Showing posts with label Throwback Thursday. Show all posts
Showing posts with label Throwback Thursday. Show all posts

Tuesday, January 15, 2019

Throwback Thursday - Adventures of The Jaguar #1

Welcome back to another special Throwback Thursday "Retro Review" edition of Longbox Junk, where I take a break from my usual bargain bin fare and take a closer look at some of the older or more "valuable" comics in my collection.

This time out we're stepping back in time to 1961 to take a look at an odd bird hiding in my Longboxes, the first issue of "Adventures of The Jaguar".  I call it an odd bird because I have very few Archie comics in my collection that don't feature, well. . .Archie.

I bought this comic quite a few years ago as part of an auction lot because the cover caught my eye.  If you've been reading Longbox Junk for a while, you may notice that there's a bit of a running theme when it comes to the older comics in my collection. . .I usually just buy them for the cover.

I have a great love for the covers of older comics, but rarely ever take the time to read what's inside.  This comic is no exception to the rule.  I've had it up on my office wall as part of my ever-rotating comic cover display, but until now I've never actually read it, except for a quick flip through.

But that changes today.  Let's do this!

ADVENTURES OF THE JAGUAR #1

Archie Comics (1961)
SCRIPT: Robert Bernstein
PENCILS: John Rosenberger
COVER: John Rosenberger

As usual with these retro reviews, if I'm going to take the time to read and review these older comics, I'm ALSO going to try and educate myself a bit and share what I learn with others who might be interested, so bear with me for a paragraph or three.

Although I can find very little information on this character. . .what's out there on the internet is basically word for word copied from site to site. . .he's had a pretty long history, with his most recent appearance being in 2011 when DC gained the license for Archie's "Red Circle" characters and tried a reboot of the superhero team "Mighty Crusaders".  

A 50 year history of regular appearances (over 47 issues of various series) is pretty good for a character I've never heard of, especially considering that a bit of research shows me that Jaguar started basically as a kind of copy of another Archie superhero, The Fly, who was created 2 years earlier. 

Jaguar has a magic belt, The Fly has a magic ring.  Jaguar has powers over the animal kingdom, The Fly has powers over the insect world.  So on and so forth.  Pretty much the same character with a different paint job.  They changed up both Jaguar and The Fly over the years, but essentially Jaguar started out as a "If it ain't broke, we ain't fixin' it." sort of character.

That's not much background, but like I said, for a character with 50 years worth of appearances behind him, there's remarkably little information to be found.

So that's that.  Let's get into this comic!

Under that fantastic eye-catcher of a cover, we've got 3 short stories, let's take them each in turn.

MENACE OF THE INCA SERPENT!

Our story begins as "Famed Zoologist" Ralph Hardy accompanies an archaeological expedition in the Peruvian Jungle.  He rescues a trapped Jaguar and his companions comment on his obvious love and connection with animals.  Later that day, a white jaguar is spotted outside of camp, but as they try to pursue it, a gigantic dinosaur-like creature bursts from the ground and chases the expedition members into a strange, perfectly-preserved Incan temple.

Inside the temple, the group becomes separated as Hardy spots the pawprints of the white jaguar and decides to follow them without telling anyone else.  Deep inside the temple, Hardy discovers an altar with a strange belt hanging above it.  Carvings on the wall helpfully explain that by wearing the belt and saying "THE JAGUAR", the wearer will transform into a powerful being that will have supreme powers over animals everywhere in the universe!  

The helpful carvings on the wall elaborate that these powers include telepathic communication and control of animals over great distances, and that the wearer will be able to use any power associated with animals, but multiplied by thousands of times!  The carving ALSO inform Hardy that the belt in his hand will allow him to fly through the scientific wonder of NUCLEON ENERGY!

Why the ancients needed a Nucleon Energy-powered belt to fly if they could summon up the thousands of times magnified power of the mighty soaring condor is a question NOT answered by the ancient Incan exposition carvings. . .BUT I DIGRESS!

MEANWHILE. . .in another part of the temple.  The giant creature is thrashing through the ancient passages in hot pursuit of the other members of the expedition.  Hardy hears their terrified cries and decides to put the belt on and say the magic words. . .which instantly transforms him into THE JAGUAR!  He quickly flies to rescue his companions with his amazing, new-found powers.


Hardy, now The Jaguar, makes his skin a thousand times tougher than a Rhinoceros and handily defeats the beast, then telepathically controls thousands of armadillos to dig a deep pit, into which he uses the strength of a million elephants to toss the monster in, burying it forever!  

After the battle, he transforms back into Ralph Hardy and tries not to smirk TOO much as he hears the tale of the fantastic flying man who saved the expedition.  A man that looked exactly like Hardy, but without a mustache.  

The End.

This short origin story leaves me with so many questions.  But chalking the answers up to "It's a Silver Age comic written for young boys" lets me move along for now.  Taken on its own merits, it's a surprisingly well-illustrated and fast-paced origin story with a LOT of holes in it that (along with the other two stories) seems to be a fairly comprehensive checklist of things boys liked in the early 60's.  This story provides, jungle action, dinosaurs, brightly-costumed superheroes, mysterious ruins, nuclear power and jet packs/belts.  The other stories continue with the 60's kid checklist. . .

THE INVADERS FROM KORDU!

Moving beyond his origin in the Peruvian jungle, our story moves to the African jungle at a later time and begins when "Famed Zoologist" Ralph Hardy is caught in a rainstorm and takes shelter in a cave.  Unfortunately, the cave is full of jaguars, and as they attack, Hardy uses his magic belt to transform into THE JAGUAR!  After amusing himself by knocking the jaguars around a bit, he uses his telepathic powers to become their leader, and then leaves them alone and leaderless when the storm ends and he flies off.  So much for being a friend of the animals. . .

As The Jaguar flies back home, he spots a huge radio tower he'd never noticed before.  I'm assuming he wasn't using the thousand-fold eyesight power of the Falcon when he flew out previously, because the tower and the building next to it sit right in a clearing and are pretty obvious. . .BUT I DIGRESS!

As Jaguar investigates, he discovers that the tower is surrounded by a minefield, but by making his skin a thousand times stronger than the Rhino, his speed a thousand times faster than the antelope, and bashing into the building beside the tower with a thousand times the strength of the buffalo, he easily avoids harm.

Inside the building, The Jaguar discovers a man who introduces himself as Professor Hugo Van Lesk, who is in Africa studying how animals communicate with each other.  Based on his having to run through a minefield moments before, Jaguar is skeptical. . .and his suspicions are proven when he sees a viewscreen with a fleet of spaceships headed to Earth and a message directed to Van Lesk to ready the landing area for an invasion!

