Justice Society of America: Thy Kingdom Come parts 1, 2 & 3

By Geoff Johns, Alex Ross, Dale Eaglesham, Fernando Pasarin & various (DC)
ISBNs: 978-1-4012-1741-9,   978-1-4012-1946-8,   978-1-4012-2167-6

After the actual invention of the comicbook superhero – for which read the launch of Superman in 1938 – the most significant event in the genre’s (and indeed industry’s) progress was the combination of individual stars into a group. Thus what seems blindingly obvious to us with the benefit of four-colour hindsight was proven – a number of popular characters could multiply readership by combining forces and fan-bases. Plus of course, a whole bunch of superheroes is a lot cooler than just one – or even one and a sidekick.

The Justice Society of America was created for the third issue (Winter 1940/1941) of All-Star Comics, an anthology title featuring established characters from various All-American Comics publications. The magic was instigated by the simple expedient of having the assorted heroes gather around a table and tell each other their latest adventure. From this low key collaboration it wasn’t long before the guys – and they were all white guys (except Red Tornado who merely pretended to be one) – regularly joined forces to defeat the greatest villains and social ills of their generation. Within months the concept had spread far and wide…

And so the Justice Society of America is rightly revered as a true landmark in the development of comicbooks. When Julius Schwartz revived the superhero genre in the late 1950s, the game-changing moment came with the inevitable teaming of the reconfigured mystery men into a Justice League of America.

From there it wasn’t long until the original and genuine article returned. Since then there have been many attempts to formally revive the team’s fortunes but it wasn’t until 1999, on the back of both the highly successful rebooting of the JLA by Grant Morrison & Howard Porter and the seminal but critically favoured new Starman series by Golden Age devotee James Robinson, that the multi-generational team found a new mission and fan-base big enough to support them. As the century ended the original super-team returned and have been with us in one form or another ever since.

This iteration, called to order after Infinite Crisis and Identity Crisis, found the surviving heroes from World War II acting as mentors and teachers for the latest generation of young champions and metahuman “legacy-heroes” (family successors or inheritors of departed champions’ powers or code-names): a large, cumbersome but nevertheless captivating assembly of raw talent, uneasy exuberance and weary hard-earned experience (for details see Justice Society of America: the Next Age and Justice League of America: The Lightning Saga).

This triptych of tomes collects issues #7-22 of the Justice Society of America series, the first Annual and Justice Society of America Kingdom Come Specials: Superman, Magog and The Kingdom; expanding, clarifying and building on those new heroes introduced in the landmark 1996 Mark Waid & Alex Ross miniseries, by rationalising many of the characters and concepts with the then-current DC continuity.

Kingdom Come and its belated sequel The Kingdom managed to connect that initially ring-fenced continuity to the mainstream DC universe and introduced “Hyper-Time”, a bridging concept which opened the way for all the storylines and history eradicated in Crisis on Infinite Earths to once more be “real and true”. Gradually a number of those variant elements began to coalesce in the relaunched Justice League and Justice Society series culminating in the expansive extended epic collected in these three volumes – although the entire saga could happily have fitted into one large tome…

This ambitious and almost daunting epic commences when Nathan Heywood awakes after an attack by modern Nazi meta-humans to realise most of his family have died in the assault. Of little comfort is the fact that his own crippling injuries have been repaired by the activation of his latent powers. The paraplegic youth has become a creature of living steel; unfeeling and ‘Indestructible’. For the sake of his surviving kin Heywood assumes the persona of new legacy hero Citizen Steel.

Soon after, ‘Bells and Whistles’ concentrates on the history of Jesse Chambers, wife of the second Hourman and daughter of WWII heroes Johnny Quick and Liberty Bell. Jesse inherited the powers of both parents but her level-headedness is all her own and vitally necessary when fellow member Damage, fuelled by berserker rage, breaks a State Exclusion Order whilst chasing super villain Zoom – the hyper-fast maniac who shredded the hero’s face and turned him into a hideous monster doomed to hide forever behind a mask.

‘Prologue: Thy Kingdom Come’ switches focus to Power Girl who has only recently discovered her true origins as a survivor from an alternate universe where her cousin Superman was the World’s Greatest Hero and leader of an another Justice Society, now all long-gone and forever lost in a universe-shredding Infinite Crisis…

During a gala party for three generations of heroes, the team are called to a flaming mystical conflagration and when 31st century refugee and barely-in control schizophrenic Starman uses his powers to extinguish the blaze he inadvertently plucks a survivor out of the void between dimensions.

This newcomer looks and sounds just like Power Girl’s own dearly-departed Earth-2 Superman…

‘What a Wonderful World’ sees the Man of Steel from the Kingdom Come continuity describe how the heroes and their successors of his world almost destroyed the planet (with flashback sequences painted by Alex Ross) before Starman explains his own connection to all the realms of the multiverse. Initially suspicious, the JLA come to accept the elder Man of Steel.

Elsewhere, a deadly predator begins to eradicate demi-gods and pretenders to divinity throughout the globe…

‘The Second Coming’ reveals how the Strange Visitor from Another Earth believes his world dead, just as a new crop of legacy heroes (Judomaster, Mr. America, Amazing Man, Lightning and David Reid) join the team, whilst in ‘New Recruits’ the death-toll of murdered godlings mounts rapidly…

This first volume concludes with an expansive sketch section from Alex Ross.

The second book of Thy Kingdom Come (collecting Justice Society of America #13-18 and Annual #1) opens with ‘Supermen’ wherein the latest incarnation of Mr. America (an FBI agent turned freelance super-villain profiler) alerts the JSA to the serial god-killer and points the way to a mysterious personage known only as Gog.

When his files reveal their suspect to be an old foe of this world’s Superman, his elder alternate volunteers to discuss the case with the Man of Steel whilst deep below the fertile earth of the Congo an alien presence communes with its apocalyptic herald…

‘Thy Kingdom Come: Gog’ at last begins the epic in earnest as the assembled team is attacked by the mysterious Gog, resulting in a staggering battle in ‘The Good Fight’ and culminating in a dramatic climax in Africa and the release and apotheosis of the One True Gog…

This immense being is an ancient deity from the race which spawned the New Gods and has been gestating in our Earth since his own world died uncounted millennia ago…

The colossal gleaming god immediately proclaims a new era for Mankind in ‘He Came, and Salvation With Him’: striding across Africa, ending want, cleansing the scorched earth, feeding the starving and curing the afflicted with broad waves of his gigantic hands.

The battle-hardened heroes are highly suspicious but since among those cured are Damage, Star Man, Doctor Midnite and Sand the miracles cause a split in the JSA ranks in ‘Wish Fulfillment’.

Something is not right though: beyond the haughty bombast there are inconsistencies. Atheist Mr. Terrific is apparently invisible to the wandering god and despite his hopes and prayers Citizen Steel is ignored whilst all others have their wishes granted even without asking.

For example Power Girl but not Superman are summarily dispatched “Home”…

With confrontation seemingly inevitable the beneficent Gog suddenly diverts from his path and declaims that he will eradicate all war…

‘Earth-2 chapter one: Golden Age’ and ‘Earth-2 chapter two: ‘The Hunted’ (from Justice Society of America Annual #1) starts with Power Girl materialised on the alternate Earth she believed long destroyed and reunited with all the friends she believed long dead. But then, why is she so unhappy and desperate to escape?

Before she can answer her own question another Power Girl turns up and all rationality and hope of a peaceful solution rapidly fades…

This volume ends with JSA #18’s ‘War Lords’ as, whilst preaching, peace, love and restoration, Gog inflicts outrageously cruel punishments on civil war soldiers in the Congo and to all sinners before transforming David Reid into his new almighty herald Magog

The third and final Book (covering issues #19-22 of Justice Society of America and Justice Society of America Kingdom Come Specials: Superman, Magog and The Kingdom) begins with Power Girl trapped on Earth-2 and consulting that world’s Michael Holt (who never became Mr. Terrific like his other-dimensional counterpart) in ‘Out of Place’ whilst a universe away, Black Adam follows phenomena which indicate his dead beloved Isis is returning, and the JSA declares war on itself as one half of the team prepares to defend Gog from the other…


‘Earth Bound’ kicks everything into high gear as Power Girl escapes from there to here, followed by the amassed and enraged heroes of Earth-2: a shattering confrontation which re-establishes a whole new DC multiverse.

