By Cary Bates, Elliot S! Maggin, E. Nelson Bridwell, Marty Pasko, Paul Levitz, Dick Dillin, Frank McLaughlin & various (DC Comics)
In regard to comic material from this period I cannot declare myself an impartial critic. That counts doubly so for the Julie Schwartz edited Justice League of America and its annual summer tradition of teaming up with its progenitor organisation, the Justice Society of America. If that sounds a tad confusing there are many places to look for clarifying details. If you’re interested in superheroes and their histories you’ll even enjoy the search. But this is not the place for that.
Ultra-Editor Schwartz ushered in the Silver Age of American Comics with his landmark Showcase successes Flash, Adam Strange and Green Lantern, directly leading to the JLA which in turn inspired Fantastic Four and the whole Marvel Empire; changing forever the way comics were made and read…
Whereas the 1940s were about magic and macho, the Silver Age polished everything with a thick veneer of SCIENCE and a wave of implausible rationalistic concepts quickly filtered into the dawning mass-consciousness of a generation of baby-boomer kids.
The most intriguing and rewarding was, of course, the notion of parallel worlds…
Once DC’s Silver Age heroes began meeting their Golden Age predecessors from “Earth-2”, that aforementioned annual tradition commenced: every summer the JLA would team-up with the JSA to combat a trans-dimensional Crisis…
This volume reprints get-togethers from 1975 through 1977, encompassing Justice League of America #123 & 124 (October and November 1975), #135-137 (October to December 1976) and #147-148 (October and November 1977), offering also a wash of memory-intensive reminiscences in an Introduction from veteran colourist Carl Gafford.
All these tightly-plotted tales are competently and comfortably rendered by the criminally underappreciated Dick Dillin with his long-term inker Frank McLaughlin and, in terms of narrative, the writing consists of nothing more – or if you’re still a kid like me, nothing less – than two bunches of beguiling mystery men getting together to deal with extra-extraordinary problems.
From the early 1970s it also became about reintroducing other lost characters from other companies and pantheons DC had bought out over the years, so in hindsight, it was all also about sales and the attempted revival of more super characters during a period of intense sales rivalry between DC Comics and Marvel.
But for those who love costumed heroes, who crave these carefully constructed modern mythologies and care, it is simply a grand parade of straightforward action, great causes and momentous victories.
I love ‘em, not because they’re the best of their kind, but because I did then and they haven’t changed even if I have. Surely everyone fancies finding their Inner Kid again?
This batch of blockbusters begins with a yarn from Cary Bates and Elliot Maggin, stepping far off the reservation with ‘Where on Earth Am I?’ and its conclusion ‘Avenging Ghosts of the Justice Society!’ from #123- 124.
In Flash #179 (‘The Flash – Fact of Fiction?, May 1968) Bates and Gardner Fox first took the multiple Earths concept to its illogical conclusion by trapping the Monarch of Motion in “our” Reality of Earth-Prime, where he was known only to a dwindling readership as a mere comic-book character. It took the financial assistance of his editor Julie Schwartz in building a “cosmic treadmill” to return the Scarlet Speedster to his proper dimension…
In this quirky follow-up, Bates and co-scripter Maggin revisit the notion as a story conference in Schwartz’s office leads to the oafish goons playing with the Flash’s abandoned construct until one of them is sent hurtling between Realities…
Transformed and cosmically empowered by the journey, Bates became the most dangerous villain alive, leading Earth-2 criminals The Wizard, Shade, Sportsmaster, Huntress, Icicle and The Gambler in a lethal assault on JSA heroes Robin, Hourman, Wildcat, Wonder Woman, Johnny Thunder and Dr. Mid-Nite.
Frantic and terrified, Maggin follows his friend but ends up on Earth-1 where he recruits Batman, Black Canary, Aquaman, Hawkman, Green Arrow and Flash to save three imperilled universes. In the end however it requires the Divine Might of the supernal Spectre to truly set every thing back on track and in its assigned place and time…
A year later the get-together took on epic proportions with the inclusion of stars from the Shazam! Universe (imaginatively dubbed Earth-S) which began with a ‘Crisis in Eternity!’ plotted by E. Nelson Bridwell and scripted by Marty Pasko.
One of the most venerated and loved characters in American comics, the original Captain Marvel was created by Bill Parker & C. C. Beck: the best of a wave of costumed titans devised in the wake of Superman’s blockbuster 1938 debut.
Although there were many similarities in the early years, the Fawcett character moved early into the realm of fanciful light entertainment and even comedy, whilst as the 1940s progressed the Man of Steel increasingly left whimsy behind in favour of action and drama.
Homeless orphan Billy Batson was chosen to battle injustice by an ancient wizard who bestowed the powers of six gods and heroes. Billy transforms from scrawny boy to brawny (adult) hero by speaking aloud the wizard’s name – an acronym for the legendary six patrons Solomon, Hercules, Atlas, Zeus, Achilles and Mercury.
