Discuss: Character Changes (Good or Bad) That Never Reverted

 

Doug: The Beast from human-looking genius to wise-cracking furball, the Cat costume from Greer Nelson to Patsy Walker... shoot -- Greer Nelson from the Cat to Tigra! Dick Grayson from Robin to Nightwing. What are the character changes that never reverted to original form -- that you love and that you loathe?

BAB Firsts - BAB Two-In-One: Two Bad Cats and One Good Move

This post was originally published on November 11 2009

Doug: Today you can tell all of your friends (and perhaps even a foe or three) that you were in on the ground floor of our next greatest sometimes-we'll-post-this theme: the Bronze Age Babies Two-In-One! Here's the premise -- while Karen and I will keep doing the tag-team comics reviews that have become one of the star features of this blog (as well as the Two Girls... blog), we are now going to occasionally branch out into comics that we uniquely own. In other words, Karen has a book that I don't, and vice versa.

Doug: I'm actually going to begin with two books I purchased on eBay about a year ago, The Cat #'s 3 and 4 from 1973. I'll confess that I had no prior experience with this character prior to Avengers #144 when Patsy Walker finds the Cat suit and upon donning it rechristens herself the Hellcat.

Doug: One thing I did know of this short-lived series is that it didn't seem to get off the ground creatively, and I say that strictly from the standpoint that all of the villains in the title were borrowed from other heroes' rogues galleries, including the Owl, Commander Kraken, and the Man-Bull. Another issue facing this series was scattershot artistic teams. Marie Severin, Wally Wood, Jim Mooney, Paty Greer, Bill Everett (who is really solid, unlike the criticisms we had of him in the Defenders books we reviewed a few weeks ago), Jim Starlin, and Alan Weiss all had a hand in the look of this series. Inconsistent artwork and a bi-monthly publishing schedule spells cancellation? I'd add bad publicity as well -- the teaser box at the end of #3 implies a storyline that is not close to what is between the covers of #4; #4 just sort of ends, and then there's a filler story of the Linda Fite-authored Marvel Girl origin (say what??).

Doug: Issue #3 begins with a boat chase on Lake Michigan. As a native Illinoisan, I was offended by author Linda Fite's claim that after crashing, the Cat's lungs filled with "salty" water (all of the Great Lakes are fresh water -- duh!). Anyway, the Cat is involved with some mystery-men and is captured by them. The reader is treated to a recap of events of the past couple of days that brought Greer Nelson to this point. The "bad guys" are sort of weird, referring to her as a "creature". They also can't seem to figure out the purpose of her costume.

Doug: To make a long story short, Greer is taken below the waters of the lake to a base. At this point she believes these dudes to be Navy. In the midst of her investigation of the base (after regaining consciousness, natch), she stumbles upon an intruder -- the Sub-Mariner's villain Commander Kraken. Should I be scared? After all, the guy looks just like Captain Hook, for crying out loud! A big fight ensues, the Cat and her "Navy" boys win, the Cat's sent back up to shore, and then the base blasts through the surface of the lake, revealing that it is an alien space ship. Yeah, I know -- I couldn't have made that up.

Doug: And if that wasn't dorky enough, I then start reading #4. The art this time around is by Jim Starlin and Alan Weiss -- this certainly ain't the Starlin we'd come to know in Captain Marvel! Also, I don't know much about Linda Fite other than she was married to Herb Trimpe at one time and is now a newspaper reporter. I would argue that she certainly didn't know much about Chicago back in the day, as she not only made the gaffe about the lake, but also sets this story in the Union Stockyards. Problem -- this issue is cover-dated June 1973; the Stockyards closed in 1971.

Doug: Because I can't hardly stand to belabor the point, Greer and a female pal encounter a heavy who turns out to be the Man-Bull. He's a big dope whether Man or Bull, and what's even more ridiculous is the fact that he's shown controlling a herd of cattle. Sort of like an orchestrated running of the bulls. Oh, lord, I could stick a fork in my eye... If you can avoid these books, do.

Karen: Well, I think I had better luck with my selection for our inaugural post. The issue I chose was Justice League of America #141, from 1976. I've always been a Marvel reader first and foremost, but I did (and still do) read DC as well. But back in the 70s, most of my DC interest was confined to the Legion of Super-Heroes, although I really wanted to like the Justice League. Like many kids, I knew who all the members of the League were, primarily from watching cartoons rather than reading comics. I had read some JLAs that my uncle had, which were from the mid-60s, but they just didn't grab me. The major problem for me was that the JLA seemed so bland. I was used to reading teams like the Fantastic Four or the Avengers. These were folks who worked together, and yet, they were all as different as could be. You could hide the pictures and just read the dialogue out of an issue of the FF, for example, and it would be pretty easy to tell who was who based solely on their speech patterns. But the JLA books I read featured characters that were practically interchangeable, at least personality-wise.

