Justice Incorporated!

Justice Inc. #1 is titled "This Night an Avenger is Born!" and purports to adapt the novel of The Avenger by Kenneth Robeson. This time "Kenneth Robeson" was Paul Ernst who wasn't the creator of Doc Savage, but just one of several men who wrote under the house name devised by Street and Smith. Having just read the original, this is pretty concise adaptation of the original, though of course they had to drop several details. The script is by Shadow veteran Denny O'Neil and the artwork this time is by Al McWilliams, an artist while somewhat lacking in dynamics was pretty good at street level realism. The cover is by Joe Kubert.

The Avenger was the outsider in the new raft of heroes DC was launching in 1975. The others all have a sword-and-sorcery or barbarian adventure feel to them. Justice Inc. is an urban crime adventure ripped from the pages of a Street and Smith pulp designed specifically to feed from the relative popularity of Marvel's Doc Savage. This is much the same situation as when The Avenger was first concocted in the those bygone pulp days.

The story begins as Richard Benson and his wife and daughter board a plane. Mysteriously during the flight Benson's wife and daughter disappear and he is knocked out during a fight with thugs on the plane. He wakes up three weeks later in hospital with his skin having gone ghostly pale and his facial muscles paralyzed. Quickly he uses his skills as a world adventurer arming himself with "Mike" his slender gun he keeps hidden and "Ike" his throwing knife. He returns to the airport, but soon is in struggle with a giant who turns out to be the Physicist Algernon Heathcote Smith or "Smitty". Smitty is a fugitive, wrongly convicted and he agrees to help Benson. They board the plane, gunplay ensues, and they find a map to a distant island. Getting into disguise as an old man the Avenger boards the ill-fated plane again and off they go until he's threatened to be thrown out of the plane sans parachute. It seems the scheme is to kidnap and drop certain controlling shareholders in Acme Motor Company to coerce them to sign over control of the company. Benson learns his wife and daughter were thrown from the plane and killed. He himself is thrown from the plane but he has a hidden parachute. He confronts the thugs who killed his family and the mastermind a man he thought was at first a victim. He is saved from killing the man in revenger by Smitty who then bonds with The Avenger to form Justice Incorporated.

There is a text piece by Allen Asherman about the history of The Avenger. Next time will see more on this DC comics series when Jack "King" Kirby takes the helm. But even before that we got to enjoy The Avenger guest-starring with The Shadow. 

The Shadow #11 is a humdinger as it guest-stars another pulp hero DC was trying to kickstart, The Avenger. The issue is written by Michael Uslan (his second effort on the series) and drawn by new regular artist E.R.Cruz who also does the cover. The story is titled "The Night of The Avenger" logically enough, following the established pattern.

The tale kicks off with the Shadow on the trail of some stolen munitions, a threat he takes so seriously that he calls in many of his reserve agents but before orders can be given the meeting is attacked clearly indicating a traitor in the Shadows team. The leader of the attack force is captured and is revealed to be Smitty, an agent of The Avenger. We cut to the Avenger's headquarters where he is visited by Margot Lane who gives him the Shadow's location. The Shadow later indicates that Margot is the traitor, or at least that's what his notes might indicate. (Special note though, it's a neat touch when Shrevvy is reading the debut issue of Detective Comics).

The two teams of crimefighters end up at a summer resort in New Jersey at a lighthouse where Oriental villains are discovered. One calls The Shadow "The Dark Eagle" and we suddenly realize the threat to the Shadow is from someone who knows his secrets. The Avenger's team show up and gunplay ensues, but the battle is halted when The Shadow seems to realize the true nature of his opponent. The debate crimefighting technique meanwhile discovering that both Smitty and Margot have been controlled by another mastermind, specifically it is revealed almost immediately to be Shiwan Khan. There's more gunplay, Khan attempts to escape in a submarine but is locked in battle with the Shadow and then a well-placed grenade from The Avenger blows the sub up. The Shadow survives and the teams go their seperate ways with The Avenger hoping that someday he won't have to bring The Shadow to justice.

Solid issue, if a tad jammed. But I like that feeling in my comics. To heck with decompression, give hyper-compressed comics!

Visit the Internet Archive to read this actual issue at this link. 

Justice Inc. #2 is a great departure from the debut. Denny O'Neil is still scripting, apparently adapting a second Robeson story titled "The Sky Walker". The big shift though, that replacing the realistic if somewhat somber Al McWilliams is the legend Jack "King" Kirby. Suddenly the comic is possessed of an energy, but an energy derived at the cost of the noir mood of the debut.

