Showing posts with label Walter Simonson. Show all posts
Showing posts with label Walter Simonson. Show all posts

Monday, June 27, 2016

Then I Guess He Had to Crash - Thor 269


Thor #269 (March 1978)
"A Walk on the Wild Side!"
Len Wein-Walt Simonson/Tony DeZuniga

Doug: Marvel should have been embarrassed to put these two on the same cover. Am I seriously supposed to believe that Stilt-Man's rocket pods could vanquish the God of Thunder? The same God of Thunder who Marvelites continue to argue over concerning the victor in a tussle with the Hulk? That guy. If you're stopping by for the first time, back in April we had a fun conversation about mismatches in comics -- and a couple of weeks ago we checked in on one, when Daredevil was pitted against ol' Jade Jaws himself. If you're in a hurry today, I'm going to save you some time and just say this comic was "average". It wasn't horrible, but it certainly in no way distinguished itself in any positive light beyond expectation. I've been reading and have provided the scans from the Gods, Gladiators, and the Guardians of the Galaxy! trade (recommended for the reprints of Thor Annual #s 5 and 6). Here, then, are the details: 

100 Word Review: It’s all cloak and dagger as we find some menacing electronic voice and a shadowy hirsute brute egging on Wilbur Day, also known as the Stilt-Man. Day’s armor has been specially augmented for a job: steal cargo from a messenger helicopter and return it to the electronic voice. For the job, Day’s armor has been adamantium plated and loaded full of gas, concussion blasts, etc. But in the middle of the heist the Stilt-Man is accosted by Thor. In a match that lasts far longer than it should, Thor is victorious. His prize, though? A challenge from Day’s co-conspirator – Blastaar!

The Good: I never think of Walt Simonson's Thor during this period; instead I of course think of his turn as writer/artist a few years hence. I like his work here -- and just to show my heretical side, I'll say that his style here is more pleasing to my eye than his later work. Some may argue that Simonson is aping John Buscema during this run -- and who could go wrong if that was indeed the case? This is a mighty God of Thunder, well-muscled yet regal. He moves smoothly, though, whether on land or in flight. And Tony DeZuniga's inks? DeZuniga's in the same category for me as Pablo Marcos, in that I can pick out his work from a mile away. I don't dislike it at all, but these guys are definitely in the neighborhood of Joe Sinnott's overpowering style. Hear me -- I don't dislike the art. I'm just not sure how much of Walter Simonson I'm seeing. But overall it's pretty tasty.

The scan to the right captures a nice scene that was reminiscent of the airplane catch in Superman Returns, albeit shorter and less dramatic. After Stilt-Man's aerial robbery, the whirlibird went into crisis mode and began to descend wildly over Manhattan. Fortunately, one Dr. Donald Blake happened to be among the masses below. The art team did a nice job of conveying the duress Thor came under.

The story had a one-page vignette with the Warriors Three and the All-Father, Odin. It's not much -- just the boys coming home from a mission accomplished and Odin offering them a boon for their trouble. But Odin does utter a cliffhanger statement about the Realm Eternal being threatened... to be continued. I always dig Fandral and his mates; Balder, too. Thor's supporting cast, melodrama aside, is always a favorite.


Stilt-Man's dorky, but I've always kind of liked him...

The Bad: ...when he's fighting Daredevil. This book is pretty lame. It really is. We've had some arguments around here in the past about street-level stories versus cosmic stories. I've argued in the past and will do so again that my favorite Thor stories are in far off lands, pitted against other gods, or spacefaring. I get that he's not a cosmic hero like Captain Marvel or the Silver Surfer, but if Stilt-Man and Blastaar are all Earth has to offer in the way of adversaries, then editorial needs to make a change.

The plot of the story is basic, and not suspenseful at all. The hidden voice commanding Wilbur Day, the heavy in the background there to keep Day in check (c'mon - who didn't know that it was Blastaar right from the beginning?), the heist, Thor's initial engagement of Stilt-Man, the foregone conclusion that was the outcome, and the "big reveal" splash to end the story. I did not have this particular book when I was 12, but I'd like to think I was a more discerning reader than to be infatuated with this book.

 

Additionally, are we really to believe that Mjolnir wouldn't put a pretty severe dent in Stilt-Man's armor? Adamantium is not vibranium -- I don't think it repels energy. So while I could accept that the outfit wouldn't crack or split, I do think Mjolnir is more formidable than was implied in the script. That being said, Thor did use the hammer to solve the problem, and that alone makes the plot bad. If Stilt-Man's armor could have been disrupted by lightning, then that could have happened at any time. The battle scene then simply negates itself in my mind.

