Marvel’s arch-enemy Doctor Sivana teleport the worms from Venus to Earth where they can take over the people who come from across the country to visit the casino. In a tip of the hat to the original Captain Marvel stories, the casino’s mascot is the original cartoony version of Mister Mind.

The worms all speak in an alien language which could be translated via a decoder card that readers got for free by sending a self-addressed stamped envelope to DC Comics. Yes, I sent away for one, and yes, I still have it. Maybe it’s no Captain Midnight Decoder Ring, but it’s still pretty cool.

Mike Carlin informed me on Facebook that John Costanza is the one who lettered the Mister Mind Alphabet.

Also in these issues, much to Bill Batson’s chagrin, the Wizard Shazam decides to leave the Rock of Eternity to once more live among humanity… which means posing as Billy’s grandfather and moving in with him.

The Power of Shazam #17 features one last flashback sequence penciled by Silver Age legend Curt Swan, who had previously contributed to issues #8 and #11. This segment reveals exactly how Doctor Sivana and Mister Mind came to be working together. Issue #17 was released in June 1996, the month Swan passed away, making it among the last art he drew. It demonstrates he was doing solid work right up to the end.

I’m glad that Ordway included this sequence, because it helps fill in the gap between the graphic novel and the first issue of the ongoing series. Billy Batson and Sivana barely interact in the graphic novel, but when the monthly series begins four years have passed and Sivana is now Captain Marvel’s arch enemy, as well as one of the few people who know he’s actually Billy. So this segment gives some info on how they became such bitter adversaries, and how Sivana went from being a shady tycoon to a mad scientist on the run from the law.

Another highlight of this four issue story arc is Captain Marvel donning a Wallace Wood-inspired spacesuit for the journey to Venus… where he discovers that Sivana has obviously been raiding Tony Stark’s wardrobe!

Krause & Manley do their usual superb work on issues #15-17, with Manley stepping up to contribute both pencils & inks for the wrap-up in issue #18.

Around this time a couple of other books related to The Power of Shazam came out. The first of these was Showcase ’96 #7 (August 1996), a team-up between Mary Bromfield / Captain Marvel and the vigilante Gangbuster, who Ordway created with writer Marv Wolfman in Adventures of Superman a decade earlier. This enabled Ordway to continue the storyline of Gangbuster being on the run from the law that had been set up in the Superman books and continued through a previous issue of the Showcase anthology. It also allows Mary to again step into the spotlight and demonstrate she is just as much a hero as her brother.

Looking at this story again in 2022, it was a pleasant surprise to see journalist Cat Grant also appeared in it. I miss how Cat was written back in the 1990s as an intelligent, caring person. I really didn’t like how she was depicted when she was brought back in 2008 with a completely different, and very ugly, personality.

Art on the Captain Marvel / Gangbuster story was by penciler John Statema & inker Mike DeCarlo, with letters by Ken Bruzenak and colors by Dave Grafe. Will Rosado & Klaus Janson drew the dynamic cover which shows Mary and Gangbuster facing off against the superhuman pyromaniac the Arson Fiend.

Also released was The Power of Shazam Annual #1 which… hey, wait a minute! I’ve never read this one before! What gives?

Seriously, all these years later I can’t remember why I didn’t get the annual when it came out. It’s possible I never saw it. Or maybe, since it was around the time that I was deciding to start reading the series, I skipped it to focus on the regular issues.

Of course, it’s equally possible that I simply didn’t get it because of the whole “Legends of the Dead Earth” theme of stories set in the far, far distant future that ran through all of DC Comics’ annuals in the Summer of 1996. At the time 17 year old was me was unfortunately hung up on continuity, on whether or not stories were “real” and “actually happened,” and it seemed to me that Legends of the Dead Earth was Elseworlds in all but name, and therefore “didn’t count.” Which was pretty damn silly of me, because years later I read several of those annuals and found them to be entertaining mash-ups of superheroes, pulp sci-fi & fantasy. What can I say? I was a foolish teenager back in 1996.

And, ironically, The Power of Shazam Annual #1 actually “did count” as it introduced teenager CeCe Beck (named after the first Captain Marvel artist C.C. Beck) who transformed into Thunder, an incarnation of Captain Marvel over six thousand years in the future, and who went on to make several more appearances. She even hung out with the Legion of Super-Heroes for a while. Shows what I know!

Since I was doing this reread of the entire series, I finally tracked down this annual and, wow, it’s really good! Writer & cover painter Ordway does a superb job of really subverting a familiar formula. The “plucky rebels fighting an oppressive evil empire” trope gets upended as we see that the resistance has committed some morally questionable acts, with one of their leaders being responsible for the deaths of Beck’s parents. There are people living in the regular society who are perfectly happy with their existence, so simply overthrowing the existing order is only going to make a bad situation worse. Inspector Javert, despite being named after the antagonist from Les Miserables, turns out to be a reasonable authority figure. Beck realizes that both sides need to find a way to co-exist.

Regular inker Mike Manley here turns in some really nice animated-style pencils, neatly balancing the fun and dystopian elements of Ordway’s story. Manley is effectively inked by John Nyberg. John Costanza and Glenn Whitmore once again turn in quality letters and colors.

So, yes, this one was definitely a very unexpected gem!

Returning to the ongoing monthly series, we now get to The Power of Shazam #19. I only have one issue from this series autographed, and it’s this one.

Following up on the Captain Marvel Junior story from a few months earlier, issue #19 sees Freddy Freeman visiting S.T.A.R. Labs to check up on Chain Lighting, and to receive treatment for his own injuries from Dr. Caitlin Rousso.

