{"id":27681,"date":"2023-03-14T09:00:05","date_gmt":"2023-03-14T09:00:05","guid":{"rendered":"https:\/\/www.comicsreview.co.uk\/nowreadthis\/?p=27681"},"modified":"2023-03-13T19:25:08","modified_gmt":"2023-03-13T19:25:08","slug":"night-nurse","status":"publish","type":"post","link":"https:\/\/www.comicsreview.co.uk\/nowreadthis\/2023\/03\/14\/night-nurse\/","title":{"rendered":"Night Nurse"},"content":{"rendered":"

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\nBy Jean Thomas<\/strong>, Linda Fite <\/strong>& Win Mortimer<\/strong>; Brian Michael Bendis<\/strong> & Alex Maleev<\/strong>, & various (MARVEL)
\nNo ISBN: Digital-only edition<\/p>\n

During the costumed hero boom of the 1960s, Marvel experimented with a solo title shot for Inhuman<\/strong> anti-hero\/political refugee Madame Medusa <\/em>(Marvel Super-Heroes<\/strong> #15, July 1968) and a solo series for established supporting character The <\/strong>Black Widow<\/strong> (Amazing Adventures<\/strong> # 1-8, August 1970 – September 1971). Both were sexy, reformed supervillains, not wholesome girl-next-door heroines like long-domesticated costumed chicks The Invisible Girl<\/strong>, Marvel Girl<\/strong> and The Wasp<\/strong>\u2026 and neither lasted solo for long.<\/p>\n

The other two actual action women – rather than simple romantic-complication fodder – of that early Marvel era were The Scarlet Witch<\/strong> (mutant\/ex-villain\/occasional Avenger<\/strong>) and superspy Sharon Carter\/Agent 13<\/em> of S.H.I.E.L.D.<\/strong><\/p>\n

Just for the sake of completeness: post-World War II, Timely\/Atlas Comics embraced and published fiercely independent, capable female operators like Miss America<\/strong>, Namora<\/strong>, Golden Girl<\/strong>, Sun Girl<\/strong>, Blonde Phantom<\/strong>, Venus<\/strong> and more. None survived the insidious social domestication movement that drove American women out of the workplace and back into kitchens and bedrooms: a period that (coincidentally?) generated a growing fascination with captivating jungle women living wild and free in primal freedom – in space as well as on Earth – and a huge explosion in straight romance comics where decent white girls competed for the best husband\u2026<\/p>\n

When the costumed crazies craze began to subside in the 1970s, newly-promoted Publisher Stan Lee and his editor-in-chief Roy Thomas looked into creating a girl-friendly boutique of proper \u201cheroines\u201d for the changing tastes of the nation. Written by women, they sought to address and satisfy a wider market than simple boy-fuelled superheroics ever could.<\/p>\n

The early 1970s was an era of turbulent social change, with established notions, traditions and laws being constantly challenged. Banner headlines and TV news everywhere confirmed that women\u2019s rights were now being fought for – and thus consequently fiercely resisted – just as vigorously as the Civil Rights movement that had polarised and incensed Americans a handful of years previously\u2026<\/p>\n

Marvel\u2019s opening shots in this mini-liberation war were in established genres and both cover-dated November 1972. Claws of the Cat<\/strong> – by Linda Fite, Marie Severin & Wally Wood – added a female superhero to the pantheon, whilst Night Nurse<\/strong> combined contemporary daytime television medical dramas with Marvel\u2019s long-established romance\/\u201ccareer girl\u201d tradition. New post-Feminism jungle goddess Shanna the She-Devil<\/strong> – by Carole Seuling & George Tuska – debuted in December 1972.<\/p>\n

Despite impressive creative teams, none of these fascinating and trailblazing experiments lasted beyond a fifth issue, but the characters have all since then become fully established in the greater continuity\u2026<\/p>\n

That certainly applies to today\u2019s pioneer. Collecting Night Nurse<\/strong> #1-4 and a stunning reinvention from Marvel Knights Daredevil<\/strong> (volume 2) #80 – also numbered #460 as a result of renumbering nonsense you really don\u2019t need to care about. This digital-only compilation gathers the entire melodrama-drenched saga of a tough and determined young woman looking to make a difference. The print equivalent is the 2015 Night Nurse<\/strong> one-shot: cover-dated July and published to capitalise on the traction her appearance in the mainstream MU generated.<\/p>\n

With covers by Winslow Mortimer, John Romita Sr., Frank Giacoia & Joe Sinnott, and adapting the character and concepts first seen in Linda Carter: Student Nurse<\/strong> (#1-9, spanning cover-dates September 1961-January 1963), Night Nurse<\/strong> saw writer Jean Thomas and illustrator Mortimer reintroduce our star as her-long-deferred graduation day approached: peeking behind the curtain of professionalism to reveal \u2018The Making of a Nurse!\u2019<\/em><\/p>\n

Carter and her roomies – ghetto child Georgia Jenkins<\/em> and disgraced, disinherited rich kid Christine Palmer<\/em> – have all been learning-by-working at vast and prestigious Metro General: enduring a relentless regimen of complex hands-on training adapting them to the constant high pressure demands of their proposed careers. Particularly difficult was the suffering they were daily exposed to, and how each student coped with it\u2026<\/p>\n