Then Justice League of America Kingdom Come Special: Superman pits “our” Man of Tomorrow against his other-dimensional doppelganger whilst revealing the secret tragedy which made the Kingdom Come Kryptonian quit in the first place, whilst Justice League of America Kingdom Come Special: Magog describes ‘The Real Me’ as Gog’s new herald re-examines his own sordid past and proves himself his own brutal, uncompromising man…

That issue also provided ‘The Secret Origin of Starman’ which discloses how a teenager from the 31st century became the key and roadmap to the myriad pathways of the multiverse.

Justice League of America Kingdom Come Special: The Kingdom opens the final conflict with Gog as the lost god reveals the staggering price he demands for his miraculous bounty and Sand uncovers its true cost whilst JSA #21 ‘Saints and Sinners’ opens the full-scale war when the heroes attack.

When Magog’s eyes are opened he deserts his malign god presaging the beginning of the end but humanity is saved in its most desperate hour in the concluding chapter ‘Thy Will Be Done’ after which, with the threat ended the lost heroes of the myriad Earths win their final rewards…

Conceived by Geoff Johns & Alex Ross to irrevocably button down the company’s new continuity, this extended tale is beguiling and impressive if you’re well-versed in the lore of the DC Universe but probably impenetrable if you’re not.

Executed by Johns with inserted segments illustrated and painted by Ross and the major proportion of the art provided by Dale Eaglesham, Fernando Pasarin, Ruy Jose, Rodney Ramos & Drew Geraci, Jerry Ordway, Prentis Rollins, Bob Wiacek, Richard Friend, Rebecca Buchman, John Stanisci, Mick Gray, Kris Justice, Norm Rapmund, Scott Kolins, Jack Purcell & Nathan Massengill, the final volume concludes with another expansive sketch section from Alex Ross and a stunning double-page portrait of the Earth-2 JSA by Jerry Ordway.

As I’ve already stated, I fear this blockbusting yarn will be all but unreadable to anyone not deeply immersed in the complex continuity of DC’s last three decades, which is a real shame as the writing is superb, the artwork incredible and the sheer scope and ambition breathtaking. However, if you love Fights ‘n’ Tights cosmic melodrama and are prepared to do a little reading around (Kingdom Come and The Kingdom are mandatory here) then you might find yourself with a whole new universe to play in…
© 2007, 2008, 2009 DC Comics. All Rights Reserved.

Crisis on Multiple Earths volume 1

By Gardner Fox, Mike Sekowsky, Bernard Sachs & Sid Greene (DC Comics)
ISBN: 978-1-56389-895-2

As I’ve frequently mentioned before, I was one of the “Baby Boomer” crowd which grew up with Julie Schwartz, Gardner Fox and John Broome’s tantalisingly slow reintroduction of Golden Age superheroes during the halcyon, eternally summery days of the early 1960s. To me those fascinating counterpart crusaders from Earth-Two weren’t vague and distant memories rubber-stamped by parents or older brothers – they were cool, fascinating and enigmatically new.

…And for some reason the “proper” heroes of Earth-One held them in high regard and treated them with obvious deference…

It all began, naturally enough, in The Flash; pioneering trendsetter of the Silver Age Revolution. After successfully ushering in the triumphant return of the superhero concept, the Scarlet Speedster with Fox & Broome at the writing reins set an unbelievably high standard for costumed adventure in sharp, witty tales of science and imagination, always illustrated with captivating style and clean simplicity by Carmine Infantino.

The epochal epic that literally changed the scope of American comics forever was Fox’s ‘Flash of Two Worlds’ (Flash #123 September 1961, as seen in Showcase Presents the Flash volume 2) which introduced the theory of alternate Earths to the continuity and by extension resulted in the multiversal structure of the DCU – and all the succeeding cosmos-shaking yearly “Crisis” sagas that grew from it.

And of course, where DC led, others followed…

Received with tumultuous acclaim, the concept was revisited months later in #129′s ‘Double Danger on Earth!’ which also teasingly reintroduced evergreen stalwarts Wonder Woman, Atom, Hawkman, Green Lantern, Doctor Mid-Nite and Black Canary. Clearly Editor Schwartz had something in mind…

‘Vengeance of the Immortal Villain!’ from Flash #137 (June 1963, inked by Giella) was the third incredible Earth-2 crossover, and saw two Flashes unite to defeat 50,000 year old Vandal Savage and save the Justice Society of America: a tale which directly led into the veteran team’s first meeting with the Justice League of America and the start of an annual tradition.

When ‘Flash of Two Worlds’ introduced the concept of Infinite Earths and multiple versions of costumed crusaders, public pressure had begun almost instantly to agitate for the return of the Greats of the “Golden Age” but Editorial powers-that-be were hesitant, fearing too many heroes would be silly and unmanageable, or worse yet, put readers off. If they could see us now…

These innovative yarns generated an avalanche of popular and critical approval (big sales figures, too) so inevitably these trans-dimensional tests led to the ultimate team-up in the summer of 1963.

This gloriously enthralling volume re-presents the first four JLA/JSA convocations: stunning superhero wonderments which never fails to astound and delight beginning with the landmark ‘Crisis on Earth-One’ and ‘Crisis on Earth-Two’ (Justice League of America #21-22, August and September) combining to form one of the most important stories in DC history and arguably one of the most crucial tales in American comics.

Written by Fox and compellingly illustrated by Mike Sekowsky & Bernard Sachs the yarn finds a coalition of assorted villains from each Earth plundering at will, meeting and defeating the mighty Justice League before imprisoning them in their own secret mountain HQ.

Temporarily helpless “our” heroes contrive a desperate plan to combine forces with the champions of another Earth to save the world – both of them – and the result is pure comicbook majesty. It’s impossible for me to be totally objective about this saga. I was a drooling kid in short trousers when I first read it and the thrills haven’t diminished with this umpty-first re-reading.

This is what superhero comics are all about!

‘Crisis on Earth-Three’ and ‘The Most Dangerous Earth of All!’ (Justice League of America #29-30, August and September 1964) reprised the team-up of the Justice League and Justice Society, when the super-beings of a third alternate Earth discovered the secret of trans-universal travel.

Unfortunately Ultraman, Owlman, Superwoman, Johnny Quick and Power Ring were villains on a world without heroes and saw the costumed crime-busters of the JLA/JSA as living practise dummies to sharpen their evil skills upon. With this cracking thriller the annual summer get-together became solidly entrenched in heroic lore, giving fans endless entertainment for years to come and making the approaching end of school holidays less gloomy than they could have been.

(A little note: although the comic cover-date in America was the month by which unsold copies had to be returned – the “off-sale” deadline – export copies to Britain travelled as ballast in freighters. Thus they usually went on to those cool, spinning comic-racks the actual month printed on the front. You can unglaze your eyes and return to the review proper now, and thank you for your patient indulgence.)

The third annual event was a touch different; a largely forgotten and rather experimental tale wherein the dim but extremely larcenous Johnny Thunder of Earth-1 wrested control of the genie-like Thunderbolt from his other-world counterpart and used its magic powers to change the events which led to the creation of all Earth-1’s superheroes. With Earth-1 catastrophically altered in #37’s ‘Earth – Without a Justice League’ it was up to the JSA to come to the rescue in a gripping battle of wits and power before Reality was re-established in the concluding ‘Crisis on Earth-A!’ in #38.