Caitlin accidentally lets slip that Captain Nazi is being held at S.T.A.R. Labs until he can be transported back to Europe to stand trial for war crimes. Freddy, seeking vengeance, busts out Nazi and takes him to an abandoned industrial area, only to realize that, as much as he wants, he cannot bring himself to kill his enemy in cold blood. Unfortunately Nazi takes the opportunity to escape, and now it’s up to Freddy, working alongside middle aged superhero & World War II veteran Minute Man to recapture the superpowered fascist.

Gil Kane, who penciled issue #14, returns for this story. Regrettably this time Kane was only able to complete the first half of the issue. Joe Staton, another great artist, as well as a personal favorite of me, stepped in to pencil the second half. Around this time Staton was also helping Kane complete the pencils for the graphic novel The Life Story of the Flash, which was published in 1997.

I got this one autographed by Kane the one time I was fortunate enough to meet him, and subsequently had Ordway and Staton add their signatures. Hopefully one of these days I will also get the opportunity to also have this issue signed by Manley.

The first year and a half of The Power of Shazam was pretty much self-contained. Ordway understandably wanted to take the time to introduce Billy Batson, Mary Bromfield, Freddy Freeman and the rest of the cast, to tell his own stories. Fortunately DC allowed him the opportunity to do just that. Yes, Captain Marvel popped over to the Underworld Unleashed event in-between issues, but it was done in such a way that if you didn’t read that crossover you really wouldn’t have missed anything.

Starting with issue #20, though, Ordway starts linking The Power of Shazam with the rest of DC Universe. A tie-in with The Final Night crossover brings in guest star Superman, a character Ordway is, of course, very familiar with. But even here Ordway uses the crisis of the Sun Eater as the impetus to have Captain Marvel Junior return to Fawcett City and bury the hatchet with the rest of the Marvel Family, and to engage in some nice character development.

Issue #21 features a wacky guest appearance by Plastic Man. The artwork by Krause & Manley is really well-suited to the oddball humor of Pas and his sidekick Woozy Winks. There were some genuinely laugh-out-loud moments in this one.

Then in issue #22 Batman stops by Fawcett City to investigate organized crime. Billy’s already got gym class and homework and a school bully on his plate, but when the Dark Knight tells you he expects you to meet up with him, well, what can you do?

Issue #23 sees Ordway introduce another post-Crisis revamp of an old Captain Marvel enemy, the radioactive robot Mister Atom. The story also once again showcases how the series has become an ensemble piece. Billy and Mary are pretty much equal co-stars, and both of them are referred to as Captain Marvel. “Mary Marvel” is only a nickname that Billy calls Mary; everyone else refers to her as “Captain Marvel Lady” or “the Lady Marvel” or variations thereof. Even the opening narration refers to Mary as Captain Marvel.

Speaking of the opening, the double page spread on this issue by Krause & Manley is gorgeous.

I do have to admit, on first reading issue #23 did feel like somewhat of a throwaway story… but about 15 months down the line it turned out to be very significant to the series. Ordway did a good job of setting up plotlines & character arcs on this series that would pay off later.

Oh, yeah, among the various mindless missives printed in this issue’s lettercol is some inane drivel by a Ben Herman of Harrison, New York. I think I heard that guy later moved to Queens, NYC and started writing long, rambling blog posts 😼

The second year of The Power of Shazam came to a close with issue #24. It has a gorgeous pulp-style painted cover from Ordway. Krause & Manley do a fine job illustrating the flashback adventure within.

The now-retired costumed hero Spy Smasher is recounting to Billy & Mary an incident from back during the Cold War when he worked with their late father, archaeologist Clarence Charles Batson, to retrieve an ancient artifact known as the Scorpion from East Germany. Once the property of the Wizard, the Scorpion has the potential to be an incredibly powerful weapon, so naturally both the Communists and a group of Nazi war criminals also want to get their grubby mitts on it.

After several very close calls, including a fight with the armored Baron Blitzkrieg, CC and Spy Smasher at last escape from behind the Iron Curtain with the Scorpion. Spy Smasher wraps up his tale… just in time for Billy & Mary’s father to arrive and tell them it’s time to come home, because their mother is making dinner.

Holy moley! What in the name of Shazam is going on? Aren’t Clarence & Marilyn Batson dead? How can any of this be happening? What a cliffhanger!

I’ll be looking at what happens next in an upcoming post when I cover the third year of The Power of Shazam. I hope you’ll come back for it!

It Came from the 1990s: The Power of Shazam

Last month I started doing a re-read of The Power of Shazam comic book series that was published by DC Comics for four years between 1995 and 1999. One of the reasons why I like to do this “It Came from the 1990s” feature here on this blog is because the decade as a whole tends to get a bad rap among comic book fans. There were some great comic books published during the 1990s, and The Power of Shazam, which was written by Jerry Ordway for its entire run, is among the very best.

The Power of Shazam features Billy Batson, the original Golden Age version of Captain Marvel originally published by Fawcett Comics from 1939 to 1953 before DC Comics ultimately litigated them out of existence, with the character subsequently being acquired by DC itself two decades later. Ordway’s run is often regarded as the best incarnation of the character since the original Golden Age version.

The Power of Shazam actually started out as a standalone graphic novel written, drawn & painted by Jerry Ordway, with lettering by John Costanza, that DC published in early 1994. Coming off the Superman family of titles, on which he regularly worked in the late 1980s and early 90s, Ordway set out to tell the definitive post-Crisis on Infinite Earths origin of Billy Batson / Captain Marvel.