 

The Ugly: My frame of mind, for one. I'm sorry to bring a cloud over your Monday. It's not what I usually do -- generally I can get on board with most of what I read for the reviews I write. But outside of the art, I can't toss a single kudo Len Wein's way. Well... OK, I lied about that. There was one specific panel, early in the story, when I segued back to my 12-year old self and did a Beavis and Butthead laugh in the back of my head. So maybe my sense of humor is the "big ugly" here. And a request for forgiveness if my sophomoric humor offends anyone. Thanks in advance.  

Friday, April 22, 2016

Guest Post - Who's the Best... Bronze Age Batman Artist?


Doug: Thomas F. has a way with connecting the Friday's to the Monday's at the BAB. Today he's asking you about a topic near and dear to all our hearts: artists. And Batman -- we like that, too. Monday I'll be reviewing the Batman one-shot "Mad Love" featuring the animated versions of the Joker and Harley Quinn. Enjoy today's conversation -- I'm looking forward to it.


Thomas F.: Presented here in all their glory are ten Batman covers illustrated by ten different Batman artists from—yep, you guessed it—the Bronze Age. (Regret is expressed for any fan favorites I’ve missed). Of these virtuosos, which do you think is best, and why? Which are your favorites?

COVERS SELECTED: 
Batman #234 (Neal Adams)
The Brave and the Bold #124 (Jim Aparo)
Detective Comics #432 (Nick Cardy)
Detective Comics #461 (Ernie Chan)
Detective Comics #510 (Gene Colan)
Batman #321 (José Luis Garcia-López)
Detective Comics #457 (Dick Giordano)
Detective Comics #526 (Don Newton)
Detective Comics #475 (Marshall Rogers)
Batman #366 (Walt Simonson)

These Seventies artists built upon the creations of the legends who preceded them and paved the way—Bob Kane, Dick Sprang, Jerry Robinson, Irv Novack, Carmine Infantino, et al. Granted, some of these Seventies Batman artists had their start in the Silver Age or even the Golden Age, and some are still producing artwork even today. Nevertheless, the selections of artwork I chose are all from Bronze Age; i.e. 1970 to 1983. (Some feel the Bronze Age extends to 1984 or even 1985, and I will not dispute this).

The legion of talented pencilers who came afterward—Alan Davis, David Mazzucchelli, Mike Mignola, Norm Breyfogle, Jim Lee, Brian Bolland, Kelley Jones, Tim Sale, Frank Quitely, Greg Capullo, and Paul Pope, just to list a handful—were undoubtedly inspired by many of these Bronze Age Michaelangelos.










Friday, April 8, 2016

Guest Review: "Bang! You're Dead!" - Batman 321

Doug: Welcome to a second review submitted by Thomas F. You'll recall Thomas's maiden voyage with his thoughts on Spectacular Spider-Man (1976) #1. We're excited to post this today, as it will serve as a sort of bookend to next Monday's review, where I'll take you back to the Silver Age for a Batgirl story from Detective Comics. Onward!


Batman #321 (March 1980)(cover by Jose Luis Garcia-Lopez)
“Dreadful Birthday, Dear Joker…!”

Len Wein-Walt Simonson/Dick Giordano/Julianna Ferriter

Thomas F.: Here we have the first Joker story in the pages of Batman for the 1980s. This story is scripted by Len Wein, an underrated writer who happens to be the co-creator of Marvel’s Wolverine and DC’s the Swamp Thing. This is a classic Joker tale, and Len Wein writes a perfect homicidal, sociopathic Joker with a morbid sense of humor (the twisted humor and depraved deeds tend to be at the expense of the Joker’s victims or even Batman himself).

The art duties were handled by Walt Simonson, a distinctive and popular artist initially known for his acclaimed work on Detective Comics (specifically, the eight-page Manhunter backup stories, beginning in November 1973, which gained him industry-wide recognition), Marvel’s Star Wars, and especially The Mighty Thor in the late 1970s/early 1980s. (Simonson is also well-known for creating the Beta Ray Bill character who first appeared in The Mighty Thor #337, a key Bronze Age issue).
 