Realizing that his cover is blown, Van Lesk tries to take down The Jaguar with a machine gun, which doesn't work well on a man with skin a thousand times stronger than a Rhino.  Jaguar punches the scientist out, but one of the ships from the approaching alien invasion fleet breaks off and announces that it is coming to scout the situation since they didn't get a reply from Van Lesk.

As Jaguar ponders what to do (besides taking on the power of a thousand screaming eagles and destroying the scout ship in flight), he comes up with the plan of trying to convince the alien scouts that he is a typical earth man and it would be extremely difficult for them to conquer a planet filled with people like him.


Unfortunately, the aliens aren't interested in talking and immediately attack.  Their initial attempts fail miserably against Jaguar's super-tough Rhino skin, but they have a bit more success when they zap him with a million volts of electricity from a ray gun.  Jaguar calls in a bunch of gorillas for reinforcements, and he uses telepathic commands to have them fight the aliens and throw rocks at the ray gun (instead of, say. . .him flying up and using the punching power of a thousand enraged orangutans to do it himself).  

But the aliens have a few more tricks up their sleeve and use a freeze ray on Jaguar and his gorilla allies.  Being frozen in a block of ice doesn't really bother Jaguar that much, since he can resist cold like a thousand polar bears, but he's concerned for the gorillas, so while he melts his way free from the ice using the heat of his Nucleonic-Powered belt (instead of breaking the ice with the strength of a thousand slightly-annoyed wild boars), he summons a herd of elephants to chip the ice away from the gorillas with their tusks.

After he is free and his animal slaves. . .er. . .allies. . .are out of danger, The Jaguar threatens to destroy the scout ship and any other alien ship that lands on Earth.  Van Lesk finally wakes up and comes running out, ripping off his patented Silver Age "Perfect Rubber Mask™" to reveal that he is also an alien.  He tries to stop the alien scouts from retreating, but they think Van Lesk has betrayed them, and so he meets his fate at the end of a ray gun before the aliens all pack up and leave.  The Jaguar smiles and nods with satisfaction at a job well done.

The End.

Well. . .

Once again, so MANY unanswered questions that if I took the time to ask them all, this review would run WAY beyond my usual long-winded nature.  So I will again chalk most of the answers up to "Welcome to the Silver Age!" and try not to think about them too much.  Once the questions are out of sight and out of mind, what we have here is another well-illustrated tale that moves along at a brisk pace and continues to check off entries on the "What boys in 1961 liked" checklist. This story builds on the first one by providing invading aliens, spaceships, ray guns, and monkeys (gorillas)!

Let's finish this up. . .

THE MONSTER MOUSE!
Our story begins in the Pacific ocean, where a gigantic 50 mile deep chasm opens in the sea floor after a powerful earthquake.  A week later The Jaguar shows up in Honolulu to take control as the Chief of the emergency research task force that has been formed.  Obviously, this story takes place sometime after The Jaguar has become a well-known superhero, because all of the government officials present seem to be very aware of his powers.

The research team sets up a floating laboratory, from which they plan on sending a diving bell full of scientific instruments 250,000 feet down into the chasm.  Along with the instruments, a white mouse will be in the bell in order to test the effects of such great depth on a living being.

This begs the question of why The Jaguar couldn't just summon up the undersea abilities and pressure resistance of a thousand blue whales to investigate the chasm himself instead of running the operation in his super-suit on the surface. . .BUT I DIGRESS!

The next day, the diving bell and mouse are lowered into the ocean.  The Jaguar DOES use the swimming ability of a thousand otters to accompany the bell most of the way down, but eventually he heads back to the surface.  Deep inside the chasm, "mysterious radiations" penetrate the capsule and the white mouse begins to grow to tremendous size!


The gigantic mouse swims to the surface and attacks the floating laboratory.  The Jaguar attempts to defend the scientists, but quickly discovers that the "mysterious radiations" are affecting his power to punch the giant mouse with the fury of a thousand hungry wolverines.  Worse, the "radiations" are affecting his "Nucleonic-Powered" belt for some reason, making it so he can't fly!  

Robbed of his powers and abilities, The Jaguar somehow avoids the giant mouse long enough to swim to a nearby island.  Unfortunately, the mouse is in hot pursuit and quickly corners The Jaguar.  Thinking quickly, Jaguar uses his telepathic abilities to summon a small stray cat.  The mouse is terrified of the cat and retreats.  Moments later, as Jaguar regains his powers, the giant mouse begins to shrink back to regular size as the "radiations" wear off.  

That night, another earthquake closes up the mysterious chasm and, after The Jaguar dives down to investigate, he declares it all to be just another mystery of the sea that will probably never be solved.

The End.

Of the three stories in this comic, this final one is the weak link.  It definitely looks like the least effort was put into it.  It's still illustrated nicely, and it checks off a couple more boxes on the "What 60's boys like" list (deep sea adventure, giant radioactive monsters), but overall it just seems like this story was thrown in to pad out the page count.

CONCLUSION

When reviewing these older comics, I've learned that I sort of need to separate my reading experience into two categories. . .the first being a consideration of the audience that the comic was originally written for, the second being that of a modern comic reader.

With an honest reading, it's extremely obvious that this was for young boys in the post-atomic pop culture age.  It's a blatant checklist of things boys liked in 1961.  In 3 stories we have:  Jungle adventure, brightly-costumed superheroes, mysterious ruins, nuclear power, jet packs/belts, space ships, ray guns, monkeys, deep sea adventure AND that holy trinity of late 50's/early 60's sci-fi. . .Dinosaurs, Alien Invaders, and Giant Radioactive Monsters!

The "checklist" is so obvious that it's pretty easy to see what's missing:  Cowboys.  I'm not sure if they rectified this error in later issues, but I wouldn't be surprised at all if they did.  Something else I'm REALLY surprised they left out was a bit of good old fashioned Commie bashing.  But I'm fairly certain that no comic from the early 60's could possibly go long without a fist meeting a Commie face, so I'd take a blind bet that the filthy Reds eventually made an appearance at some point during the 15 issue run of this series.

SO. . .

To the ORIGINAL audience, this comic has just about everything a kid in 1961 could possibly want packed into a single issue for just one lousy dime!  If I was a kid back then, I'm pretty sure this comic book would be one of my favorites.  Heck. . .I like dinosaurs! I like spaceships!  Even now I like those things.  For the original audience, this comic has it all.