The graphic novel initially opens in the Egyptian desert several years in the past. Husband and wife archaeologists Charles Clarence Batson & Marilyn Batson are excavating a previously-undiscovered tomb. With them is Theo Adam, an agent of the expedition’s financier Thaddeus Sivana. In a hidden chamber the trio discovers a sarcophagus with a beautiful scarab necklace. The thuggish Adam becomes strangely fixated on the scarab. He brutally murders C.C. and Marilyn, but not before Marilyn hides the scarab inside her daughter Mary’s stuffed Tawky Tawny doll. Adam kidnaps Mary and flees back to America.

Some months later the Batsons’ other child, ten year old Billy, is living on the streets of Fawcett City, his inheritance having been stolen by his miserly Uncle Ebenezer. A ghostly figure beckons to Billy one rainy night, leading him into a subway tunnel which is connected to the other-dimensional Rock of Eternity, the home of the ancient Wizard Shazam. The Wizard bids Billy to say his name. Calling out “Shazam!” Billy is transformed into the super-powered adult form of Captain Marvel.

The understandably confused & angry Billy takes some time to adjust to this new body and its amazing powers, but he soon finds himself on a collision course with Theo Adam, who is revealed to be reincarnation of Black Adam, the Wizard’s original champion from ancient times who was corrupted by his awesome powers. Finally locating the mystic scarab, Theo transforms into Black Adam for the first time in the modern age.

Billy defeats Adam and resists the temptation to exact vengeance against the man who murdered his parents. The Wizard robs Adam of his powers & ability to speak. The figure who led Billy to the Rock of Eternity is none other than the ghost of Billy’s father, who drops enough clues to cause Billy to realize his sister Mary is still alive somewhere.

Ordway did a superb job updating the concept of Captain Marvel for the 1990s while still retaining much of the charm & whimsy of the original stories. Ordway’s painted artwork on the graphic novel was stunning.

The graphic novel was a huge success and DC greenlit an ongoing monthly series which made its debut in early 1995. Leaping forward four years to the “present day” the series features the now 14 year old Billy still attempting to juggle the life of a teen with the powers of Captain Marvel. Complicating matters, Billy continues to hide the fact that his uncle threw him out on the streets, because he doesn’t want to end up in foster care or an orphanage.

In addition to writing The Power of Shazam series, Ordway created gorgeous painted covers for each issue. The new art team was Peter Krause on pencils / layouts and Mike Manley on inks / finishes. John Costanza returns as letterer, with coloring by Glen Whitmore. Rounding things out were assistant editor Chris Duffy and editor Mike Carlin.

The first 12 issues of the monthly title formed a complete story arc. Billy at last discovers his long-missing sister Mary, who has been adopted by her mother’s cousin Nora and her husband Nick Bromfield. Mary is prompted by the magically animated Tawky Tawny stuffed animal to call out the magic work “Shazam” also gaining the Wizard’s powers.

Billy and Mary are reunited and befriend fellow teen Freddy Freeman. When Freddy is crippled by the superpowered fascist Captain Nazi, the Batson siblings share the powers given to them by the Wizard with their friend, enabling him to become Captain Marvel Jr. With the intro of first Mary as a second Captain Marvel, and then Freddy Freeman as Captain Marvel Jr, The Power of Shazam quickly became an ensemble title.

Just as he did with Bill Batson, Ordway does fantastic work with the character of Mary Bromfield. In certain respects Mary actually makes a better Captain Marvel than Billy, with the Wizard telling her:

“You have shown an intuitive grasp of my powers, Mary… in many ways, using them better than your brother had, when he first received them.”

It actually makes sense that Mary has that ability, as she was adopted by the Bromfields and given a loving, stable upbringing, whereas poor Billy was thrown out by his greedy uncle, forcing the young boy to survive by his wits on the streets of Fawcett City. I like that Ordway shows the siblings having very different approaches to crimefighting. Ordway also did a superb job rendering Mary on the book’s painted covers.

I definitely want to acknowledge the work of Peter Krause. I’d classify Krause as one of those good, solid artists who can turn in clear, dynamic pages on a deadline. I think if Krause had been around 20 years earlier he probably would have been one of the top artists of the Bronze Age. Regrettably by the mid 1990s his sort of art style had mostly fallen out of fashion. Fortunately this series was the perfect venue for Krause’s work.

Krause perfectly balanced the action & drama with the comedy & whimsy. He was equally adept at drawing dynamic action sequences as he was at bringing to life the humorous characters & moments in Ordway’s stories such as all of the really fun Tawky Tawny scenes. Manley’s finishes superbly complemented Krause’s pencils. They made a top-notch art team.

Silver and Bronze Age legend Curt Swan penciled a flashback sequence in The Power of Shazam #8 featuring Bulletman, Minute Man and Spy Smasher mixing it up with the diabolical Captain Nazi and his goosestepping lackeys during World War II. Swan’s lovely traditional style is a good fit for this segment, and Mike Manley’s inking complements his work really well.

Ordway himself pencils a pair of flashbacks in issue #10 and #12, which reveal the origin of the Wizard Shazam and his role in the history of Fawcett City and the Batson Family. We discover the Wizard had an origin very much like Billy, when as a young boy his family was murdered by bandits thousands of years ago in the Middle East. Entreating to the gods for the power to fight against injustice, the future Shazam became a champion in the region, protecting the innocent, allowing civilization to flourish.

Unfortunately, much as would one day happen to his successor Black Adam, the Wizard became overconfident, and his arrogance led to him being seduced by a beautiful demonic temptress. The inhuman seductress then gives birth to twins, the diabolical siblings Blaze and Satanus, who had previously been introduced in the Superman books during Ordway’s time on them.

