Dancing a Complex Step - Invaders 12

Invaders #12 (January 1977)
"To the Warsaw Ghetto!"
Roy Thomas-Frank Robbins/Frank Springer

Doug: I'll be proceeding with caution today, friends. Two reasons: No. 1 is the presence of Frank Robbins on the penciling. You know by now how I feel about that (his writing aside, which I enjoyed on many a Batman yarn). No. 2 is the title of the story. Our long-time readers know that I have done educational contract work for the United States Holocaust Memorial Museum since 2005. I'm just a bit leery to see how the Warsaw Ghetto (and largely the Holocaust) will be portrayed by the folks at Marvel. Fingers crossed. So the next obvious question would be, "But wait, Doug -- didn't you read this mag as a 10 1/2-year old?" The answer would be "yes", but the memory would say "Uhhhhhhhh...." You know what I mean. In spite of my strong reservations about the art on this title I was a regular reader when I could find it. I think I came on with the Liberty Legion crossover in #5 and stayed when I could through the end. I was never so happy to see Alan Kupperberg! I'll be reading and scanning from the Invaders Classic, Volume 2 trade paperback. Onward, then.

Doug: We open with the Human Torch (Original variety) flying through the night skies of London. He's mad at events that had just transpired, and we get a recap of some of the events of Invaders #s 7-11 which featured the "return" of Union Jack, the introduction of his daughter Jacqueline Falsworth, the introduction of a Professor Gold's Blue Bullet armor, the wounding of Jacqueline, and finally her healing after a blood transfusion from the android Torch -- which, by the way, gave her super speed! Got it? So the Torch decides he's going to the Tower of London to visit the now-imprisoned traitor Gold. After proving his identity to the Tower guards, our friend Jim Hammond is escorted to Gold's cell. Confronted, Gold says he's not interested in speaking about anything; he merely wishes his execution. But the Torch tells him he thinks he knows why Gold used the Blue Bullet armor to fight the Invaders on behalf of Hitler's Reich: Gold must be Jewish, and there must be more to his story.

Doug: Gold begins to sob, his head in his hands, and tells the Torch that his name was anglicized from Goldstein. He then begins to narrate his story. The Goldsteins were Hasidic Jews from Warsaw, and John Goldstein (the professor) had a younger brother named Jacob. Both boys were interested in science, John in physics, Jacob in geology. When September, 1939 came and the Germans invaded Poland, the Goldsteins were among the millions of Polish Jews who began to face intense discrimination. The Goldsteins were moved to the Warsaw Ghetto (this would have been late in 1940), but John managed to emigrate to Great Britain -- he does not say how, but does tell that his brother refused to come along. Once in England, Goldstein began to work on the Blue Bullet project. Until, that is, he was visited by a shadowy figure. The Torch puts all of the pieces together -- it was the Nazi agent who blackmailed Goldstein into turning the armor on the Invaders. Hammond ask him if the Invaders could get Jacob out of Warsaw, would the professor come back to the Allied side? In a minute, John exclaimed -- but only after seeing his brother alive. The Torch flew off, obviously with a mission in mind.

Doug: The Torch returns to his teammates and is met by Cap and Namor. Cap wants to talk -- you see, the Torch had originally flown off because when Jacqueline had awoken she jumped into Cap's arms. But it was the Torch who'd fallen for her -- now he couldn't see hanging around the team if he was going to have to see the girl he was sweet on chasing one of his mates. The Torch said he had not decided if he was quitting the team, and didn't want to discuss it. They had other issues with which to deal. So he told Goldstein's story, and it was Lord Falsworth who spoke first. The older gentleman voiced his regret that he'd not be able to join them as Union Jack. But just then, a female voice erupted from stage left -- it was Jacqueline, now sporting the costume we know as Spitfire! Of course the boys try to talk her out of it, but she baits them into a trial -- a trial she wins as no Invader can lay a hand on her. Lord Falsworth's again melancholy about the injuries he'd suffered earlier, but gives his blessing to his daughter to accompany the Americans (and Atlantean).

Doug: Namor's flagship transported the team into the heart of Europe, landing under cover of the night near the Warsaw Ghetto. As the team began their quest they came upon a couple of SS harassing a Jewish woman. Spitfire was the first to action, followed by Captain America. The fight did not last long. Cap speaks Jacob Goldstein's name aloud, and the German Jewess understands. Spitfire interprets her German, and they ascertain that Goldstein is in a book store not far away. The men go to him and tell they've come from his brother. But Goldstein says he's not leaving -- his place is in Warsaw with his books and his studies. And then one of the Invaders (off-camera, but I assume it was Cap) utters the first line in the story that gave me pause: "But all of you are in peril! Why don't you fight back?" Having studied this history for many years, I can unequivocally say that it just wasn't that easy. Goldstein tells him that the Jews must submit, and await the will of God. He even invokes an old Jewish belief from Prague -- that the Golem will save them. Cap loses it -- he screams about Hitler's atrocities, the camps and ghettos, and that Goldstein's brother can help them combat all this if Jacob will accompany them to London. As they argue, Bucky comes to the window and say they'd better get outside -- company's coming.