Veteran inker Bernard Sachs retired before the fourth team-up, leaving the amazing Sid Greene to embellish the gloriously whacky saga that sprang out of the global “Batmania” craze engendered by the Batman television series…

A wise-cracking campy tone was fully in play, acknowledging the changing audience profile and this time the stakes were raised to encompass the destruction of both planets in ‘Crisis Between Earth-One and Earth-Two’ and ‘The Bridge Between Earths’ (Justice League of America #46-47, August & September 1966), wherein a bold – if rash – continuum warping experiment dragged the two sidereal worlds towards an inexorable hyper-space collision. Meanwhile, making matters worse, an awesome anti-matter being used the opportunity to break into and explore our positive matter universe whilst the heroes of both worlds were distracted by the destructive rampages of monster-men Blockbuster and Solomon Grundy.

Peppered with wisecracks and “hip” dialogue, it’s sometimes difficult to discern what a cracking yarn this actually is, but if you’re able to forgive or swallow the dated patter, this is one of the very best plotted and illustrated stories in the entire JLA/JSA canon. Furthermore, the vastly talented Greene’s expressive subtlety, beguiling texture and whimsical humour added unheard of depth to Sekowsky’s pencils and the light and frothy comedic scripts of Gardner Fox.

This volume also includes an enthralling introduction by Mark Waid, a comprehensive cover gallery and creator biographies.

These tales won’t suit everybody and I’m as aware as any that in terms of the “super-powered” genre the work here can be boiled down to two bunches of heroes formulaically getting together to deal with extra-extraordinary problems. In mature hindsight, it’s obviously also about sales and the attempted revival of more sellable super characters during a period of intense sales rivalry between DC Comics and Marvel.

But I don’t have to be mature in my off-hours and for those who love costume heroes, who crave these cunningly constructed modern mythologies and actually care, this is simply a grand parade of straightforward action, great causes and momentous victories.

…And since I wouldn’t have it any other way, why should you?
© 1963, 1964, 1965, 1966, 2002 DC Comics. All Rights Reserved.

Kingdom Come

By Mark Waid & Alex Ross (DC Comics)
ISBN: 978-1-4012-2034-1

In the mid 1960s a teenaged Jim Shooter wrote a couple of stories about the Legion of Super-Heroes set some years into the team’s own future. Those stories of the adult Legionnaires revealed hints of things to come that shackled the series’ plotting and continuity for decades as eager, obsessed fans (by which I mean all of us) waited for the predicted characters to be introduced, presaged relationships to be consummated and heroes to die.

By being so impressive and similarly affecting the astonishing miniseries Kingdom Come accidentally repeated the trick and has subsequently painted the entire DC Universe into the same creative corner…

Envisaged and designed by artist Alex Ross as DC’s answer to the epic and groundbreaking Marvels, Kingdom Come was released as a 4-issue Prestige Format miniseries in 1996 to rapturous acclaim and, although set in the future and an “imaginary story” released under DC’s Elseworlds imprint, almost immediately began to affect the company’s mainstream continuity.

Set approximately twenty years into the future the grandiose saga details a tragic failure and subsequent loss of Faith for Superman and how his attempt to redeem himself almost led to an even greater and ultimate apocalypse.

The events are seen through the eyes and actions of Dantean witness Norman McCay, an aging cleric co-opted by Divine Agent of Wrath the Spectre after the pastor officiated at the last rites of dying superhero Wesley Dodds. As the Sandman, Dodds was cursed for decades with precognitive dreams which compelled him to act as an agent of justice.

The first chapter ‘Strange Visitor’ shows a world where metahumans have proliferated to ubiquitous proportions: a sub-culture of constant, violent clashes between the latest generation of costumed villains and vigilantes, all unheeding of the collateral damage they daily inflicted on the mere mortals around them.

The shaken preacher sees a final crisis coming, but feels helpless until the darkly angelic Spectre comes to him and takes him on a voyage of unfolding events and to act as his human perspective whilst the Spirit of Vengeance prepares to pass final judgement on Humanity. First stop is the secluded hideaway where farmer Kal-El has hidden himself since the ghastly events which compelled him to retire from the Good Fight and the eyes of the World.

The Man of Steel was already feeling like a dinosaur when newer, harsher, morally ambiguous mystery-men began to appear. After the Joker murdered the entire Daily Planet staff and hard-line new hero Magog executed him in the street, the public applauded the deed and, heartbroken and appalled, Superman disappeared for a decade. His legendary colleagues also felt the march of unwelcome progress and similarly disappeared.

With Earth left to the mercies of dangerously irresponsible new vigilantes, civil unrest soon escalated. The younger heroes displayed poor judgement and no restraint with the result that within a decade the entire planet had become a chaotic arena for metahuman duels.

Civilisation was fragmenting. Flash and Batman retreated to their home cities and made them secure, crime-free solitary fortresses. Green Lantern built an emerald castle in the sky, turning his eyes away from Earth and into the deep black fastnesses of space. Hawkman retreated to the wilderness, Aquaman to his sub-sea kingdom and Wonder Woman returned to her hidden paradise. She did not leave until Armageddon came one step closer.

When Magog and his Justice Battalion battled the Parasite in St. Louis the result was a nuclear accident which destroyed all of Kansas and much of Iowa, Missouri and Nebraska. Overnight the world f aced starvation as America’s breadbasket turned into a toxic wasteland. Now with McCay and the Spectre invisibly observing, Princess Diana convinces the bereft Kal-El to return and save the world on his own terms…

In ‘Truth and Justice’ a resurgent Justice League led by Superman begins a campaign of unilateral action to clean up the mess civilisation has become; renditioning “heroes” and villains alike, imprisoning all dangerous elements of super-humanity, telling governments how to behave, all utterly unaware that they are hastening a global catastrophe of Biblical proportions as the Spectre invisibly gathers the facts for his apocalyptic judgement.

In the ensuing chaos, crippled warrior Bruce Wayne rejects Superman’ paternalistic, doctrinaire crusade and allies himself with mortal humanity’s libertarian elite – Ted (Blue Beetle) Kord, Dinah (Black Canary) Lance and Oliver (Green Arrow) Queen – to resist what can only be a grab for world domination by the meta-human minority. As the helpless McCay watches in horror Wayne’s group makes its own plans; another dangerous thread in a tapestry of calamity…

At first Superman’s plans seem blessed to succeed, with many erstwhile threats flocking to his banner and his rules of discipline, but as ever there are self-serving villains with their own agendas. Lex Luthor organises a cabal of like-minded compatriots – Vandal Savage, Catwoman, Riddler, Kobra and Ibn Al Xu’ffasch, Son of the Demon Ra’s Al Ghul – into a “Mankind Liberation Front”.

With Captain Marvel as their slave, the group are determined the super-freaks shall not win and their cause is greatly advanced once Wayne’s clique joins them…

‘Up in the Sky’ sees events spiral into a deadly storm as McCay, still wracked by his visions of Armageddon, is shown the Gulag where all the recalcitrant metahumans have been dumped and sees how it will fail, learns from restless spirit Deadman that the Spectre is the Angel of Death and watches with growing helplessness as Luthor’s plan to usurp control from the army of Superman leads to a shocking confrontation, betrayal and a deadly countdown to the End of Days. The deadly drama culminates in a staggering battle of superpowers, last moment salvation and a second chance for humanity in ‘Never-Ending Battle’

Thanks to McCay’s simple humanity the world gets another chance and this edition follows up with an epilogue ‘One Year Later’ which end this ponderous epic on a note of renewed hope…

This edition comes with an introduction by author and past DC Comics scribe Elliot S. Maggin, assorted cover reproductions and art-pieces, an illustrated checklist of the vast cast list and a plethora of creative notes and sketches in the ‘Apochrypha’ section, plus ‘Evolution’: notes on a restored scene that never made it into the miniseries.

Epic, engaging and operatically impressive Kingdom Come continues to reshape the DC Universe to this day and remains a solid slice of superior superhero entertainment, worthy of your attention.
© 1996, 2008, 2009 DC Comics. All Rights Reserved.

