Solar Reflections - A Whitman Sampler!

In the fourth and final Dark Horse Doctor Solar Man of the Atom volume we find a delightful blend of vintage superhero yarns from across many many years as the series winds down and then gets revived a time or two.

Doctor Solar battles King Cybernoid in all the remaining Gold Key issues of the series, the android with the brain of Solar's longtime implacable foe Nuro. The series loses much of its distinctive science fictional flavor in attempting to achieve a purely superhero tone.

Dick Wood is the writer of record as the series tumbles along and Al McWilliams does one issue before giving way to Ernie Colon who gives the series a lighter touch and a bit more zip in terms of action. Jose Delbo steps in to handle the last issue of the 60's run.

Then in 1980 Whitman (formerly Gold Key) attempt to revive the series and publish for the first time the second part of the Wood-Delbo story which had begun a decade before. After that scribe Roger McKenzie is brought in to craft new stories with veteran Dan Spiegle handling the artwork. The tone of the McKenzie-Spiegle issues is completely different, very much in keeping with the slightly darker tone of comics of the late Bronze Age as Solar battles King Cybernoid for a final fatal time and a dour villain called the Sentinel.

The volume closes out with a blast to the Gold Key past with a singular issue of The Occult Files of Dr.Spektor in which Doctor Solar appears as a guest star to help rescue Spektor from a charge of murder. The story by Don Glut and the artwork by Jesse Santos is quite yummy.

And that's a wrap. Doctor Solar Man of the Atom was a product of the Cold War, when the glamour and effects of the atomic bomb were an all-consuming fascination for much of the world. Starting in 1962, the year of the Cuban Missile Crisis and wrapping up in the early 80's when the Cold War was nearing its final years, the character seems to embody that phenomenon in many ways.

And that's a wrap on Doctor Solar. 

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We Spoke Out - The Calypso Connection!

Captain America is the original World War II hero and in this follow up to the story in which we learn he helped liberate the fictional death camp called "Diebenwald" we learn more about the suffering of Cap's landlady Anna Kappelbaum. In Captain America #245 we discover that she was sexually assaulted by the commandant of the camp, a fellow named Klaus Mendelhaus. She happens to see Mendelhaus and soon after is approached by Nazi hunter Aaron Heller and his daughter. They find  Mendelhaus who seems to be regretful of his many crimes and Anna is unable to kill him when given the chance. Heller's daughter does shoot him down when her father dies of a heart attack. 

This story written by Roger McKenzie and drawn by Carmine Infantino and Joe Rubenstein is a nifty rousing adventure, but somehow its message of folks need to forgive seems a little underdeveloped. I understand that victims like Anna need to forgive for their own sake and not for their attackers, but Mendelhaus seems a little too pat in this story, a bit too sympathetic for my tastes. He's a mass murderer and rapist and those are mighty crimes indeed. 

Note: This post originally appeared at Rip Jagger's Other Dojo. 

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We Spoke Out - From The Ashes!

Captain America is the original World War II hero and despite being created by two young Jewish men and owned by a Jewish family never battled the infamous threat of the death camps directly, though he mowed down many a Nazi in his time. Taking on the "Holocaust" would have to wait until the Bronze Age of comics and issue #237 of the second Captain America series. The talents who bring Cap face to face with the final solution are writers Chris Claremont and Roger McKenzie and artists Sal Buscema and Don Perlin. 

It happens that Cap had just put down the threat of the National Force led by a former Captain America the racist Cap from the 1950's. After the seeming death of Sharon Carter he's looking for a new direction (something Cap did a lot alas) and seeks to back away from his hero identity and find some solace as a private citizen named Steve Rogers. To that end he moves into a new apartment building, one owned by Anna Kapplebaum a survivor of the camps and in particular one which Cap himself had helped liberate. So we finally get to see the Living Legend battle the Nazis on the ground on which they murdered countless numbers. 

Note: This post originally appeared at Rip Jagger's Other Dojo. 

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Showcase Corner - Codename: Gravedigger!

Men of War was the last of the classic DC war comics to arrive onto the comic racks. Like its kin it was an anthology which featured several characters during its run. Enemy Ace was a steady back up feature but I'll be turning my sights on him next month. Jerry Grandenetti turned in some outstanding artwork on features like Dateline: Frontline and Rosa. But the star of the show was Ulysses Hazard who was better known as Codename: Gravedigger. He got his sobering nickname in just the manner you'd expect -- he was a gravedigger who did service for the many men who fell in the line of duty. But he had that distinction because he was a black man in an army that was segregated and was redolent with the racism that brewed in the homeland. 

 

Codename: Gravedigger was the creation of David Michelinie and artist Ed Davis along with Romeo Tanghal who inked all the stories of Gravedigger in the series. Michelinie's story relates the saga of a young black man who as a boy was overcome by polio but works with a demon fury to build up his weakened body and eventually becomes a veritable powerhouse with a range of fighting skills. 

Despite these accomplishments he is relegated to support work and not given the chance to fight for his country as he'd prefer. His solution in the face of racism was to storm the Pentagon and so prove his mettle to the Undersecretary of War. He challenged the leadership to put him in the fight and so they sent him on a series of impossible missions. 

He fights in Europe against the Nazis, invades concentration camps, defends the American coastline from invasion, and rescues more than a few orphans during the war. His stories run the gamut of what one expects of a Bronze Age war comic. 