Doug: The Nazis bring a tank unit and the Invaders meet it head on. As you might suspect, this, too, is not much of a fight. Spitfire notices that one of the tanks had gone off to the side and has it's turret aimed directly at Goldstein and three others. The Invaders don't even debate surrender, quitting the battle immediately. A gas grenade knocks them all out (the Torch included), and they are captured. But Jacob Goldstein makes a stand, only to be kicked in the back and thrown to the ground. As the tanks roll back out of the ghetto, Goldstein says that he knows what he must do. And it's back to his bookstore, to fight back. The next issue title? "The Golem Walks Again!" You see where this is headed.

Doug: Although I didn't read it for detail, I did skim Invaders #13 so I could report to you how this 2-parter turns out. The Invaders are captured and bound in creative ways (think Batman '66). There's a Nazi thug who mocks them, but the festivities are broken up by the appearance of the Golem. He's big and bad, and wreaks havoc on the Germans. And at the end of the story Jacob still commits to staying in Warsaw, even positing that some day his people may rise up against their oppressors. It's a heroic, if tragic, monologue. And here lay my misgivings about this story -- to my recollection the only time this magazine dealt with the Holocaust. I wish they hadn't. Not because it's not an important part of the Second World War -- it most certainly was and is. But to introduce super-powered heroes to that narrative, to have them in the Warsaw Ghetto and so close to the Treblinka killing center without doing anything about the events that our heroes were obviously privy to... it just serves to increase the magnitude of the genocide and the missed opportunities for Allied intervention. Yes, this is fictional, but what of the real-world intelligence that had exposed these events to the West? What of the Allied leaders who had this information yet chose to remain focused elsewhere? "Win the War first." I get that. I also get that some 12 million Jews/non-Jews perished in the Holocaust. And like I tell my students -- don't dwell on those numbers that your mind cannot comprehend anyway. Instead, think of it as it happened, in human lives: 1 and 1 and 1 and 1. Surely the Invaders could have offered some succor to those trampled under Hitler's boots.

All that being said... would that have been even more disrespectful to the history?

Jose Luis Garcia-Lopez's Man of Steel -- Superman 309

Superman #309 (March 1977)

"Blind Hero's Bluff!"

Gerry Conway-Jose Luis Garcia-Lopez/Frank Springer (cover by Garcia-Lopez)

Doug:  It was two months ago that we began this 3-part look at the Bronze Age Man of Steel under the influence of the pencil of Jose Luis Garcia-Lopez, and I'll attest to it being a visual pleaser.  However, I've only been lukewarm to the story.  What will this conclusion bring us?  Why wait?

Doug:  When we left Superman, he was pondering his future after the revelation from Supergirl that they were not Kryptonians but mutants -- the outcome of their fathers' experiments with atomic energy.  Superman had just beaten two environmental terrorists named the Protector and Radion.  Now we see him doing what Batman usually does -- cleaning up the streets of Metropolis.  But this time it's finding and thrashing a mob operation in the suburbs, and Superman makes quick work of the crooks.  Of note in this section is the mention of Chicago, which always troubles me when reading in the DC Universe.  C'mon -- it's either our Earth or it isn't.  I can deal with Metropolis and Gotham City if that's all we ever get.  Whenever writers started to mix in real cities it becomes incredibly problematic.  The police chief gives Superman a backhanded compliment when he thanks him for corralling Samuel Simeon's gang, saying he's surprised Superman would assist the police in such a small-potatoes matter.  Superman says it's his planet, and he needs to deal with the details from now on.  It's an awkward exchange to say the least.

Doug:  We're treated to another terrific looking if highly implausible costume change as Superman descends like a missile into Metropolis Park, changing into a full football uniform (what, was it stuffed in the pocket of his cape??) and reporting for action in a scrimmage game between local media outlets.  Clark's distracted as the game begins, though, and takes a hand-off and abruptly heads toward his own goal!  His teammates don't tackle him in time, though and the GBS team ends up losing the game by one score! I'd think that hitting Clark Kent would be like tackling a tank.  We cut to Supergirl, who has arrived to an unknown location in answer to a distress call.  She's addressed as "cousin", called by her Kryptonian name, and it's obvious that those assembled know what's been going on with "Kal-el".  A space armada is encroaching on a planet, and our mystery men are quite concerned.  Supergirl says she'll alert Superman and they'll take care of it.  But one of the men casts a doubt on her plan -- whereas Superman once believed himself a "man of the universe", he perhaps no longer does.  Supergirl scoffs at that idea, and flies off to enlist Superman's assistance.

Doug:  In Clark's apartment he's emerging from the shower, still smarting from his dumb Jim Marshall play.  He's shocked to see Supergirl waiting for him -- I had to laugh at the picture of Clark trying to cover his chest as he saw Supergirl; Namor wouldn't care.  Supergirl explains the danger to the planet Xonn and implores Clark to come with her.  When he balks, saying he has revised his priorities, Supergirl slaps him up against a wall and storms out on her own.  She tells him in no uncertain terms what she thinks of his priorities.

