Action Comics #581 (1986)

Action Comics #581 (July, 1986)
"Superman for a Day!"
Writer - Cary Bates
Artist - Kurt Schaffenberger
Letterer - Milt Snapinn
Colorist - Gene D'Angelo
Editor - Julius Schwartz
Cover Price: $0.75

Here's a two-fer from the pre-Crisis era!  Not only will (yet) another person figure out Supes' secret identity (seems to happen in most pre-Crisis Superman books I read), but we'll also be introduced to the Man of Steel's official legal counsel.

--

We open with Superman flying past S.T.A.R. Labs while many of Metropolis' citizens look on in awe.  Among them is a young boy named Mark Traynor.  He is watching Superman from the S.T.A.R. Labs building where he is helping a team of researchers conduct a project on ESP.  He (apparently, like so many in the mid-1980's) is an esper.

The doctors enter Mark's room and proceed to hook him up to the requisite machinery.  Mark is super-excited to take part in the project, and promises that today he'll give it his all... after all, he has himself the perfect "focus object".

Mark has the ability to "inhabit" the minds of others, like he projects his consciousness into their minds, and can take a measure of control over the subject... so long as they're within range.  We watch Mark focus with all his might, until he finally makes contact.

The scenes in which Mark inhabits Superman are all done in first-person view, which I feel really adds to the feeling of discomfort.  We're behind Superman's eyes, and are afforded the opportunity to see exactly what he sees.  In this case, what we see is a boat about to go under with a small crew of young people all clinging on for their lives.  Superman easily saves the folks, and returns their boat to the Metropolis docks... er, make that on to the Metropolis docks, whoops.

Next, Mark/we watch as Superman flies straight toward the WGBS building, where Clark Kent is an anchorman.  Superman enters through an open stock-room window, and changes into his Clark Kent togs, all the while Mark is "observing".  It gets worse when Jimmy Olsen gives enters the room and refers to Superman as Clark.  It doesn't take Mark long to put two and two together from this point... he's figured out Superman's secret identity.

Clark and Lois just happen to be set to conduct an interview that afternoon at S.T.A.R. Labs with a Dr. Yarnell.  They hop into a cab (that'll be $5.25, pal!) and are greeted at the facility by a fretting lab assistant.  She informs them that they must reschedule.  Lois, being Lois, doesn't take this too well.  Lucky for her, Yarnell arrives to give them an "off the record" scoop.

Yarnell is the Doctor conducting the ESP experiment with young Master Traynor... who, thanks to the video feed (on a one-hour delay) coming from Mark's projected MMP, now knows he's inhabited Superman's body... and cannot get out!  Lois and Clark view the video of Superman saving the boaters, and without a word... Clark leaves.

He flies to his Fortress of Solitude, Mark-in-tow.  He uses his giant super computer to try to find a way to excise the lad from his consciousness.  Time is of the essence, once the video feed catches up to the discovery that Superman is in fact Clark Kent, the jig will be up.  With the help of S.T.A.R. Labs, Superman manages to slide Mark into his deep subconscious, almost "putting him to sleep" for awhile so that he may maintain complete control.

On the way "back from the Fortress", Superman lets Mark back in as a ship of generic aliens starts an assault on Metropolis.  Superman attacks the ship, however, is too late to stop them from dropping a giant alien bomb on the city.  It lands and completely destroys Metropolis.

This causes Mark to wake up... he's still at S.T.A.R., and the lab seat next to him is occupied by Superman.  He informs the lad that the alien and bomb scenario was simply a "mental fantasy" to facilitate their split.  With Mark awake and healthy... and claiming not to remember Superman's secret identity, all's well that ends well... The secret is safe, and Mark was able to be "Superman for a day".

"Even a Superman Needs a Lawyer!"
Writer - Michael J. Wolff
Penciller - Kurt Schaffenberger
Inker - Dave Hunt
Letterer - Duncan Andrews
Colorist - Gene D'Angelo
Editor - Julius Schwartz

A shady-looking van occupied by a shady-looking man pulls up outside of South Metropolis Savings and Loan.  Inside we join attorney, Douglas Giddings (of Peekskill, Giddings, & Hank) as he uses his high-tech signal watch to receive clearance to a secret office.

