Hawk and the Dove #6

As the 1960s drew to a close, DC was under continuing financial pressure to raise prices due to inflation. As a result, many titles were discontinued in 1969: Angel and the Ape, Atom and Hawkman, Bat-Lash, Captain Action, Beware the Creeper, Metal Men, Secret Six, Spectre, Windy and Willy and the Hawk and the Dove. In fact this was the final issue for the title. Ditko and Skeates, the original creative team on the title were gone by this time; according to the GCD this issue was both scripted and drawn by Gil Kane, with inks by John Celardo. As the story begins, Hank and Don discover that their father being beaten by a hood, who apparently intended to kidnap him. Don stays with Dad while Hank impetuously chases the mugger, giving Kane the opportunity to do what he does best:

Smek? Unfortunately, the creep is tougher than he looks and he gets away. The next day, the boys arrive home from school to find that he's returned, and this time he managed to abduct Pops:

The lads try to track down the kidnapper in their own ways; Hank beats up hoods in an effort to find out who had it in for the judge, while Don does some detective work:

Both of them come to the conclusion that their dad has been kidnapped by the son of a man that the judge had sentenced to prison. Sure enough:

They don't really have much trouble kayoing the guy and rescuing their father, who of course kvetches about the danger they put him in:

The story ends on an ominous note:

As mentioned before, this was the final issue of the Hawk and the Dove. They made semi-regular appearances in Teen Titans for the next few years.

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Green Lantern #24

Back in the late 1960s and early 1970s. when I was assembling my collection, I picked up most of my early-mid 1960s DC from a friend of mine named Jon, and his neighbor, Eric. They had long runs of the comics they were interested in, but every now and then there was an issue or two missing. I don't have a clue as to why; perhaps they had just forgotten to go to the newsstand that month, or perhaps they had been broke, or perhaps they had just used the money for a new baseball mitt or something else.

This was one of the issues I never found, and since I wasn't fanatical about completing my Green Lantern run like I was about Batman, it was only a few years ago that I finally found a low-grade copy cheap enough to justify the purchase. IIRC, the first story was reprinted in the 1970s, but I don't think that cover story was until the relatively recent advent of the Archive and Showcase Editions.

The first story is The Shark that Hunted Human Prey. An accident in an atomic station on the coast led to a sudden emission of radiation that hit a passing shark:

Now of course, as far as the science goes, that's absurd. Evolution is a slow, torturous process with many missteps along the way. Still, it's in keeping with the science of comic books, in which Ben Grimm can turn into a pile of orange rocks (and occasionally turn back again).

The Shark discovers he has extraordinary powers, but he retains his essential nature:

After dropping the heavyweight champ without raising a fist, the Shark uses his awesome mental powers to locate a foe worthy of his abilities:

The Shark contacts Hal mentally and issues a challenge. Hal quickly changes into his fighting duds and recharges his ring in the locker room, but:

And for much of the battle that ensues, the Shark maintains his desire to induce fear in Green Lantern. He demonstrates that GL's ring has no power over him as he can block it with his mind. Indeed, his mental powers seem unlimited:

GL realizes that the air in the room is not colored yellow, so he stuns the Shark with a bolt of compressed air. But the Shark recovers and ups the stakes:

His intent was to make Hal afraid, but instead the threat just redoubles GL's resolve to win. He condenses the water vapor in the room and creates a block of ice with which to kayo the villain. Then he uses his power ring to devolve the Shark back into his normal state:

Comments: I found the concept of a shark evolved into a human somewhat ludicrous, and that costume is inane. However, that should not be allowed to obscure the fact that the character development was excellent and the story itself, with the threats to those Hal holds near and dear, is compelling.

The second story is the cover one, and it is pretty simple and straight-forward. While traveling through space, Hal encounters the planet, which suddenly forms a continent that looks like him. It shoots a rocket at him and one grazes him, forcing him to the ground. He encounters visions of Pieface, and several of his enemies. Finally the planet itself finds a way to contact him directly:

It was an intelligent planet who had searched the stars for more intelligence, and GL was the first it had ever encountered. It just wanted to make a friend, but couldn't find a way to express that at first. GL helps it by removing a volcanic core that was causing earthquakes, and they part as buddies.

Comments: Cute story, and the concept of a living planet would be "borrowed" a few years later by Stan Lee and Jack Kirby in the Mighty Thor series.

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Number 990


Mothman to the flame


This well drawn story by Gil Kane and John Giunta is from Mystery In Space #3, 1951. Kane learned his comic art lessons well since the 1948 crime story of his I showed you in Pappy's #787. In "Vengeance of the Moth" with Kane's powerful drawings of the human figure in action you're getting an advance look at his work on Green Lantern and The Atom a few years later.

The story has nothing to do with space, despite appearing in Mystery In Space. It likely belonged in Strange Adventures, and perhaps it was placed in this comic to fill up a hole left by an artist who wasn't as fast as Kane.