Doug:  Lois is over for dinner -- pretty nice how she comes to Clark's apartment to cook for him.  He's daydreaming out the window, thinking of what Kara had called him -- a coward.  His eyes wander to the place where Xonn is located and he zeroes in with his telescopic vision.  What does he see?  Supergirl and Krypto fight valiantly against the invasion force, but are soon knocked out of the fight.  Clark now knows what a mistake he's made.  He quickly (brusquely) hustles Lois out the door and speeds off to the sector where Xonn is.  His movements are monitored by our mysterious meddlers.

Doug:  Superman tears through the fleet with little difficulty and wonders to himself why Kara could not have.  He sees a large green humanoid emerge from a craft and head toward him.  Taking a defensive posture, the Man of Steel thinks he has it made when the being's attack misses to the right.  However, there's a boomerang effect to the asteroid that was struck, and it hurtles at Superman from behind and knocking him off balance.  And then he's washed over with horror -- his eyesight is gone!  It's not long until he's immobilized by his assailants.  Now inside a large vessel, he's reunited with Supergirl and Krypto.  Kara explains that under the influence of Xonn's sun, Kryptonians are blind and half of their superpowers have gone.  What's everyone's opinion of the multi-colored suns aspect of Superman lore?  Brilliant literary device, or seemingly built in deus ex machina?

Doug:  Our Kryptonians are approached by a crystalline character (Martinex's long-lost relative?) named Cyrotor, who explains what has befallen Xonn and why resistance is futile.  Xonn is being attacked by the J'ai, an alien race that has never known peace -- war is what they do.  Additionally, when one of the J'ai dies, he is replaced by eight new organisms -- multiple reproduction to an exponential level.  All warlike.  Cyrotor tells the Super-cousins that the J'ai cannot be defeated.  Supergirl gets suspicious of some of the word choices Superman is making in conversation with Cyrotor and begins to ask him... then he blows up in her face.  He says he knows she's duped him about Krypton and is furious.  Kara uses the word "us", which leads to the explanation of the masterminds of the plan -- the Kandorians!  All of them, and Kara, had become concerned that Superman had a fixation on the safety of the Earth, to the extent that he had begun to meddle in the affairs that Earthmen should be allowed to handle on their own.  Superman goes ballistic about the entire ruse, and blasts out of their globe-like prison.  He flies off to engage the J'ai alone.

Doug:  Superman is being weighed down by the sheer weight of the attacking J'ai, when he comes upon the solution to ending the attack.  The J'ai do not seem to communicate with each other -- they swarm like bees.  Somehow Superman comes to the conclusion that since the Xonn communicate through sonic waves, shattering their buildings will somehow negate the life engergies of the J'ai.  OK -- sure!  Why not?!  As the Man of Steel flies on a frantic mission of destruction, leveling building after building, Cyrotor and Supergirl watch from afar.  The J'ai collapse as a group, their threat ended.  Later, the three Kryptonians fly through space, heading back to Earth.  Once near our atmosphere, Supergirl asks her cousin if he can forgive her.  He nods affirmatively, and adds that the reason he became obsessed with saving Earth is due to its beauty and immense relevance in his life.  And she, as a fellow Earth adoptee, should feel the same way.  And with that, Superman takes his leave.

Doug:  Well, alrighty then.  I'm just not sure what to make of this.  As I said at the top, the art was nice to look at throughout the three issues.  I'd said earlier that Garcia-Lopez especially did a great job of depicting flight.  He also wowed with the super-changes; the taxi cab wardrobe switch last issue was my favorite.  Plot-wise, I'll stand by comments I've made around here since we opened shop here over four years ago:  this is a Bronze Age DC, and it reads like it was written with a 10-year old boy in mind.  It's not awful, and I suppose I can swallow what Gerry Conway and Julie Schwartz were selling.  But given my druthers, I'd make mine Marvel nine times out of ten.  However, and I said this at the conclusion of my review of Superman #307 -- I respect Gerry Conway's talent for being able to write under two very different "house styles", or at least house "expectations".  It's a well-written, if not so greatly plotted, story.  And for what I perceive it to be, I guess I don't have that much of a problem with it.

Jose Luis Garcia-Lopez's Man of Steel -- Superman 308

Superman #308 (February 1977)

"This Planet Is Mine!"

Gerry Conway-Jose Luis Garcia-Lopez/Frank Springer (cover by Neal Adams)

Doug:  That's a sweet cover, isn't it?  And that dude on the kickboard looks far more interesting than the chump from Superman IV.  But, does this issue's review come to you in a more glowing fashion than did our inaugural foray into the Superman of Jose Luis Garcia-Lopez?  Let's check it out.