Although it’s unrelated to the review of Batman #321, I just wanted to mention that the very first piece of artwork by Walt Simonson that I’d ever seen was back in 1989 when I was in elementary school. It was a few months after the release of Tim Burton’s 1989 Batman movie starring Michael Keaton, and Batmania was in the air, especially amongst youngsters. The artwork was a full page pinup of Batman that Simonson had contributed in the pages of Detective Comics #600. (As I recall, a classmate had the issue and was showing it around). It’s a powerful shot of a dark, moody Batman standing in readiness atop a gargoyle.




By the way, the entertaining story in Batman #321 is deservedly reprinted in the trade paperback “Batman in the Eighties” and “The Greatest Joker Stories Ever Told,” so it’s easily accessible (NOTE: It's also been recently reprinted in 2014's Tales of the Batman: Len Wein. -Doug). Of course, all Joker appearances in Silver and Bronze age Batman comics are highly-sought after by comic book collectors, but fans should be able to obtain an original copy of this great book at a relatively low price if they wish to do so.

The story opens at Gotham Police Headquarters on Gotham City’s lower east side. Commissioner James Gordon enters through the front doors out of the pouring rain, where the sergeant manning the front desk informs him that there’s an envelope bearing no return address waiting for him. Tearing it open, Commissioner Gordon is appalled to find that the contents include an invitation from the Joker to attend his birthday party the next evening. The invitation reads: “Dear Gordie, you are cordially commanded to be present at the JOKER’S BIRTHDAY PARTY tomorrow evening at 9:00 PM! Black tie optional, funny hats mandatory. R.S.V.P.  B.Y.O.B.” Gordon tosses the invitation aside, scoffing at the Joker’s presumptuousness.


Suddenly, the two policemen at Gordon’s side are overcome with an attack of mirth. But as the Joker himself strides through the door, clad in his trademark purple overcoat, it’s clear that the laughter is unnatural and is caused by the Joker’s lethal laughing gas!

Outside, having been summoned earlier via the Bat-Signal, the Batman swings down on a rope towards Gotham Police Headquarters, where two things immediately alert him that the present situation is out of control: one, the Jokermobile parked directly in front of the building, and two, the loud hysterical laughter audible even from outdoors. The Batman correctly surmises that laughing gas is involved here and accordingly puts on a miniature gas filter. Crashing down through a high window, the Dark Knight lands amidst the Joker’s armed henchmen. He wades into them like a tornado, making short work of them.

The Caped Crusader then rushes outside just in time to see the Joker make his getaway. In the Jokermobile’s passenger seat lies Commissioner Gordon, unconscious, while the Joker speeds away from Gotham Police Headquarters.
That Jokermobile looks hilariously over-the-top!


Almost incidentally, Batman learns from a policeman that in addition to Commissioner Gordon, his sidekick Robin was also abducted by the Joker earlier that day. Disguised as a woman and pretending to have a flat tire, the Joker waves Robin down and tricks the Teen Wonder into helping change a flat tire. The tire, however, turns out to be covered with an adhesive substance that Robin can’t free his hands from. We then see the “woman” pull off her mask, revealing herself to be the Joker.

The scene cuts to Bruce Wayne’s penthouse apartment, located above the Wayne Foundation Building. Selina Kyle is over, visiting, and we see Alfred Pennyworth, Bruce Wayne’s butler and confidant, recommending that Ms. Kyle visit a doctor in regard to her frequent headaches. The door opens, and Lucius Fox (CEO of Wayne Foundation) enters the room, a stack of files tucked under his arm. Lucius Fox has arrived to discuss corporate issues—arbitrage deals, to be precise—only to be informed by Selina Kyle that Bruce had been summoned away on an urgent business matter some time earlier.

Just then, Alfred hears the patter of footsteps on the roof above, and he assumes that Bruce Wayne is returning in his guise as Batman, and just as it occurs to him to distract Selina Kyle and Lucius Fox, a powerful explosion rocks the room. In the wall is a gaping aperture where now stand the Joker and two of his armed henchmen. The Joker instructs his hired help to pick up Alfred, who has been knocked unconscious by the heavy impact, and prepare to leave.


Suddenly Selina Kyle rises to her feet, and with her martial arts prowess makes short work of the Joker’s goons. The Joker charmingly apologizes to Selina for intruding, and offers her a bouquet of roses. Selina is suspicious—as well she should be—since a moment later a gloved fist is ejected from the flowers, like a jack-in-the box, with such force that it knocks Selina out.