BUT. . .

To a MODERN reader, this comic is pretty bad.  Sure, it has some surprisingly good art and that cover is absolutely great, but the hero is ridiculously overpowered and because of poor plotting, doesn't make good use of his powers.  The stories are rushed, with weak situations and dialogue, and the whole thing is just so utterly forgettable that the fact this character somehow lasted 50 years is actually pretty amazing to me.  Beyond being a marketing checklist, there is VERY little effort to be seen in the writing of this comic.

Overall, this is a comic book with a LOT of questions in it for the modern reader.  But every single one of those questions can be answered with "You ask too many questions, kid.  Just read the damn comic book." because for the original audience it was written for, this comic is great!  But because it's a relic of the comic industry of the time marketing for a very specific audience and otherwise not putting much effort into it, there's not much here to like for a modern reader.  

I guess what I'm trying to say is that I'm glad this comic is preserved  in my collection from a historic or collector point of view, but I'm not going to be diligently searching for more issues in order to feed a growing hunger to learn more about The Jaguar.  

Up Next. . .

Back to Longbox Junk business as usual as we head to 1994 and take a look at one of Image's "We REALLY want to be Marvel!" superhero comics that were glutting the 90's comic market, but are pretty much forgotten now. . .the 3 issue "Black and White" mini.  

Be there or be square!




Wednesday, December 19, 2018

Throwback Thursday Christmas Special - The Brave and The Bold #148

Welcome back to another special "Retro Review" edition of Longbox Junk, where I step away from my usual dollar box fare and take a look at some of the older or more "valuable" comics lurking in my 45 Longboxes.   Sheesh. . .my local comic shops should send me a Christmas card thanking me for clearing out their unwanted inventory.

AND SPEAKING OF CHRISTMAS. . .

Yeah, yeah. . .okay.  That was pretty bad.  But it fits because it's December and THIS Longbox Junk Retro Review is a Christmas Special! So step back with me to March 1979 for some Bronze Age Holiday fun with Batman and Plastic Man!

Wait.  March?  Never mind.  Let's do this!

THE BRAVE AND THE BOLD
#148
"The Night The Mob Stole Xmas"

DC (1979
SCRIPT: Bob Haney
ART: Jim Aparo & Joe Staton
COVER: Jim Aparo

So this comic isn't particularly old (as far as comics go) and it's not really "valuable" (as far as that sweet, sweet collector cash money goes), but what it IS is a Supremely Seventies-Tastic story that is SO good, yet SO bad at the same time. . . providing a perfect holiday punch of Bronze Age silliness mixed with sober social awareness that makes a very nice cup of unintentional hilarity to be sipped by a crackling fireplace in the Merry Month of March.

The story goes like this:

It starts with Commissioner Gordon and the G.C.P.D. investigating an empty semi-truck that was hauling bootleg cigarettes.  The driver is dead and it looks like it was the work of a rival gang of cigarette smugglers. . .Buttleggers.

Okay.  Let's stop here for a moment.

They play it with a straight face in this comic, throwing in a bit of social commentary about the danger surrounding illegal cigarette smuggling (which I guess was a bit of a problem in the late 70's), but I HAVE to applaud Bob Haney for being able to smuggle in the word "Butt" 10 times over 20 pages in a  CCA-Approved mainstream superhero comic book.  Well done, sir! 

Continuing on. . .

Batman (literally) jumps in on the scene, Gordon lets him know that a gang of Buttleggers has been buying cheap smokes down south, slapping fake tax stamps on them, and selling them at a big mark-up in Gotham.  They've even killed some store owners that have refused to sell the illegal cigarettes.  For some reason, Batman's being a bit of a jerk and he pretty much tells Gordon he's got better things to do before speeding off in the Batmobile. . .

On an unrelated note, That's one of my all-time favorite Batmobiles right there.  A compact low-slung beast built for speed that younger me thought was impossibly cool. . .and as far as older me goes, that still holds true.  That Batman drives that bad boy around in the snow with the top down so everyone can hear his new Zeppelin 8-Track ( I imagine him just pounding "Heartbreaker" on top volume while on patrol in this comic) just makes it even better.  There's other versions of  Batman's ride that get a lot more attention than this one, but damn I love that late 70's Batmobile!

BUT I DIGRESS!

So even though Batman was pretending not to be interested in the case, he's really right on top of it and starts threatening and beating his way through Gotham looking for information, as Batman does.  Unfortunately, he comes up with nothing.

BUT. . .

While he's shaking down informants uptown Batman takes a moment to admire the world-famous Christmas display outside of "Lacey's" Department Store.  A kid runs into the street  chasing a ball and is saved by a mangy street-corner Santa that turns out to be Plastic Man (revealed when Batman runs over, rips his beard off and shouts "PLASTIC MAN!" to everyone in earshot).

It turns out that Plastic Man has fallen on hard times and is pretty depressed about his situation.  He tells Batman that since their last case together, his life has fallen apart and the only work he can find outside of being a carnival freak is crappy jobs like being a street corner Santa.  BatScrooge tosses Plastic Man a single coin in his cauldron and tells him that he's got stuff to do. . .but hey, Happy Holidays, pal!  

Through the night, Batman continues his patrol and search for clues leading to the Buttleggers, but still comes up empty.  He decides to swing back by Lacey's (presumably to rev his engine and blast some Zeppelin while cruising with the top down past Plastic Man's street corner) and discovers that while he was away the entire Lacey's Christmas display has been stolen right out from in front of the store! 

Commissioner Gordon and the Mayor are on the scene, along with the G.C.P.D.  Gordon is trying to calm the Mayor down, who is literally ready to declare a state of emergency over the situation. Gordon tells Batman that a convoy of trucks was spotted packing the display up.   Still being a jerk for some reason, Batman just drives off  without saying a thing (the art hilariously shows him throwing a rooster tail of slush onto a couple of patrolmen as he speeds away).

Batman heads to Plastic Man's street corner, wondering if he might have seen anything, but Plastic Man is gone and his charity cauldron (presumably with Ebenezer BatScrooge's single coin still in it) dumped in a pile by a message scrawled in the snow. Batman decides it's time to get the portable WhirlyBat-Copter out of the trunk in order to catch up to the departed convoy heading South out of Gotham.  