JSA vs. Kobra

By Eric S. Trautmann, Don Kramer & Michael Babinski, with Neil Edwards (DC Comics)
ISBN: 978-1-84856-955-3
After the actual invention of the comicbook superhero – for which read the launch of Superman in 1938 – the most significant event in the genre, and indeed industry’s, progress was the combination of individual attention-getters into a group. Thus what seems blindingly obvious to us with the benefit of four-colour hindsight was proven – a number of popular characters could multiply readership by combining forces and readerships. Plus of course, a whole bunch of superheroes is a lot cooler than just one – or even one and a sidekick.

The Justice Society of America was created in the third issue (Winter 1940/1941) of All-Star Comics, an anthology title featuring established characters from various All-American Comics publications. The magic was instigated by the simple expedient of having the assorted heroes gather around a table and tell each other their latest adventure. From this low key collaboration it wasn’t long before the guys – and they were all guys (except Red Tornado who merely pretended to be one) – regularly joined forces to defeat the greatest villains – and social ills of their generation. Within months the concept had spread far and wide…

And so the Justice Society of America is rightly revered as a true landmark in the development of comicbooks and, when Julius Schwartz revived the superhero genre in the late 1950s, the game-changing moment came with the inevitable teaming of the reconfigured mystery men into a Justice League of America.

From there it wasn’t long until the original and genuine article returned. Since then there have been many attempts to formally revive the team’s fortunes but it wasn’t until 1999, on the back of both the highly successful rebooting of the JLA by Grant Morrison & Howard Porter and the seminal but critically favoured new Starman by Golden Age devotee James Robinson, that the multi-generational team found a concept and fan-base big enough to support them. In 1999 the original super-team returned and have been with us in one form or another ever since.

Kobra originated in February 1976 in his own short-lived title, during a period of desperate experimentation whilst super-hero tales were plummeting and the industry feared its inevitable extinction. Credited to Martin Pasko, Steve Sherman, Jack Kirby and Pablo Marcos, the saga is a radical updating of Alexandre Dumas’ seminal 1844 novel Les Frères Corses – “The Corsican Brothers”.

When conjoined twins Jeffrey and Jason Burr were surgically separated soon after birth, Jeffrey was abducted by disciples of the Cult of Kobra and raised to be their Dark Messiah: a deadly warrior, scientist and strategist dedicated to bringing about the end of civilisation and initiating a cleansing “Age of Chaos”. The peculiar circumstances of their birth meant that Jeffrey and his brother Jason maintained an uncanny connection wherein one would experience the hurts and harms inflicted upon the other, leading Jason to become the ultimate weapon in the war waged by numerous DC heroes against his serpentine terrorist sibling over the years.

Eventually Jason was safely murdered by Kobra, but later resurrected as an even greater evil, assuming his brother’s position as head of the World’s most dangerous death-cult. The new Kobra is an utterly dedicated fanatic who married the cult’s technological resources to hideous, sacrificial blood-magic and preferred faith-driven disciples to the disaffected proto-thugs employed by his predecessor (for further details see Checkmate: Pawn Breaks)…

The JSA battled the first Kobra many times (most notably in JSA: Darkness Falls and JSA: Savage Times) but were utterly unprepared for the sheer horrors in store when they swung into action against the inheritor of the Snake cult…

This terse, tense collection re-presents the six-issue JSA vs. Kobra ‘Engines of Faith’ miniseries and, informed by the real-world terrorism of fundamentalist factions around the globe, finally elevates Kobra to the first rank of villains as the deadly herald of the World’s End plays a lethal game of cat-and-mouse with the Planet’s Smartest Man and some of the most experienced heroes of all time…

The Serpent Lord begins his campaign of terror in ‘Bad Religion’ by dispatching suicide bombers to destroy the Justice Society in their own home; confronting logic and superpowers with pure faith and high-tech explosives. Caught off-guard by foes actually happy to die if they can strike a blow against their master’s enemies, the JSA are further wrong-footed by seemingly random attacks against civilians and institutions, all orchestrated by field commander and fanatical bride of death Ariadne Persakis.

The sheer scale of the bloodletting and illogical nature of the attacks soon have the heroes fighting amongst themselves as they strive to find some rhyme or reason behind the murderous assaults… so why then does Persakis surrender herself to their custody?

‘Strange Days’ finds the team seething but still unable to fathom the terrorist’s game plan until Ariadne breaks free of Checkmate custody. Apparently the covert international spy-force has been hopelessly infiltrated and compromised. The senseless death-toll mounts exponentially and as, the team narrowly thwart an assault on a giant particle accelerator that could split the Earth in two, masked genius Mr. Terrific begins to discern a pattern to the random madness in ‘Misdirection’

The brutal attacks intensify and, although it appears the heroes are slowly gaining the upper hand, Terrific perceives the hidden agenda behind the unceasing ghastly blows against decency and civilisation. ‘Lightning in a Bottle’ finds Kobra making his ultimate move and apparently failing, leading to a gathering of champions ‘Beating the Grass’ and taking the war to the relentless foe, but even after the stunning climax of ‘Shedding Skin’ the weary heroes cannot be sure if they have won the day or somehow lost the war entirely…

This is a stunning piece of Fights ‘n’ Tights fiction: dark, dramatic and intensely compelling. Writer Eric S. Trautmann has melded shiny super-heroics, grim realpolitik and genuine cultural zeitgeists into a splendidly mature costumed drama and the effective underplayed art of Don Kramer, Neil Edwards and inker Michael Babinski is chillingly effective at capturing the tone as well as the events.

If you’ve grown beyond gaudy mystery men and “goodies” against “baddies” this graphic novel is more than likely to make you think again…

© 2009, 2010 DC Comics. All rights reserved.

The Greatest Team-Up Stories Ever Told

By various (DC Comics)
ISBN: 0-930289-51-X

When the very concept of high priced graphic novels was just being tested in the early 1990s DC Comics produced a line of glorious hardback compilations spotlighting star characters and celebrating standout stories from the company’s illustrious and varied history decade by decade. They even branched out into themed collections which shaped the output of the industry to this day.

The Greatest Stories collections were revived this century as smaller paperback editions (with mostly differing content) and stand as an impressive and joyous introduction to the fantastic worlds and exploits of the World’s Greatest Superheroes. However for sheer physical satisfaction the older, larger books are by far the better product. Some of them made it to softcover trade paperback editions, but if you can afford it, the big hard ones are the jobs to go for…

From the moment a kid first sees his second superhero the only thing he/she wants is to see how the new costumed marvel stacks up against the first. From the earliest days of the industry (and according to Julie Schwartz’s fascinating introduction here, it was the same with the pulps and dime novels that preceded them) we’ve wanted our idols to meet, associate, battle together – and if you follow the Timely/Marvel model, that means against each other – far more than we want to see them trounce their archenemy one more time…

The Greatest Team-Up Stories Ever Told gathers together a stunning variety of classic tales and a few less famous but still worthy aggregations of heroes, but cleverly kicks off with a union of bad-guys in the Wayne Boring illustrated tale ‘The Terrible Trio!’ (Superman #88, March 1954) as the Man of Steel’s wiliest foes, Lex Luthor, Toyman and the Prankster joined forces to outwit and destroy him, whilst World’s Finest Comics #82 (May-June 1956) saw Batman and Robin join the Man of Tomorrow in a time-travelling romp to 17th century France as ‘The Three Super-Musketeers!’, helping embattled D’Artagnan solve the mystery of the Man in the Iron Mask.

A lot of these stories are regrettably uncredited, but nobody could miss the stunning artwork of Dick Sprang here, and subsequent research has since revealed writer Edmond Hamilton and inker Stan Kaye were also involved in crafting this terrific yarn.

Kid heroes prevailed when Superman was murdered and the Boy Wonder travelled back in time to enlist the victim’s younger self in ‘Superboy Meets Robin’ (Adventure Comics #253, October 1953) illustrated by Al Plastino, whilst two of that title’s venerable back-up stars almost collided in an experimental crossover from issue #267 (December 1959).

At this time Adventure starred Superboy and featured Aquaman and Green Arrow as supporting features. ‘The Manhunt on Land’, with art from Ramona Fradon & Charles Paris, saw villainous Shark Norton trade territories with Green Arrow’s foe The Wizard. Both parts were written by Robert Bernstein, and the two heroes and their sidekicks worked the same case with Aquaman fighting on dry land whilst the Emerald Archer pursued his enemy beneath the waves in his own strip; ‘The Underwater Archers’, illustrated by the excellent Lee Elias.