Exactly why the Joker kidnaps Alfred isn’t clear—have they crossed paths before? Probably. I’m wondering if the Joker knows of any connection between Alfred and the Caped Crusader.
I’m also not sure why the Joker doesn’t kidnap Lucius Fox or Selina Kyle, for that matter, instead of leaving them unconscious in Bruce Wayne’s penthouse suite. Surely abducting them in addition to Robin, Gordon, and Alfred wouldn’t have been much trouble at all. And wouldn’t the Joker—not knowing Batman’s secret identity—seek to kidnap millionaire playboy Bruce Wayne himself, instead of Mr. Wayne’s elderly butler?

When Selina Kyle finally regains consciousness, she finds Batman perched in front of her, but she’s unable to give him much information. Nevertheless, by now Batman has a pretty good idea of what’s going on.

Meanwhile, in the Joker’s hideout, we see at least seven figures strapped to the Joker’s “Victim-Go-Round.”


The Joker explains his motive to Robin, which is, quite simply, vengeance. In the Joker’s own words: “Tomorrow is my birthday … and by way of celebration … I intend to eliminate all you who’ve crossed me … while all of Gotham City watches!”
Then Joker the quips: “It’s not exactly the catcher’s mitt I really wanted … but it’s a pretty fair second place!”

In the background, we see the Joker’s henchmen laugh at the Joker’s inane comedy, except for one, who rolls his eyes, thinking: “Sheesh.” The Joker is vexed that this henchman didn’t find his wit amusing, and in a typically Jokeresque manner, casually murders him using a handheld spear-gun from his deadly arsenal.


This scene is so memorable—“Bang You’re Dead!”—that I just had to include it here in its entirety.


The Joker reveals to Robin that he’s managed to entice Gotham City’s population to Gotham’s new Seaside Coliseum by using, as per his wont, a cunning trick and an understanding of elementary psychology. In other words, he offers the jaded, cynical population of Gotham City an invitation from the “Harlequin Baking Company” an opportunity to “sample its wares” the following evening at nine p.m.


A typical elderly Gothamite reading the newspaper advertisement says to his wife, “A free sample? Sounds tempting! Think we ought’a go?” To which his bored wife replies, “Why not? It’d beat sitting through another rerun of celebrity bowling!”
I found this dialogue quite funny; scripter Len Wein clearly has a good sense of humor.

Unfortunately for the Joker, Batman, who has also perused the advert, shrewdly discerns that the Joker has just slipped up—there is no existing company as the “Harlequin Baking Company.”
And the next night, the Joker’s scheme appears to work. The coliseum is jam-packed full of the curious and greedy who have come for the free refreshments. Promptly at nine, the steel doors swing closed, and within a few minutes, the impatient crowd is immobilized in their seats by a rapid-acting paralytic gas.

The lights dim, and then, in a spotlight, the Joker appears on stage. The Crown Prince of Crime disingenuously welcomes his audience and thanks them for coming. He then reveals his pièce de résistance: an immense cake, with his victims securely bound to explosive candles on top.





The Joker explains to his horrified captive audience that when he triggers his detonator, the candles, along with the victims tied to them, will sizzle. But as expected, Batman arrives, intent on putting an end to the macabre charade. The Joker, who momentarily has the upper hand, informs Batman that if he allows himself to be fastened to the remaining candle, he will release the others, sparing their lives.

Of course, the Joker has no intention of keeping his word. After Batman is roped to the largest candle and the Joker doublecrosses him, Batman presses a hidden button that somehow converts the candle into a makeshift rocket, launching him skyward and out of harm.
Apparently Batman had arrived early and rewired his candle’s incendiary jets, which is a rather weak explanation that I didn’t really buy into.




As Batman is launched upward, the Joker chortles that although Batman may have saved himself, his other friends will burn, and with glee he slams his palm down on the detonator. The candlewicks catch fire, and the flames slowly spread towards the Joker’s victims, when Batman frees himself from his candle and hurls batarangs that sever the candles’ fuses. A final batarang cuts Robin free, and he hurls himself into the fray with Batman against the Joker’s cronies.

The Joker takes to his heels and races on foot to the docks nearby, where he has a motorboat ready. He starts the engine and speeds away. His parting comment to Batman is typical of the Joker’s insolence, and his “look out for number one” attitude: “The Joker watches out for himself, fools! ‘Bye now!”


I really enjoyed some of the Joker’s mirth-filled lines in this issue. When he cackles, “He who fails and runs away, lives to win another day,” as he cravenly flees an enraged Batman, it’s priceless.


Snagging a loose line, Batman manages to pull himself up to the boat, where the two engage in combat. Using yet another of his trademark lethal gadgets, the Joker squirts acid from a flower that Batman barely manages to avoid, but the Joker does manage to stun Batman with a heel to the chin.