After he catches up, Batman ditches the WhirlyBat and jumps on to the last truck, where he finds Plastic Man inside. . .along with some live reindeer.  Plastic Man tells Batman that he spotted the crooks packing up the store display, but when he tried to stop them he got sucker-punched from behind and taken prisoner because the robbers were talking about how they "needed a Santa Claus for the shindig".    Luckily, before he blacked out, he was able to leave the message that he just KNEW Batman would find.

Batman spots one of the reindeer eating some loose tobacco and suddenly realizes that by some astounding coincidence that the display thieves are ALSO part of the buttlegging ring!  When the convoy stops at a gas station, Batman decides the detective work is over and we get a nice fight scene including the kind of merciless throat chop that we really don't get from modern Batman.

CHOP!  70's Batman didn't mess around.

Let's take a brief intermission here in order to spotlight one of the things I LOVE about doing these "Retro Reviews".  The ads.  To me, there's nothing that makes an old comic into a printed time machine taking me right back to that time more than the ads.  Call me crazy, but they're one of my favorite things about older comics.  Case in point:

Awwwwwwwwww. . .YEAH!

The rest of the super-swag on this ad is great, no doubt about that, but move your eye over to the left and take in the glory of the Batman Utility Belt!  I remember not just WANTING that belt when I was a kid. . .but NEEDING that belt more than just about anything.  I begged my mom for that belt and she was like "It's plastic junk that won't last a week and I don't have the money to waste." 

Every time I read a DC comic book afterwards that had this ad in it, I felt the bitter sting of denial.  I STILL remember the feeling of emptiness that was my life knowing I'd never have a Batman Utility Belt of my own.  Yes, yes. . .I was a deprived child in an uncaring world.  Truly a more miserable wretch worthy of the finest pity party could not be found.

See. . .THAT'S what is great about older comics to me.  They may not always be masterpieces of literature or art, but they sometimes can bring me right back to a moment in time like nothing else except maybe certain songs or movies.

BUT I DIGRESS (again)!

Despite Batman's brutal throat chops, he's outnumbered and outgunned and finds himself on the losing end of the battle after he makes a bad move and falls into an oil pit.  Luckily for the Caped Crusader, the thugs are more concerned with making a a getaway than finishing him off.  Plastic Man rescues Batman, but not before the convoy has escaped.  But after running Batman through the car wash (?!) to clean the oil off him, Plastic Man informs him that he heard the trucks were headed for Florida, and an overjoyed Batman is back on the chase to the Sunshine State!

Batman's pretty chipper for a guy who just got buffed in a car wash. . .

Batman and Plastic Man (who, for some reason, is still wearing his Santa suit) make their way to Florida.  It's not really shown how they get there.  The next time we see the two of them, they are scuba diving toward their final destination.  Bat-Sub, maybe?

It turns out that the convoy carrying the stolen Christmas display was headed for the Florida estate of a mobster Kingpin named Jake Doyle who is dying and has invited all his mob friends and enemies to his estate for one last big Christmas party before he dies. . .explaining why he stole one of the most famous Christmas displays in the world.  But what the rest of the guests don't know is that Doyle isn't really dying and it's all an elaborate setup to get all his Buttlegging competition in one place so he can take them all down at once.

While Batman and Plastic Man recon Doyle's mansion, some thugs get the drop on them and the pair are captured. Batman folds like a chump without even throwing a single throat chop. Batman is strung up on the giant Christmas tree like an ornament and Plastic Man (still in his Santa suit and beard) is forced to play the part of Santa Claus at the mob Christmas Party/Trap.

When Doyle tells Plastic Man/Santa Claus to open a giant present, a bunch of machine gun-toting thugs jump out of the box and begin hosing the party guests with lead.  Plastic Man drops his Santa disguise and puffs himself up like a giant shield to absorb the bullets.  

Big Jake gets PO'd that his party isn't going the way he wants it to, so he drops the dying act and jumps out of his wheelchair, trying to shoot Plastic Man.  This makes the other mob bosses and their henchmen realize it was all a trap and a big gunfight breaks out between them all.

In the confusion, Batman frees himself and brutally takes down the mastermind of the whole fiasco in a way that leaves absolutely NO doubt that you've gotten on the wrong side of the wrong guy. . .

 You just got Batmanned son!

Out of nowhere, It starts snowing, which freaks everyone out, considering this is taking place in Florida. . .but it’s just a helicopter dropping fake snow as part of Doyle’s party plans. Plastic Man funnels the snow into a whirlwind and buries the gunmen, who quickly surrender. 


Batman laments Gotham’s loss of its holiday display and the ruination of Christmas, so Plastic Man suggests they conscript the crooks into loading everything on the trucks so they can haul it all back to Gotham. 

Using their mob slave labor force (With Plastic Man being the whip-cracking overseer back in full Santa Garb) the world-famous "Lacey's" display is put back in place. . .the Buttlegger ring is broken, and Batman gets the credit for saving Christmas (even though Plastic Man did most of the heavy lifting).  All's well that ends well!


The End.

It would be easy to bag on this comic.  From a modern and objective point of view, it's pretty bad.  The story hinges on coincidence, the team-up is forced, the premise is utterly ridiculous, the dialogue is pretty cringeworthy, and the art is workmanlike to be kind.  Just on the good side of crappy to be unkind.

THAT SAID. . .

I can't help but like this comic.  It has a lot of problems to the modern eye, but at the heart of it all, this is just good old fashioned FUN!  It's played with a straight face, but that just makes it unintentionally hilarious to read.  From Batman cruising around through a snowstorm with the Batmobile's top down, to Plastic Man running Batman through the car wash, this comic is just goofy as hell, and that makes it awesome in its own way.

Is this story great?  Not even close to it.  Is it even good?  Not really.  But did I like it? Yeah. . .I liked it a lot for what it is, and that is a time capsule of a lost time in comics history when publishers were in a transition between the passing Bronze Age and the upcoming Modern Age.  A time where comics were caught between the ridiculous and the serious. It's a time that I was growing up in and these are the kind of comics I grew up on.  

So in the spirit of the season, despite this comic's many faults I can't really be negative about it.  It's bad, but it's FUN. . .and  I think that these days we could all probably use a little more fun in our lives. 

And so I end this Longbox Junk Christmas Special Retro Review in the best way I can think of. . .



Merry Christmas and a happy, prosperous New Year from me to all the readers of Longbox Junk!

Up Next. . .

Back to Longbox Junk business as usual.

Be there or be square!

Thursday, June 28, 2018

Throwback Thurdsay - Green Lantern #25

I'll come right out and confess. . .I'm not really a fan of Green Lantern. 