Much of the events in the first year of The Power of Shazam revolves around Blaze’s efforts to undo the good works of her father the Wizard Shazam, and her brother Satanus’ own machinations to prevent his sister from becoming the ruling monarch of Hell.

The graphic novel and first 12 issues of The Power of Shazam were collected together by DC Comics in 2020 in the hardcover In the Beginning. There are tentative plans for a second collection, which I really hope will materialize, because it would be great if eventually the entire series got reprinted.

In any case, I’ll be looking at the second year of The Power of Shazam in a future blog post. Maybe I’ll do one post for each year of the series? I guess I’ll see how it goes. Anyway, I’m really enjoying this reread, and I hope those of you who follow this blog will enjoy my retrospectives of this great series.

George Perez: 1954 to 2022

I was very sorry to hear about the passing of legendary comic book creator George Perez on May 6th. Perez had announced back in December that he was suffering from with inoperable pancreatic cancer, and that he had approximately six months to a year left to live. We all knew this day was coming soon, but it doesn’t make it any less sad.

Perez had an incredibly lengthy, diverse career. As I did a week ago to mark the passing of fellow legend Neal Adams, I am going to refrain from even trying to put together any sort of comprehensive retrospective of Perez’s career, and instead just focus on my own impressions of his work as a fan.

Batman #439 cover drawn by George Perez and collored by Anthony Tollin, published by DC Comics in Sept 1989

I first started following comic books regularly in 1989 when I was 13 years old, so I missed Perez’s early work on Fantastic Four and Avengers for Marvel Comics in the late 1970s, as well as his wildly popular collaboration with writer Marv Wolfman on The New Teen Titans at DC Comics beginning in the early 1980s.

While I can’t be 100% certain, I think the first work by Perez that I ever saw were his covers for the “Batman: Year Three” and “A Lonely Place of Dying” story arcs that ran through Batman #436-442 in the summer and fall of 1989. I was immediately struck by Perez’s intricately detailed work and his complex compositions. His cover to #439 featuring Nightwing hanging on for dear life from the bell tower of a church in the midst of a fierce rainstorm, highlighted by the Bat-signal, especially stood out in my mind. Perez and colorist Anthony Tollin did absolutely stunning work in rendering that atmospheric image.

Within a couple of years I was following quite a few DC titles. War of the Gods was a major crossover that DC published in the summer & fall of 1991, and it tied in with Perez’s run on Wonder Woman. So I picked up Wonder Woman #58 which was written & cover-illustrated by Perez and the four issue War of the Gods miniseries for which Perez was writing, doing interior pencil layouts and drawing full covers. As I’ve mentioned before, this was an absolutely insane time for me to try to dive into Wonder Woman, because this was the culmination of a number of plotlines & character arcs that Perez had been developing over the past five years.

War of the Gods #4 cover drawn by George Perez, published by DC Comics in Dec 1991

Three decades later I only remember three things about War of the Gods: 1) the evil sorceress Circe was the main villain, 2) I didn’t understand even half of what was going on, and 3) DC promoted the fact that for the cover of the final issue of the miniseries Perez set out to draw a cover featuring ONE HUNDRED different characters. That must have been my first exposure to Perez’s fondness for drawing literal armies.

At the exact same time Perez was also penciling another crossover, this time at Marvel. The Infinity Gauntlet was another “cast of thousands” cosmic extravaganza that ran for six double-sized issues. Truthfully, I wasn’t especially into writer Jim Starlin’s story for The Infinity Gauntlet, either, since it very predictably followed the arc of Thanos becoming a god and wiping the floor with everyone else in the Marvel Universe for half a dozen issues before finally losing the titular Infinity Gauntlet.

Nevertheless, Perez, paired with inker Josef Rubinstein, did a fantastic job drawing the cosmic spectacle… at least until working on two mega-crossovers simultaneously became too much for even someone of Perez’s talent & speed, and he had to bow out partway through issue #4, with Ron Lim taking up penciling duties for the remainder of the miniseries. To show support for Lim stepping into this high-profile assignment and having the unenviable job of following in his footsteps, Perez inked Lim’s pencils on the covers for the final two issues of The Infinity Gauntlet.

The Infinity Gauntlet #1 cover drawn by George Perez and colored by John Stracuzzi, published by Marvel Comics in July 1991

So, while I haven’t revisited The Infinity Gauntlet in the last 30 years, either, I definitely was impressed by the work Perez did on the first half of the miniseries. Certainly his intricate cover for the first issue, colored by John Stracuzzi, is one of the all-time greatest depictions of Thanos in the character’s half-century history. Heck, even Jim Starlin, the writer / artist who created Thanos, has used Perez’s cover artwork for The Infinity Gauntlet #1 for his own convention banner. Now that is respect.

Anyway, throughout the 1990s, when I was in high school & college, I went to a lot of comic book conventions, and bought a lot of back issues from the 1970s and 80s. Amongst these were several books that Perez worked on: Avengers, Justice League of America, The New Teen Titans, Marvel Fanfare, Crisis on Infinite Earths and Action Comics. I also had the opportunity to pick up a lot more issues of Perez’s epic, groundbreaking five year run on Wonder Woman, at last getting in on the earlier parts of his incredible, highly influential revamp of Princess Diana of Themyscira.

