Justice Incorporated!

I haven't been getting Erik Larsen's Savage Dragon for some years, but the cover for the upcoming issue has me intrigued enough to get it. The storyline has had the Dragon teaming up with some other Image luminaries (Spawn, Witchblade, Invincible and Shadowhawk) to take down the Superman-esque Solarman who has been using unnecessary lethal force on villains. And, seems willing to do the same to heroes who stand in his way. In the next issue various golden-age characters seem to be jumping in to lend a hand. Featured on the cover: from Fox are Thor, the Flame, and Samson; Standard's Black Terror, Pyroman and Wonder Man; Lev Gleason's Silver Streak and Daredevil; Columbia's Skyman, Harvey's Captain Freedom; and Fawcett's Bulletman. If nothing else, the story ought to be fun.

Don't know what happened to Image's Issue After Next project, the series that was doing the "next" issue of public domain comics and characters, featuring all new stories of golden-age characters. The first, Fantastic Comics was a very mixed bag of pastiche, parody and not-sure-what. They were all too self-aware, self referential; none really being just plain stories featuring the characters.

Thankfully, Moonstone pretty much dodges that bullet with The Avenger Chronicles, their tpb collection of short-stories featuring the Street & Smith pulp hero. It's a great collection of writers, drawing from pulp historians, comics, fantasy and sci fi writers, and even a new story by Ron Goulart who had penned a few new Avenger novels back when the character was being reprinted in the 1970's. I've not gotten completely through the book, but the stories seem to capture the feel of the original pulp stories without being mocking, even in a gently manner. The creators take the character and their stories seriously even while delivering plots that would have been at home 60 years ago. The flaws in the stories would be flaws regardless. Will Murray is writing a bit more like he's writing one of his Doc Savage epics and the format doesn't have room for his prose. Thus, the reader is short-changed on the resolution. The motivation and unmasking of the villain hinges on personal information that was always known by the Avenger but is kept from the reader until the big reveal. It's a cheat and lazy writing. Several stories all have elements of the Avenger's past, from before the days of his war on crime. The Avenger always was a bit more psychological of pulp characters, but this is a bit of modern writing creeping in, the desire to mine the past, to delve further into the character's history and past. While one or two of these type stories are interesting, when you get several in a row, it telegraphs the twist and ending of the story to a degree. M. Night's The Sixth Sense works largely because he was a new creator, one wasn't expecting a twist. But, once you know what to look for, that twist doesn't come as a surprise.

Interestingly, when this came out, I was halfway through one of those 1970s paperback reprints of the Avenger: Midnight Murder. The story is a bit more of an espionage thriller than I would normally expect but that seems to be one of the strengths of the Avenger character. Created by committee of Walter "Shadow" Gibson and Lester "Doc Savage" Dent, the character embodies character concepts of both and is at home as both a detective and scientific hero. The plot is an airplane is testing a top secret device and seems to deliberately crash into a mountain. Crooks seem to be after the device, the scientists are striving to recover and keep it secret, and the Avenger and his crew are trying to find out what truly caused the plane to crash and put this gang of international crooks out of business. The two head crooks are portrayed in a wonderful over the top suave and dangerous manner that would serve them well in a James Bond flick. What's also great about this novel are the Avenger's aides. They come across as being efficient and capable, not needing his constant rescuing even though they get into as much trouble as any pulp's second bananas.

I feel I should at least give some props to the latest issue of Golden-Age Men of Mystery by AC Comics. Issue 11 has what initially attracted me to these reprints. The inside cover gives a history of the stories contained therein, credit to where the stories AND reprints came from. It tells how the Cat-Man story is a completely second and incompatible version of his and Kitten's origins as well as how the Phantom Lady story reprinted was originally a story of a non-costumed heroine called Spitfire Sanders with the lead re-drawn and the script changed so that it referenced the Commies and not the Nazis. When he lately seems to more often confuse history by making changes to stories and texts, it's refreshing to see him shedding light on some of the often convoluted real history of the characters and stories.