 I don't HATE Green Lantern in any of the character's many forms.  Really, it's okay.  But I never go out of my way to buy a Green Lantern comic.  It's just that, at the heart of things, Green Lantern (Except for the original Alan Scott version) is a Science Fiction character.  I prefer my Sci-Fi more in a "Space Ships and Laser Guns" sort of military fashion. . .Battlestar Galactica would be a good example.  And then also, I've never really been a big fan of "traditional" capes and tights sort of superheroes.  Batman and Captain America are probably my favorites of the "traditional" superhero bunch.  

So two strikes against Green Lantern.  But two strikes isn't an out, right?

And so here we are with a Silver Age Green Lantern comic in hand for another "Throwback Thursday" special edition of Longbox Junk, where I take a closer look at some of the older and more "valuable" comics lurking in my Longboxes.  

This comic is actually a pretty new addition to my collection.  As of this writing, I bought it 5 days ago at a flea market, where I found it unbagged and in surprisingly good shape mixed into a pile of old Archie and Dennis The Menace comics for the low price of 12 lousy bucks.  I don't know exactly where the guy got that weirdly-specific number from, but I know a good deal when I see it and so I came into possession of my one and only 1960's era Green Lantern comic.

Is it any good? Let's find out!

GREEN LANTERN (Vol. 2) #25


DC (1963)
SCRIPTS: Gardner Fox
PENCILS: Gil Kane
INKS: Joe Giella
COVER: Gil Kane & Joe Giella

Let's start at the start, with the cover.

Unfortunately, it's not a very good start.  I usually buy these older comics for their covers in order to add them to my rotating comic cover collection on my office wall at work.  To be honest, if this was just one of a stack of Green Lantern comics, I definitely wouldn't have chosen this particular one.  But as it is, this was the only one, so here we are. 

 I like the logo and the flying villain is interesting, but other than that there's WAY too much in the word balloon, Hal Jordan looks really stiff and is posed strangely, the "swoosh" marks trying to show action are a bit overdone, and really. . .I thought Green Lantern was a flying space cop.  He just looks strange running down the street on foot.

Not a good cover.  Moving along!

The story goes like this:

Hector Hammond (a Green Lantern villain with powerful psionic abilities who has lost the ability to move on his own after exposing himself to strange radiation in Green Lantern #22) rots in prison after being defeated by Green Lantern.  What Hal Jordan doesn't know is that Hammond has faked Green Lantern into believing that he had successfully deadened the parts of Hammond's brain that give him his extraordinary powers with his power ring.  In reality, Hammond is still fully-capable of using his powerful mental abilities. . .and he has come up with a plan to defeat Green Lantern, now that the superhero thinks his enemy is helpless.

Hammond uses his mental powers to help free the villain Sonar from prison across the Atlantic in the small country of Modora. . .AKA the most ridiculously-overdressed tiny nation in Europe. . .where he was imprisoned by Green Lantern after being defeated in issue #19.  As Sonar escapes, he thinks he's somehow gained some new mental powers. . .never realizing he's being used as a pawn by Hammond.  How Hammond even knows about Sonar or where he's imprisoned is never exactly made clear, because. . .Silver Age?

ANYWAY. . .

In an oddly-convoluted plan, Hammond decides the best way to go about defeating Green Lantern using his new pawn (Sonar),  is that he's going to use his super mental powers to have Sonar attack and switch weapons with Green Lantern. . .but only in Green Lantern's mind.  This way, he can see how Green Lantern would win in a battle.  With this information, he can come up with a better plan for his enemy that will actually work and only then REALLY send Sonar in.  

Wait. . .what?  Never mind. Great plan.  Moving along!

When Hammond puts his hilarious. . .er. . .nefarious. . .plan into motion, Green Lantern is the guest of honor at the Ferris Aircraft Company picnic, because when trying to maintain a secret identity, it's ALWAYS best to be right there among people you work with all the time, right?  

Green Lantern discovers that Lois Lane. . .er. . .sorry. . .Carol Ferris has secretly entered Hal Jordan as her partner in the three-legged race, causing a bit of secret identity consternation RIGHT at the moment when Hammond's mind probe hits.

Green Lantern is plunged into an imaginary battle with Sonar in the skies of Coast City.  After escaping being tangled in steel girders and crushed by a conveniently-gold statue, their weapons are switched, so Green Lantern has to dodge energy blasts while using Sonar's sonic gun against him.  The battle eventually ends with Green Lantern tricking Sonar into an enclosed space and immobilizing him long enough to take his ring back and take Sonar into custody.

The battle against Sonar lasted only a second in Green Lantern's subconscious mind, so he just gets dizzy for a moment without realizing anything happened.  And he STILL has to deal with Carol expecting Hal Jordan to show up for the three-legged race.  So to solve the secret identity dilemma, Green Lantern hunts down his best friend. . .Pieface.

Wait.  Stop a moment. Savor the 60's flavor of Green Lantern having an Eskimo sidekick named Pieface. Pie. Face.  Piiiiiiiiiefaaaaaaaace.  Yep.  They actually had an Eskimo guy called Pieface.  

Okay, enough. Moving along. . .

Green Lantern uses his power ring in the most responsible way that a Galactic Space Cop entrusted with one of the most powerful weapons on Earth can. . .he changes Pieface to appear as Hal Jordan so that Carol won't be disappointed by not being able to run the three-legged race.  Eat THAT Spider-Man! With great power comes whatever the hell you want to use it for over in the DC Universe! 

AND THEN. . .

JUST as Green Lantern changes his best friend into Hal Jordan and they're both standing in front of Carol Ferris. . .who somehow fails to notice that Hal and GL have the same hair color, hair style, face shape, chin, height, and body type. . .the REAL Sonar attacks and Green Lantern avoids awkward questions by flying off to battle.

Everything goes pretty much exactly as the first (mental) battle, up until Green Lantern tries to trick Sonar into a trap.  Hammond uses his mental powers to help Sonar avoid captivity, and Sonar gains the upper hand, trapping Green Lantern in a solid block of emerald.

As Sonar flies the trapped Green Lantern to Modora, where he plans to put the hero on display, Green Lantern uses Sonar's sonic gun to pull off a trick from The Flash's playbook.  He uses the gun to vibrate himself so fast that he is able to pass through the solid emerald block.  Green Lantern then uses the Sonic Gun to create a waterspout that knocks Sonar out long enough for him to recover his power ring and then take the defeated Sonar back to prison in Modora.