Doug:  When we left Superman and Supergirl, Superman had just defeated the Protector in a battle that took place immediately after Supergirl had revealed that there never was a Krypton.  Superman was under quite a bit of mental duress in dealing with Kara's revelation, and was not at the top of his game as the pollution-loving Protector had come to call on the Man of Steel in the Fortress of Solitude.  We open today with Kara flying about the Fortress destroying all of Superman's mementos, shrines, and displays honoring his homeworld.  Superman begs her to stop -- well, warns her actually, and as the two cousins argue the Protector begins to emerge from the funk he was left in several minutes earlier.  Kara tells Superman that she has film of his birthday, and of their fathers working together on atomic experiments.  But as the soap opera runs on, the Protector fires up his molecular powers and blasts between the two Kryptonians -- and out the door!  Supergirl wants to take after him, but Superman stops her.  What's the point, he asks?  Maybe the guy is right in wanting to destroy Superman.  And with that, Superman flies off to be alone and to meditate on the bombshell his cousin has dropped.  As he flies away, Supergirl pulls out a small transmitter and tells someone that the plan seems to be working -- and that she hopes it's the right thing to do.

Doug:  Superman doesn't go back to the mountain on which he'd sat in the last issue.  This time he heads to Metropolis, where he does one of the coolest costume changes I've ever seen.  You just know that suit and shoes was all tucked into his cape!  Clark Kent emerges from the taxi cab and makes his way to his apartment.  Lois Lane waits inside, cooking the dinner she'd mentioned to Clark last issue, when he headed out with a much younger woman!  Clark's a little melancholy as the dinner begins, but soon warms to Lois's intentions.  After all, if he's not an alien or outside, then why should he hold back his feelings?

Doug:  We jump to a high-tech building in the Rocky Mountains -- not all that hidden, actually -- to see the Protector land and then get his brains blasted.  A new costumed criminal, Radion, greets last issue's baddie with a jolt nuclear energy.  Radion calls him a traitor, and I'm pretty sure he intends to kill the Protector.  Until the Protector asks him for help.  Radion does a 180 and says that the Protector should come on inside.  Weird...  As they walk, the Protector narrates the origin of Radion for us (it's your typical "you were in a nuclear disaster but somehow came out of it with these awesome powers, dude!" backstory) and how they first met.  It seems as though the Protector was always meant to be a pawn.  Radion is still ticked that the Protector's gone public, because that's gonna screw up the "master plan" -- because all of these super-dopes have a master plan.  But the Protector says that he is not the problem... Superman is the problem!  We then get a quick 2-panel vignette of a Professor Pepperwinkle (really?  I'd change my name) looking through his "hyper-spacial telescope" and giving us an exclamation.  And we have to wait to find out why.

Doug:  Back in the Kent apartment, Clark wakes for the day and mills around his digs.  He goes into his secret closet and checks out more Kryptonian relics.  He fires up the Phantom Zone Projector, but it just shines a light -- no criminals jump out.  Clark's almost disappointed.  But as he grumps, he hears the radio come on, with an alert about trouble at the nuclear power station.  Whoosh -- he gone!

Doug:  Superman flies over the grounds of the Hooley Nuclear Power Station, located near Niagara Falls, New York.  Radion had arrived earlier, and looks to being just a general pain in the butt.  But as the Man of Steel arrives, Radion goes into attack mode.  He first blasts Superman -- an energy burst that dumps Superman into the water at the bottom of the Falls and carbonizes the oxygen molecules around him (turning his Superman costume to a gray hue).  As Superman recovers, Radion peels up a huge chunk of earth, right in Superman's flight path.  Stunned, Superman is then trapped in a "proto-nuclear globe" and his atomic mass is increased.  Like all megalomaniacs, Radion must then reveal the "master plan".  He's come to Hooley to overload it, unleashing nuclear energy and radiation throughout the nation and the world.  People will succumb to the poisonous rays, but some will mutate.  Whatever form they take it won't matter -- Radion will control them all!  Superman of course thinks this cat is beyond loopy, so schemes to find a way to stop him.  Using his heat vision, Superman is able to locate the control rods in the main reactor, melt them, and drop them into the pile.  This ends the chain reaction that Radion had begun.  Then the Man of Tomorrow gives it his all and bursts from his globe-like prison.

Doug:  Superman is ready for battle, but Radion chooses not to fight.  After receiving cheers from the assembled security forces at Hooley, Superman makes his way back to the Fortress of Solitude.  He broods in a chair, still considering what Supergirl had told him.  He finally comes to the conclusion that he's going to pursue this new path... after he finishes up some unfinished business.

Doug:  Back at the Rocky Mountain way of Radion, he and the Protector argue.  This time it's the Protector who's angry, calling Radion a quitter.  As the two squabble and threaten, they are startled by the arrival of Superman.  Radion warns him that he should not have come to his home base.  Superman tries to take out the Protector first, but his heat vision is reflected due to a change in the Protector's molecular structure.  Radion tries to blast Superman, but the Man of Steel is now flying pellmell.  There's a method to the madness.  Radion keeps blasting until Superman flies directly in front of the Protector -- where Radion's blast strikes his ally full-on.  But remember, the Protector had changed his structure -- and reflects the powerful blast right back at his originator.  Kayo two super-baddies, without working up a sweat -- that's our Superman!