Karen: I would pick up an issue of JLA every once in awhile, just to check out the team, but was usually much more interested in The Avengers, FF, even the Defenders. But in 1976, the JLA experienced a change that brought me on board as a regular reader. It wasn't the addition of new members that did it - it was the addition of a new writer; a writer who was, in fact, one of my Marvel favorites: Steve Englehart.

Karen: As the story goes, when Gerry Conway ever so briefly took over the editor in chief reins at Marvel, he announced that he would be writing Avengers from now on. Englehart had been on the book for four years and was doing a great job. With Conway resolute, Englehart felt wronged, and offered his services to DC. New publisher Jenette Kahn asked him to take Justice League and make it more, well, Marvel-like. And that's just what Steve did. Under his brief guidance, the JLA developed realistic personalities and voices. They didn't all get along, and they didn't all sound the same!

Karen: His first story actually appeared as the second story in issue 139. But today I'm going to review issue 141, which is the second part of a fantastic Green Lantern-Manhunter story. Actually, if you're a fan of the animated Justice League, you'll recall the plot, since they used it in one of their episodes! The Green Lantern (Hal Jordan here) is being hunted by the Manhunters, intergalactic bounty hunters. It is believed -even by GL at first - that he accidentally destroyed an inhabited planet. The League tries to figure out what's going on and prove GL's innocence.

Karen: This is a long story - DC was doing JLA in 'giant' format - but it moves really well. The art by Dick Dillin and Frank McLaughlin is very pleasant, although not spectacular. However, I would have loved to have seen artists of their ability on Englehart's Avengers run. The JLA face battles on Earth and in space, and it is all crisply portrayed.

Karen: Englehart's trademark skill with developing relationships is in evidence here. We have a Wonder Woman who has only recently regained her powers, and who feels somewhat insecure, hence her picking on Flash, who seems somewhat uneasy with the Amazon princess. The Atom begins to voice self-doubt. As Englehart's run would go on we would get more insight into some of the other Leaguers (as well as the sort-of cross-over of his Avengers' creation, Mantis...but that's a subject for a later review).

Karen: This issue added to the Green Lantern Corps mythology and also did a good job showcasing the various members and their powers. Batman once again proves that his deductive reasoning is practically a super-power in itself. This was a fun read and I'd especially recommend it to any fans who always found the 70s and earlier JLA boring.

Karen: I can't help but wonder, though, what the regular DC readers thought of Englehart bringing in his 'Marvel style'. Were they offended? By 1976, with so many writers and artists starting to move between companies, did it matter?

Would Limited Series Have Been a Better Vehicle for Short-Lived Bronze Age Series?

Doug:  At times we've talked about the parameters of the Bronze Age.  Sometimes we wonder if the advent of the direct market signaled the end, or perhaps the roughly-coinciding invention of the limited series (both the mini- and maxi- varieties) was the "death knell", so to speak.  I want to delve further into the notion of limited series today by asking you sort of a "what if?" question.  Today let's wonder aloud if the concept of the limited series had come alive a decade earlier, would certain short-lived series released in the 1970's have been better served?

Doug:  I'd like you to expound on several series, both from Marvel and DC (and other publishers if you are so inclined), and give an opinion on the life they knew and whether or not you feel those series would have been better served if reimagined.  For example, Claws of the Cat comes up around here from time to time.  One of the knocks on the series is the shift of the creative teams throughout the series; we could add the lack of the creation of a dedicated rogues gallery as another pitfall.  The series lasted a mere four issues.  Do you think that a pre-arranged life of six issues, with a consistent writer/artist collaboration and a storyline involving an appropriately devilish villain(ess) would have made for a more pleasurable experience, and even perhaps extended the life of the character as originally conceived?  Of course we can ask the same question about Black Goliath, Omega the Unknown, and certain series that ran in the rotating titles such as Marvel Spotlight.  I guess what I'm asking concerns true storylines with a beginning, middle, and end -- rather than something rushed to be tied up before the axe fell or even left completely unresolved.  Even a title like the Inhumans, which lasted 12 issues, might have been different had that parameter been pre-ordained.  As to DC, I'll leave that to our readers more inclined toward the Distinguished Competition.

Marvel Firsts: Girrrrrrrrrl Power!

The Cat #1 (November 1972)
"Beware the Claws of the Cat!"
Linda Fite/Roy Thomas-Marie Severin/Wally Wood

Doug: How exactly should one do comics about female lead characters "right"? This has been a question for years, from the times of Phantom Lady and her "headlights" covers on through Sheena, Queen of the Jungle and into the Bronze Age with leads like Ms. Marvel and our subject du jour -- the Cat. I'm sure a viable female character can be created that is strong and noble yet beautiful -- even eye-catching -- yet tempered with a bit of political correctness. We shall see if that formula is afoot in this tale.