My Own Worst Enemy has gotten the axe in the first round of cancellations it appears. This is one of those shows where the central concept has interest but it's badly thought out, yet the stories and characters are interesting and sympathetic. The conceit is that Christian Slater plays a man entering the intelligence field (at some point in college apparently), and agrees to a procedure that will split his personality into two. Henry, his second personality is given a whole new background and he's free to marry and have kids without knowing about his other self, Edward who goes around as a super-spy. Edward knows about Henry, but as soon as a mission is over, he goes to sleep and Henry wakes up and goes about his life until Edward is needed again and he's awoken by the agency. The problem is that the characters are now waking up on their own in each other's lives. Henry isn't good at the spy stuff and Edward isn't all that good at being a faithful husband and dependable dad.

The problem is the premise makes zero sense. Even if you buy that they would go to such expense and trouble for cover identities for just two spies, why give Henry a fake history and life when Edward is the one that's not really living a life? Much of the show is spent of Henry trying to figure out how much of his life and memories are really fake when it makes more sense to reverse the two.

Much of the show spends time dealing with the very obvious problems that anyone could predict would happen under this type of setup and that you'd think a competent spy organization spending this kind of money would know they couldn't keep a lid on. While the spies Edward and Tom know about their dual lives, their respective identities and spouses do not. Naturally, one spouse gets suspicious, especially when she decides to surprise him on one of his "business" trips by waiting for him in his hotel room in one city while he's really on the other side of the globe. That episode is further undermined by a later episode that reveals Henry's wife was not the woman that the company had picked out for him, he was supposed to marry another agent to help keep tabs on him. It follows then that the company had also picked out a wife for Tom, are we to assume this company was so inept that they failed twice in the same area?

Indeed, the setup would make far more sense if Henry is the real identity (as in the classic Jekyll-Hyde story). He agrees to the split personality, his real identity is brain-washed only to the degree to make him think he decided NOT to pursue a career in the intelligence field. Edward also does not realize he's two people or that he has a life outside of being a spy, the brainwashing is to prevent him from questioning his own lack of identity too closely. This makes him efficient and deadly as he doesn't realize he has any family ties, anything to lose. The tension arises as the brainwashing starts breaking down and the two become somewhat aware of each other. Henry is trying to find out just who he is and how much of his life is a lie (because the company does have to keep tabs on him) while Edward wants the life his other half has and thus at times is either sabotaging it or trying to take it over. And, then you have the mystery of just who this company really is or their goals, that some in it may have plans for Henry-Edward to be the ultimate sleeper terrorist with the right verbal command.

I've been enjoying Crusoe, more than I thought it would. Part of me hopes that it's really just a long mini-series as the central idea seems like it would be limiting in story types. Already the show had to take steps to address the Gilligan's Island scenario of having other people constantly finding the island to set up conflict between them and Crusoe and Friday yet end with them not getting off the island. In this case, they stranded a ship that had been taken over by mutineers also on the island. Some of the original crew get along fine with Crusoe but the mutineers are in charge and would kill him on sight. But, they respect his and Friday's knowledge of the island well enough to keep to the beach until they can get the ship repaired and leave. Thus the show has a cast and storytelling possibilities larger than two people on an island, even one as big as this one seems to be.

The flashbacks are also intriguing, that slowly give the story of how Crusoe ended up on the island and the life that he left behind. It serves as reminding each week how imperative it is to him to risk his life and leave this tropical paradise, that he has wife and family he loves and must get back to. Likewise, there are conspiracies afoot that slowly unfold. Is Sam Neil's character really the benevolent family friend he seems to be or is there something more sinister to him?

It's not without flaws. We are told that Friday is a cannibal, yet is able to speak six languages and picked up English very quickly. The creators strive to make Friday a sympathetic and strong character, reinforcing the fact that he is Crusoe's friend and equal and in some ways such as language as well as survival skills, his superior. Where would a cannibal become fluent in six languages? It has to be politically correct. Friday cannot be treated as a true native savage would be and their relationship has to be more palatable than what one from that time period would normally have been. As the show starts with them already friends, a lot of them coming to terms is glossed over. His intelligence is played up as is Crusoe's lack of cultural prejudices. In a sense, that's a shame as that would be quite a bit of fodder for story material. The show does give props in recognizing that the time period isn't one of racial and gender equality though. Even Crusoe can be shown to have some sexist attitudes, a more acceptable form of prejudice than racism.