Meanwhile, the "Mastermind" behind the whole thing finds it hard to believe that his overly-complicated plan using an underpowered C-List villain somehow failed.  As far as Hammond is concerned, the only good thing to come of it was that Green Lantern is completely unaware that it was him who was manipulating things from behind the scenes, and he swears to keep trying until he gets it right.

AND FINALLY. . .

At the end of it all, Green Lantern returns to the Ferris Aircraft Company picnic. . .which is STILL going on even though Green Lantern has made a two way trans-Atlantic flight (I guess there ain't no party like an F.A.C. party).  He learns that "Hal Jordan" did indeed help Carol win the three-legged race and gets to stand by and be jealous as a guy called Pieface kisses the girl he's been chasing since issue #1.  

The End.

Okay,  let's break it on down now!

I'm gonna be honest here and say that, as far as I'm concerned, this comic is everything good AND bad about the Silver Age.  So let's go with the good first. . .

There's a simplicity here that comes with the knowledge that this comic was NOT written for a 50 year old comic collector like myself.  It was written for kids during the 1960's.  There's a definite feeling of an honest suspension of disbelief that's possible when you're a kid in this comic.  It's hard for me to suspend that disbelief at my age.  This sort of comic makes me remember when it was easier. 

To me, that's what's great about Silver Age comics. . .the ability for them to remind the reader of a time in their life when even the most ridiculous things could be taken as they were.  I'm more of a child of the 70's so I get that feeling stronger when I read those Bronze Age comics and especially when I see those old ads, but I definitely got that whiff of what it was like to be able to completely suspend my disbelief when reading this comic.

THAT SAID. . .

Looked at objectively by the 50 year old comic collector, this isn't a very good comic.

The concept is interesting.  It's basically a villain team-up without the superhero OR half of the villain team realizing that it IS a team-up.  Unfortunately, the decent idea at the center of things is surrounded by Silver Age crap.

The Villain's plan is hilariously complicated and even unnecessary.  Hammond shows that he can influence the mind of Green Lantern.  Why not just do THAT?

And then there's the whole "Picnic" sub-plot.  I don't understand the Silver Age obsession with secret identities. . .especially on the DC side of things.  I think over at Marvel during the same era, the only characters REALLY trying to hide their identity were Spider-Man and Iron Man.  With DC, EVERYBODY had a secret identity, whether they really needed one or not.  It gets pretty. . .well. . .stupid.  This comic's secret identity shenanigans are a perfect example of the general stupidity of trying to force every character in your stable to have a secret identity.  

And now I'm gonna tip the sacred cow.  Let's talk a bit about the art.

Gil Kane is regarded highly by a lot of comic fans.  Part of that high regard comes from his work on Green Lantern.  But I have to honestly say that I don't see it in this comic.  

I'm not going to completely bag Kane's work here.  It's not BAD, but it's barely on the good side of "okay".  It's probably also the fault of the inker and/or the colorist, but I find the art in this comic to be about as utterly average as it can get.  There are a few nice moments, such as this shot of Green Lantern flying into battle. . .



. . .but for the most part, the art is pretty uninspired.  


Like I said above. . .I realize that this comic wasn't written or drawn for me.  But that said, the minimum effort that the art team put into this issue is pretty plain to see.  There's a lot to like about Gil Kane's later work, but it's a bit hard to see here.

CONCLUSION
If I had to describe this comic with one word, that word would be: Juvenile.  It has an interesting idea at its core, but uninspired art and basically being written for kids does not make Green Lantern #25 a shining example of the Silver Age evolution of comics.  That said, I'm pretty sure that if I was a kid in 1963 buying this comic off the spinner rack, I'd be about as happy as could be.  So it's kind of hard for me to kick this comic around for not appealing to a 50 year old comic collector when I can plainly see that it was perfectly written and drawn for the audience DC had in mind.

Up Next. . .

Longbox Junk business as usual as I take a look at a comic prequel nobody asked for to a movie nobody cared about.  IDW's The A-Team: War Stories.

Be there or be square!

Thursday, March 29, 2018

Throwback Thursday - The Ghost Rider (1967) #1

Welcome to another "Throwback Thursday" special edition of Longbox Junk, where I take a look at some of the more "collectible" comics I own instead of my usual dollar box fare.  They're still comic book reviews NOBODY ever asked for. . .the comics are just worth a few more dollars, is all.

This time out, we take a trip back to 1967 and release Marvel's original version of Ghost Rider from its plastic prison.  I bought this book several years ago (like many older comics I own) for the cover alone.  In my office at work, I have a wall with a rotating collection of a dozen comic covers framed up on it.  

Not only are they great conversation starters, but who the hell wants some sappy inspirational quote poster when there's Ghost Rider, Batman, Captain America and The Fantastic Four? Am I right? 

Yes I am.

But like I said, I buy many of these older comics for the covers and never really get around to reading them.  This is one of those comics.  So let's do this!

THE GHOST RIDER #1
ORIGIN OF THE GHOST RIDER


Marvel (1967)
SCRIPTS: Gary Friedrich & Roy Thomas
PENCILS: Dick Ayers
COVER: Dick Ayers

One of the things I like about these retro reviews is that I get the chance to learn a little bit more about the background and history of comic books in general with each one I do.  So, as usual, bear with me for a paragraph or three so I can share what I learned this time out. . .so maybe someone else might learn a little bit they don't know too.

First off, I discovered that this is NOT the original version of Ghost Rider.  The original version of this western character was actually published in the 1950's by a company called Magazine Enterprises.  The original Rex Fury version of Ghost Rider was created by Raymond Krank, Gardner Fox, and Dick Ayers for "Tim Holt Magazine".  

Magazine Enterprises was one of the companies that folded under Comic Code Authority restrictions and the character fell into the public domain.  Marvel Comics basically swiped the character design and brought in one of the original creators, Dick Ayers, to revamp Ghost Rider as their own character.

The second thing I learned is that the inker on this book. . .Vince Colletta. . .is a bit of a controversial figure in comics history.  On a reading of this comic, I can sort of see why.  Normally, I like Dick Ayer's artwork.  It's really good for the time.  I mean, just LOOK at that cover above! What's not to like?  But as I looked through the interiors, the art isn't that great at all (more on that later).  On further research into the creators, I learned that Colletta was known as an incredibly fast inker who also took lots of liberties with the pencils, erasing figures and lines to make the job go by faster. . .and BOY does it show here!

ANYWAY. . .

Enough of that.  Let's get into this comic book and see what it's all about.