Karen: It is kind of perplexing and disappointing that Marvel has yet to create a heroine that can maintain a book for any appreciable amount of time. DC isn't much better though. Even Wonder Woman has had a troubled publishing history. I don't want to get into a discussion of the reasons for this in this review but it could be a topic for future discussion -if we haven't covered it already!

Doug: I'm using The Superhero Women (part of the Origins of Marvel Comics series from back in our misspent youths!) as my resource; since Stan Lee created everything in the Marvel Universe himself, I'll use his own words to describe what "he" was going for in creating the Cat:

"Towards the end of 1972, I was really determined to feature as many females as possible in our Marvel roster of headliners. One of the new projects I was enthusiastic about was the creation of a costumed character called The Cat. In fact, to add a bit more color to the title, we incorporated a little phrase up in the masthead -- "Beware The Claws of The Cat!"... Wanting to really do it right, I asked Marvelous Marie Severin to pencil our premiere Cat strip, and Liltin' Linda Fite to write the script. Since we had the considerable talents of two such fabulous females available to us, it seemed only fitting that they write and illustrate our newest superhero series -- which would feature a gorgeously garbed girl. And write and draw it they did."

Doug: So this seems like a formula for success. Toss in Wally Wood on the inks and Roy Thomas as editor and co-plotter and this looks like it's going to be a winner. But there's just something about it that doesn't click. We pick up the action right in the middle of, well... action. The Cat is on the prowl in Chicago on a rain-slicked night. She's trying to scale a wall that's getting more and more slippery. She finds the window she's after, at the penthouse level, and tries to break it (never mind that she says she's going to be as quiet as her namesake). Suddenly the window caves in and a big ugly makes a grab for our girl. But she makes short work of him, right before two thugs enter the fray. A little fisticuffing later and it looks like this issue's going to end soon. But then some gas enters the room and it's good night, kitty!

Karen: "... this looks like it's going to be a winner. But there's just something about it that doesn't click." You ain't kidding. This book was so utterly devoid of value it took me three separate reading sessions to get through it. I blame the story primarily, but I'm also not as fond of the artwork as you are. There's so much idiocy on this story that the stuff with the window is only the tip of the iceberg.

Doug: As the Cat slumbers, her mind drifts back a few years, to when she was Greer Grant, a co-ed at the University of Chicago (for those of you not in the know, you have to have at least a 32 on the ol' ACT to go there, and it's very expensive!). One day she spilled her change all over the sidewalk, right in front of a rookie cop -- who just happened to be pretty dashing. A dating relationship ensued, and soon the happy young couple was married. Then we go all Silver Age female -- drop-out of college, no job, husband won't let her do anything. Total domination. To top it all off, her husband gets shot while trying to apprehend some robbers. Greer's now all alone, and told that without that degree, she's basically secretary material and nothing else.

Karen: You know, although it is as you say "Silver Age female" this didn't get to me too much. It actually is fairly reflective of what many women were going through at the time. I've heard from plenty of women from that generation about how they dropped out of college when they got married. Worse, some only went to college to find a husband. So this part of the story bothers me less than what's to come.
Doug: A chance encounter with an old professor (physics? How come everything from this point on deals with biology?) finds Greer working as a lab assistant for Dr. Tumulo. Dr. Tumulo has been working on a way to bring out the optimal traits -- physical, mental, emotional, and intangible (women's intuition?) in females. It seems she's fallen in with a corrupt financier, a physical fitness fanatic named Mal Donalbain. Donalbain seems bent on creating a sort of master race of women to serve him in -- wait for it -- a series of health clubs that will tolerate no weaklings. That's it. No world domination, not even the riches fit for a king. Just some health clubs with some super-bad hot chicks keeping everyone in line.