Doug:  We are shown a large control room, or the deck of a space ship.  Shrouded humaoids watch a vid-screen, as warships streak toward the planet Xonn.  These "men" lament that their plan to have Superman abandon his Kryptonian heritage may now backfire.  Where this was once a "job for Superman", it may now become the death of Xonn... and later, of the Earth!

Doug:  This issue was a little better than the last.  As I mentioned last month, I've read to the conclusion of this 3-parter.  The third issue certainly won't have the pay-off that you hope for -- at least in my opinion.  I thought Gerry Conway was OK in this ish, and I'll stand by my supposition that this yarn is more in Julie Schwartz's wheelhouse than in Conway's.  That is, until I asked the man himself.  Back on October 7th, the very first day I opened our BAB Twitter account, I also wrote the framework for today's post.  I tweeted about it when I was done, and included Conway in the tweet.  You can see below that he answered us -- just a couple of hours after he'd enjoyed a Dodgers victory against the Braves in the NLDS!  Garcia-Lopez's art was again very good.  I thought the single panel of Lois toasting with Clark was just beautifully rendered.  Images of Superman and Supergirl in flight also seem to be a specialty of Garcia-Lopez, as these scenes are ever-dynamic yet original each time.  He really is a very good penciler, and does seem to be made for these characters.  I've said before that when I think of the Man of Steel, it's generally an image from the great Curt Swan that shows up in my noggin.  But after seeing some of the Supes art from this era, I could become a convert!

Doug:  Check back in about 30 days for the conclusion of this story -- and judge its merits for yourself.

Doug:  And, a special note to those of you curious about these hardcovers that I've used for these Superman reviews, as well as various Batman reviews.  DC has announced a Tales of the Batman: Carmine Infantino volume that will ship at the beginning of June.  You know I'll be getting my hands on that one!

Jose Luis Garcia-Lopez's Man of Steel -- Superman 307

Superman #307 (January 1977)
"Krypton -- No More!"
Gerry Conway-Jose Luis Garcia-Lopez/Frank Springer (cover by Neal Adams)

Doug:  This post goes out to our readers who have clamored for some Superman stories as illustrated by Bronze Age great Jose Luis Garcia-Lopez.  Today's your day.  And what's more, since I chose this story because it also contains Kara Zor-el, this will be a 3-part review stretching over the next couple of months.  Look for parts two and three (Superman #s 308 and 309) on Fridays in October and November.  And in case you didn't notice, famed Spider-Man scribe Gerry Conway is at the helm as our author.  Will he work some of that early 1970s Marvel magic, or will we walk away thinking "Of course... this is a Bronze Age DC mag."?  Let's check it out.

Doug:  DCs at this time had a curious layout, as the main stories were only 17 pages long.  The bonus, of course, was generally a 5-6 page back-up feature.  So while the headliner sort of got short-changed as compared to his Marvel Comics counterparts, the reader got a little more bang for his or her buck (or in this case his 30c).  We open with the Man of Tomorrow in a bit of a sour mood and bent on wasting a factory.  A figure we don't recognize, but who bears a striking resemblance to the Ray, sizzles into the panel from Stage Right.  He engages Superman and then knocks our hero for a loop using numerous different powers.  Claiming to be a mutant and with atomic-based abilities, he identifies himself as the Protector and makes a vow of his own:  he is the champion of all polluting industries.  Wait... say what?  He's standing up for the environment's enemies?  O...K...

Doug:  Superman's dumped out of the sky and onto his red panties, and right at the feet of a Mr. Slotvik.  Slotvik claims responsibility for bringing the Man of Steel to the factory; Superman replies that he only came to help.  We then get a flashback over three pages that shows how Milton Slotvik had approached Clark Kent after one of Kent's news broadcasts.  Slotvik knew the company for which he worked was using resources which were most likely causing employees to come down with cancer.  Slotvik wanted Kent to investigate and perhaps bring some publicity to the situation.  Clark suggested that maybe an impartial party should join in, and offered to contact Superman.  Slotvik agreed.  However, the conversation was interrupted by a "news groupie" named Terri who threw herself at Clark.  Of course, Lois Lane happened by at just the right (wrong) time, jealousy emanating from her pores as she coldly addressed Clark about her plans to fix him dinner.  Clark, however, exited with Terri.  And then... this took a really weird turn.  While on the elevator with Terri (nope, no Love In An Elevator here), Clark began to fill out the invitations to his own pity party -- "You call me a man -- but I'm really a native of a planet called Krypton -- and much as I like you, we can never be anything to each other -- any more than Lois and I!  I'm an alien -- an outcast -- a loner -- and that's the way it must remain!"  And he walked off in a foggy funk and left Terri wondering what the heck just happened.  Me, too!