The story begins with a train derailed through mysterious means. The Avenger comes across the wreck and some looters and takes action alongside Smitty. The looters don't seem to have been the cause of the crash, but soon The Avenger sees the culprit, a man seemingly walking in the air. Cut to the mansion of Robert Gant, an inventor and who is attacked and killed. His attackers are themselves attacked by his black servant Josh and his black maid Rosabel who drop their subserviant stereotypical speech patterns when not in the presence of white men. The Avenger appears to help and finds help in the college-trained Phi Beta Kappa man Josh and Rosabel who join Justice Incorporated. Soon this new team sees a skyscraper tumble to the ground and they stop to help. Benson goes onto the offices of Abel Darcy the man financing the deceased Gant, and quickly takes on his identity to gain access to his files. He is discovered soon after proving Darcy's guilt and the battle is on. The Avenger and Josh are captured but escape in time to confront Darcy, the Sky Walker who uses Gant's twin inventions an invisible airplane (hence the apparent sky walking) and a sonic cannon capable of the destruction seen so far in the story. The Avenger takes to the sky in a plane and shoots the villain down by causing the sonic ray to destroy the plane sending the mastermind plunging to his death. There is a text piece by Allen Asherman about a possible Justice Inc. movie and possible casting choices.

While not probably true to roots of the character the use of "King" Kirby on the title really gives it a boost it needed. The stories zing along with a typically robust Kirby vigor. Kirby was finishing out his contract with DC at this stage, after the disappointing Fourth World affair. But being a true pro, his work is always of interest, and highly desirable.

Justice Inc. #3 is an original story by writer Denny O'Neil with artwork by Jack Kirby and his ace inker Mike Royer. The cover is by Kirby with inks by Al Milgrom.

The story is titled "The Monster Bug" and it features a returning villain and introduces Fergus MacMurdie. A group of thugs led by Colonel Sodom threaten Fergus MacMurdie a renowned chemist and try to coerce him to help. The Avenger shows up saying he's been tracking Sodom since he escaped The Shadow's agents (Sodom was also the villain in DC's The Shadow #5 though he seems to have suffered a demotion since then when he was "General Sodom" - more on that later this month) and a battle breaks out. So does a mysterious chemical called the "Monster Bug" which becomes a vapor that transforms the wife of MacMurdie into a hideous monster who is then quickly shot down by Sodom who then escapes. MacMurdie is quickly gathered up by Benson and Josh and becomes a member of Justice Inc.

Next the team figure Sodom will target the next most prominent chemist in town, so The Avenger uses his flexible face to become a duplicate of the man and the team goes out on the town as decoys. The plan works and Sodom and his henchman attempt to apprehend Benson but Sodom transforms some of his men into monsters and battle for life and limb erupts. The monsters are subdued and the team quickly reassembles to go after Sodom after learning his hideout's location from a captured henchman. They then pursue Sodom as he goes after the famed chemist again, but during the final fight the "Monster Bug" infects Colonel Sodom and in a fit of madness he crashes through a wall and falls many stories to his presumed death.

This is a pretty solid issue, and it does blend the world of DC's pulps. The Avenger showed up in The Shadow series before this issue. (I'll get around to this review eventually.) Jack Kirby continues to be a draw, no pun intended.

Justice Inc. #4 completes the run. It's another original story by O'Neil and again Kirby and Royer are on the artwork. The cover this time is by Joe Kubert, who it turns out was producing several covers for DC and especially for Kirby's books as this was at the very end of his tenure at DC before returning to Marvel.

The title of the story is "Slay Ride in the Sky" and the story begins as the Justice Inc. team follows an airliner in a small plane to investigate airliner disappearances, just as the airliner is attacked by a flock of gulls. The gulls prove more than a nuisance as they explode effectively downing the plane in the sea. The team itself is set upon by gulls and their plane too explodes but they parachute to safety. Once down they swim to help survivors from the larger plane, but a boat appears, and gunmen shoot down the helpless people in the water. Enraged, The Avenger and his team apprehend the men who indicate they don't know who masterminded the plot. Cut to MacMurdie hours later in his lab and he identifies the explosive as "Tintiabulum" a new and experimental explosive not yet on the market developed by Olympia Laboratories. The team heads there and confront the owner Jason Lynn but soon after his denials of guilt an explosion rocks the office killing him. The Avenger and his team survive ,and Benson takes on the identity of the slain Lynn and heads to see Rufus Comb the chairman of the airline which has been suffering the tragic explosions to their aircraft. It turns out Comb is the villain, and he knows of Benson's ruse and captures him taking him and Smitty to a blimp, the base of operations for the scheme to bilk insurance money for the destroyed aircraft and then head to safer climates. Benson and Smitty escape and a fight breaks out on the blimp. Benson chases Comb as he attempts to escape in a small plane. During the battles gulls show up homing in on a most dangerous signal and explode the blimp. The Avenger knocks Comb off the plane to his doom and intercepts the falling Smitty and the pair fly off leaving the villains to fall to their much-deserved deaths.