The other chief flaw is the one that people made fun of concerning the Professor on Gilligan's Island: Crusoe is capable of making a huge tree house with so many gadgets feasible for the time and yet is unable to build a decent raft. Even when he has a small boat that is almost completely fixed, he's unable to make it water tight. And, Friday is equally deficient in this knowledge, even though he's from a culture that makes sea-worthy canoes. Sure, the tree house and gadgets are cool looking, but they over-ride the credibility of the central conceit of the show, the two are stranded on this island with no way off.

When comics were good

One of the "great" things going into Fall and the holidays, the weekends are full of activities and opportunities: plays, music, events, and such.

I saw the Broach theatre of Greensboro do "Almost Blue". Now, most of my experiences at the Broach has been to see comedies and outright farces (A Tuna Christmas, Moon Over Buffalo) though there have been a few dramas. And, generally the stories are enjoyable.

"Almost Blue" is a complete departure. The action takes place in an apartment of Phil, an ex-con trying to drink himself into oblivion and trying to be left alone. But, that's difficult to do as he has a man called Blue as a neighbor who is working on his mysterious history and constantly intrudes on Phil uninvited; Liz, a mysterious woman fem-fatale and Steve, her ex-husband who was a fellow prisoner that is reputed to be dead.

It's a bit of dark film noir. The theater does a great job with a minimalist stage of thrown together furniture, constant sounds of the city and rain in the background, setting the mood perfectly.

The actors do a good job with their parts, coming across in their roles naturally. A big accomplishment as the male and female leads were just seen in the farce "Moon Over Buffalo".

Where it falls apart is in the story itself. I don't know if it's in the original play script or in the production, but the story does a poor job in setting up the story. It's never really explained why Liz suddenly looks Phil up. They go on a long car ride and talk, but the audience isn't privy to that conversation. It doesn't help that the characters all have their secrets and lie to each other as well the audience, so one is never sure what exactly is going on in the story and what motivates any of the characters.

Since we don't really know where they come from, it's hard to gain empathy for the characters. The tough talk and dialogue doesn't flow naturally; written to sound tough but not as if it was something anybody would really say. The romance between Liz and Phil is equally contrived since they never have anything that resembles a real conversation.

This inconsistency and lack of substantiality to the characters and situations leads to different possibilities and interpretations. Are the characters other than Phil actually real or just manifestations of different parts of his tortured psyche? If real, you have a story that's incomplete, plot holes glossed over as nothing the characters say can be taken at face value. But, if fragments of Phil's mind, you have a man that's at war with himself. The contradictions and combative nature of the characters make sense. Heck, even the title makes sense as Blue is the most dominant force in Phil's life at the start of the play, his only "friend". Blue is Phil's opposite, thus he hates what Phil has become and sits as an example of what could be. He has had a shady past, but he's exerted control. He dresses neatly, his life is orderly, he spends his time constructively and with comportment, but he also represents the insular nature of a life shut off from the wider world. Phil hates himself already, and this illusion holds no comfort. He resents this conscience constantly intruding on his life. Thus, you have Liz, the woman who has nothing but disdain for Blue and vice versa. She's more like Phil's self-image. She's tough but tender on the inside. Says and does whatever she thinks. She represents escape from the shell. But, when an uneasy equilibrium is reached, Phil's psyche produces another persona. His convict self exemplified in the Liz' husband who is supposed to be dead. He was the tough guy that Phil became to survive prison and he sees this new Phil as a weakling and a coward and offers Phil one way out, kill Liz. Liz doesn't want to die, she wants to leave and start over. Blue doesn't want to see Phil revert back to the savage he once was, but he doesn't want Liz around either, as he likes Phil as being shut off from the world.