Starting off with that AWESOME cover. . .the thing I bought this comic for in the first place!  The black and white figure, that excellent character design, the bright reds and yellows to make things pop and really catch the eye, the bombastic teaser text. It all comes together and screams that this is a comic book you MUST buy!  If I saw this thing on a spinner rack next to a bunch of superheroes, it would be comin' home with me.  That cover is a real eye catcher.

Underneath the cover, there's two stories.  The main feature "The Origin of The Ghost Rider" and a 6 pager called "The Menace of The Mask Maker", which is reprinted from Kid Colt Outlaw #105 (1962).

The Story goes like this:

Carter Slade is a school teacher on his way out west looking for a bit of that frontier action everyone was getting into during the post (civil) war years.  He sees a ranch being attacked by a group of Indians.  When he jumps in to try to help the ranchers, he realizes that the Indians are actually white men in disguise.  Slade is shot and left for dead by the fake Indians. Shortly afterward, the mortally wounded schoolteacher is found by a young boy named Jamie Jacobs . . .the only survivor of the ranch attack.  The boy manages to get Slade on his horse and they ride for help.

Eventually, they stumble across a band of Sioux, who take the dying Slade to their Medicine Man, Flaming Star.  Slade's wounds are mysteriously and suddenly healed, and an amazed Flaming Star tells Slade of the prophecy delivered to him by his Gods.  Many years before, Flaming Star witnessed a falling meteor and was told by spirits to gather up the luminous dust left behind and to wait for the coming of a great champion, known as "He Who Rides the Night Winds", who Flaming Star is to give the luminous dust to and then lead the champion to a horse worthy of him, known as "The Ghost Horse." Flaming Star is convinced that the champion in question is, of course, Carter Slade.

Flaming Star leads Slade and Jacobs to a wild white horse that seemingly can't be tamed by any brave of the tribe.  Slade easily tames the stallion using. . .er. . .his awesome polo skills. . .and names his new horse Banshee.  Slade and Jamie leave the Sioux, and after making camp that night, Slade offers to raise the boy himself rather than send him off to an orphanage.  He then uses the glowing dust given to him by Flaming Star to fashion an awesome costume and creates for himself the identity of "The Ghost Rider".

The next day, the fake Indians have gathered at the ranch of their employer, Jason Bartholomew, who wants to chase off all of the settlers who have decided to make their homes on his land. . .which is actually pretty justifiable when you think of it, even if the methods are a bit shady. . .BUT I DIGRESS! 

He orders his men, led by his foreman Blackie Clay, to burn down the schoolhouse in the nearby settlement of Bison's Bend. . .but his men are all idiots and the townspeople see through their crappy Indian disguises.  To make their escape, Clay kidnaps a woman named Natalie as hostage.  Shortly afterward, Slade and Jamie ride into town and are told the news. . .prompting Carter to try out his new hero identity  by riding out to rescue Natalie.

That night,  Bartholomew is rightly chewing out his men for being utter idiots by not only letting the settlers see through their disguises, but by also taking a woman hostage and bringing her right there to his ranch.  In the middle of Bartholomew's motivational rant, the lights go out and The Ghost Rider appears, glowing in the darkness and seemingly impervious to their gunshots.  

Slade makes quick work of the men that decide to stay and fight instead of running like scared little girls, then scares the holy living crap out of Bartholomew to the point that he runs off on foot to turn himself in to the Marshall.  While this is all going on, Natalie frees herself and escapes back to town, unaware of the supernatural shenanigans that helped her get away by distracting her guards.

The next day, Slade plays the tenderfoot schoolteacher while the town is a-buzz about the strange goings-on the night before.  Oddly enough, even though he was RIGHT THERE when Slade was creating his awesome glowing Ghost Rider costume, Jamie Jacobs is like, "Gosh, WHO could've scared them that bad? Musta been a heck of a gunfighter!" To which Slade gives a hearty laugh and tells Jamie he's got no idea who it might have been either.  Then they decide that Buffalo Bend might be a decent place to settle down for a nice peaceful life of schoolteachin'.  

The End.

Okay. . .So. . .

First off, I realize that this is a Silver Age comic book, and comic books at that time were written for an entirely different audience than comics are written for now. Because of that, I also need to look at things through a lens of the time it was written, because I'm going to say that for someone like me reading this for the first time in the year 2018 it doesn't come off well at all.

Honestly speaking from a modern point of view, the characters are cardboard and the scripting is pretty awful.  The art isn't great and the coloring is slapdash and sloppy in places.  The look and feel of this comic overall is that of something that was rushed. 

Ayer's art SHOULD have been the saving grace on this comic, unfortunately (as I mentioned above) Vince Colletta's inks suck the life right out of the artwork.  Generally speaking, Ayers was an amazing artist for the time, and his design for The Ghost Rider is absolutely fantastic, but having Colletta finish his pencils damages Ayer's work to the point that it basically looks like crap. . .and that's a damn crying shame.  To make matters worse, the coloring is pretty sloppy through the whole comic.



BUT. . .

For the time it was written, was this a good comic or not? I'd say that kids probably thought this was a pretty good comic back in 1967.  Westerns were still big on T.V. and at the movies at the time and as far as I know, the concept of a supernatural-themed western superhero wasn't something you could see on the screen.  

Beyond the supernatural angle, the story is juvenile and pretty racist to modern eyes, but to the audience this comic was written for, I don't really think that was an issue at all.   The art is borderline crap, but I don't think kids in 1967 gave a flying frig WHO the inker was as long as there was a comic book with a glowing ghost cowboy in it.

CONCLUSION

I REALLY wanted to like this comic, but there's really not much here to like for a modern reader beyond Ayer's fantastic design of The Ghost Rider character itself.  The story was laughable, the art was pretty bad, and overall this comic just seems rushed.  

To the readers it was intended for in 1967, it was probably pretty good, but unless you're a diehard fan of western or Silver Age comics, I'd say the cover is the best part of this comic.  As part of comics history The Ghost Rider certainly has a place, but otherwise it's just not very good. 

Up Next. . .

Longbox Junk business as usual as we finish up with one of the strangest Punisher stories ever: FRANKEN-CASTLE!  

Be there or be square.




Friday, March 16, 2018

Throwback Thursday - The Shadow #1

Welcome to another Throwback Thursday "Retro Review" edition of Longbox Junk, where I take a closer look at some of the more "valuable" single issues in my collection instead of my usual discount box fare.

This time out, I take a trip back to 1973 and take a look at what many comic fans consider to be the best version of one of my favorite characters. . .the dark avenger known as The Shadow!