As the clock strikes 10:00, Superman enters and they set about tending to some legal affairs.  Things like rights to his name and likeness, as well as some damage-control issues.

Moments later, the shady-van opens its side door revealing a cannon.  A gang of helmeted nerds blow a hole into the bank, and proceed inside.  Too bad for them, Superman is in the house.

After making his presence known, the geeks grab a hostage.  Before they can even finish their threat, Superman has rescued her.  The day is saved... 

Following the skirmish, Superman signs some legal documents for his lawyer, and up, up and aways... 

--

This is the perfect example of an issue that, when I was a kid, would have made me run right to Marvel.  Today, I can appreciate it far more... for what it is.  As a child, however, this is pretty much what I expected from DC Comics.  I thought the villains were all interchangeable, and the threats were weak.  Granted, this is just a one-off easily-digested issue... and, I rather enjoyed my time with it today, just definitely not what I would have been in the market for in my youth.

One thing that kind of stuck with me was in the opening panel, where Superman is thinking to himself how he's actively tuning people out, simply because he's had a hectic day.  That's really not something I'd ever expect Superman to say/do.  This really lends credence to the thought that Superman is somehow above everyone else.  Something, that clearly goes without saying... but yet, should never be said.

Not really a whole lot to say about this one.  It's pre-Crisis Superman... this issue can be read before or after just about any just-before Crisis on Infinite Earths Superman story without losing a step.  It's silly and it's fun... it's well written, and looks very nice as well (the first-person bits were a great touch!).  If you dig Superman, you'll probably dig this.


--

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Justice League of America #224 (1984)

Justice League of America #224 (March, 1984)
"The Supremacy Factor!"
Writer - Kurt Busiek
Penciller - Chuck Patton
Inker - Dick Giordano
Letterers - John Costanza & Todd Klein
Colorist - Gene D'Angelo
Editor - Len Wein
Cover Price: $0.75

This past weekend I had the opportunity to attend the Phoenix Comicon with a Media pass.  This gave me access to many of the comics creators in attendance, including one of my all time favorites, Kurt Busiek.  While I (and I would imagine many others) usually think of Kurt as a "Marvel guy" he most certainly left his mark on the DC Universe... in fact, his creator-owned masterpiece Astro City is currently being published monthly by DC's Vertigo imprint.

One of the things we discussed (in between bouts of my stammering, and trying to get more information on how he was the brains behind Jean Grey's return in Marvel's X-Factor) was this very issue of Justice League of America.  This is one of those issues, instantly recognizable... striking cover... almost one you'd expect on a Marvel book... point is, you know this book when you see it.

I'm am in the middle of transcribing my interview with Mr. Busiek for DC in the 80's, which will hopefully be completed within the next couple of days, schedule permitting.  Without spoiling too much of it, I will say that this issue purposefully evokes the feeling of a Roy Thomas Avengers story... so, if this feels like a Marvel issue... that's by design!

Before we get to the book, I wanna thank Mr. Kurt Busiek for being so gracious and forthcoming during our half-hour chat.  He was my first ever "professional" interview, and made me feel comfortable, confident and at-ease.  Thanks again, Mr. Busiek!

--

We open at an outdoor beer garden/restaurant.  Clark Kent (club soda with a twist of lemon) and Hal Jordan (beer) await the arrival of their Justice League comrades.  Oliver Queen is the next to arrive, and his pals express surprise that Dinah Lance isn't with him.  Ollie claims she had something to attend to and should be along shortly.

We join Dinah in her Black Canary togs as she watches some would be muggers get beaten down by their would be victim.  She is shocked to see the "victim's" finesse and level of skill... she's also affected by the fact that it seems he's taking this beating a bit too far.

She attempts to intervene, and gets thrown judo style for her troubles.  This trench-coated fella appears to have her number.  In desperation, She lets out a canary-cry... and it has no affect on the man.  Lucky for her, Superman's super-hearing picks up on her cry and the Leaguers hop into action.

They arrive on the scene only to find that they are no match for this individual either.  Superman gets launched into orbit with but a punch (he does manage to tear the baddie's pocket off in the fracas).  During the distraction, the foe flees.  The League realizes that this may be their toughest threat yet, and decides to organize a meeting.