Things start to get truly complicated when Linda falls for wealthy good-looking patient Marshall Michaels<\/em>. His whirlwind courtship leads to a marriage proposal and wedding plans\u2026 until he reveals that no wife of his will ever prioritise a job over running his home\u2026<\/p>\n

Georgia, meanwhile, finds her ghetto roots still dragging her down when – in the midst of a city-wide power-outage – her brother Ben<\/em> and his activist friend Rocky<\/em> try to blow up Metro\u2019s back-up generator. When she and Linda discover them the result is tragedy\u2026<\/p>\n

In the second issue, a \u2018Night of Tears\u2026 Night of Truth!\u2019<\/em> sees Carter save a VIP life during a hit-and-run incident, only to endure an acclaimed and ultra-rich surgeon parachuted in to conspicuously fix the patient and reap temporary glory.<\/p>\n

Arrogant Dr. Sutton<\/em> subsequently offers well-bred rebel Palmer a job as his permanent assistant: a position that comes with amorous assumptions and intent. However, the snobbish surgeon underestimates her resolve and loathing of the unspoken code dictating that the wealthy should stick together and he can\u2019t understand why Christine calls the cops when she finds out his side hustle business, how he uses his prescription privileges and one other secret he’s been keeping from all his powerful friends and associates\u2026<\/p>\n

Linda, meanwhile, is getting far too friendly with hunky doctor Jack Tryon<\/em>\u2026<\/p>\n

Events escalate in \u2018Murder Stalks Ward 8!\u2019<\/em> when Carter is the only witness to a gangland killing that leads back to major mobster Victor Sloan<\/em>: a crime kingpin connected to Georgia\u2019s wayward brother Ben. When Sloan is admitted to Metro, nurse Jenkins finds her dedication and resolve severely tested, especially after rival crooks invade the hospital looking for payback and Jack and Linda have to play detective and bodyguard\u2026<\/p>\n

There\u2019s an abrupt change of pace in final issue #4 and a touch of gothic romance in the air as Thomas and co-writer Linda Fite focus on Christine. Rocked by scandal, Dr. Sutton\u2019s betrayal and repeated rejection by her elitist father, nurse Palmer seeks a different career path and answers an ad for a live-in nurse\/physiotherapist in Boston.<\/p>\n

Illustrated by Mortimer, \u2018The Secret of Sea-Cliff Manor!\u2019<\/em> revels in all the trappings of gothic mystique typifying that period, as Christine meets and manages moody, magnificently angry paraplegic Derek Porter<\/em>, his sweet Aunt Edna<\/em>, and spooky old manservant Harold<\/em>: dispensing care and comfort whilst being dragged deep into a manic murder plot\u2026<\/p>\n

The series terminated there, although the nurses popped up occasionally in various titles over the years. Then in Marvel Knights Daredevil<\/strong> volume 2 #58 (May 2004) Linda Carter returned without warning and in an extremely specific role: running a sort-of secret underground clinic in NYC as the enigmatic \u201cNight Nurse\u201d. The facility catered exclusively to metahumans – mostly the heroic or vigilante ones – who needed fixing and couldn\u2019t trust the regular hospital system\u2026<\/p>\n

Inexplicably, that yarn is not included here. Instead we have Marvel Knights Daredevil<\/strong> volume 2, #80 (February 2006): fifth chapter 5 of \u2018The Murdock Papers\u2019<\/em> wherein Brian Michael Bendis, Alex Maleev and colourist Dave Stewart detail how Matt Murdock<\/em> is almost fatally shot after his secret identity is made public.<\/p>\n

On the run, his occasional ally and paramour Elektra<\/strong> drags his failing form to the clinic where it transpires Murdock is a frequent flyer. As the mysterious medic seeks to stabilise him, heroes like Jessica Jones<\/strong>, Luke Cage<\/strong>, Iron Fist<\/strong> and Black Widow<\/strong> rush to his side. It\u2019s a smart move since Kingpin Wilson Fisk<\/em>, an army of irate Feds and ninja cult The Hand<\/em> have all zeroed in on the dying man, all determined to complete their unfinished business with Daredevil<\/strong>\u2026<\/p>\n

From this revival and revision, Night Nurse<\/strong> evolved into a crucial component of both the print and cinematic Marvel Universes, playing a role in the Civil War<\/strong> and Secret Invasion<\/strong> storylines; working with The Young Avengers<\/strong>, Captain America<\/strong>, Doctor Strange<\/strong>, Iron Man and all the above-mentioned street level champions\u2026<\/p>\n

A tribute to Marvel\u2019s ceaseless commitment to reinvention, reappraisal and rebirth, Night Nurse<\/strong> is an intriguing example of how the role of women has evolved in comic books and will delight both incurably addicted fans and those casual dabblers looking for different flavours of Marvel medicine.
\n\u00a9 2013 Marvel Characters, Inc. All rights reserved.<\/p>\n","protected":false},"excerpt":{"rendered":"

By Jean Thomas, Linda Fite & Win Mortimer; Brian Michael Bendis & Alex Maleev, & various (MARVEL) No ISBN: Digital-only edition During the costumed hero boom of the 1960s, Marvel experimented with a solo title shot for Inhuman anti-hero\/political refugee Madame Medusa (Marvel Super-Heroes #15, July 1968) and a solo series for established supporting character … <\/p>\n

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