The two foes continue to grapple, when Batman notices that the boat is out of control and headed directly for a mound of rocks in the shallow water. Batman tries to warn Joker of the peril they are both in, and seizing the Joker’s hand, tries to pull himself and the Joker out into the water. Batman escapes with seconds to spare, but the Joker, who was using a fake hand that came loose as the Batman yanked him, remains in the boat. An instant later, the motorboat crashes and explodes, setting the night sky ablaze with a spectacular reddish glow.


On shore, Commissioner Gordon ponders whether they’ve seen the last of the Joker, but Batman is skeptical, and we, the readers, know perfectly well that it won’t be long before the Joker rears his ugly emerald head again.

This issue is just chock-full of the Joker’s outrageous devices, from laughing gas, the Jokermobile, a spear-gun, acid spray, phony hand … scripter Len Wein really went all-out here. Overall, a fantastic late Bronze Age story featuring Batman versus the Joker.



Thursday, November 19, 2015

Guests Review - DC's Manhunter Saga, Part Two








Doug: Today we feature the conclusion of Mike W's and Edo Bosnar's review of the Manhunter saga.









Chapter 4. Rebellion


The chapter opens with a nice action sequence in which Manhunter dispatches Nostrand with the old “light a match to the trail of leaking gasoline to blow up the car” trick. Manhunter then finishes telling St. Clair about his past. He recounts a meeting, more like an audience, he and Nitobe have with Mykros in the Council Chamber. It turns out that the other members of the Council are all in cryogenic stasis, with Mykros acting as their representative and spokesman. He explains that this is because one of their number, the geneticist Dr. Oka (for whom Nitobe served as bodyguard) had died, and besides enhancing Manhunter and creating the clones, he was also supposed to devise a way to make them immortal. With immorality off the table, they opted for going into the deep freeze to keep the Council alive as long as possible. It’s during this bit of monologuing that Manhunter sees that Mykros is rather mad and that the Council’s apparent concern for humankind is basically just a ploy to take over the world. So when Manhunter goes on his first mission to eliminate the Interpol official, he warns him about the assassination, only to be told by that same official – none other than Mr. Nostrand – that he’s in fact already working for the Council – it was a test and he failed. The room is full of clones sent to kill him, but he takes them all down and gets away. He then goes to Nairobi, contacting the son of an old acquaintance named Kolu Mbeya, who is an arms manufacturer and dealer. Mbeya outfits him with a number of specially designed weapons and added features to his battle suit. After Manhunter finishes telling his story to St. Clair, they go to Nostrand’s hotel room, where they find a plane ticket to Istanbul and priest’s vestments, and they assume that he was heading there for a secret meeting of Council operatives. St. Clair is about to contact Interpol, when Manhunter discovers that Nostrand had already put them both on the international wanted list.


M.S. Wilson: Another interesting chapter. We see the rest of Manhuter's origin and the present storyline moves ahead as well. I like way the Council tested Kirk's obedience by sending him to kill someone who was one of their own...although I have to wonder what would have happened if Kirk HAD obeyed orders; was Nostrand considered expendable by the Council? He seemed to be in on the ruse, but I can't imagine him willingly sacrificing himself just to test Kirk's loyalty. Mbeya is interesting too. It's convenient for Kirk to have someone who can supply him with weapons, but Mbeya has a reason to exist other than plot convenience--he supplies weapons to various rebel groups in Africa. I guess that could be read as plot convenience too, but at least it's plausible. Speaking of convenience, Nostrand's hotel key being thrown clear of his exploding car is a little hard to swallow. But I like the fact that Nostrand had Interpol issue warrants for Manhunter and Christine. It keeps them from going to the authorities and it hampers their movements. Nice to see the bad guys acting logically for once.


EB: Yeah, that bit with the hotel key was just a little too far-fetched – one of the few places where I was thrown out of the story a bit and found myself thinking, “yeah, right.” Anyway, I think it’s pretty obvious at this point that the Council is quite ruthless in the pursuit of its aims, so if Manhunter had killed Nostrand as ordered, I imagine Mykros would have received the news with steepled fingers, muttering “excellent” a la Montgomery Burns, and not giving Nostrand another thought.  I really liked the addition of Mbeya to the cast. As you indicated, he’s not just a two-dimensional deus ex machina; instead, he has a reason for being that’s not connected to the story: he has his own history, life, and motivations.