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Face Off

As I have noted in the past, one of DC's major trends of the late 1950s and early 1960s was to add continuing characters to the magazines that did not already feature them. The war books picked up Sgt Rock, Jeb Stuart, Gunner and Sarge, etc., while Mystery in Space added Adam Strange, Tales of the Unexpected featured Space Ranger, and House of Secrets highlighted Mark Merlin.

Strange Adventures, edited by Julius Schwartz, tried something different. Instead of adding one feature which appeared every issue, Schwartz rotated several recurring features: Star Hawkins, the Atomic Knights and the Space Museum appeared regularly over the course of several years. In addition, particularly successful one-shot characters were often brought back. The Faceless Creature was probably the most notable as he appeared on the covers of three* issues over the course of as many years. Those of you who are fans of the Brave and the Bold show on Cartoon Network may recognize him as the Hunter who served as Starro's herald in a two-part episode of that series.

As the first story (Strange Adventures #124, January 1961) begins, two Highway Patrolmen in South Dakota, Jim Boone and Bob Colby, are investigating the disappearance of the heads from Mount Rushmore. The heads disappear along with some other famous giant faces around the world, but then are returned. An alien spacecraft lands and:

After preventing them from firing their weapons as shown on the cover, the alien introduces himself as Klee-Pan from the planet Klaramar, which is a sub-atomic world revolving within a single atom of the Planet Jupiter. He explains that he is looking for a giant head which will unlock a vault where a bomb was hidden by a villain named Chen Yull (sometimes referred to as Chan Yull and also as Chun Yull). If the head is not located, the bomb will destroy the entire solar system in one second.

Well, one second on Klaramar, which is quite a bit longer on Earth:

The mathematician in me couldn't resist calculating that out. If one Klaramar day equals 1,000,000 Earth years, then one Klaramar second equals about 11-1/2 Earth years.

Klee-Pan has tried all the famous giant faces on Earth, but none of them work. Fortunately, Jim realizes the secret:

So he suggests the Woman in the Moon. Of course, most of us have heard of it as the Man in the Moon, but apparently the Chinese and South Dakotans have the gender reversed.

While the trio head to the Moon, Klee-Pan explains how his people became faceless:

That sequence would appear in each subsequent Faceless Creature story. They take the Woman in the Moon to Saturn, but Chen Yull has planned for this and destroys the face with ray guns. But Jim has another bright idea:

And by repairing the face, they are able to open the lock, defuse the bomb, and save the solar system. Klee-Pan offers them a reward, but all they want is for the face on the Moon to be restored.

The Faceless Creature returned in Strange Adventures #142 (July 1962). Chan Yull has learned that his prior plot to destroy the Solar System failed, partially because of the efforts of the two South Dakota Highway Patrolmen. So he creates a new bomb and uses them as the triggers:

But when they arrive the bomb does not explode. It turns out that Jim and Bob were given the power of telepathy by Klee-Pan, and so they had ordered each other not to explode the bomb. Klee-Pan sends them back to Earth with weapons that subdue Chen Yull and send him back to Klaramar.

Jim and Bob find themselves compelled to construct an odd, scientific device. When they turn it on:

Chen Yull heads to the UN Building, where he has a strange demand:

But when they do as he asks:

That seems a very strange quirk indeed. How useful an adaptation is it for a people to only be willing to destroy their own planet? Chen Yull reveals his fiendish plan:

Jim and Bob use the weapons they defeated Chen Yull with in the previous story on each other, shrinking themselves down while sending themselves to Klaramar. Once they are able to communicate with Klee Pan, he defeats Chen Yull and restores the two planets (and the Highway Patrolmen) to their normal sizes.
One other oddity about the series; according to the GCD, the pencils on the three stories were done by three different artists: Mike Sekowsky, Carmine Infantino and Gil Kane. I was able to identify the latter two, but the first one really doesn't look much like Sekowsky at all to me except for a few panels. Then again, I noticed how heavy the inks were on that story (by Murphy Anderson), so maybe it's just a case of the pencils being overwhelmed.

*Technically two different faceless creatures appeared on the three covers; Klee-Pan on the first issue and Chan Yull on the other two.

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Atom #7

In response to fan demand, DC liked to do team-ups with their heroes. Being DC, they tended to institutionalize the practice by making them annual events. Flash regular team-ups with Green Lantern, so it was a natural for Julius Schwartz to match his third GA reincarnation with his fourth.

The story, written by Gardner Fox and illustrated by Gil Kane and Murphy Anderson, starts with a bit of a puzzle. Some crooks had escaped from a tall building which was too far from nearby rooftops for them to have jumped. There was no sound of a helicopter, so how could they have escaped? They take the puzzle to local physics grad student, Ray Palmer who comes up with an answer:

In Gardner Fox's Wikipedia entry, there is this note:

A polymath, Fox sprinkled his strips with numerous real-world historical, scientific, and mythological references, once saying, "Knowledge is kind of a hobby with me." For instance, in the span of a year's worth of Atom stories, Fox tackled the 1956 Hungarian revolution, the space race, 18th-century England, miniature card painting, Norse mythology, and numismatics.