Straight from the back issue bin… Crisis on Infinite Earths #10, written by Marv Wolfman, penciled by George Perez, inked by Jerry Ordway, lettered by John Costanza and colored by Anthony Tollin, published by DC Comics in january 1986

In the mid 1990s Perez penciled the first six issues of Isaac Asimov’s I-BOTS, written by Steven Grant, published by Tekno Comics / Big Entertainment.  I took a look at Perez’s work on that series a few months ago as part of the most recent round of Super Blog Team-Up, in which the various contributors examined different parts of Perez’s amazing career.

In 1998 Perez had another opportunity to pencil Avengers, this time paired with writer Kurt Busiek. Perez remained on the series for three years. After the meandering, confusing events of “The Crossing” and the controversial Heroes Reborn that saw Rob Liefeld take over the book, Busiek & Perez’s run was warmly received by long-time Avengers readers.

Now here’s another one of those occasions when I am going to go against conventional fan wisdom. The truth is I wasn’t especially enthusiastic about Busiek’s writing on Avengers; I feel Busiek is an amazing writer on smaller, intimate, character-driven stories set against the epic backdrops of superhero universes, something he’s demonstrated again and again with his incredible work on Astro City. Same thing for Thunderbolts from Marvel, which was a very character-centric series. In contract, Avengers was the epic superhero event book, and I just didn’t feel that Busiek quite had the faculty to pull off those sorts of stories. (Just my personal opinion, so feel free to disagree.)

The Scarlet Witch tears up the dance floor! Avengers vol 3 #19 written by Kurt Busiek, penciled by George Perez, inked by Al Very, colored by Tom Smith and lettered by Richard Starkings, published by Marvel Comics in August 1999

That said, Busiek did really solid work on the character-driven subplots in Avengers involving the Scarlet Witch, the Vision, Wonder Man, and Carol Danvers / Warbird, as well as his own creations Silverclaw and Triathalon. And of course Perez did an incredible job illustrating Busiek’s stories, both the action scenes and the quieter character moments. I certainly appreciated the stunning costume Perez designed for the Scarlet Witch. And that bellydance sequence featuring Wanda from Avengers vol 3 #19 (Aug 1999) seen above was absolutely gorgeous, a superb example of Perez’s storytelling abilities.

In the early 2000s Perez signed an exclusive contract with startup publisher CrossGen Comics. Perez penciled the quarterly double-sized CrossGen Chronicles, followed by the monthly series Solus. I only read a handful of the CrossGen titles, but I picked up a couple of issues of CrossGen Chronicles specifically for Perez’s artwork.

One of the things I appreciated about the CrossGen books was that it was not a superhero-centric universe. CrossGen enabled Perez to stretch his boundaries and work in the genres of fantasy and sci-fi / space opera. He did some incredible work for them. Regrettably CrossGen only lasted a few years, going bankrupt in 2003.

CrossGen Chronicles #4, written by Mark Waid, penciled by George Perez, inked by Mike Perkins & Rick Magyar, colored by Laura DePuy, Chris Garcia & Mike Garcia, and lettered by Dave Lanphear & Troy Peteri, published by CrossGen Comics in Sept 2001

Back in 1981 Perez had begun penciling a Justice League / Avengers crossover, but the project was left uncompleted due to editorial conflicts between DC and Marvel Comics. Two decades later, in 2002, the Big Two at last came to an agreement to work together and publish a crossover between their two superstar teams. Even though Perez was signed to CrossGen, he’d included a clause in his contract with them that if Justice League / Avengers ever happened he would be allowed to draw it. And so he was reunited with Kurt Busiek and colorist Tom Smith to produce the long-awaited meeting of the Justice League and Avengers in four double-sized bookshelf issues.

JLA / Avengers once again gave Perez the opportunity to draw his casts of thousands. The absolute highlight of the event was the wraparound cover to the third issue, on which Perez depicted every single member of both teams up to that point in time. Tom Smith recently recounted that it took him two whole weeks just to color that cover.

Where’s Waldo?!? JLA/Avengers #3 cover drawn by George Perez and colored by Tom Smith, published by DC and Marvel Comics in December 2003

It seems like everyone has a George Perez story, so here’s mine: I met writer Marv Wolfman at a comic con in White Plains NY in June 2000 and had him autograph my copy of Crisis on Infinite Earths #8, the historic (and at the time absolutely permanent) death of Barry Allen, the Silver Age Flash. A few months later, at a store signing in Connecticut, I met artist Jerry Ordway, who had inked that issue,and I had him autograph it, too. He smiled and said “I’d better leave room for George Perez to sign it.” I responded that he didn’t have to do that, since I didn’t expect to ever meet Perez (and, really, I didn’t think I’d have the opportunity, because he was such an incredibly popular artist).  Ordway just smiled again and autographed the book, leaving several inches space between his and Wolfman’s signatures.

Fast forward a few years, and low & behold none other than George Perez was a guest at a comic con in Manhattan. Of course I brought along my copy of Crisis on Infinite Earths #8, and Perez autographed it in between Wolfman & Ordway’s signatures. So, a big “thank you” to Jerry Ordway for his foresight.

Crisis on Infinite Earths #8 signed by Marv Wolfman, George Perez and Jerry Ordway!

I wish I could regale you with some fascinating anecdotes about my meeting George Perez. The simple fact is, in the couple of minutes I spoke with him he came across as a good person, and that’s it. From everything I’ve heard Perez was always like that; he always made an effort to be friendly to all of his fans, to greet them with a warm smile.

About a decade later Michele and I were at New York Comic Con. We ran into Perez when he was between panel discussions or something; I don’t recall the specifics. I just remember that Michele had had a copy of Wonder Woman vol 2 #19 with her, and she went up to Perez and asked him to sign it. I think he was talking with someone, or maybe he was on his way out of the room, but whatever it was he was doing he paused, turned to Michele, smiled, pulled out a sharpie, and autographed her comic. That’s the type of person Perez was, always making time for his fans.