The problem with that interpretation is that while it doesn't conflict with the given information, it is not really supported. It is simply a byzantine line of reasoning on my part, reshaping the story as if all the shortcomings were deliberate as opposed to just bad writing. We become accustomed to bad writing. It is why that for the most part, I didn't pick up on all of the clues in The Sixth Sense that plays fair with the viewer. Imagine if M. Night ended the film without revealing the twist, without the aha moment of the wedding ring at the end. You'd have a good movie but one with some holes, inconsistent actions on the parts of the characters such as why doesn't the mother inform the hospital her son is seeing a shrink? The play doesn't need that aha moment to spell everything out, it can be ambiguous if it wants. But, the fact that it's ambiguous needs to be obvious, some kind of subtext that shows the questionable interpretation of it all is deliberate. So, when viewers or readers come out of the story with more questions than going in, they know they are supposed to be unsettled.

Down at the street in time for Halloween, the Triad Stage did a production of Dracula. An ambitious undertaking as 4 actors played 10 roles. Caitlin Watkins (with a wonderful singing voice) plays the part of Lucy, Mina, and one of Dracula's brides; Lee Spencer plays Van Helsing and Dracula in Transylvania; Joshua Purvis is Seward, Innkeeper, and one of Dracula's vampires; Alexander Windner Lieberman plays Renfield, Jonathan Harker, and Dracula in London.

Some liberties are taken to bring the story to stage with such a minimal cast and setting, but the spirit of the story is kept. The experience is moody and spooky, thrilling and exciting. It's been so long since I've read the original, I'm not sure if the lines of Van Helsing are from Bram Stoker or Anthony Hopkins, but an enjoyable experience.

The only detraction is the setting itself. Not quite a theater-in-the-round, the tables and chairs for the audience are on both sides of the minimalist stage. It doesn't have room for many and no view is perfect. Compounding that is the lighting was uneven and there are plenty of opportunities for a play of this type to do some creative things with lighting to heighten mood and tension. Instead, we had scenes that took place in almost complete darkness.


Followed up was seeing at NC State stage productions of the Orson Welles' radio broadcast of "War of the Worlds" as well as the faux radio broadcast of ACD's "Lost World" developed by John De Lancie (Q of Star Trek: The Next Generation). Boasting actors from varieties of tv shows and movies (the one recognizeable was an early X-Files regular, Deep Throat aka Jerry Hardin). Both were loads of fun.

COMICS

Just in time for Halloween, Marvel released a supernatural/horror Essentials with stories of the Mummy, Brother Voodoo, the Golem, Modred, and the Scarecrow (the supernatural protagonist, not the supercriminal). B/w is a great format for these tales. These aren't expensive comics to come by but I only have one or two of each of those characters tops. I've only gotten through the Mummy stories and the first two of the Brother Voodoo stories. There's storytelling here one doesn't see these days. The Mummy stories had almost as many writers as issues yet the story didn't suffer. It developed into a sprawling epic, a novel in comic form complete with developed secondary characters, interesting villains and characters with questionable loyalties. A few nods to continuity and the larger Marvel Universe, but it's about telling its story.

The Living Mummy himself is a twist as he's not Egyptian, but an African slave used to build the pyramids. Not a murderous monster, but a monstrous hero, much like the Thing or Swamp Thing. Seeking a cure or at least peace, he finds himself instead in a war between the Elementals, extra-dimensional sorcerers, and a small band of normal humans defending Cairo and all of Earth. A solid story over several issues with a definite beginning, middle, and end. And, not one you'd expect involving a mummy as the central character.