Doug:  We cut back to the near-present as Superman makes an appearance at Slotvik's job site, Metro Chemical Plant.  Supes is greeted by Morton Kalmbach, the president of the company.  He's a smarmy sort, and offers our hero a tour.  Kalmbach's attitude is one of greed and uncaring, and he admits to Superman that there's bound to be some collateral damage on the way to a healthy bottom line.  Superman stops him and asks if he's admitting to knowing that what they do at the plant could be causing cancer for the laborers; Kalmbach says it's only a "socially acceptable" danger to the men.  And that's when Superman went off.  Once the flashback is over, Superman leaves Slotvik and flies away to the Rocky Mountains where he finds a high peak upon which to sit and brood.  He thinks about the mortality of the men in danger at the plant, and then his mind wanders to Krypton... his lost Krypton.  Readers are then treated to a brief backstory of Jor-el and Lara, the rocket bearing little Kal-el to Earth, the explosion of Krypton, etc.  Superman's losing his cool here, and shouts to the heavens, "Hear me, world!  I won't let you commit planetary suicide!  I swear I won't let you die... I swear it!"  I thought at this juncture the story began to take a turn down the path that Paul Dini and Alex Ross walked in their wonderful Superman: Peace on Earth treasury.  But it was short-lived.

Doug:  Superman swoops onto a giant ocean-faring tanker and begins to pluck sailors from its decks.  The men are whisked away and deposited on a nearby island.  As Superman works, he thinks to himself that a) these are the sorts of ships that have oil spills and b) this one must therefore be about to dump crude into the ocean!  His goal is to hoist the ship and put it into orbit (yeah, because that wouldn't burn up on re-entry and cause atmospheric damage...), then come back to Earth and corral any others he can find.  Umm...  Did Conway forget about the fuel crisis of the mid-70s?  Because pulling a whole lot of supply is going to increase the demand and drive that price up, up, and away...  Well, as Superman begins to gain some lift, he's suddenly attacked with ice.  Yup -- the Protector wants to be sure those super-tankers can do their thing, even if it is leak all over the seven seas (remember the query I posited about Conway's scripting back at the top?).  The two super-combatants get it on, with Superman again coming out on the short end and the Protector again escaping.  Superman figures no worries, and surfaces to again take care of the ship.  But who should be on site but his cousin, Supergirl?

Doug:  Kara asks Superman what the heck he's doing, and when he tells her she becomes the voice of reason... temporarily.  She barks at Clark that they have no right to interfere and that he needs to stop.  He asks her if she wants Earth to end up like Krypton, and here's where the wheels fall off.  Kara grabs Superman by the arm and tells him he needs to deal with the fact that Krypton didn't explode because there never was a Krypton!  Superman is no alien -- he's the Earth-son of Jonathan and Martha Kent!  And then she zips away, heading north.  Superman gives chase, and they are very soon at the door to the Fortress of Solitude.  Supergirl continues on this odd path, and once inside begins to destroy all of Superman's Kryptonian memories, including the large statues of Jor-el and Lara.  Superman begs her to stop, but she just keeps going, eventually showing him the Bottle City of Kandor.  Superman asks her how she would explain the fact that there are thousands of Kryptonians living in the bottle -- and she says to look again.  All of the people in the city, and the city itself, is just a plastic model.  Superman is about to lose his mind when Kara slaps him -- get with it and quit living the lie!  She tells Superman that they are not cousins, but they are mutants.  Their fathers, Jonathan Kent and Fred Danvers, were scientists working on atomic experiments.  Fall-out from their efforts mutated their children.  Superman's sweating now, really questioning everything.  And then the Protector arrives.

Doug:  Just like that -- this yahoo shows up and starts to mix it up with Superman again.  And once again, Superman looks like a second-stringer.  The Protector displays all the powers of Captain Atom, the Vision -- you name it -- he can about do it all.  And that keeps Superman off balance until he decides to use his X-ray vision to look inside his antagonist.  He notices that the Protector's heart glows just before he makes a molecular change.  The Protector can sense that Superman is using X-rays against him, and so begins to transmute himself into nitrous oxide.  However, at that same instant Superman switches to heat vision and WHOOM!  The Protector is nowhere to be found.  Supergirl asks Superman if he's all right.  He says that physically he is, but emotionally he's a mess.  He's excited that he's no longer an orphan, but what is his life now all about?  We'll find out together near the end of October, kids!

Doug:  I'm glad Edo Bosnar and others recommended that I check out some Garcia-Lopez Superman stuff.  As I've said at some point around here (shoot, I can't recall what I had for breakfast yesterday!), I had the Superman vs. Wonder Woman Limited Collector's Edition when I was a kid, but have no idea whatever became of it.  So I was excited to get the Adventures of Superman: Jose Luis Garcia-Lopez hardcover at WizardWorld Chicago in August and recover that story.  The art in this tale, as advertised, was really nice.  I haven't seen enough of Garcia-Lopez inked by others yet (well, Romeo Tanghal on the Teen Titans Baxter series, but I don't recall much about it), so I cannot really comment on Frank Springer's influence.  But the figurework is really done well, the panels have varied camera angles, and the story does move along.  My criticism isn't with any of the visuals herein but the story.  Sheesh!  I don't want to sound all negative and like a broken record, but tell me this isn't a Bronze Age DC!  I'm sorry, this story is more about Julius Schwartz and less about Gerry Conway.  That being said, and although I thought the level of the story was again marketed to that tween-aged male, I think it does show that Conway's no slouch.  Because he does sell the story -- it's ridiculous, but that's plot only.  The story itself is not poorly written.  And you know what?  I've already read the next two issues, and it gets just a trifle sillier as we go.  Stay tuned in about 30 days.