On the satellite, the team goes over the events of the afternoon.  In the pocket that Superman tore off the fella's coat there just happened to be a scrap of paper with a formula on it.  The Leaguers pass the scrap around, and none are able to decipher it... until Firestorm gets his hands on it.  The League is surprised that he's able to do so, as they are unaware that Professor Martin Stein is also part of the Firestorm Matrix.

The code, when popped into the computer pulls up the name Dr. Joel Cochin.  The threesome of Firestorm, Black Canary and Green Arrow quickly set out to get to the bottom of this.  Firestorm carries Dinah and Ollie on something of a superhero-swing set... which is something that's just gotta be seen.

Pump your legs, Dinah!

They arrive at Cochin's home, only to find that there are no doors.  As the three approach, the wall opens and the man behind it appears to be using Firestorm's own power to do so.  The man introduces himself as Paragon... and states "anything you can do, I can do better".

No you can't... Yes, I can...

During a brief melee, Paragon uses both Firestorm's and Black Canary's powers to get the better of the Leaguers.  It is revealed that Paragon takes on the powers of whoever is near him... only he can perform them at a higher level.  He makes short work of them, and mounts them on a wall as though they were butterflies behind glass.

Paragon offers that he's been working on a machine.  This machine would seek to eliminate 90% of the world's population... leaving only 10% of the best and brightest, all answering to him.  As luck (for him) would have it, now that Firestorm is his captive, he can simply materialize the parts he needs rather than seek them out.

During his ranting and raving the rest of the League (Superman, Wonder Woman, Red Tornado, Green Lantern) arrives on the scene.  A battle rages on, with Paragon really relying on the powers of Firestorm.  He materializes a kryptonite chain around Superman, and just decimates the rest of the team.  In all his rage, he gives Firestorm the ol' "bang, zoom, straight to the moon" punch.  As he's about to give Ollie the killing blow... he comes to find he sent Firestorm too far out of range to draw upon his powers.

In the confusion, Canary comes up with a plan and begins directing traffic.  She puts Red Tornado and Green Lantern on the offense... which makes perfect sense.  Reddy and Hal's powers are artificial, therefore not mimickable by Paragon.

With Paragon on the ropes, Ollie fires off a gas-arrow which takes it's toll on the villain.  The League takes turns beating on this yahoo, ultimately wrapping up with Black Canary giving him a kick square to the face.

The League are victorious, and stand around their fallen foe.  It is a conditional victory... they may have won this day... but where in the world is there a prison that will hold Paragon?

--

What a fun one off issue!  It seems that issues that boast a guest-writer, especially during this vintage were just inventory stories... nothing that really felt as though it mattered.  This issue, while a one-and-done actually felt like it advanced the characters.

I enjoyed that (all too brief) secret identity get together that opened the issue.  It's so rare we see these characters out of costume, and just taking in the day.  The Justice League book(s) until the Giffen/DeMatteis era seem more heavy on the non-stop action and lighter on characterization... which is to be understood, I suppose... as many of the team members have their own solo book(s) where they can be shown in their day to day life.  I really thought this was a nice touch.

The character of Paragon is a strange one.  I really like the concept, but he feels like one of those foes where the heroes will have to either work out some convoluted plan to stop him each time.  This is likely why he's appeared so few times.  Still an interesting dude, though.  Could definitely serve as a big bad anytime DC needs, would be interested in seeing him show up again.

I know I've reviewed books with Chuck Patton art before, but wow... he is truly incredible.  Don't know why I'm noticing that just now, but he's great!  The faces he draws (Black Canary especially) are fantastic!

As for Kurt Busiek's writing?  Well, I'm a bit biased (Mr. Busiek is definitely in my top 5)... so, if you'll indulge dome gushing... this was wonderfully written, and makes me wish he'd spent more time with these characters during this vintage.  He did do a post-Infinite Crisis run with Superman and Action Comics (including the awesome "Up, Up, and Away!" story arc), an Injustice League story in JLA, and he was the writer on DC's weekly Trinity series with art by Mark Bagley (doesn't get much more Marvel than that!)... and of course, JLA/Avengers with the legendary George Perez.