When I first encountered the Ted Kord Blue Beetle, my curiosity was sparked concerning the Dan Garrett Blue Beetle. I eventually found a story with him. I created my own character combining him with the Alan Scott Green Lantern and a bit of the look of Deadman, the Scarlet Scarab. He was a museum curator that came into possession of a mystical scarab that gave him energy powers ala Green Lantern but not as sophisticated. Years later, I'd find out that Roy Thomas had created a Scarlet Scarab in the pages of the Invaders. Here in the Mummy stories, the serendipity strikes again as a magical artifact that can cure the Mummy as well as defeat the the Elementals, is... a red ruby shaped into an Egyptian beetle, a scarlet scarab. The scarab was formed by ancient Egyptian sorcerers Dann and Garret. Turns out, this story is what Roy built his Scarlet Scarab upon.

Brother Voodoo makes for an interesting hero, walking dark paths. His origin reflects both Dr. Strange and the later Shaman of Alpha Flight, but he has his own niche and brand of magic. The moody Gene Colan artwork is perfectly appropriate, blending horror with super heroics, even when Voodoo is facing the Black Talon (a villain with a chicken theme). Unlike Strange, Voodoo's powers are more down to earth, making the character a bit more empathetic. He's formidable but doesn't have a hundred spells at his disposal, he's as likely to throw a punch as anything overtly mystical.

Brother Voodoo is a character I've thought that Marvel should look at transferring to novel form. Given the popularity of the Jim Butcher and Laurel Hamilton books, he seems like he could easily fit into a middle ground of horror and mystery, a natural protagonist against vampires, werewolves, zombies and what have you. Possibly better there than in the comics.

I can hardly wait to get to the rest of the stories.



Instead of talking directly about Superpowers or The Twelve, let's talk The Invaders. I had picked up a trade reprinting the middle stories of the comic from the 70s. Part of the compulsion was the great Gil Kane cover focusing on Union Jack. Another was I only had just a couple stories from this point, hardly the complete story. Trades are great ways to get back issues from the 70s. The printing and the paper is so much better, and it's nice to read the whole story.

The story starts off with the team rushing Lord Falsworth and Jacqueline to the hospital after the near fatal encounter with Baron Blood. We get soap opera as the Torch has a crush on Jackie. When her blood proves tainted by the vampire's bite and rendering normal transfusions useless, he gives her his blood and thus we get a new superhero. Meanwhile we have another scientist experimenting on some robotic armor and the debut of the menace of the Blue Bullet. This all leads up to the heart-broken Torch quitting the team temporarily while the rest go to the Warsaw ghetto to retrieve the scientist's pacifistic brother. Which gives us the golem legend and the debut of another character, mixing mysticism and science against the backdrop of the War. From there we get the unofficial 2-part crossover with DC's Freedom Fighters as the Invaders meet up with the mostly UK team of the Crusaders: Spirit of '76 (Uncle Sam), Dynamite (Doll Man), Thunderfist (Human Bomb), Ghost Girl (Phantom Lady), Captain Wings (Black Condor), and Tommy Lightning (the Ray). You have to give the man credit, it takes some doing to manage to borrow a legitimate golden-age character's name for EACH name and still have them reflect the Freedom Fighters, even if he had to get a few of the names from Canada. Most of these characters are extremely minor. However, the Spirit of '76 would turn out to be very important as he became a replacement Captain America explaining who had the adventures while the original was on ice. Dynamite would become a major subplot over several issues as to what happened to Lord Falsworth's son, Brian. From there we get the re-introduction of the Destroyer and the debut and origin of Warrior Woman. Oh, and worked in was a crossover with the Avengers.

Whew. Reading them in a chunk like that and one is struck by the sheer volume of detail and variety in the stories. The War is never far removed from these stories, serving as fertile ground for new heroes and villains of all types, slightly more complex motivations, and morality plays on racism and the times. Yet, it is all handled through being a superhero comic first and foremost. The heroes are heroes. The action is larger than life. There's no embarrassment at writing kid partners. One story even involves a little time travel.

The threats are varied and with almost every other issue, new characters are being constantly introduced. There are recurring threats but also new ones. Each opponent is not a Nazi. Thomas is using continuity, but the stories aren't about continuity (other than the annual with the Avengers). He's creating more than he's mining, adding to the tapestry that was the Marvel Universe. Each new character that's created, heroes and villains, their actions have motivations. You understand them and their abilities within pages.