It's Veterans' Day: What If the Invaders Had Stayed Together After World War Two?

What If? #4 (August 1977)
"What If... the Invaders Had Stayed Together After World War Two?"
Roy Thomas-Frank Robbins/Frank Springer

Doug: Last year at this time we took a look at a futuristic morality play that involved three soldiers. Superstar artist Neal Adams rendered that tale; today's fare is admittedly a large step down artistically in my (our?) opinion. Anyway, we'll keep with the wartime/veteran/fight for truth, justice, and the American way theme of today: Armistice Day.

Karen: Today's book is a What If that really isn't a What If. The events in it are pretty much considered part of Marvel continuity now. On a text page inside, Roy Thomas explains that he'd always wanted to write about how there was a Captain America from 1945 to 1963 -just not the original, Steve Rogers. He'd tossed that idea off to new Cap writer Steve Englehart in the early 70s, and of course Englehart penned the classic story of 1950s, Commie-hating psycho Cap versus our own Cap. But Roy really wanted to look at what happened right at the end of WWII and just after. There was no place to put it though -since it depicted the end of the war, it couldn't be in Invaders. And Roy wasn't writing Cap. So -why not What If?

Doug: We open with a recap of the events of Avengers #56, sans the meddling Avengers (almost). In this tale, Cap and Bucky bust in on Baron Zemo, only to have to confront his giant android on their own. Eventually defeated, they are taken out of costume and clad in American GI uniforms. Strapped to a drone plane, Zemo prepares to launch it, programmed to land at a future point in front of Adolf Hitler. But, as those of you who read that famous Avengers story recall, the Captain America from our present couldn't resist one last attempt to change history and save Bucky. A phantom shield pierces the air, slicing the bonds of Steve Rogers. Free to assault Zemo, the drone is nonetheless started. In the same scene we've already witnessed, Steve and Bucky hop a motorcycle and advance after the plane. Bucky leaps onboard, followed closely by Steve. However, when it becomes evident that the plane is booby-trapped, Steve leaps away; Bucky pig-headedly stays on, and dies in the explosion.

Karen: Which is really where I wish they'd left it, although I have to admit to enjoying some of the Winter Soldier stories. But having a grown Bucky running around now just doesn't feel right.

Doug: We then get the obligatory introduction to our story from Uatu the Watcher. We get to see each of the Invaders in the twilight of World War II. We are told that Cap and Bucky went off to guard English supplies, but the Torches made their way toward Berlin. In the real world, our history tells us that Hitler committed suicide after shooting his new bride, Eva Braun; in Marvel reality the Human Torch and Toro found Hitler's bunker and burned their way inside. As Hitler reached for a detonator, the Torch set him ablaze. So it was not the death we've been led to believe...

Karen: The scene with Hitler was very interesting; I think it was the first time I saw a Torch, FF or Invader, actually set a normal human on fire. It was a bit disturbing.

Doug: I agree with you, and I guess it makes me wonder if the Invaders operated under a "lethal force" mandate or whatever. Certainly in all of the classic Alex Schomburg covers there was collateral damage as these heroes tore through Axis planes, ships, and tanks... I just have to stick an art interlude in here. It's finally set in with me -- Frank Robbins' figures and faces always look like people in the throes of starvation. Check it out: pronounced cheekbones, weird body contortions, deep-set eyes. It's taken me almost 40 years to put my finger on it, but that's what I'm going with. I'm not going to take a cheap shot at the guy by comparing him to this or that, but his style is so far away from what I like...

Karen: You know we are in full agreement when it comes to Robbins. The crazy expressions, the contorted bodies....well, not my cup of tea either.

Doug: After the Hitler death scene, Uatu gives us a look-see at the rest of the Invaders. Namor finished the War fighting in the Pacific theater, while Spitfire and Union Jack defended the British Isle. Once the fighting in Europe had almost ended, the remaining teammates were assembled in London and told that Cap and Bucky had not survived. Toro became belligerant, as they were told that bodies were never recovered. After the Torch got him settled down, orders were given that Namor and the Torches were to return to the States to meet with President Truman. Once there they were thanked for their service to the Allies, and then told that with the Japanese not yet surrendered it was essential that Captain America and Bucky live!

Doug: Entering the room are, amazingly, Captain America and Bucky -- or is it? Upon closer inspection, Namor deduces that Cap isn't Steve Rogers while the Torch states the obvious -- freckles and reddish/blond hair have "Bucky" looking more like Jimmy Olsen! Charades are soon dropped, and "Cap" reveals himself as the Spirit of '76, while "Bucky" is Fred Davis, last seen in the Liberty Legion story in Marvel Premiere #30. I guess desparate times left Harry S Truman grasping at straws, 'cause these dudes certainly weren't in the same league as the originals! After those introductions, the final surprises enter the room in the forms of the Whizzer and Miss America. What we have here, kids, is the All-Winners Squad!