All told, a really good book and a really good time.  It's too bad we don't get a one-off every now and again these days... after all, how would they get collected in TPB form?  It's sad that that's the way we think in contemporary comics fandom... but it is what it is.

Recommended for certain.  Lots of fun, and can be read on it's own without missing anything.  Before I wrap up... just one more big thanks to Kurt for cutting out a half-hour of his day to chat with me.  It was one of those times where I kept having to remind myself that it was "real"... such a strange sensation!

--

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Haywire #1 (1988)

Haywire #1 (October, 1988)

"Kaleidoscope"

Writer & Co-Creator - Michael Fleisher

Penciller & Co-Creator - Vince Giarrano

Inker - Kyle Baker

Letterer - John Costanza

Colorist - Bill Wray

Editor - Andy Helfer

Cover Price: $1.25

What in the world is Haywire?  I've long seen these in Half-Price Books' quarter-bin and really wanted to check'em out.  Sadly, they're New Format books... and HPB's price-stickers really don't like those... and so, I popped it into my little OneNote app for future reference.

Even sadder yet, I couldn't find Haywire #1 in any of the local back-issue bins.  The rest of the (short-lived) series was readily available, but without the first, I didn't wanna "jump in".  After a moderately long hunt, I actually happened across the entire run at a different used bookstore.  At 40-cents a pop, I snatched up the entire 13-issue run for less than the price of two contemporary issues.

Was it worth the wait?  Let's find out...

--

We open in a flashback.  Its a normal, peaceful day... and our focus is on a neighborhood Barber Shop.  The peaceful facade is immediately shattered by a hail of pistol fire.  The workers and patrons alike are quickly perforated, and left for dead.  There's fire... whether or not this fire is real or symbolic is unknown.  The last thing we see is a young child reaching for his father...

We learn that this is (apparently a regular) dream for a scraggly-haired young man by the name of Stephen Majorsky.  He sleeps, mattress on the floor in a ratty apartment.  Special attention is paid to certain items in his pad, including a filing cabinet and a barber chair with a red ball cap dangling from it.  He is awakened not by his nightmare, but by his answering machine.  Somebody called Simon Truitt is calling claiming to have information on the death of his father.

We shift scenes to the Elysium Towers, a place where I'd imagine a lot of international commerce and trade is conducted.  We join in on a tour of the facility, however, hardly get our bearings before terrorists attack.  They fire at will, and without prejudice.  After all have fallen, one grabs our tour guide by her neck (good thing he's not Apocalypse, eh?  How's that for a soon-to-be-dated reference?) and demands to see "Haywire".

Now, we're in a different skyscraper.  The home of Alex Kingman Associates.  It appears as though Mr. Kingman is in some sort of Public Relations field.  He has longish blonde hair that is tied into a little ponytail.  He is in the middle of advising a client when he is interrupted by an assistant.

Now Kingman, the very epitome of the 1980's yuppie, has to leave work for the day to see his therapist.  To be fair, he does so not for the trendiness of the act, but due to the fact that he is experiencing numerous blackouts... and cannot recall entire sections of his childhood/life.

Later on that day, the ongoing events at the Elysium are all over the news... and their is now one name on the lips of the media... Haywire.  Nobody has any idea who or what Haywire is, but viewers are encouraged to call with any information they might have.

I always thought "cop" was a pejorative term?

We rejoin Majorsky following up on the information call regarding his father's murder.  He is taken to a small house in Sayville, NY (which just so happens to be the home of one of my very first comic book stores!), and brought to the backyard by a strange little fella.  In the yard is... a spaceship.  Not a real one, mind you... but, ya see, ol' Simon is the survivor of an alien abduction (Venusians in this case)... so he... decided to build a makeshift spaceship in his backyard?  Okay... not knowing whether or not this takes place in the DC Universe proper, I suppose it's unfair of me to mock this li'l dude too much.  The pair board the "spacecraft" and inside, Simon gives Majorsky a kaleidoscope... claiming if he looks into it and "really" concentrates, he'll be able to see into the past, and find all the answers he needs.  Sounds legit.  All kidding aside, a fun (and off-putting for all the right reasons) scene.