After a single issue by Arvell Jones the penciling job is given over to Dick Ayers. Eventually the scripting goes to Roger McKenzie. The stories they dream up for Gravedigger are high octane adventures in which he seems never to stop moving, 

To me at least, this seemed somewhat counter to the DC formula which seemed to focus on the time in between the fighting as much if not more than the physical combat. Perhaps it's the presence of Dick Ayers, the main man on Marvel's war comics, but this feature feels more like a Marvel book than a DC one. 

Gravedigger has that same imperviousness which Sgt. Fury and others at Marvel seem to possess as they wage the war against the enemy, and he has a tendency to mouth off quite a bit as he fights. 

The Joe Kubert covers are the most DC thing about this book aside from the back up features. 

Gravedigger fights alone for the most part, doing his best to salvage missions that seem impossible from the get-go. That he's a suicide warrior seems not to dawn on him. He just wants his chance to fight. 

His missions even come to the attention of Joseph Goebbels himself, the Nazi minister of propogranda, who goes on to become something of a main villain for Gravedigger. The fact a black man is so successful against the Nazis rubs Goebbels the wrong way indeed. 

Michilinie had begun a subplot which McKenzie continued about a wounded British officer who is recovering though he cannot walk. He is given the mission eventually of becoming Gravedigger's commanding officer though that is murky for some time. 

At some point he is replaced by a Nazi lookalike and Gravedigger not only has to unmask the villain but is charged with finding the disappeared officer named Burke. That trek leads Gravedigger into the depths of the German homeland where he must confront the horror of the camps. 

Jack C. Harris takes over the helm of the series alongside Ayers and Tanghal. If anything, the series become even more action-oriented. 

Gravedigger is joined in his fight by a trio of British soldiers who make the mag feel even more like Sgt. Fury. One of the three Brits wears a derby and another has beret, evoking Dum Dum Dugan and Percy Pinkerton. 

This little squad hangs out with Gravedigger for several issues off and on, though one never really gets the feeling their addition constitutes a permanent change. 

Gravedigger is ordered on a deadly mission in North Africa, and again his missions seem to suicide runs at best. 

This latest one though brings a permanent change to Gravedigger's face when he is wounded with a crooked scar across his face which resembles a cross, though he calls it a tombstone. Clearly there's a feeling Gravedigger needs a visual boost, though this change is rarely showcased on the covers. 

In North Africa Gravedigger is chasing some important documents, and this particular maguffin drives the plot for several issues. 

The stories while filled with action seem less and less signficant. Ulysses Hazard is more and more a cypher who fights for the sake of the fight. He bickers a bit now and again but follows through most often. 

One notable mission brings him into partnership with Mademoiselle Marie, a longtime DC war favorite. 

Truth told some of Gravedigger's missions don't really make all that much sense but as long as he's got Nazis to fight, the comic rumbles along. 

Toward the end of the run he's led to believe his Mother is dying and he's sent back to the states. This is a ruse for a bizarre Nazi plot to smuggle in doubles for loyal Americans keeping watch on the beaches for enemy incusions. Turns out his Mom is fine but Gravedigger has some fighting to do yet. 

After he single-handedly forestalls the Nazi invasion on the beaches of Atlantic City he heads back to the European front. 

One story even has Gravedigger live up to his nickname, but others end up six feet under and not Ulysses Hazard. 

One of the strangest two-parters yet has Gravedigger assigned to protect FDR. It's a wild and wacky misadventure of a war story and doesn't really have any sense of the essential realism to make a DC war story stick. It felt more like a chapter of All-Star Squadron. 

Under a George Evans cover Gravedigger completes that mission eventually with the world leaders safe and sound as we knew they would be all along. 

The series wraps up with Gravedigger taking command of Easy Company when Sgt.Rock is wounded. We get a nifty story which showcases each of the Joes of Easy as they try to take something called "Nickname Hill". Even with Easy backing him up it's clear that Gravedigger is a one-man act. The series is not nor is it especially good. Dick Ayers turns in unremarkable artwork that is inked with indifference by Tanghal -- they don't appear to be a good fit to my eye. The stories have too much of that zany feel one gets with Marvel war stories and that jars inside the illustrious DC war canon. 

Beginning tomorrow the Dojo takes a most sobering look at World War II and the Holocaust. 

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Getting The Creeps!

I pretty much noticed Warrant Publishing's The Creeps right away when it hit the stands, but for whatever reason I have just this week picked up my first issue. The magazine fills a nifty space as I am still casting around for proper entertainment to complete the gap left by cancellations of all my current favorite comics. The premise of Warrant's magazine is dead simple -- imitate Warren publishing as much as possible. What we have here is a weird zombie-like imitation of Creepy and Eerie from the halcyon days of Jim Warren's maverick magazine line which gave us top-flight characters like Uncle Creepy, Cousin Eerie, Vampirella, Hunter, and The Rook among many others. Now we can add "The Old Creep". It's a weirdly charming idea.

The talent has been pretty darn good with reliable names like Roger McKenzie, Nicola Cuti, T. Casey Brennan and Don Glut as writers and Frank Frazetta, Ken Kelly, Sanjulian, and Rich Corben on covers. Inside has been handled by a bevy of talented young pros who do a grand job evoking recognizable styles. Even Groovy Friends of the Dojo have had a hand in the production of the magazine. In fact with the fourteenth issue Nick Cuti joins the editorial staff headed by Rich Sala, so it does rather feel even more like old times. So add The Creeps to the list. Now I have some back issues to chase -- sounds like fun.

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