M.S. Wilson: Yeah, when I was originally reading the story, I thought Batman (um, Batman?) was going to recognize Mbeya's name and say something like "Oh yes, Mbeya, I know him...we're old friends." I'm glad they didn't do that. It's also cool that Mbeya ended up joining them...after being set up by the Council, it's a logical move on his part.



Chapter 5. Cathedral Perilous


A family of American tourists approaches the Romulus Cathedral in Istanbul. The wife is getting bored with all of the inspections of religious buildings, the father thinks it will be interesting because it’s not a mosque, and the little boy is more focused on playing with his toy gun – the scenes of this family interspersed into the story are entertaining and fit into the story well. Meanwhile, Manhunter and St. Clair sneak in and knock out a pair of apparent monks and then don their robes. Anyway, Manhunter and St. Clair join up with a bunch of other ‘monks’ to infiltrate a meeting of Council followers. The proceedings are interrupted by the arrival of Mykros and a few Kirk clones in something called the ‘Gateway,’ which is apparently a teleportation device. Mykros informs them of Nostrand’s death, at which point the guy presiding over the meeting asks to be promoted to Nostrand’s position. This leads to an argument about the inner workings of the Council, and why no one was selected to replace the deceased Dr. Oka. Mykros then reveals that Oka was in fact killed because he began to question the Council’s motives. However, at this point, a device on Mykros’ ring indicates that they’re being recorded and he sounds the alarm. Manhunter decides to reveal himself to create a distraction so St. Clair can get away. Manhunter manages to disable the Gateway, and then another nicely rendered fight scene ensues, as Manhunter takes on the clone assassins. The latter actually manage to subdue him, and one gets ready to shoot him in the head when the little boy (the only one to actually see all of the fighting going on) drops his toy gun from a mezzanine, hitting the clone in the head and giving Manhunter an opportunity to take him down. As Mykros stalks away from the scene with the ambitious Council acolyte who wants a promotion, it’s revealed that the latter is St. Clair’s father.


M.S. Wilson: We learn a bit more about the Council in this chapter. The revelation about Christine's father being one of the bad guys seems a bit too coincidental, but I guess unexpected connections are a staple of comics (and pulp fiction in general). On the other hand, the "matter transmitter" thing makes it feel less pulpy and more like a regular comic book. I actually got a little tired of the "hick tourists" running joke (which seems like it might be a comment on how Americans act when on vacation...or am I reaching?) and the kid wandering off and playing cowboy. I guess I shouldn't complain too much...if it wasn't for the kid, Manhunter would've been blown away.


EB: Like I said in the summary, I found the tourists a nice twist – it’s a different way to move the story along. In fact, if I were to pick single chapter to call my favorite, or just as a sample of how cool this story is, I think this would be it. I also like the fact that, as good as Manhunter is at what he does best (and what he does best isn’t … holy crap! Déjà vu!), he can be bested occasionally, and sometimes needs a little help to get out of a jam, even if that help is just a kid and his toy gun. Also, the one panel showing the toy gun getting tossed back up to the little boy is a nice touch.


M.S. Wilson: Yeah, Manhunter returning the kid's gun was kinda nice (although the first time I read it, my first thought was that he'd thrown the bad guy's gun up to the kid...not very responsible of him!) You're right about Manhunter not being shown as unbeatable...it's more realistic. And that idea is repeated in the next chapter when Nitobe bests him one-on-one.


EB: Oh, man. If he’d given that kid a real gun, the story would have taken a really dark turn…



Chapter 6. To Duel the Master


Manhunter awaits a plane that is landing near Matsue, Japan. Mykros disembarks, feeling rather surly because the destroyed matter transmitter means he has to travel the hard way. Manhunter begins stalking him, but is then confronted by his mentor, Asano Nitobe. The scene then switches to the Orient Express two days earlier, with Agent St. Clair in a private compartment. Her father enters, and soon reveals that he is involved with the Council. He threatens to shoot her if she doesn’t give him the recording from the meeting in Istanbul, but she calls his bluff. He departs from the train in Sofia, Bulgaria, where he is gunned down soon afterward. Back in Japan, two days later, Manhunter and Nitobe are still going at it. Manhunter is unable to convince Nitobe that the Council had Dr. Oka killed, because Nitobe has been brainwashed in such a way that he can’t believe anything Manhunter says. Eventually, Nitobe gets the best of Manhunter and is about to deliver the killing blow, when he’s hailed by St. Clair speaking from a loudspeaker in a chopper above. She plays the recording of Mykros detailing how Oka was killed, and this turns Asano, who swears to help Manhunter and St. Clair take down the Council.