As I’ve mentioned before, I was one of the “Baby Boomer” crowd who grew up with Gardner Fox and John Broome’s tantalisingly slow reintroduction of Golden Age superheroes during the halcyon, eternally summery days of the 1960s. To me those fascinating counterpart crusaders from Earth-Two weren’t vague and distant memories rubber-stamped by parents or older brothers – they were cool, fascinating and enigmatically new. And for some reason the “proper” heroes of Earth-One held them in high regard and treated them with obvious deference…

It all began, naturally enough, in The Flash, flagship title of the Silver Age Revolution. After ushering in the triumphant return of the costumed superhero, the Scarlet Speedster, with Fox and Broome at the reins, set an unbelievably high standard for metahuman adventure in sharp, witty tales of science and imagination, illustrated with captivating style and clean simplicity by Carmine Infantino.

Fox didn’t write many Flash scripts at this time, but those few he did were all dynamite. None more so than the full-length epic that literally changed the scope of American comics forever. ‘Flash of Two Worlds’ (Flash #123 September 1961, illustrated by Infantino and Joe Giella) introduced alternate Earths to the continuity which resulted in the multiversal structure of the DCU, Crisis on Infinite Earths and all succeeding cosmos-shaking crossover sagas since. And of course where DC led, others followed…

During a benefit gig Flash (police scientist Barry Allen) accidentally slips into another dimension where he finds the comic-book champion he based his own superhero identity upon actually exists. Every adventure he’d avidly absorbed as an eager child was grim reality to Jay Garrick and his mystery-men comrades on the controversially named Earth-2. Locating his idol Barry convinces the elder to come out of retirement just as three Golden Age villains, Shade, Thinker and the Fiddler make their own wicked comeback… Thus is history made and above all else, ‘Flash of Two Worlds’ is still a magical tale that can electrify today’s reader.

The story generated an avalanche of popular and critical approval (big sales figures, too) so after a few more trans-dimensional test runs the ultimate team-up was delivered to slavering fans. ‘Crisis on Earth-One’ (Justice League of America #21, August 1963) and ‘Crisis on Earth-Two’ (#22) combine to become one of the most important stories in DC history and arguably one of the most important tales in American comics. When ‘Flash of Two Worlds’ introduced the concept of Infinite Earths and multiple heroes to the public, pressure had begun almost instantly to bring back the actual heroes of the “Golden Age”. Editorial powers-that-be were hesitant, though, fearing too many heroes would be silly and unmanageable, or worse yet put readers off. If they could see us now…

The story by Fox, Mike Sekowsky Bernard Sachs finds a coalition of assorted villains from each Earth plundering at will and trapping the mighty Justice League in their own HQ. Temporarily helpless the heroes contrive a desperate plan to combine forces with the champions of a bygone era and the result is pure comicbook majesty. It’s impossible for me to be totally objective about this saga. I was a drooling kid in short trousers when I first read it and the thrills haven’t diminished with this umpty-first re-reading. This is what superhero comics are all about!

The wonderment continues here with a science fiction hero team-up from Mystery in Space #90, which had been the home of star-spanning Adam Strange since issue #53 and with #87 Schwartz moved Hawkman and Hawkgirl into the back-up slot, and even granted them occasional cover-privileges before they graduated to their own title. These were brief, engaging action pieces but issue #90 (March 1964) was a full-length mystery thriller pairing the Winged Wonders and Earth’s interplanetary expatriate in a spectacular End-of the-World(s) epic.

‘Planets in Peril!’ written by Fox, illustrated by Carmine Infantino and Murphy Anderson, found our fragile globe instantly transported to the Alpha-Centauri system and heading for a fatal collision with the constantly-under-threat world of Rann at the behest of a scientific madman who eventually proved no match for the high-flying, rocket-powered trio.

Before settling into a comfortable pattern as a Batman team-up title, Brave and the Bold had been a high-adventure anthology, a try-out book like Showcase and a floating team title, pairing disparate heroes together for one-off  adventures. One of the very best of these was ‘The Challenge of the Expanding World’ (#53, April-May 1964) in which the Atom and Flash strove valiantly to free a sub-atomic civilisation from a mad dictator and simultaneously battled to keep that miniature planet from explosively enlarging into our own.

This astounding thriller from Bob Haney and the incredible Alex Toth was followed in the next B&B issue by the origin of the Teen Titans and that event is repeated here. ‘The Thousand-and-One Dooms of Mr. Twister’ (#54, June-July 1964) by Haney, Bruno Premiani and Charles Paris united sidekicks Kid Flash, Aqualad and Robin the Boy Wonder in a desperate battle against a modern wizard-come-Pied Piper who had stolen the teen-agers of American everytown Hatton Corners. The young heroes had met in the town by chance when students invited them to mediate in a long-running dispute with the town adults, but didn’t even have a team name until their second appearance.

By the end of the 1960s America was a bubbling cauldron of social turmoil and experimentation. Everything was challenged and with issue #76 of Green Lantern, Denny O’Neil and comics iconoclast Neal Adams completely redefined contemporary superhero strips with relevancy-driven stories that transformed moribund establishment super-cops into questing champions and explorers of the revolution. ‘No Evil Shall Escape My Sight!’ (O’Neil, Adams & Frank Giacoica, April 1970) is a landmark in the medium, utterly re-positioning the very concept of the costumed crusader as ardent liberal Green Arrow challenges GL’s cosy worldview as the heroes discover true villainy can wear business suits, harm people just because of skin colour and happily poison its own nest for short term gain…

Of course the fact that the story is a brilliant crime-thriller with science-fiction overtones beautifully illustrated doesn’t hurt either…

The Fabulous World of Krypton was a long-running back-up feature in Superman during the 1970s, revealing intriguing glimpses from the history of that lost world. One of the very best is ‘The Greatest Green Lantern of All’ (#257, October, 1972 by Elliot Maggin, Dick Dillin & Dick Giordano) detailing the tragic failure of avian GL Tomar-Re, dispatched to prevent the planet’s detonation and how the Guardians of the Universe had planned to use that world’s greatest bloodline…

Brave and the Bold produced a plethora of tempestuous team-ups starring Batman and his many associates, and at first glance ‘Paperchase’ (#178, September 1981) by Alan Brennert & Jim Aparo from the dying days of the title might seem an odd choice, but don’t be fooled. This pell-mell pairing of Dark Knight and the Creeper in pursuit of an uncanny serial killer is tension-packed, turbo-charged thriller of intoxicating quality.

The narrative section of this collaborative chronicle concludes with the greatest and most influential comics writer of the 1980s, combining his signature character with DC guiding icon for a moody, melancholy masterpiece of horror-tinged melodrama. From DC Comics Presents #85 (September 1985) comes ‘The Jungle Line’ by Alan Moore, Rick Veitch & Al Williamson wherein Superman contracts a fatal disease from a Kryptonian spore and plagued by intermittent powerlessness, oncoming madness and inevitable death, deserts his loved ones and drives slowly south to die in isolation.

Mercifully in the dark green swamps he is found by the world’s plant elemental the Swamp Thing…

The book is edited by Mike Gold, Brian Augustyn & Robert Greenberger, with panoramic and comprehensive endpaper illustrations from Carmine Infantino (who blue-printed the Silver Age of Comicbooks) and text features ‘The Ghosts of Frank and Dick Merriwell’, ‘That Old Time Magic’ and a captivating end-note article ‘Just Imagine, Your Favourite Heroes…’. However for fans of all ages possibly the most beguiling feature in this volume is the tantalising cover reproduction section: team-ups that didn’t make it into this selection, filling in all the half-page breaks which advertised new comics in the originals. I defy any nostalgia-soaked fan not to start muttering “got; got; need it; Mother threw it away…”

This unbelievably enchanting collection is a pure package of superhero magnificence: fun-filled, action-packed and utterly addictive.
© 1954-1985, 1989 DC Comics Inc. All Rights Reserved.