Another thing struck me. I was reading this for fun, lost in the stories and got to the part about Dynamite as Lord Falsworth and Spitfire try to help him with his amnesia. And, they tell him about his friendship with Brian. Meanwhile we're getting not just the other side of that story but the other end of it as the Destroyer relates to how he became the Destroyer, coyly hiding the fact that he's also Brian Falsworth. And, it hits me. There is no way anybody could read these stories and think that Roy Thomas was implying that Roger and Brian were gay. A big part of that justification that proponents of the theory put forth is that it is implied by Lord Falsworth's disapproval over their friendship. Guess what? That's not in there. The falling out that the pater has with his son is covered in-story and is explicitly shown to be over Brian's pacifistic leanings to the point of backing appeasement with Hitler and even visiting the dictator. When Roger shows back up with amnesia and stuck in miniature size but willing to fight the Nazis, the elder Falsworth treats him as a second son. He risks his own life, parachuting into enemy territories in effort to help Roger regain his memory and natural size (and, to find out what happened to Brian, of course) even though he's paralyzed from the waist down. All of the subtext that people claim is in those original stories, completely absent. It really comes from just two panels of the art, when the elder Falsworth is relating about how Roger and Brian were best friends and fierce competitors and we see them walking off the polo field wearing cravats, with an arm across the shoulders. Never seen team-mates hug? Pat each others' butts? But, nowhere in the narration of said scene or what follows is anything that could be construed as sub-text for anything beyond the friendship that it says it is. It's here that we find out why there was a falling out between father and son, and it's very clear that Brian's relationship with Roger had absolutely nothing to do with it from both the father's words and deeds. It's all about readers with sex on the brains looking at that single panel and saying, "that looks so gay."

However, compare these tales to their counterparts today. There's variety in the stories as Roy Thomas uses the milieu of WWII to fuel his stories and address various story and character types. His stories are limited to just a few issues, with beginnings, middles, and end, allowing that variety. Compare the sheer amount of story (even with reprints) and characterization he gets in seven issues vs the seven issues of Superpowers, the first half of The Twelve or the first year of Brubaker's Captain America. He uses the medium of the comicbook to tell the stories effectively. If something is a mystery, it's supposed to be. Otherwise, characters are introduced showing them off in action while defining them. Compare the introduction of the Crusaders to the first issue of The Twelve, or the manner the heroes are brought back in Superpowers. Which is more exciting to read and instantly makes you curious about the characters, makes you want to see more of them? And, he creates new memorable characters, heroes and villains. He recognizes that the heroes are supposed to be that, the heroes of the book to root for. Retcons and storylines aren't used to compromise the integrity of the characters. The story progresses. A subplot or character point isn't introduced at the beginning only to re-appear three months down the road.

20 Most Significant?

I love Steven Grant's column on comicbookresources. At best I agree with about half of any of what he says, but as a longtime professional, his insights to the industry are informative and interesting. At worst, he's what Holmes would credit of Watson, while not a source of light, he reflects it and is often illuminating ie I may ultimately disagree, but what he says does make one think.

His most recent column about the 20 most significant comics fired up the boards as most lists are apt to do. Some of his choices were interesting such as American Flagg and Blackmark. Not really up on the independent scene at the time though I sampled quite a few of the comics from First and Eclipse, it's hard for me to judge how significant those and some of the others actually were.

A few of his other choices I disagreed with. Such as the Showcase debut of the Flash. If any "history" is a myth it's that of the debut of the Flash signifying a great superhero revival and the start of the Silver-Age. In an older post I explored in more detail the various "ages" of comics and the context of the Flash and the other heroes debuts. Ignore the conventional wisdom of when the "ages" were as they are nothing more than convenient constructs and look at the broad picture of superhero comics and the debut of the Flash is just one blip among many before and after, at about a steady rate all told. There is nothing any more significant about that comic than a host of others. The "Flash of Two Worlds" is a far more significant comic in the scope of superhero history.