M.S. Wilson: This chapter has the big confrontation between Manhunter and his former mentor, Asano Nitobe. The whole "student-confronts-the-master" thing is almost a cliché, since it's been done so many times, but to be fair, this story predates Star Wars, Wolverine, and a lot of the other uses of this trope. The fight is well done--Simonson doesn't shy away from showing how brutal it is. I'm not sure about how it ended, but I guess it makes sense for Christine's words to convince Nitobe, since it was only Kirk he was brainwashed to disbelieve. Speaking of Wolverine, the mask Nitobe wears looks a lot like the one worn by Ogun in the Wolverine miniseries. I wonder if Frank Miller had this story in mind, or if it's just a traditional Japanese design? The confrontation between Christine and her father was handled well, and him being gunned down immediately after fits what we know about the Council--they don't tolerate failure.


EB: The fight between Manhunter and Nitobe is indeed rendered quite nicely. And yes, it’s a storytelling cliché, but usually it’s the pupil who ends up winning (provided that he/she is the story’s protagonist). In this case, though, Nitobe eventually prevails, which realistically should be the case, since he was sort of hyped up as almost the living embodiment of ninjutsu. And I also liked the interlude showing Christine dealing with her father. It’s very, well cinematic (I just keep coming back to that word when thinking about this story).


M.S. Wilson: Yeah, Simonson's panel layouts are really different from what most artists were doing back then. I'm more of a "writing" guy than an "art" guy, but I can appreciate the artistry on display here.



Chapter 7. Götterdämmerung


The prologue takes place in Gotham City. The police have found the body of a private detective and martial arts instructor, Dan Kingdom, an ex-Green Beret. Batman appears at the scene, noting that Kingdom was following a lead on some jeopardy involving the new prime minister of the African nation of ‘Congola’ (ah, yes, gotta love comic-book political geography), for whom a reception is being held that very evening at Wayne Manor. And later, at the reception, the prime minister is assassinated by a sniper right under Bruce Wayne’s nose. Wayne changes into Batman and rushes after the killer and almost catches him outside. However, a mysterious masked figure calling himself the Enforcer gets in the way. He manages to stun Batman with a very distinctive punch and he and the sniper get away, although the sniper dropped his rifle in the confusion. Batman takes it to a former arms dealer, who tells him it’s a specially made weapon that was most like put together by a certain Kolu Mbeya of Nairobi.


The scene then switches to Nairobi and Mbeya’s shop, where Manhunter is trying to take the weapon-smith to join the assault on the Council’s Sanctuary. While they’re talking, he’s looking through a sniper scope and spots a bat-like silhouette on the rooftops above – and so does the actual sniper from before. He’s got Batman in his sights, but then Manhunter appears beside him. He drops his rifle in terror and starts running toward Batman, shouting that the ‘Council’ ordered the hit on the African prime minister’s and promising to tell him everything if he just keeps Manhunter away. Just as he reaches Batman, Manhunter shoots him dead. This rubs Batman the wrong way, but Manhunter pulls a blade from the dead man’s sleeve, noting that he had intended to kill Batman. Batman replies that he’s had similar attempts made on him before and resolved the situation without fatalities.

As they make their way back to Mbeya’s shop, Batman wants to know more about the Council, so Manhunter and the others fill him in. He wants to participate in their assault on the Council, but Manhunter declines the offer, noting that Batman’s code about not killing means he just won’t be an asset on this mission (imagine that – Batman being told he’s not one of the cool kids). So they part ways.


Manhunter, St. Clair, Nitobe and Mbeya take off in a plane, and eventually land in the middle of nowhere in a desert in Australia. As they disembark, gunshots ring out, and Mbeya is hit and apparently killed. The others move to for a counterattack, but then Batman appears with two unconscious gunmen. Manhunter is impressed that Batman’s detecting abilities, and they agree to join forces after all. Nitobe leads them to hidden ventilation shaft and they make their way into the Council’s underground base. Eventually they run into resistance, with the mysterious Enforcer showing up as well. He starts pummeling Manhunter, but Batman intervenes and tells him to keep going toward the Council Chamber while the rest of the group deals with the henchmen. It’s eventually revealed that the Enforcer is none other than Dan Kingdom, while the body found in Gotham was that of a clone. In the Council Chamber, Manhunter confronts Mykros, who’s wearing something he calls a psionic helmet that gives him mental control over all power and communication systems in the complex. He uses it to create a bolt of radiation from the reactor that nearly fries Manhunter completely. Elsewhere, our heroes are joined by Mbeya, who was not killed – rather Manhunter used some kind of nerve pinch to knock him out cold when he saw that he was injured. He takes down a bunch of the henchmen with machine gun fire. In the Council Chamber, Manhunter, almost dead, doggedly struggles with Mykros and manages to remove the psionic helmet, donning it himself. He then sets the Council’s entire complex to self-destruct, which explodes just as the Batman and the others manage to get away in the plane.