And that's it for the series. Four issues didn't really seem to be enough to find out what this series could do. The first two issues were truncated adaptations of the original pulp novels and the last two issues were original. The Avenger's team itself was barely organized by the end of the run. The letters pages in issues #3 and #4 talk about the fact they really need to do multi-part stories in the series, but the editorial response is strictly negative to that idea. I find that approach quaint in the modern world of comics and especially DC where the saga rolls on in an unending fashion these days.

The crossovers with The Shadow were fun as well, and if the books had continued it's likely that there would've been more of this kind of thing. One clear problem for the series was Josh and his step 'n fetchit characterization, which in the comics is presented as a ruse by the extremely well- educated black man to put his white opponents off guard. Still, it's uncomfortable to read such dialogue in anything approaching a modern comic. You can tell that they were nervous about this presentation as it never goes on too long.

Next time we meet Claw the Unconquered.   

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Nights Of The Shadow Fourteen!

The Shadow #12 is the last issue in the run. Under a very moody Mike Kaluta cover is the story titled "Night of the Damned". It's written by Denny O'Neil and again illustrated by E.R.Cruz.

The tale begins with Margot Lane and Harry Vincent driving in to a town called New Gotham a place apparently famous for its Revolutionary War period design and feel. The car blows a tire, crashes, and they are set upon by hooded thugs who kidnap Margot and throw Harry into the river. The Shadow meanwhile is interviewing a Russian weightlifter about an arch-villain named Ivan Zaronovitch, a man in league it seems with the Devil himself. The Shadow heads out to New Gotham after offering a kind word to Shrevvy who has recovered from his wounds. The find Margot in a classic sacrificial ritual complete with hooded villains pitchforks. The Shadow intercedes, saves her and then finds Harry who it seems was saved by a local monk named Father Flotsky. Later Harry attacks both the Shadow and Margot and they then find themselves on a classic witch's dunking stool. The Shadow escapes the trap, frees Harry from his hypnotic trance, and reveals the true villain Father Flotsky to be the Russian arch-fied Zaronovitch who races up a belltower and then is killed when an inexplicable wind swings the bell and throws him to the ground, apparently indicating that God himself took a hand to assist the Shadow. The story ends with the Shadow's laughter.

And so ends the series.

I found the Shadow read to be more compelling than I actually expected. I'd read sample issues before, mostly the Kaluta stuff. It was fun, but I found as I read the whole run the pulp roots became more and more established, giving the whole experience a nice dark feeling. This is a surprisingly dark comic for its time. The Code is still in the cover and despite that death is not an uncommon feature of the book, though always the villains are dispatched by the last page, usually on the last page. There is a certain sameness to the storytelling which is seen clearly when several issues are read together. The villains often it seems fall their deaths. I didn't actually count, but it happens at least a half-dozen times in the twelve issues. Margot is in every issue. The single issue mentioning Kent Allard is a neat twist, and one I'd have missed if I'd read the issues when they first came out.

As for the art, I'd have to say Kaluta is the most successful. Frank Robbins offers up a very active Shadow, but the atmosphere isn't as rich under his hand. E.R.Cruz is an artist who I should like more than I do, and I'd have to say he's a decent choice for this title. His oily inks serve the mood well.

Denny O'Neil did a good job here translating The Shadow to comics. I got a real sense of his mystery and also a sense of the humanity of his team. There did seem to be a trend in the later issues to focus on the characters of the agents more, but always it's The Shadow we want to see. All in all a very good read, very fun.

Visit the Internet Archive to read this actual issue at this link. 

O'Neill and Kaluta tackled the Shadow two more times together. That time they did one DC and one for Marvel. More to come. 

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Nights Of The Shadow Thirteen!

The Shadow #11 is a humdinger as it guest-stars another pulp hero DC was trying to kickstart, The Avenger. The issue is written by Michael Uslan (his second effort on the series) and drawn by new regular artist E.R.Cruz who also does the cover. The story is titled "The Night of The Avenger" logically enough, following the established pattern.