What's also puzzling is his choice of Amazing Spider-man #1. What little of the logic he applied to Showcase would by default kick out Amazing Spider-man in favor of at least his debut in Amazing Fantasy or the true comic: Fantastic Four #1. But, even when talking about significance, everything that is significant in Spider-man is first found in the FF. When truly looking at a logical start of the Silver-Age, it's the Fantastic Four. It's the first "new" superhero comic. While it is still built upon comics and superheroes of the past, in style, themes and substance, it is new and different from how they've been done before. Spider-man may have been the more popular and the more significant character especially in terms of the Marvel Empire, but it's not the more significant comicbook in the context of comicbook history.

Of course, as talks generally go, it gets one thinking exactly what would be one's own list. Mine is more superhero-bent, it's what I read and enjoy, and it's all American based comics. But, if I had to compose a list:

If I had to list with a slightly more supehero-centric list:

1-3 of Steven's list is correct and would be foolish to try to come up with something better.

#4: Whiz Comics #1: While taken to the courts as infringement, Captain Marvel was significant: it recognized we don't want Robin to identify with, we want to be the hero. The ultimate in wish fulfillment and a modern day fairy tale in superhero form. Might be impossible to gauge whether it was he or #5 that is responsible for all the Captains that would eventually litter the superhero landscape.

#5: Captain America #1: the title that really launched the patriotic superheroes, from Captain America punching Hitler on the nose. No messing around with fictitious dictators and countries. The tail would wag the dog as Irv Novick, the artist on the earlier Shield would change his artwork to match more closely Simon & Kirby's work hyperkinetic artwork. Not the first patriotic hero nor the first of S&K teaming up, but this is where they became a recognizable force and influence on comics for the next couple of decades. Just a Robin may beat out Bucky as a kid sidekick, most of those that followed owed more to Bucky down to using their own names in lieu of code-names.

#6: Whiz Comics #21: The introduction of the Lieutenant Marvels. May not seem like much now, but this was the first attempt at franchising a superhero; not introducing a sidekick, but other characters capable of carrying their own strips based on the popular lead. Soon, Marvels were everywhere at Fawcett: Captain Marvel, Captain Marvel Jr., Hoppy the Marvel Bunny, Uncle Marvel, Freckles Marvel, the Aunty Anti-Marvel, the whole Sivana clan and culminating in Black Adam, the evil Marvel. To them we owe Supergirl, Superboy, Superwoman, Bizarro, Batgirl, Batwoman, Bathound, Bat-Mite, Man-Bat, etc

#7: Pep Comics #41: Archie debuted sometime earlier and even appeared on the cover since, but from here on out, he starts out figuring prominently on the cover, slowly edging the Shield out. He goes from being an above-average back-up strip to a cultural phenomenon. The times are changing.

#8: All-Star Western #58: With this, the title that gave the JSA a home for a decade became a Western, superheroes were going dormant. Westerns that had been around for a long time as a minor part of comics would now be a dominant genre for the next two decades.

#9: I'll concede to Crime Does not Pay for the reasonings that it helped fuel the campaign against comics and the formation of the CCA.

#10: FF #1: The first true SA comic book. DC's SA was still being fueled by the late 1940's and early 1950's, Marvel recreates the superheroes into something new. Like the GA, the heroes are rooted in their times, the fears of communism, the space race, science unchecked. The heroes bicker, they are cursed as much as they are blessed and can be motivated by selfish means (in this sense Amazing Fantasy #16 is more significant than the first issue of his ongoing, the theme that with power comes responsibility vs our selfish nature that contributes to unhappiness and undoing).

#11: The Flash #123: "Flash of Two Worlds" the beginning of modern continuity sensibilities at DC and in a sense giving a measure of power to fans.

#12: Fantastic Four #49: issue #48 started the storyline, but Galactus' first appearance is here. There had been cosmic stories and stories featuring gods, but the power and scope of Galactus and the Silver Surfer as done by Kirby, it showed what his creative mind was capable of and unlike anything before. It set a whole new benchmark for what superhero comics could be and what cosmic really meant. The Legion had the Sun-Eater, which is probably a bit more realistic, but his nature doesn't achieve the Greek tragedy heights of the characters of the Watcher, Galactus and Silver Surfer. The best creators today are still trying to catch up to what Lee & Kirby were able to do here.