George Perez was an incredible artist and a genuinely decent person. He will definitely be missed. I wish to offer my condolences to his family, friends and colleagues for their loss.

The Daily Comic Book Coffee, Part 13

Welcome to the 13th edition of Comic Book Coffee. I previously posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

(I has nasal surgery a couple of days ago, so if any typos creep into this I apologize. My head is pretty stuffed up right now!)

61) Gene Colan & Tom Palmer

Daredevil #90, penciled by Gene Colan, inked by Tom Palmer, written by Gerry Conway and lettered by Sam Rosen, published by Marvel Comics with an August 1972 cover date.

It’s not all that surprising that during his career Daredevil has encountered four different criminals who assumed the costumed identity of Mister Fear.  What would be more natural that for the self-proclaimed “Man Without Fear” to cross swords with a villain whose modus operandi was the creation of fear?

Here we see Daredevil, hit by Mister Fear’s powers, has crashed through the window of an office building, and is now cowering in terror at the little old lady who cleans the building.  The next panel finds DD a guest of the local precinct, with the cops offering the still-unsteady crimefighter a cup of coffee.

Gene Colan had a style that was generally not an especially good fit for superheroes, yet he is regarded as one of the all-time great Daredevil artists.  Perhaps that is because DD is a non-powered acrobatic character, as well as the fact that, no matter how weird and jokey the series sometimes got, it usually still had one foot planted in gritty noir.  Both these elements made Daredevil an ideal fit for Colan’s unconventional layouts and shadowy penciling.

Colan was reportedly a somewhat-challenging artist to ink.  Tom Palmer is usually classed as one of the best inkers of Colan’s pencils.  They definitely worked extremely well together on Daredevil, Doctor Strange and Tomb of Dracula.

62) John Rosenberger

“What’s Ambition, Anyway?” drawn by John Rosenberger, written by Richard Hughes, and lettered by Ed Hamilton, from Confessions of the Lovelorn #81, published by ACG in May 1957.

Beautiful, talented Jill Sanders dreams of becoming an actress.  She auditions with famed producer-director Carl Rogers, who agrees to see how she works out in rehearsals for his upcoming musical.  While having coffee with Rogers and the rest of the cast, Jill thinks to herself “He’s a real professional — and a swell guy!”  Unfortunately for Jill, her high school rival Marion Major has also joined the cast, and pretty soon the ambitious, arrogant blonde is sinking her claws into Rogers himself.  Due to budget cuts Jill is squeezed out of the chorus and finds herself back waiting tables, and the despairing young woman believes she has lost out on both show business and Carl Rogers.  However, when Carl’s investors back out on him, Jill convinces her restaurateur boss to help finance the show.  It’s a success, and Carl has fallen in love with Jill.

Artist John Rosenberger’s career stretched over 30 years, from 1946 to 1975.  He worked for several different companies, drawing stories in various genres.  His style was definitely well-suited for romance, as he had an aptitude for rendering beautiful, fashionable women.  Towards the end of his career he penciled Superman’s Girlfriend Lois Lane for DC Comics, where once again his knack for drawing lovely ladies was a definite asset.  Rosenberger became the regular artist on Wonder Woman in 1975, but sadly only completed two issues before taking ill.  He passed away in January 1977 at the age of 58.

The entire story “What’s Ambition, Anyway?” can be read on the Comic Book Plus website.

63) Ron Lim & Chris Ivy

Sovereign Seven #36, penciled by Ron Lim, inked by Chris Ivy, and written by Chris Claremont, published by DC Comics with a July 1998 cover date.

As the final issue of Chris Claremont’s Sovereign Seven comes to a close, the Sovereigns, after a long, hard-fought conflict, have finally emerged triumphant against the insidious Rapture.

And then we see that, apparently, the entire story of S7 has been nothing more than a comic book series created by Casey and Morgan, two young women who are customers at the Crossroads Coffee Bar that appeared so often throughout the series.

Sovereign Seven was a creator-owned series that nevertheless took place in the DC universe, with appearances by Darkseid, Superman, Power Girl and other mainstays.  Presumably this ending was conceived by Claremont to allow the series to end with a clean break, so that in the future he could have his characters return in an entirely different venue.  It’s certainly a metatextual scene, with Casey and Morgan standing in for Claremont himself to reflect on the series’ cancellation.

Of course, as Alan Moore once famously observed, “This is an Imaginary Story… Aren’t they all?”  And so I like to think that in some corner or another of the multiverse the events of Sovereign Seven “really” did happen.  Ah, well, real or not, it was a fun series.

Ron Lim was the second regular penciler on S7.  I have been a fan of Lim since he drew Captain America way back in the early 1990s.  I definitely regard him as underrated.  On most of his S7 issues Lim was inked by Chris Ivy.  They made a great art team, wonderfully illustrating Claremont’s stories.

So, anyone know where I can snag one of those big S7 coffee cups?

64) Frank Bolle

Golden and Silver Age artist Frank Bolle passed away on May 12th at the age of 95.  “Outlaw Gold” was penciled & inked by Bolle. It appeared in Tim Holt #29, published by Magazine Enterprises with an April-May 1952 cover date.