The tale kicks off with the Shadow on the trail of some stolen munitions, a threat he takes so seriously that he calls in many of his reserve agents but before orders can be given the meeting is attacked clearly indicating a traitor in the Shadows team. The leader of the attack force is captured and is revealed to be Smitty, an agent of The Avenger. We cut to the Avenger's headquarters where he is visited by Margot Lane who gives him the Shadow's location. The Shadow later indicates that Margot is the traitor, or at least that's what his notes might indicate. (Special note though, it's a neat touch when Shrevvy is reading the debut issue of Detective Comics).

The two teams of crimefighters end up at a summer resort in New Jersey at a lighthouse where Oriental villains are discovered. One calls The Shadow "The Dark Eagle" and we suddenly realize the threat to the Shadow is from someone who knows his secrets. The Avenger's team show up and gunplay ensues, but the battle is halted when The Shadow seems to realize the true nature of his opponent. The debate crimefighting technique meanwhile discovering that both Smitty and Margot have been controlled by another mastermind, specifically it is revealed almost immediately to be Shiwan Khan. There's more gunplay, Khan attempts to escape in a submarine but is locked in battle with the Shadow and then a well-placed grenade from The Avenger blows the sub up. The Shadow survives and the teams go their seperate ways with The Avenger hoping that someday he won't have to bring The Shadow to justice.

Solid issue, if a tad jammed. But I like that feeling in my comics. To heck with decompression, give hyper-compressed comics!

 Visit the Internet Archive to read this actual issue at this link. 

One more to come.

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Nights Of The Shadow Twelve!

The Shadow #10 offers up another change for the series. Denny O'Neil returns on scripts and Mike Kaluta turns up to give the issue its cover. But E.R. Cruz becomes the new regular artist on the series.

The story is titled "The Night of the Killers" and it involves a murderous family named Crouch. Papa Crouch, Ox Crouch and his wife Flossy kidnap some citizens after a hold-up and Harry Vincent and Shrevvy (returned from vacation which is mentioned pointing to some hint of continuity in the series) come across it. There's gunplay and Shrevvy is hurt but not before he spots an important clue which he passes to the Shadow. The Shadow seeks out the one law-abiding son, Moose Crouch a bartender but he's gunned down by another thug. There are many twists and turns with the auto-gyro coming into play and a bridge getting blown up to stop pursuit. The action moves to a train graveyard where there's a final shootout with the Crouchs. The lone survivor, Flossie reveals that one of the earlier hostages a Judge Blaney is the real mastermind who attempts escape but drives his car accidently over the exploded bridge. Shrevvy's clue is not revealed but made into a contest for readers.

The story is okay, and the artwork is more muscular. I have to confess that despite his virtues as an artist, Cruz doesn't really excite me much. He tells a decent story with solid images, but the overall impression is less than its parts, at least in my estimation. Still they could've done much worse.

Visit the Internet Archive to read this actual issue at this link. 

More to come.

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The Case Of The Lonely Comic!

Walt Simonson

Here's a wonderful one-shot by some very strong talent. DC Comics produced exactly one Sherlock Holmes comic book in the 70's but it featured two of Arthur Conan Doyle's classic stories adapted in brisk fashion by Denny O'Neil and E.R. Cruz. To read those stores check out the links below.

But the real surprise of this issue is the cover, drawn by a still youthful Walt Simonson a year after his groundbreaking Manhunter stint in Detective Comics.

To read possibly the shortest adaptation of Doyle's "The Final Problem" go here.

And to enter "The Adventure of the Empty House" check out this link for the sequel to the first tale.

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The Shadow Reports #14 & Final!

The Shadow #12 is the last issue in the run. Under a very moody Mike Kaluta cover is the story titled "Night of the Damned". It's written by Denny O'Neil and again illustrated by E.R.Cruz.

The tale begins with Margot Lane and Harry Vincent driving in to a town called New Gotham a place apparently famous for its Revolutionary War period design and feel. The car blows a tire, crashes, and they are set upon by hooded thugs who kidnap Margot and throw Harry into the river. The Shadow meanwhile is interviewing a Russian weightlifter about an arch-villain named Ivan Zaronovitch, a man in league it seems with the Devil himself. The Shadow heads out to New Gotham after offering a kind word to Shrevvy who has recovered from his wounds. The find Margot in a classic sacrificial ritual complete with hooded villains pitchforks. The Shadow intercedes, saves her and then finds Harry who it seems was saved by a local monk named Father Flotsky. Later Harry attacks both the Shadow and Margot and they then find themselves on a classic witch's dunking stool. The Shadow escapes the trap, frees Harry from his hypnotic trance, and reveals the true villain Father Flotsky to be the Russian arch-fied Zaronovitch who races up a belltower and then is killed when an inexplicable wind swings the bell and throws him to the ground, apparently indicating that God himself took a hand to assist the Shadow. The story ends with the Shadow's laughter.