#13: Mad: Another one I cannot fault his logic for inclusion.

#14: Green Lantern #76: I was torn on this or The Amazing Spider-Man #96 which ran without a comic code seal of approval. But it's with this issue of Green Lantern, that superheroes started rediscovering their relevancy. The true significance of these titles was far more subtle than generally recognized. After all, the more serious and relevance take didn't signify higher sales and it went back to being more straightforward space-opera soon enough. However, Denny O'Neill brought a bit of that sensibility to every comic he wrote and edited. Writers and editors would follow suit in other comics, reflecting more of the culture and society unrest, expanding the types of stories superheroes could be about and the power of the CCA was weakened as not carrying the label didn't bring doom and gloom upon a comic. There's a reason why issues of this run are among the most reprinted comics in one format or another, never staying unavailable for long.

#15: Amazing Spider-man #121: There have been deaths in comics before and Peter Parker had his share of heart-ache and break-ups. But no character's death has ever really served as a watershed moment as did the death of Gwen Stacey. That the hero would not only fail but be partly responsible for the character's death, it's a true landmark comic. If Quesada and company were really daring about rebooting the character, they should have undid this issue along with the wedding. That really would have set things in an uproar and made for some interesting stories.

#16: Swamp Thing #20: Alan Moore takes over the character and redefines the concept of horror and superhero-esque titles written for adults. To be fair, he had done this before this title but it's here where he made his name and where he laid the groundwork that would give rise to the British Invasion of comics writers and make works like Neil Gaiman's Sandman, Morrison's Animal Man and Doom Patrol possible and eventually lead to the creation of a whole imprint, Vertigo. It is doubtful that we'd have seen other revisionist superhero works like Miller's Dark Knight Returns, O'Neil's Question, Grell's Longbow Hunters if Moore hadn't paved the way here first. I say this and recognize this, but I miss the way Swamp Thing was before Moore got his hands on him.

#17: Maus. I've not read it, but I respect and recognize its achievements.

#18: Cerebus. No specific issue and I don't agree with a lot of Sims' point of view. But, it is a testament of a creator forging his own path and creating his own work and unique vision. A lot better example to hold up than Youngblood.

#19: Teenage Mutant Ninja Turtles. Not every one was significant for being good. I agree with Steven on this one. I think one has to acknowledge the success of this questionable comic parody lead to a boom in independent comics and readers recognizing that b/w is a viable option and at least trying various b/w comics whether it be various output of Dark Horse, The Southern Knights, Cerebus, Zenazoic Tales, or Adolescent Radioactive Black Belt Hamsters. 90% of what it helped spawn was dreck, but there was some good stuff too. Wish someone would bring back the Southern Knights.

#20: Crisis on Infinite Earths. This is basically a tie between it and Watchmen. Two great and landmark works yet, both have lead to the excesses of the 90's of modern revisionism and strip mining continuity while pretending to be honoring history by recasting heroes as ineffectuals, fascists and closet fetishists, where creators' egos feel their version trumps all that went before... to write continuity driven stories while creating retcons right and left, stories about continuity instead of with continuity.

Somewhere in there I would have liked to include the likes of Camelot 3000. I may be wrong but it is or close to being the first maxi-limited series, not based on superheroes or continuity, had Brian Bolland artwork, printed on high quality paper-stock AND intended for the direct market to boot. One of the first showing DC taking away from Marvel the role as being the innovator and producing comic intelligent comics for adults and not just kids. But, then again, some of that can be credited to Alan Moore's Swamp Thing as well. Then, there's The Death of Captain Marvel, the first original graphic novel that lead to some pretty good original graphic novels out there. And, one of the best death of a superhero stories ever done. Had the graphic novel format been a bigger ongoing success, who knows. Maybe it was just too early, the trade market not really existing like it does now.