Majorsky hops on the Long Island Railroad (if he's leaving straight from Sayville, I boarded many a train there myself!) and heads back to his ratty inner-city digs.  Inside he grabs a Mr. Pepper and plops down in front of the television set.  On screen they're asking for tips on Haywire... in response, Majorsky pulls out the kaleidoscope and gives it a look-see.

We leave Majorsky, and join up with a pair of airborne news reporters.  Their (police) helicopter is high above the city streets and the Elysium Towers.  Suddenly a green armored hand enters the scene and nyoinks the pilot out, depositing him (safely?) on a rooftop.  The next victim (and ejectee) is the cameraman, who is just chucked out of the chopper with no regard for his safety (or mortality).

Inside the Towers on one of the higher floors, the terrorists are... terrorizing.  In the background we observe a police helicopter rapidly approaching... coming nearer and nearer... and finally, crashing through the window!  The terrorists open fire on the cockpit, rendering it so full of holes that nobody inside could have possibly survived... or could they?

The only one inside is the armored man himself... Haywire!  He leaps into battle, pummeling the goofs and actually decapitating one with a torn-off helicopter blade!

When one of the terrorists lobs in a hand grenade, Haywire responds with some wrist mounted rockets.  All appears to be for naught, however, as these bombers are of the suicide variety... one detonates a bomb which takes off the entire upper levels of the Tower.

Now for something completely different.  We join a young lady named Marlene who is getting off shift at a small neighborhood diner.  She arrives at Majorsky's apartment to find him passed out in front of the television, and lambastes him for "flaking out on her again".  He was supposed to pick her up from work, and was... er, otherwise engaged?  Either by sleep... or perhaps donning a clunky green suit of armor?

We wrap up with a shadowy man saying shadowy things to an underling.  He wants Haywire... and he wants 'em, ya know... pretty quick.

"Chucklehead" is actually part of my every day vernacular... 

--

I'm really digging this era (and arena) of DC Comics.  Just so much strange stuff that makes you take notice.  This feels like it's out of the Wild Dog, Thriller, the Question and Chain Gang War school of "grit", and it's a whole lot of fun to experience for the first time.

So far, the story is rather compelling.  I get the impression that Alex Kingman/Stephen Majorsky is not only the same man (or perhaps brothers?) but also our titular hero, though I do like that it's being kept vague... for all I know, he could be a red herring.  Haywire or not, he himself seems like quite the interesting character.  By day he's a high-powered executive... yet he likes in a horrid little apartment, and looks kinda scuzzy.  I get vibes of the 1995 FOX television show, Profit, wherein the lead is a wealthy executive who, due to some childhood trauma sleeps in a cardboard shipping box while lying in the fetal position.  We know that Kingman had survived a devastating event during his youth, and I just can't help but (graspingly) draw parallels.

There's a wonderful air of discomfort strewn all throughout this issue.  From the nightmare open in the ratty apartment, to Majorsky's visit with Simon-in-Sayville... it's almost disturbing if you think about it too hard.  Everything is just a bit off-center, and I almost feel dirty for digging it so much.

Vince Giarrano's (not Gerrano as he is mistakenly credited here) art fits this story perfectly.  It's very realistic, however, with a bit of a stylized flair.  The "direction" of the scenes is almost cinematic... I immediately think of the bit in the therapist's office where the doctor is unwrapping a piece of candy.  Such a meaningless thing, but it adds so much to the realism of the scene.  So well crafted!

To me, it does a great job of evoking the late 1980's... though, I'm hard pressed to really explain how.  Maybe it's due to my reading a lot of Eclipse and First Comics of this vintage, and subconsciously drawing a connection.  If I were to nitpick, I suppose I'd say that the coloring is a tad on the muddy side.

I'd be remiss not to bring up the "trade towers" being bombed by terrorists, and just how eerie that all is.  Some very coincidental imagery in this book... not a fault with the book, but caused me to briefly take pause.

I suppose all told, I'm intrigued!  I'm planning on continuing through this one in the relatively near future, and look forward to sharing this little-known gem here.

--

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... and he'll never, ever, ever come back!

It's better than you think...