And so ends the series.

I found the Shadow read to be more compelling than I actually expected. I'd read sample issues before, mostly the Kaluta stuff. It was fun, but I found as I read the whole run the pulp roots became more and more established, giving the whole experience a nice dark feeling. This is a surprisingly dark comic for its time. The Code is still in the cover and despite that death is not an uncommon feature of the book, though always the villains are dispatched by the last page, usually on the last page. There is a certain sameness to the storytelling which is seen clearly when several issues are read together. The villains often it seems fall their deaths. I didn't actually count, but it happens at least a half-dozen times in the twelve issues. Margot is in every issue. The single issue mentioning Kent Allard is a neat twist, and one I'd have missed if I'd read the issues when they first came out.

As for the art, I'd have to say Kaluta is the most successful. Frank Robbins offers up a very active Shadow, but the atmosphere isn't as rich under his hand. E.R.Cruz is an artist who I should like more than I do, and I'd have to say he's a decent choice for this title. His oily inks serve the mood well.

Denny O'Neil did a good job here translating The Shadow to comics. I got a real sense of his mystery and also a sense of the humanity of his team. There did seem to be a trend in the later issues to focus on the characters of the agents more, but always it's The Shadow we want to see. All in all a very good read, very fun.

No more to come.

Rip Off

The Shadow Reports #13

The Shadow #11 is a humdinger as it guest-stars another pulp hero DC was trying to kickstart, The Avenger. The issue is written by Michael Uslan (his second effort on the series) and drawn by new regular artist E.R.Cruz who also does the cover. The story is titled "The Night of The Avenger" logically enough, following the established pattern.

The tale kicks off with the Shadow on the trail of some stolen munitions, a threat he takes so seriously that he calls in many of his reserve agents but before orders can be given the meeting is attacked clearly indicating a traitor in the Shadows team. The leader of the attack force is captured and is revealed to be Smitty, an agent of The Avenger. We cut to the Avenger's headquarters where he is visited by Margot Lane who gives him the Shadow's location. The Shadow later indicates that Margot is the traitor, or at least that's what his notes might indicate. (Special note though, it's a neat touch when Shrevvy is reading the debut issue of Detective Comics).

The two teams of crimefighters end up at a summer resort in New Jersey at a lighthouse where Oriental villains are discovered. One calls The Shadow "The Dark Eagle" and we suddenly realize the threat to the Shadow is from someone who knows his secrets. The Avenger's team show up and gunplay ensues, but the battle is halted when The Shadow seems to realize the true nature of his opponent. The debate crimefighting technique meanwhile discovering that both Smitty and Margot have been controlled by another mastermind, specifically it is revealed almost immediately to be Shiwan Khan. There's more gunplay, Khan attempts to escape in a submarine but is locked in battle with the Shadow and then a well-placed grenade from The Avenger blows the sub up. The Shadow survives and the teams go their seperate ways with The Avenger hoping that someday he won't have to bring The Shadow to justice.

Solid issue, if a tad jammed. But I like that feeling in my comics. To heck with decompression, give hyper-compressed comics!

One more to come.

Rip Off

The Shadow Reports #12

The Shadow #10 offers up another change for the series. Denny O'Neil returns on scripts and Mike Kaluta turns up to give the issue its cover. But E.R. Cruz becomes the new regular artist on the series.

The story is titled "The Night of the Killers" and it involves a murderous family named Crouch. Papa Crouch, Ox Crouch and his wife Flossy kidnap some citizens after a hold-up and Harry Vincent and Shrevvy (returned from vacation which is mentioned pointing to some hint of continuity in the series) come across it. There's gunplay and Shrevvy is hurt but not before he spots an important clue which he passes to the Shadow. The Shadow seeks out the one law-abiding son, Moose Crouch a bartender but he's gunned down by another thug. There are many twists and turns with the auto-gyro coming into play and a bridge getting blown up to stop pursuit. The action moves to a train graveyard where there's a final shootout with the Crouchs. The lone survivor, Flossie reveals that one of the earlier hostages a Judge Blaney is the real mastermind who attempts escape but drives his car accidently over the exploded bridge. Shrevvy's clue is not revealed but made into a contest for readers.

The story is okay, and the artwork is more muscular. I have to confess that despite his virtues as an artist, Cruz doesn't really excite me much. He tells a decent story with solid images, but the overall impression is less than its parts, at least in my estimation. Still they could've done much worse.

More to come.

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