M.S. Wilson: The last chapter wraps things up nicely. The first six parts of the story were fairly violent, but we get a look at the non-lethal approach once Batman joins the team. The “kill/no kill” debate reminds me of Spider-Man and Punisher (and like Spider-Man, Batman seems to condemn Manhunter’s methods without taking any active steps to stop him). The whole thing with Dan Kingdom/Enforcer seems a little superfluous, but I guess Batman needed someone to fight (non-lethally, of course) at the end; plus Kingdom's “death” was the MacGuffin that got Batman involved in the first place. You mentioned the fictional country of “Congola”...I noticed that too, and it kind of bothers me. One of the things I liked about the first six chapters was how they used real locations--Kathmandu, Zurich, Istanbul, Marrakech, Nairobi; it made it more realistic. But throwing a fake country into the last chapter takes me out of the story a bit. It makes it read more like a conventional comic and less like a pulpy spy-thriller. I have nothing against conventional comics (and the tropes therein), but the shift in tone is a bit jarring for me. The same goes for the “psionic amplifier” thing; I guess old pulp stories had mind-amplifier devices, but it just seemed a bit out of place to me. As for using Batman, I think it worked. Batman was inspired by the old pulp stories, so he definitely fits into that style.


EB: I just let the comic-book geography roll off my back; yeah, it would have been better if a real country had been used, but since the story involved the assassination of a prime minister, Goodwin decided to go the fictional route to avoid any confusion with actual political events. And as far as I know, the old pulp stories had quite a bit of fake geography; in fact, I think the comic book writers just assumed the practice from the pulp writers. Same with the wonky technology like the psionic amplifier – I think the Doc Savage stories in particular blazed the trail for that kind of stuff. All that said, I can see why you could have been taken out of the story by these aspects, because most of this does read like a spy thriller more or less grounded in the real world. I guess it just didn’t trouble me as much, especially since pretty much from the start the whole Council aspect, with its amazing technology, indicates that the story will have the fantastic elements more typical of standard superhero comics. Overall, it’s pretty obvious that I just love this story, and repeated readings have not diminished my fondness for it (quite the opposite in fact). I like that it’s a complete saga that had a planned conclusion from the very beginning, and the ending, although tragic, is very fitting and, ultimately, satisfying. And I can’t think of any artist who would have done a better job with this than Simonson. He really went all out, and everything comes together perfectly: the figure work, the backgrounds and the overall flow and pacing. Coming back to that word cinematic, it often seems like the panels are storyboards for what would be a mind-blowingly awesome action movie.


M.S. Wilson: Yeah, I'm a sucker for that pulp atmosphere (though a lot of the actual "classic" pulp stories leave something to be desired). I was never a big Doc Savage fan...the idea sounds good, but the few stories I've read just didn't do anything for me. I agree that the ending feels right. In the intro to my edition, Goodwin said that if the concept had been open-ended (i.e. if Manhunter had lived), the story probably wouldn't have achieved the impact or reputation that it did. I think he's right... Manhunter's heroic sacrifice rounds off the story perfectly, and it's true to his character as well.


EB: Needless to say, I agree with Goodwin that it worked out better like this. (Just as an aside, on the topic of the original pulp stories, there’s a lot of good stuff there, and – given the sheer volume – a lot of bad stuff as well. I tend to agree with you about the Doc Savage stories: I’ve read a few of the novels and found them just o.k. On the other hand, all of the Shadow novels I’ve read – admittedly not many – are actually pretty good.)



* Just as a footnote, when the Special Edition reprint of this story was published in 1999 (the edition I have), a story called “The Final Chapter” was printed as well. This is an epilogue which Goodwin and Simonson had plotted out, and then Simonson drew it, but Goodwin unfortunately died before he could complete the final script. So Simonson just finished the art and it was printed as a “silent” story, with no dialogue or narration (just sound effects). It’s really well done, and doesn’t take anything away from the original saga.



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