THE SHADOW #1
"THE DOOM PUZZLE"
DC (1973)
SCRIPT: Dennis (Denny) O'Neal
PENCILS:  Michael Kaluta
COVER:  Michael Kaluta

As usual with these retro reviews, part of my fun in doing them is finding out about the background of the comic at hand, so indulge me a paragraph or three as I outline some of what I learned.

So what we have here is the first issue of a short-lived (12 issue) DC run on the popular pulp character, The Shadow.  He'd been around since the 1930's, but had fallen a bit out of the public eye by the 1970's, thanks in part to a disastrous Archie Comics run with the character in the mid 1960's where they tried to turn The Shadow into a superhero complete with green and purple tights and cape.  I don't have any issues of this run, but from what I understand, it's pretty much regarded as the very definition of Longbox Junk.

Thankfully, DC decided they wanted to stay true to the pulp roots of the character that inspired one of their most popular superheroes of all time, Batman.  DC originally hired Jim Steranko as artist, but Steranko wanted to write the book as well.  DC had already decided that they wanted Denny O'Neil writing The Shadow, so they passed on Steranko and passed the art to Bernie Wrightson, who was quickly becoming a superstar artist with his work on Swamp Thing.  Unfortunately, Wrightson quickly realized that he couldn't handle two ongoing series at the same time, so DC passed the art to Mike Kaluta.

And so that's how we ended up with the perfect combination of writer and artist to provide the world with what I consider possibly one of the greatest first issues of ANY series I've ever read.  

Okay. . .I guess I'm getting a little ahead of myself.  Let's start at the beginning.

I have to admit that I'm a little prejudiced in favor of this particular comic.  My wife (who isn't a comic fan) bought this issue for me about 10 years ago for Father's Day.  She found a BEAUTIFUL copy (I'd grade it 8.5) in an antique store and bought it for ten lousy bucks just because she knew I liked old comics and she liked the cover.  I normally tell her not to try to buy comics for me, but this ONE time she hit a home run!  For 10 years, that awesome cover has greeted me every time I walk into my man-cave.  It was the first comic cover I put up on the "Wall O' Fame" and the only one that hasn't moved. 


Anyway. . .there it is.  Front and center.  What more can I say about that fantastic Kaluta cover other than I consider it to be one of the greatest comic book covers of all, and I never get tired of seeing it.

But enough of that.  I'm not here to review a cover.  Let's get inside this thing!

So the story goes like this:

While breaking up a gang of thugs in Brooklyn, The Shadow comes into possession of a coded note that sends him following a trail of clues. . .first to an exclusive nightclub, where as his alter ego Lamont Cranston, he overhears rumors of a gathering small army of criminals.  

From there he has one of his agents, Harry Vincent, stake out an area of town where Vincent witnesses a gang of criminals attack a police transport and free the prisoners.  During the gunfight, Vincent is taken prisoner, but The Shadow manages to track down his location.  

After defeating the gangsters holding Vincent, The Shadow interrogates one and discovers further clues to an expanding criminal plot which lead him to visit a Wall Street financier in the guise of Lamont Cranston the next day and discovering that a large shipment of worn currency to be destroyed is leaving New York for Washington D.C. that night. . .the final piece of the puzzle.  

Later that night, as the shipment of currency leaves in armored cars and guarded by U.S. army troops, a group of thugs wait to blow up the George Washington Bridge and send the convoy into the water.  The Shadow arrives by gyrocopter to stop the plot to blow the bridge up, and then destroys a submarine that was waiting below to salvage the sunken armored cars and escape with the money undetected.

But those were just the hirelings there to carry out the plan.  The mastermind was still at large, and The Shadow doesn't do things halfway.  The Shadow captures the fleeing Wall Street financier who was one of the only ones who knew the route the currency convoy was taking, and during a struggle, forces him to shoot himself.  The weed of crime bears bitter fruit! The End.

All in all it's a pretty simple story, but one that moves at a nice steady pace and is very well written by Denny O'Neil. . .with spot on dialogue and great pulp/ noir lines like, "In the distance a foghorn moans -- Or is it the cry of something lost, something damned?"  I see a lot of comics from the 70's that are definitely products of their time with slang and cultural attitudes that clearly mark when the comic was written just as surely as the date on the inside cover.  O'Neil's dark and atmospheric writing on The Shadow evokes the pre-WWII era without a hint of the 1970's and makes even a simple story like "The Doom Puzzle" a true pleasure to read.

And then there's the art.  

Just as with the writing, It's usually not hard for me to tell when a comic came out just by looking at the art.  It always sort of stretches my suspension of comic book disbelief when I'm reading a WWII comic and the characters have shaggy haircuts straight from 1975.  There isn't a hint of the 70's in this comic.  Kaluta's art is dark, moody, and perfectly evokes the era that the characters inhabit.  Every page of this comic oozes character and atmosphere in such a way that perfectly compliments O'Neil's pulp/noir writing and really makes me just want to re-read the comic again, even though I just put it down 15 minutes ago to write this review.  The art on this comic EASILY stands the test of time and I'd definitely call it superior to many modern artists on the racks right now.

BUT. . .

No comic is perfect.  This one comes close, but not quite all the way.  The main problem with this otherwise fantastic piece of comic art is that it is NOT new reader friendly.  Who The Shadow is or what his powers or motivations are is not explained except in the most vague and oblique ways.  Who his agents are, why they serve him, and how they came to be his agents isn't even touched on, beyond their names and the fact that they take his orders without question.  As a huge fan of The Shadow, I know all these things. . .but if one knows nothing about the character this is a pretty lousy introduction. 

It seems to be fully expected that whoever is reading this comic is already a fan of The Shadow.  Newcomers need not apply.  I don't have any other issues of this run, so I don't know if The Shadow and his Agents are expanded on in later issues, but I wonder if this cold opening and unfriendliness to new readers might have something to do with the run being quite short.  If so, then that's a damn shame.

CONCLUSION

Overall, despite not being very friendly to new readers at all, I can easily say that for fans of The Shadow, this is a comic that MUST be in your collection.  It has a fairly simple story, but the obvious love of the character in both O'Neil's writing and Kaluta's art elevates this single issue into something great.  From the fantastic cover to the final panel, The Shadow #1 is a true example of comics as art.  

Up Next. . .

Longbox Junk business as usual as I ponder the straw that FINALLY broke many a comic collector's back.  The beginning of DC's New 52. . .Flashpoint.  Be there or be square!