So it is no surprise that I was able to locate an article from Time Magazine in 1927 on the European fad of balloon jumping:

Walk along the ground with a breeze at your back, approach a fence, bend your knees, spring lightly into the air when you feel the tug of the balloon. You will sail over the fence so easily and land so gently that you will be surprised. Barns and trees can be surmounted with more vigorous leaps, usually requiring a light second push-up with the tip of the toe on the barn's roof or on the tree's outlying branches.

Balloon jumping is already a popular sport among the English gentry, and is attracting the attention of playful Long Islanders.

Later, while Jean and Ray are out bird-watching, they experience a strong earthquake. They also notice a bird that is out of the normal for the Atlantic Flyway.

Meanwhile, Hawkman has also noticed some birds out of their migratory routes. When he asks them why:

Using some special contact lenses he has designed, Hawkman is able to see the radiation is coming from the East Coast and:

We learn that explorers had found the Cosmitron on a world ruined by war. It gave off radiation, but aside from that the scientists from Thanagar could not determine the machine's purpose. Hawkman contacts Shayera, who is on Thanagar and tells her to check to see if the Cosmitron has been stolen. Then he heads east to find the source of the radiation.

The Atom is at the police station when a call comes in about the balloon robbers. He accompanies them to the scene:

Okay, now that's just a bit silly on Gil Kane's part; there's no way a couple of tiny balloons like those shown could lift even a fraction of a man's weight. Here's a look at what is actually required.

So the cop shoots Atom up into the air with the speargun, which is actually a pretty cool idea. He starts popping the balloons, but by the third crook they're over the getaway boat and so the man makes a quick getaway. Meanwhile, the Atom is so far out to sea that he wonders if he will be able to swim back to shore. Fortunately, he's plucked out of the air by... Hawkman!

The Winged Wonder and the Mighty Mite make short work of the balloon crooks, then Hawkman hurries off in search of the Cosmitron. He locates it lying on the ground in a woods, but as he approaches, tiny men in a space ship attack him:

The aliens manage to kayo Hawkman and get away with the device. Hawkman meets up with the Atom at police headquarters and tells his story. Meanwhile, the aliens are hovering above the Earth. We learn what the Cosmitron does:

They transmit a warning to the United Nations. They were the original rulers of our planet and they intend to resume control. If the UN does not capitulate, they will cause terrible disasters to strike our planet. Perhaps this is an optimistic view of the response of the delegates:

The aliens take a knife to the globe, causing a huge furrow to appear in the ground. We get a page or two of explication on the history of the aliens. They had used the Cosmitron to get control of many planets, but eventually the power (provided by earthquakes) ran out and the Thalens were overthrown. Many years later their descendants had recovered the Cosmitron and intended to resume their conquest of the galaxy.

Since Hawkman's spaceship is gone (with Shayera back on Thanagar), he cannot get to the alien ship, but the Atom can, in a model of Hawkman's craft. Once inside, he steals the Cosmitron:

And after a fairly easy battle, the aliens are defeated, the Cosmitron destroyed, and even the furrow repaired.

Comments: I loved the little bits of backup information that Fox provided, and the artwork is terrific. The Cosmitron is an interesting piece of technology. Atom and Hawkman had several other team-ups in the future and eventually shared the Atom's magazine towards the end of the Silver Age.

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Number 787

Crime Does Pay Week: Charlie Birger and the Birger-Shelton War

This is day two of Pappy's Crime Does Pay Week.

According to the Grand Comics Database this ultra-violent example of the art of the crime comic is drawn by a young Gil Kane, published in Murder Incorporated #1, in 1948. Victor Fox was the publisher, and his books of this era almost single-handedly define sleaze.

As for the actual comic book, the story has some element of truth; there was a Charlie Birger, and he did have a war with beer rivals, the Shelton brothers, in Illinois during Prohibition. They did use armored cars, and did use a plane for an aerial attack. Something not told in the story (nor told in another version in Atlas' All True Crime #28, from later in 1948, either) is that before they went to war, Birger and Shelton were partners in the beer biz during a time the Ku Klux Klan was heavily involved in the area. The KKK had decided Prohibition was a good thing. It was so lawless there that KKK members would go into private homes looking for alcohol, and take offenders to a special Klan jail! Between Birger and Shelton they managed to push the Klan out of the area, maybe the only time in the sorry history of the sorry-ass Klan that the tables were turned.

The cover of Murder Incorporated #1, artwork attributed to John Forte, has a cover slug that says For Adults Only. How much do you think that mattered when a kid handed over his dime?

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