Tim Holt was a Western movie star during the 1940s and early 50s.  The comic book Tim Holt featured a fictionalized version of the actor who assumes the guise of the costumed vigilante Red Mask in the post-Civil War “Old West.”  Tim Holt ran for 54 issues, being re-titled Red Mask with issue #42.  Frank Bolle’s artwork appeared in every single issue of Tim Holt / Red Mask.  Bolle really excelled at drawing Westerns, and his work on this series was definitely impressive.

“Outlaw Gold” sees beautiful dancehall girl Della Martin enlisting the help of Red Mask to locate a treasure which she says her father hid out in the desert, west of Bald Rock.  Pursuing Della are members of Butch Cassidy’s “Wild Bunch” gang, who are all too ready to murder the lovely singer so that they may claim the buried fortune.

On this page, en route to Bald Rock, Red Mask and Della are pursued by a trio of Wild Bunch thugs.  Red Mask makes short work of them, knocking all three out.  He and Della then bunk down for the night, brewing up some hot coffee to keep warm.

Bolle does nice work on this page.  The action flows well.  I like how Bolle has Red Mask’s fist swinging out of that third panel, really highlighting the punch.   Della is beautifully drawn.  And since this is a Western, of course we have horses.  I guess this is another crossover with Jim Thompson’s 1000 Horses series!

The entire issue can be read on the Comic Book Plus website.

65) Jerry Ordway & George Perez

Here is a double dose of Da Ordster!  First up is Adventures of Superman #428, penciled & inked by Jerry Ordway, written by Marv Wolfman, lettered by John Costanza, and colored by Tom Ziuko, published by DC Comics in May 1987.

Here we see Clark Kent and Cat Grant at the offices of the Daily Planet, discussing Perry White’s ongoing investigation of organized crime in Metropolis.  Clark is having his morning coffee, and as we can see from his choice of mug he’s a fan of The Far Side.

This page is a good example of both Ordway’s storytelling and inking.  He does a good job laying out the conversation between Clark and Cat, presenting it from different angles, making it interesting.  I like how Ordway inks Cat on this page.  Panel four is especially beautiful.

I know that it’s undoubtedly a function of my having gotten into DC Comics in the late 1980s, but I definitely regard Ordway as one of the definitive Superman artists.

Jumping forward a dozen years we have Avengers volume 3 #18, written & penciled by Jerry Ordway, inked by George Perez, lettered by Richard Starkings, and colored by Tom Smith, published by Marvel Comics in July 1999.

Ordway wrote & drew a really fun three issue story arc on Avengers to give Kurt Busiek & George Perez a chance to catch their breaths.  This is the final page of Ordway’s last issue.

Hank Pym is in his lab late at night, studying the technology of the cyborg Doomsday Man, one of the threats the Avengers faced during Ordway’s storyline.  Hank has obviously been working for a while, because he disgustedly thinks to himself “*GAH* Coffee’s bitter! ‘Course that pot’s only been on all night…”

Before Hank has a chance to brew some fresh java he is interrupted by the violent arrival of several leering metal monstrosities, servants of his mechanical “son” Ultron.  And so Ordway segues back into Busiek & Perez’s own ongoing storylines, with Perez himself inking this last page as part of the transition.  Ordway must have been working closely with Busiek, Perez and editor Tom Brevoort to get everything to line up so smoothly.

Jerry Ordway is one of my favorite comic book creators, and I enjoyed his short stint on Avengers.  As much as I liked Busiek & Perez, I really wish Ordway could have done more work on this title.  He latter penciled the Domination Factor: Avengers and Maximum Security miniseries, on both of these once again doing excellent jobs depicting Earth’s Mightiest Heroes.

I don’t think Ordway’s had any ongoing assignments in the last two decades, instead bouncing around between various short guest runs, fill-ins, miniseries and specials.  That’s a shame, because he’s a very talented artist.

The Daily Comic Book Coffee, Part 12

Welcome to the 12th edition of Comic Book Coffee. I posted these daily in the Comic Book Historians group on Facebook. The challenge was to see how many different pencilers I could find artwork by featuring coffee.

56) Judit Tondora

Wonder Woman ’77 Meets The Bionic Woman #2, drawn by Judit Tondora, written by Andy Mangels, lettered by Tom Orzechowski & Lois Buhalis, and colored by Roland Pilcz, published by Dynamite Entertainment and DC Comics in January 2017.

This was a fun miniseries co-starring television’s top two heroines from the late 1970s.  Andy Mangels is probably the foremost expert on Wonder Woman, and he must have had a real blast writing a team-up of Princess Diana and Jamie Sommers.

Hungarian artist Judit Tondora did a great job rendering both the television version of Wonder Woman and the Bionic Woman, along with both their supporting casts and their small screen rogues galleries.  Likenesses can be very tricky, but I feel that Tondora really captured most of them pretty accurately.  Her depictions of Diana and Jaime were certainly beautiful.  Tondora’s art for this miniseries was very lively.  I hope we see more of her work appearing in comic books in the near future.

In this scene Diana Price and Steve Trevor of the IADC are meeting with Jaime Sommers and Oscar Goldman of the OSI.  Over coffee the four agents are discussing the ongoing investigation into the terrorist cabal Castra, an alliance of the IADC and OSI’s deadliest adversaries that has hijacked a shipment of experimental nuclear missiles.

Wonder Woman ’77 Meets The Bionic Woman was a really enjoyable read.  I definitely recommend it.

57) Brad Gorby & Mark Heike

Femforce #93, written & penciled by Brad Gorby, inked by Mark Heike, and lettered by Christie Churms, published by AC Comics in May 1996.