Karen: Maybe Dr. Tumolo was like the Professor on Gilligan's Island -an expert in every field of science! Donalbain looks an awful lot like Norman Osborn to me. But sort of a mincing idiotic Norman Osborn. His master plan is so pathetically laughable -to "be the spiritual and physical master of a nation of perfect physical specimens" -that you might think this story was a Mad magazine parody of a comic book! Seriously, starting out with a villain like this as her foe, is it any wonder the Cat disappeared quickly?
Doug: The Professor! I love it! Well, in regard to this short-lived series, the Cat fought this doofus Donalbain, the Owl, Commander Kraken, and the Man-Bull. Two Daredevil baddies and a Subby minor-leaguer. So they couldn't even see fit to create a female antagonist, such as Wonder Woman had the Cheetah. Please see my earlier reviews of Claws of the Cat #'s 3-4; my thoughts weren't exactly in the "glowing" category...Doug: Donalbain has developed a mind-dampening device that he will use to subjugate his women. He has a big circus-looking goon with the mind-deal around his neck. Donalbain sics him on the Cat, but she's able to get away. We then get another lengthy flashback that tells us the origin of the Cat costume (I felt too sexist if I'd have said "Cat suit", but it's certainly what it is). We see the first meeting of Donalbain and Dr. Tumulo, and meet the first girl to be The Cat. She's an airhead well-suited to Donalbain's desires. Her name is Shirlee Bryant (Shirlee?). Greer doesn't care for her and doesn't trust Donalbain. She talks Dr. Tumulo into conducting dual experiments, on Shirlee as well as on herself. Dr. Tumulo, also smelling a rat, agrees. Greer trains hard, much harder than Shirlee. Greer's mind and body do reach optimal levels, and it is she who becomes the success of Dr. Tumulo's research.

Karen: Zabo the giant -what the heck is he doing there? Why is he running around in swim trunks? I'm not sure what the point was of having Donalbain have a phobia of being touched? It seemed like a gimmick for the sake of a gimmick. And why does he wear jodhpurs and carry a riding crop all the time? Stuff like this just annoys me. I know they wanted to get across the idea that Donalbain is a smug, rich jerk, but this is nonsensical, and lazy. There's some pretty weak scripting here too -"Donalbain and his touchless wonders" - it sounds like Linda Fite is going for the Marvel (Stan Lee) style but is clueless as to how to do it.

Doug: It's as if the creators didn't even want to try to do a serious take on a female lead. It's almost as if they are writing/drawing some sort of in-joke.
Doug: After much conversation, Dr. Tumulo and Greer decide that it would be best if Donalbain and his financing were removed from the project. Gathering her notes, Dr. Tumulo heads to Donalbain's residence to confront him. But while there (we have no idea how she gained entrance to his penthouse), she discovers that he's built a laboratory in duplicate to her own! And as she steals inside, she is witness to Shirlee in a Cat costume, and with the mind-dampening collar on. Donalbain gives her orders to test her powers, but while under his influence her body doesn't react naturally and she dies in a fall. Donalbain scoffs, and declares that he'll just get another subject. Dr. Tumulo turns to leave, spies a closet full of Cat costumes, grabs one as evidence, and bolts.

Karen: So let me get this straight: this rich guy who can't stand to be touched wants to create a band of obedient and powerful women to be his slaves? Really? He wants powerful women? Wouldn't it make more sense for a guy like this (who due to his phobia is also likely impotent) to just want to order around women who are weaker than him? And why the costume? Some sort of fetish, I suppose. Honestly, I shouldn't even waste time thinking about it.
Doug: Now feeling terrible, Dr. Tumulo agonizes over going to the police. Greer convinces her that it's the right thing to do and leaves to get some things -- she's going to stay with Dr. Tumulo until this is seen through. But as she departs, some goons arrive. Get this -- wanting it to look like an accident, they pull out some dynamite. Seriously. Well, of course the house goes up, the good doctor is dead, but the Cat suit is fine -- see, they'd put it in the safe. So, you can see where this is heading. We've come full-circle in this story, to where we began. Recall that the Cat had evaded the biggest ugly. Back in the lab, she's out to destroy Donalbain's means of duplicating the Cat powers in other young women. One last tussle with our musclebound henchman and he's done. Donalbain pulls a gun, Greer avoids it and plunges the room into darkness. And then she goes all Batman on him, real scary-like. Did we mention that Donalbain's got a phobia against being touched? Well Greer knows it, plays it up, and Donalbain ends up putting a bullet through his head. End of story.

Karen: Yeah, dynamite always looks like an accident. Did Roy even look at this book before it hit the stands? This is a terrible comic. No two ways around it. I don't think the constant jumping from flashback to present helped it either. I was never a big fan of the Hellcat but she's miles above this dreck.
Doug:I felt that the art in this story was pretty good; I would criticize some of the faces when shown at a 3/4 turn -- but then that's a touch angle sometimes even for masters like John Buscema. Wally Wood's inks were really smooth, and the women were usually beautiful facially. I do have a comment on their figures, however, and I guess this is an even more glaring observation given that half of the creative team was female -- all of the ladies in the book seem to morph cup sizes at will. Seriously -- I don't think they had push-ups and/or underwires back in the early '70's (shoot, weren't many women burning their bras?), but all the going big/going small was a bit distracting. The plot? If I were Roy, I'd have stricken that from my name on the splash page. Or, was it all his idea?