Justice Society Volume 2

By Paul Levitz, Joe Staton & various (DC Comics)
ISBN: 978-1-4012-1194-3

This second of twin volumes gathering the 1970s revival of the fabled Justice Society of America collects issues #68-74 of All-Star Comics plus the series’ continuation and conclusion from giant anthology title Adventure Comics #461-466.

Set on the parallel world of Earth-2 the veteran team was leavened with a smattering of teen heroes combined into a contentious, generation-gap fuelled “Super Squad” – although by the start of this book that rather naff sub-title has been quietly dropped and the assembled multi-generational team are all JSA-ers. .

Those youngsters included a grown up Robin, Sylvester Pemberton, the Star-Spangled Kid (a teen superhero from the 1940s who had been lost in time for decades) and a busty young nymphet who quickly became the feisty favourite of a generation of growing boys: Kara Zor-L – Power Girl.

By issue #68 (October, 1977) the curvy Kryptonian was clearly the star of the show and as ‘Divided We Stand!’ by Paul Levitz, Joe Staton & Bob Layton, concluded a long-running scheme by the villainous Psycho-Pirate to discredit and destroy the JSA she was well on the way to her first solo outing in Showcase #97-98 (reprinted in Power Girl). Meanwhile Green Lantern resumed a maniacal rampage through Gotham City and Police Commissioner Bruce Wayne took steps to bring the seemingly out-of control team to book.

In #69’s ‘United We Fall!’ Commissioner Wayne bought in his own team of retired JSA-ers to arrest the “rogue” heroes, resulting in a classic fanboy dream duel as Dr. Fate, Wildcat, Hawkman, Flash, GL and Star Spangled Kid battled the one-time Batman, Robin, Hourman, Starman, Dr. Midnight and Wonder Woman. It was a colourful catastrophe in waiting until Power Girl and Superman intervened to reveal the true cause of all the madness. And in the background, a new character was about to make a landmark debut…

With order (temporarily) restored ‘A Parting of the Ways!’ focussed on Wildcat and Star Spangled Kid as the off-duty heroes stumbled upon a high-tech gang of super-thieves called the Strike Force. The robbers initially proved too much for the pair and even new star The Huntress, but with a pair of startling revelations in ‘The Deadliest Game in Town!’ the trio finally triumphed. In the aftermath the Kid resigned and the daughter of Batman and Catwoman (alternate Earth, remember?) replaced him.

All-Star Comics #72 reintroduced a couple of classic Golden Age villainesses in ‘A Thorn by Any Other Name’ as the floral psychopath returned to poison Wildcat, leaving Helena Wayne to battle the original Huntress for the cure and the rights to the name…

The concluding ‘Be it Ever So Deadly’ (with Joe Giella taking over the in inkers role) saw the entire team in action as Huntress battled Huntress whilst Thorn and the Sportsmaster did their deadly best to destroy the heroes and their loved ones. Simultaneously in Egypt Hawkman and Dr. Fate stumbled upon a deadly ancient menace to all of reality…

The late 1970s was a perilous period for comics with drastically dwindling sales. Many titles were abruptly cancelled in a “DC Implosion” and All-Star Comics was one of the casualties. Issue #74 was the last and pitted the entire team against a mystic Armageddon perpetrated by the nigh-omnipotent Master Summoner who orchestrated a ‘World on the Edge of Ending’ before once more the Justice Society triumphed.

Although their book was gone the series continued in the massive 68 page anthology title Adventure Comics, beginning in #461 with the blockbuster tale intended for the anniversary 75th issue. Drawn and inked by Staton, ‘Only Legends Live Forever’ detailed the last case of Batman as the Dark Knight came out of retirement to battle a seeming nonentity who had mysteriously acquired god-like power.

Divided into two chapters, #462 delivered the shocking conclusion ‘The Legend Lives Again!’ whilst ‘The Night of the Soul Thief!’ saw Huntress, Robin and the assembled JSA deliver righteous justice to the mysterious mastermind who had truly orchestrated the death of the World’s Greatest Detective.

Adventure #464 provided an intriguing insight into aging warrior Wildcat as with ‘To Everything There is a Season…’ he embraced his own mortality and began a new career as a teacher of heroes, whilst ‘Countdown to Disaster!’ (inked by Dave Hunt) saw Flash, Green Lantern, Hawkman, Power Girl, Huntress and Dr. Fate hunt a doomsday device lost in the teeming masses of Gotham. It would be last modern solo outing of the team for decades.

But not the last in this volume: that honour falls to another Levitz & Staton landmark history lesson wherein they revealed why the team vanished at beginning of the 1950s. From Adventure #466 ‘The Defeat of the Justice Society!’ showed how the American Government betrayed their greatest champions during the McCarthy Witch-hunts provoking them into withdrawing from public, heroic life for over a decade – that is until the costumed stalwarts of Earth-1 started the whole Fights ‘n’ Tights scene all over again…

Although perhaps a little dated now, these exuberant, rapid-paced and imaginative yarns perfectly blend the naive charm of Golden Age derring-do with cynical yet hopeful modern sensibilities that will always hold out hope for hero to save the day. Fun, furious and ferociously fun, this is stuff non mystery-man maven can do without.
© 1977, 1978, 1979, 2006 DC Comics. All rights reserved.

Justice Society Volume 1

By Gerry Conway, Paul Levitz, Wally Wood, Joe Staton & various (DC Comics)
ISBN: 978-1-4012-0970-4

In the turbulent 1970s many old publishing ideas were finally laid to rest. The belief that characters could be “over-exposed” was one of the most long-lasting, garnered from years of experience in an industry that lived or died on that fractional portion of pennies derived each month from the pocket money and allowances of children which wasn’t spent on candy, toys or movies.

By the end of the 1960s comicbook costs and prices were inexorably rising and a proportion of titles – especially the newly revived horror stories – were consciously being produced for older readerships. Nearly a decade of organised fan publications and letter writing crusades had finally convinced publishing bean-counters what editors already knew: grown-ups avidly read comics too; they would happily spend more than kids and they wanted more, more, more of what they loved.

Explicitly: If one appearance per month was popular, extras, specials and second series would be more so. By the time Marvel Wunderkind Gerry Conway was ready to leave Marvel, DC was willing to expand its variegated line-up with some oft-requested fan-favourite characters. Paramount among these was the Justice Society of America, the first comicbook super-team and a perennial gem whose annual guest-appearances in the Justice League of America had become an inescapable and beloved summer tradition.

Thus in 1976 along with Blackhawk, Plastic Man, Secret Society of Super-Villains, Freedom Fighters, Kobra, Blitzkrieg and many others Conway signalled his DC tenure by reviving All Star Comics with number #58 (the original title had transformed overnight into All Star Western with that number running for a further decade as the home of such cowboy crusaders as Strong Bow, the Trigger Twins, Johnny Thunder and Super-Chief.

Set on the parallel world of Earth-2 and in keeping with the editorial sense of keeping the series relevant to young readers too, Conway reintroduced the veteran team and leavened it with a smattering of teen heroes, combined into a contentious, generation-gap fuelled “Super Squad”.

The youngsters included Robin (already a JSA member since the mid 1960s – see Showcase Presents the Justice League of America volume 3), Sylvester Pemberton, The Star-Spangled Kid (in actuality a teen superhero from the 1940s who had spent decades lost in time) and a busty young nymphet who quickly became the feisty favourite of a generation of growing boys: Kara Zor-L AKA Power Girl.

This first of twin volumes gathers all the 1970s tales into a fine showcase of different, ever-changing times and includes All-Star Comics 58-67 plus the seminal DC Special #29 which, after almost four decades, finally gave the JSA an origin…

After a three-page recap by Paul Levitz, Joe Staton & Bob Layton, outlining the history and mechanics of the alternate Earths, the first tale found newly-adopted Star-Spangled Kid chafing at his time-lost plight and revelling in his new powers (he had been given a cosmic power device by retired veteran Starman) in Seattle when a crisis propelled him and elder heroes Flash, Dr. Mid-Nite, Wildcat, Hawkman, Green Lantern and Dr. Fate into a three-pronged calamity devastating that city, Cape Town and Peking (which you youngsters now know as Beijing) with man-made natural disasters.