While Femforce is basically a serious title, it also has a sense of humor about itself.  The main storyline running though these issues involves Jennifer Burke, the daughter of the original Ms. Victory.  Due to the manipulations of the military and a series of personal tragedies Jen’s life has completely fallen apart.  Going rogue, Jen adopts the identity of Rad which her mother previously assumed.  The government, realizing that Rad possesses a wealth of top secret information from her time leading Femforce, dispatches a group of genetically engineered assassins to eliminate her.

While this very intense plotline is taking place, writer / penciler Brad Gorby takes a brief detour to a more lighthearted setting.  It is morning and the ladies of Femforce are having breakfast.  Ms. Victory is once again drinking coffee, obviously a favorite of hers.  The incredibly-powerful yet often-absentminded Synn is trying to find out who ate all her sprinkle donuts and pop tarts, prompting the sorceress Nightveil to conjure up some for her.

I enjoy these types of “downtime” scenes in Femforce that explore the personal lives of the characters, and which allow for somewhat more goofball sequences. 

Gorby did a good job penciling this scene, giving each of the characters their own personalities, making them stand out from one another.  The inking is by Mark Heike.  Gorby and Heike are both longtime AC Comics contributors, as well as very talented artists.  Grey tones are by Christie Churms, who also lettered this issue.

58) José Beá

“Recurrence” was drawn by José Beá and written by Steve Skeates.  It appeared in Vampirella #34, released by Warren Publishing in June 1974.

The beautiful young protagonist of “Recurrence” thought she had it made.  She had pushed her husband into an elevator shaft, collecting $10,000 from the insurance company for his “accidental” death.  But then came the dreams, night after night, of being pushed off a cliff and falling endlessly.  Was it a guilty conscience… or a premonition?  Now she drinks coffee in the middle of the night desperate not to fall asleep again.

Spanish artist José Beá illustrated a number of stories for Warren between 1971 and 1976.  These were published in Warren’s three main comic book magazine series, Creepy, Eerie and Vampirella.  Following his time at Warren, Beá did a great deal of work in the European comic book field.  Among these were a number of erotic stories, some of which at the time unfortunately garnered a great deal of controversy.  Beá also wrote several science fiction novels for young adults.

59) Peter Krause & Dick Giordano

The Power of Shazam #36, penciled by Peter Krause, inked by Dick Giordano, written by Jerry Ordway, lettered by John Costanza and colored by Glenn Whitmore, published by DC Comics in March 1998.

During a crossover with the Starman series, Billy and Mary Batson have to work with Jack Knight to help clear the name of World War II hero Jim Barr, aka Bulletman, who has been framed for treason by neo-Nazis.  In his Captain Marvel identity Billy initially clashes with Jack, until the more level-headed Mary Marvel convinces him to calm down.  The trio heads to the home of Nick & Nora Bromfield, who have adopted the orphaned Mary and Billy.  There they find the Bromfields having coffee with Jack’s father Ted, the original Starman, as well as Jim Barr himself, with everyone attempting to figure out what their next step should be.

The Power of Shazam was such an amazing, fun, underrated series.  I came into it a bit late, in the second year, but I immediately became hooked, and I soon got caught up on the Jerry Ordway graphic novel and back issues.  Ordway wrote some great stories.  He successfully achieving the very tricky feat of simultaneously updating Billy, Mary and the rest of the Marvel Family cast for the 1990s while retaining a great deal of the charm from the original Golden Age stories.

Peter Krause did really good work penciling the series.  Due to the prevailing styles in super-hero comic books at the time, I think his work here was unfortunately overlooked by many.  Krause deftly balanced the serious and cartoony elements of the characters.  On the later issues of the series Krause was inked by the legendary Dick Giordano.

60) Amy Reeder

Rocket Girl #2, drawn & colored by Amy Reeder and written by Brandon Montclare, published by Image Comics in November 2013.

DaYoung Johansson, a fifteen year old police officer from the high tech future year of 2013, has traveled back in time to 1986.  DaYoung is convinced that her miraculous world should not exist, that it was created when the monolithic corporate juggernaut Quintum Mechanics sent its own technology back in time 27 years to its founders to give them a vast advantage.  DaYoung, armed with her jetpack and her teenage zeal, is determined to thwart this crime against time, even if it means erasing the very future from which she came.

Montclare & Reeder’s ten issue Rocket Girl series is a wibbly wobbly, timey wimey tale of temporal paradoxes, corporate intrigue and youthful idealism.  I previously reviewed the first five issues. The ending to Montclare’s story ultimately left me feeling ambivalent, for a few different reasons.

What I was not ambivalent about was Reeder’s stunning artwork.  She did a superb job drawing both the sci-fi New York City of 2013 and the historically accurate Big Apple of 1986.  Her layouts for Rocket Girl were incredibly dynamic, and the amount of detail she put into her pages was astonishing.

As Reeder recounts in the text feature from issue #7…

“In Rocket Girl I am responsible for making two worlds; an 80s vision of the future, and actual 1980s New York.  At first I expected the futuristic world would give me the worst trouble — I thought coming up with a city out of thin air would be a bit overwhelming.  But I should have known better: I get carried away with accuracy, and the 1980s New York is heavily documented, often talked about, and well remembered by many.  So bar none — 80’s NYC is the harder of the two worlds to draw.  I just HAVE to get it right.  And, honestly, it’s pretty fun to get it right.  (Or close!)”

On this page from issue #2, the recently arrived DaYoung is bunking with Annie Mendez and Ryder Storm, two graduate students who work for Quintum Mechanics in 1986.  Annie and Ryder awaken to find the hyperactive DaYoung has whipped up a huge stack of pancakes and brewed a pot of coffee, all the while pondering how to change the course of history.