At the height of his popularity Captain Marvel was published twice a month and outsold Superman, but as tastes and the decade changed sales slowed and a court case begun by National Comics citing copyright infringement was settled. The Big Red Cheese disappeared – as did many superheroes – becoming a fond memory for older fans.
In Britain, where an English reprint line had run for many years, creator/publisher Mick Anglo had an avid audience and no product, and swiftly transformed Captain Marvel into the atomic age hero Marvelman, continuing to thrill readers into the 1960s.
As America lived through another superhero boom-&-bust, the 1970s dawned with a shrinking industry and wide variety of comics genres servicing a base that was increasingly founded on collector/aficionados, not casual or impulse buys.
DC needed sales and were prepared to look for them in unusual places.
After the settlement with Fawcett in 1953 they had secured the rights to Captain Marvel and Family and, even though the name itself had been taken up by Marvel Comics (via a circuitous and quirky robotic character published by Carl Burgos and M.F. Publications in 1967), they decided to tap into that discriminating fanbase.
In 1973, riding a wave of nostalgia, DC brought back the entire beloved Fawcett cast and crew in their own kinder, weirder universe. To circumvent the intellectual property clash, they entitled the new comic book Shazam! (‘With One Magic Word…’) the trigger phrase used by most of the many Marvels to transform to and from mortal form and a word that had already entered the American language due to the success of the franchise the first time around…
Now in Justice League #135 the stand-alone Shazam heroes met other costumed champions when antediluvian dictator King Kull (a bestial king from a pre-human civilisation who held mankind responsible for the extinction of his race) invaded the Wizard’s home on the Rock of Eternity.
From this central point in the Multiverse Kull intended to wipe out humanity on three different Earths and began by capturing the gods and goddesses who empowered Billy and his magical allies Captain Marvel Jr. and Mary Marvel.
Thankfully fleet Mercury was able to escape and warn Earths 1 and 2 even as lesser heroes Bulletman & Bulletgirl, Ibis the Invincible, Spysmasher and Mister Scarlet & Pinky took up the fight without the missing Marvels…
Recruiting an army of indigenous super-villains from three worlds, Kull unleashes a plague of unnatural disasters in ‘Crisis on Earth-S!’ unaware that Mercury, Shazam and imbecilic magic-wielder Johnny Thunder are undertaking a devious counterattack which brings the vanished Marvel Family back into action just in time to avert a cataclysmic ‘Crisis in Tomorrow!’
This monumental melange of metahuman mayhem concludes with a brace of double-length sagas guest-starring Silver Age DC’s second-most popular superteam.
Once upon a time, a thousand years from now, a band of super-powered kids from many worlds took inspiration from the greatest heroic legend of all time and formed a club of champions. One day those Children of Tomorrow came back in time and invited their inspiration to join them…
Thus began the vast, epic saga of the Legion of Super-Heroes, as first envisioned by writer Otto Binder & artist Al Plastino when the many-handed mob of juvenile universe-savers debuted in Adventure Comics #247 (April 1958), just as the revived superhero genre was gathering an inexorable head of steam in America.
The coalition grew and prospered, becoming a phenomenon generally attributed with birthing organised comics fandom. After years of slavishly remaining a closely-guarded offshoot of Superman’s corner of continuity the Legion finally crossed over into the broader DC Universe with this saga as writers Paul Levitz & Pasko combined to detail a ‘Crisis in the 30th Century!’
It begins when ultimate sorcerer Mordru drags a handful of JLA and JSA-ers (Superman, Batman, Green Lantern, Green Arrow and Black Canary from Earth-1 plus the other Green Lantern, Doctor Fate, Power Girl, Flash and Hawkman from E-2) into the future to replace a band of ensorcelled Legionnaires he has lost contact with…
Mordru’s previous captives had been tasked with retrieving three arcane artefacts that were in the JLA’s keeping a millennium past, but with them gone the wizard now expects his new pets to finish the task. Of course the ancient heroes have other ideas…
Even after linking up with the lost Legionnaires, the 20th Centurians are unable to prevent the return of demonic triumvirate Abnegazar, Rath and Ghast, but happily their eons in stasis has affected the eldritch horrors’ psychological make-up and their disunity gives the puny humans one shot at saving the universe from a ‘Crisis in Triplicate!’…
This staggering panoply of multi-hued calamities and alternate Armageddons is rounded off with an instructive contextual lecture in John Wells’ Afterword ‘Those Were the Days’, rounding out a glorious gathering of captivating Costumed Dramas no lover of Fights ‘n’ Tights fun and frolics could possibly resist.
© 1975, 1976, 1977, 2006 DC Comics. All Rights Reserved.