The veterans split up but were overwhelmed, giving the new kids a chance to shine in ‘All Star Super-Squad’. With the abrasive, impatient Power Girl in the vanguard the entire team is soon on the trail of old foe Degaton and his mind-bending ally in the concluding ‘Brainwave Blows Up!’ by Conway, Ric Estrada and Wally Wood.

Kieth Giffen replaced Estrada in issue #60 for the introduction of psychotic super-arsonist ‘Vulcan: Son of Fire!’ as age divide began to chafe and Power Girl began to tick off and re-educate the stuffy, paternalistic JSA elders. In ‘Hellfire and Holocaust’ the flaming fury mortally wounded Dr. Fate before his own defeat, and a new mystic menace was uncovered.

Conway’s last issue as scripter was #62’s ‘When Fall the Mighty’ as antediluvian sorcerer Zanadu attacked, whilst the criminal Injustice Gang opened their latest attack using mind-control to turn friend against friend…

The cast expanded with the return of Hourman and Power Girl’s Kryptonian mentor, but even they were insufficient to prevent ‘The Death of Doctor Fate’ (written by Paul Levitz and fully illustrated by the inimitable Wally Wood). Attacked on all sides, the team splintered: Wildcat, Hawkman and the Kryptonians tackling the assembled super-villains, Flash and Green Lantern searching Egypt for a cure to Fate’s condition and Hourman, Mid-Nite and Star-Spangled Kid desperately attempting to keep their fallen comrade alive.

They fail and Zanadu attacked again, almost adding Fate’s defenders to his tally until the sorcerer’s very presence called him back from beyond the grave…

With the crisis averted Superman prepared to leave but was quickly embroiled in a manic time-travel assassination plot (Levitz & Wood) that dragged the team and guest-star Shining Knight from an embattled Camelot in ‘Yesterday Begins Today!’ to the far-flung future and ‘The Master Plan of Vandal Savage’ a breathtaking spectacle of drama and excitement that signalled Wood’s departure from the series.

Joe Staton & Bob Layton had the unenviable task of filling his artistic shoes, beginning with #66 as ‘Injustice Strikes Twice!’ with the reunited team, sans Superman, falling prey to an ambush from their arch-enemies, whilst the emotion-warping Psycho-Pirate began to twist Green Lantern into a maniac menace determined to crush Corporate America leading to the return of Earth-2’s Bruce Wayne, who had eschewed his masked persona to become Gotham’s Police Commissioner.

The Injustice Society had monstrous allies and in ‘Attack of the Underlord!’ a subterranean race nearly ended the tea forever. Meanwhile Wayne laid plans to close down the JSA before their increasingly destructive exploits demolished his beloved city…

The modern adventures pause here and this first colourful chronicle closes with the aforementioned classified case from DC Special #29 (September 1977). ‘The Untold Origin of the Justice Society’ by Levitz, Staton & Layton, reveals how in 1940 Adolf Hitler acquired the mystical Spear of Destiny and summoned mythical Teutonic Valkyries to aid in the imminent invasion of Britain.

Alerted to the threat, American President Roosevelt, hampered by his country’s neutrality, asks a select band of masked mystery-men to lend their aid privately. In a cataclysmic escalation the struggle ranged from the heart of Europe, throughout the British Isles and even to the Oval office of the White House before ten bold costumed heroes finally – if only temporarily – stopped the Nazis evil plans…

These classic tales from a simpler time are a glorious example of traditional superhero storytelling at its finest: engaging, exciting and perfectly illustrated. No Fights ‘n’ Tights fan can afford to miss these marvellous sagas.

© 1976, 1977, 2006 DC Comics. All rights reserved.

JLA volume 5: Justice for All

By Grant Morrison, Mark Waid, Howard Porter & various (DC Comics)
ISBN: 978-1-84023-110-6

By the time of the fifth collection featuring the breathtaking adventures of the World’s Greatest Superheroes, a pattern for gargantuan epics and mind-boggling conceptual endeavours had been well established and re-originators Grant Morrison and Howard Porter, whilst patiently laying the complex groundwork for a “Big Finish” saga were increasingly sharing creator credits with the cream of the comics-making premier division.

This book, collecting issues #24-33 of the monthly comic-book, also includes contributions from writers Mark Waid, Mark Millar & Devin Grayson and art by Mark Pajarillo, John Dell, Walden Wong & Marlo Alquiza, but begins with Morrison and Porter (with Dell on inks) in cracking form, introducing a brand-new super-team in ‘Executive Action’ as the American military, in the form of General Wade Eiling, announced its own metahuman unit “The Ultramarine Corps”.

The four-person squad was officially tasked with pre-emptively defending America from paranormal threats, but as the JLA (and long-term DC fans) were aware Eiling had a long history of covert, “black-bag” and just plain illegal operations and remained duly suspicious. When the Corps stole the artificial body of major League foe Shaggy Man everyone concerned knew it was bad news but even they were unprepared for ‘Scorched Earth’ wherein Eiling set his Ultramarines and the beleaguered US army against the heroes.

Meanwhile New God members of the JLA were preparing for the imminent cosmic threat they had enlisted to confront (and which would finally materialise in the next volume) whilst Batman, Huntress and Plastic Man infiltrated the General’s base to discover his real motives…

The spectacular revelatory conclusion came in ‘Our Army At War’ (with art by Pajarillo & Wong) as Eiling’s plans were disclosed and the truth about the Ultramarines was uncovered. The net result was the disillusioned super-soldiers setting up their own operation independent of any national influence and beginning to gather like-minded costumed champions for a First-Strike force. They would soon return…

Time-travelling future-robot Hourman replaced the Martian Manhunter for a while and Mark Millar, Pajarillo, Wong & Marlo Alquiza crafted ‘The Bigger They Come…’ a delightfully retrospective yarn which saw size-changing physicist Ray Palmer return to service as the Atom when power-stealing super-android Amazo was accidentally reactivated.

The main event of this volume is a JLA/JSA team-up ‘Crisis Times Five’ (by Morrison, Porter & Dell). The thunderbolt Genie of Johnny Thunder returned with a new master and reality was grievously assaulted by unnatural disasters and magical monsters. Somehow, Triumph, an old friend and foe of the League, was at the heart of it all but promptly found himself trapped in a true Devil’s Bargain…

In ‘World Turned Upside Down…’ with reason on the run the assembled champions of League and Society battled rampant magical chaos, retrofitting a little more secret history as the assorted sprites, Djinn and pixies of the Silver Age DC Universe were revealed to be something far more sinister, and ‘Worlds Beyond’ saw those Genies reduced to civil war; concluding with ‘Gods & Monsters’ as a vast army of united heroes saved reality in the nick of time and space…

‘Inside Job’ (Waid and Devin Grayson with art by Pajarillo & Wong) is deeply embedded in company continuity, set during the Batman: No Man’s Land publishing event and referencing one of the League’s first cases (for which see JLA: Year One) as genetic supremacists Locus returned to make quake-devastated Gotham City their private Petri-dish and releasing a mutagenic terror-virus that not even the JLA could combat…

The book ends with Waid, Pajarillo & Wong’s ‘Altered Egos’ as Batman led a plainclothes mission to discover who – or what – was masquerading as Bruce Wayne: an unexpectedly violent mission which resulted in the return of the League’s most dangerous opponents…

Although Justice For All is as compelling and engrossing as the preceding four volumes the inevitable slippage into company history and continuity means that some tales here might well confuse or even bewilder newer readers; but for all that the action, wit, imagination and sheer fun of these stories should still provide immense enjoyment for devotees of Costumed Dramas and Fight ‘n’ Tights fiction.- and after all, isn’t that inconvenience exactly what footnotes, search-engines and back-issue comics shops are for?