Karen: I'm a bit surprised that the Invaders wouldn't have insisted on searching the area where Cap and Bucky were thought to have died. But even more surprising is the acceptance of these two replacements; let's be honest, neither would be up to the job. A hot-head like Namor would have certainly provided more objections. But, we need to get our story, rolling, so I guess we have to buy into this. Still -a bat-boy for Bucky? What the heck kind of sense does that make?

Doug: This new brand of Invaders gets right to work, shortly ending World War II in both theaters. They are there when General MacArthur receives Japan's surrender. In the months following, the All-Winners defeat some Commies and the first villain of the Atomic Age, Isbisa. But as 1946 arrived, the group began to drift. Namor wanted to return to Atlantis, and Bob and Madeline wanted some time away. That left the Torches to head to Boston, where Professor Horton lived.

Doug: We get a brief recap of the Human Torch's origin, and then our flaming friends land at Horton's doorstep. The good doctor greets them at the door, but looking drawn, emotionless. He's not himself, and as he nearly crushes Toro's hand while shaking it, the Torch flames on and attacks. Skin melts away to reveal some form of robot. The Torches are soon confronted by another android, calling himself Adam-II. He claims that he is Professor Horton's second android, and far superior to the Torch. He comes with some robot henchmen, but the Torches make pretty short work of them. However, you know there's always a water source when you least expect it, and the flames are doused. When imprisoned, they are of course tossed in a big empty water tank with Phineas Horton. But before a reunion can commence, Adam-II starts filling the place with water. A short-circuit sets off the fire alarm, but it's not Boston's bravest who show up. Instead, it's the Patriot!

Karen: So I guess this was the first time the Torch had returned to see Horton? He seems to have reached some sort of acceptance of his creator's acts. Adam-II reminded me far too much of the similar android, Andro (formerly the Doomsman), who appeared just two years earlier in Giant-Size Super-Villain Team-Up. They even look very similar, although Robbins was not the artist on that story.

Doug: Johnny-on-the-spot, the Patriot gets everyone out so they can dry off. But Horton's privy to Adam-II's plans, and knows that he plans to substitute another robot for a young congressional candidate in the area. So the Patriot and the Torches reunite with the rest of the All-Winners and set about finding this politician. Who do you think it is? Boston area, early 1950's? Yep -- Jack Kennedy. Cap and Bucky find him first, but it's not the real Kennedy -- it's the robot and Adam-II (hey, I cannot tell you all how many times I've wanted to type "Adam-12" while penning my part here). Here's the line of the book -- makes me totally think this was being done "Marvel style" and Robbins turned in a page that just handcuffed Roy.

Cap: "No! That's no human being -- but a robot! See its eyes! The irises are like some shiny silvery metal!"
Adam-II: "Blast! I neglected to add the proper ones in my haste!"

No... way.

Karen: Yeah, I had to flinch at that one too.

Doug: Cap and Bucky mix it up with Adam-II's hench-robots, but Cap flees to find a way to alert the others to find the real Kennedy. Staggering to the Old North Church, Cap heads for the belltower to signal, as Paul Revere was signaled. But you know one of those nasty ol' robots trails him and a melee ensues. Cap gets into a tussle, and sans the Super-Soldier serum is no match for the close-quarters strength of his attacker. This night, the States lost another Sentinel of Liberty. The remaining All-Winners do locate Kennedy, and as Adam-II moved to attack the young candidate himself, his blow was parried by... Captain America? Stunned, Adam-II leapt into a nearby auto, but crashed it soon after in a spectacular explosion that ended his "life". And the new Cap? None other than Jeff Mace, the Patriot -- attempting to honor two fallen heroes. And the rest is pseudo-history, as all What If's are.

Doug: Evaluation? I don't know. I want to like this story, I really do. I can't even really say that the Robbins art was out of place -- after all, for those of us who read the Invaders back in the '70's, it's what we had. But Roy Thomas' story sometimes smacks a bit of a DC Comic rather than his typically good Marvel output. The Adam-II costume is horrifically ugly (did you notice that Adam-II has red skin? Do you think Roy planned to do something with the Vision in that regard, perhaps? Of course, Adam-II was supposedly killed), and as I said seemed more fitting for a DC. I did like seeing the All-Winners Squad -- I love the retro. stories. But I'm just feeling this was a B-/C+. How about you?

Karen: I'm about in the same place as you. It's sort of a whirlwind of ideas -which can work sometimes, but also runs the risk of feeling over-stuffed. Three different Caps, WWII, androids, Kennedy....there's just so much going on. I like it but don't feel the execution was the best, certainly not the best of Roy's work. The Robbins art doesn't help matters. Enjoyable but disappointing -does that make sense?