Compelling, challenging and never afraid of looking back fondly or laughing at itself, the new JLA was an all-out effort to be Thrilling, Smart and Fun. For a brief moment in the team’s long and chequered career these were the “World’s Greatest Superheroes” and increasingly ambitious epics, broken up by short, sharp single-issue sorties reminded everybody of the fact. This is the kind of joyous frolic that nobody should ever outgrow and these are graphic novels to be read and re-read forever…

© 1998, 1999 DC Comics. All Rights Reserved.

JSA volume 10: Black Vengeance

By Geoff Johns, Don Kramer & Keith Champagne (DC Comics)
ISBN: 978-1-84576-256-8

New, Extended Review

The addictive super-hero soap opera (originally published as JSA #66-75 of the monthly magazine) stepped into high gear as the younger stalwarts of the team once more went time-travelling: this time back to the immediate post-war years to thwart a plot to prevent the Justice Society from ever coming out of retirement, after the House un-American Activities Commission and Senator Joe McCarthy forced them to disappear in 1951.

But before that engaging time-paradox romp got underway attention returned briefly to the once-rogue state of Kahndaq (see JSA: Black Reign) wherein ‘Prologue’ by Geoff Johns, Don Kramer & Keith Champagne showed the size-changing Atom Smasher having doubts about the efficacy and ethics of the way the newly liberated country was progressing under Black Adam’s reign. Suddenly, he is summoned by mysterious, autocratic Time Master Rip Hunter to save hid erstwhile Justice Society comrades…

Illustrated by Dave Gibbons and James Hodgkins, the scene shifted to 1951 where Fascistic time-meddler Per Degaton was once more attempting to bend reality to his will…

‘Making History’ (art by Kramer & Champagne) revisits a seminal 1979 JSA tale by Paul Levitz and Joe Staton, originally published in Adventure Comics #466 and collected in the second volume of Justice Society (coming soon to this blog) which revealed the reason that the team retired was due to witch-hunts and political pressure from the US government’s House Un-American Activities Commission. Rather than reveal their secret identities the team simply ceased to operate, only coming out of retirement once the oppressive climate abated. Now Degaton was twisting events to ensure his hated enemies never returned…

Hunter’s attempts to stop him have convinced the murderous mastermind to eradicate the 21st century team and all their friends and families before they can journey to 1951 and interfere…

‘Guardian Angels’ and ‘High Societies’ found the hastily assembled rescue team encountering unexpected problems as they worked to counter the Time Nazi, especially for  Mr. Terrific, a brilliant African-American who couldn’t even ride in the same vehicles as his time-transplanted white companions.

A scene depicting how the Ku Klux Klan responded to a black man who wasn’t afraid of them and subsequently got the kicking of their vile lives is a delightfully gratuitous and vicarious joy that still warms my old liberal heart and absolutely stole the show before the timely assistance of two generations of Hourman in ‘Past Mistakes’ turned the tide and the forces of good finally, magnificently triumphed in ‘JSA/JSA: Conclusion’.

The controversial and contentious Kahndaq saga is then resolved with the eponymous three-parter ‘Black Vengeance’ (drawn by Kramer, Leonard Kirk and Stephen Sadowski with inks from Champagne & Michael Bair) as the morally bereft Atom Smasher, once more with the JSA, surrenders himself to a higher justice just as Eclipso and the Spectre begin their combined assault on magic (which formed the basis of the Infinite Crisis prequel series Day of Vengeance: you don’t need to read them to enjoy or understand this story, but it is recommended…) resulting in a devastating conflict that destroys the body and soul of the country and its inhabitants…

This volume is a little disjointed in places as it serves to clear up long running plot-lines whilst asking a few more pertinent questions about US imperialism as seen from the perspective of the citizens of the fictional middle-Eastern nation which was regularly reduced to rubble and collateral damage statistics whenever super-powers and Superpowers came into play.

Despite the prevalent political overtones, this is still primarily a simple hero-fest for fans of the genre, and delivers high-quality escapism for the faithful, although the uninitiated might find the implicit back-story a tad hard to grasp. At this time the entire DC line was gearing up for major changes beyond their Infinite Crisis publishing event and the narrative throat-clearing here allowed everybody concerned a few final dalliances with the World’s First Super-Team before the Big Boom got lowered (and for those last two excellent escapades check out the final two volumes of this graphic novel sequence JSA: Mixed Signals and JSA: Ghost Stories).

A shaky moment in an otherwise superlative series, but this is still a book well worth pursuing and a saga worth reading over and over again.

© 2006 DC Comics. All Rights Reserved.

JSA volume 8: Black Reign

By Geoff Johns, Morales, Kramer, Bair & Champagne (DC Comics)

ISBN 1-84023-984-0

New, Extended Review

All periodical fiction (even television shows) walk a tricky tightrope when they try to inject a semblance of contemporary relevance into their narratives, weighing popular cachet and increased interest against potential controversy, accusations of “cashing in” and especially the risk that by the time of release the cause célèbre has faded from public consciousness.

There’s even the ever-present threat of lawsuits such as in the infamous, never, ever to be reprinted ‘Cursed Earth’ episodes of 2000AD wherein the creators of Judge Dredd aroused the litigious ire of the world’s two largest fast-food empires with what we all thought was a funny, fabulous piece of satire…

Here however, damning the consequences, superheroes once more got all geo-political in the eighth compilation of the excellent, award-winning JSA (collecting issues #56-58 as well as Hawkman #23-25) wherein a breakaway branch of current and ex-members invaded an oddly allegorical (lawyers, politicians and media-moguls read comics too remember?) Middle-Eastern country to depose a monstrous and tyrannical dictator and liberate his oppressed subjects.

This naturally leads to the right-thinking defenders of the status quo and champions of democracy having to go in and stop their erstwhile comrades since these actions contravene the long-cherished, unspoken principle of super-hero ideology that Good Guys don’t mess with political injustice and issues. The flagrant and wilful abuse of this principle is, of course, the guiding concept behind the hugely enjoyable series The Authority and even Justice League Elite

The action begins in the eponymous ‘Black Reign’ illustrated by Don Kramer & Keith Champagne, as magical superman Black Adam leads a team of like-minded heroes (Atom Smasher, Brainwave, super-assassin Nemesis, a new Eclipso and mutated human hawk Northwind) in a bloody campaign to liberate the rogue state of Kahndaq – the middle-Eastern land Adam ruled five millennia ago and one currently suffering under a military dictatorship.

Once the regime-change has been accomplished however the real problems – and calamitous bloodletting – begin…

When originally released the tale alternated with Hawkman’s own comicbook, and the second chapter, with art by Rags Morales & Michael Bair, saw the Winged Wonder pressgang his own teammates into going after the renegade liberators, even seizing the role of chairman from a bewildered Mr. Terrific, but forces beyond mortal ken were also aligned against the JSA, and with Dr. Fate distracted one of their number sustained a fatal wound.

As the death-toll escalated a sinister old foe was discovered, but to the astonishment of the JSA, had been nothing more than a contributory factor to a much more ancient and human problem: men will fight for the stupidest reasons…

With the heroes ultimately forced to see themselves through victim’s eyes and in unaccustomed roles, every troubled stalwart was compelled to thoroughly reconsider his/her/its position…

Even with a little time and distance it’s impossible to escape the rather heavy-handed political allusions to America’s dubious foreign policy adventures, but by fictionalising such commentary do creators run the risk of also trivialising it? Brutal and deeply jarring, ‘Black Reign’ is a bold but heavy-handed tale from America’s “War on Terror” era which, whilst still being a massive soul-searching punch-up, culminating in a portentously inconclusive stalemate, genuinely attempted to address political issues and involve an audience notoriously ambivalent to real-world issues.

I have diametrically changed my opinion on the book since I first reviewed it six years ago. Perhaps that’s a relevant message for the real world and comic fans alike. Moreover, if all actually you want is an exceptional graphic novel to read, there’s probably nothing better than this stirring saga. After all, it’s only a comic, right?

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