Shazam! The New Beginning #3 (1987)

Shazam! The New Beginning #3 (June, 1987)
""A" is for Stamina... "Z" is for Power..."
Writers - Roy & Dann Thomas
Artist - Tom Mandrake
Letterer - Agustin Mas
Colorist - Carl Gafford
Cover Price: $0.75

Today I'm going to continue pursuing my degree in Shazamology by working my way further through the Big Red Cheese's post-Crisis origin tale.  Only one issue to go after this one.  Let's get to it!

Of course, if you need to catch up check out my earlier discussions:
Shazam! The New Beginning #1
Shazam! The New Beginning #2

--

Following the events of the previous chapter, a dejected Captain Marvel (along with Uncle Dudley) returns to the roof of Unc's apartment building.  Cap is lamenting his inability to stop Black Adam from escaping with the aircraft, and fears that the powers he's been granted are only good for breaking things.

After changing back to Billy, they head downstairs.  Following a brief run-in with banana bread brandishing nosy neighborette, Mrs. Peebles, the Batson men retire to the comfort of Dud's living room.  After turning on the television, the pair watches a piece from K-WHIZ Station Manager Emily Thickert which is discussing the events that occurred over the desert last issue.

The News update ends with a request for any citizens who have any information to come forward.  Billy feels this is his opportunity to make things right, however, Dudley prevents him from making that call.  He reminds Billy that while he did witness the event, he really has no other information.  This is a wonderful illustration of Billy's boyish naivete.  Still a child, he was more willing to act on impulse rather than think things through.

Dudley makes up the couch for Billy (couldn't give the poor boy your bed, Dud?  C'mon...) and reties for the evening.  Once Billy is sure his Unc' is asleep, he slips away and SHAZAMs over to the K-WHIZ Building to chat up Ms. Thickert.

Before entering, he changes back to Billy.  He finds it easy to make his way through the building as he feels that adults don't notice kids... and as it turns out, even at this late hour he is absolutely right in this instance.

Billy enters Thickert's office and approaches her with his recounting of the occurrence over the desert, leaving out all the "Big Red" parts of the tale.  Thickert is amazed that Billy seems to know things about the story that hadn't yet been released to the public, and may even sort of believe him.  She excuses herself and invites Billy to make himself comfortable while she attends to some paperwork.

Billy winds up falling asleep on her couch only to be awakened by the familiar voices of Beautia and Magnificus Sivana.  While he was out, Thickert snapped his ID out of his pocket, found out where he lived, and made a call.  The Sivana Siblings claim that Billy's just a confused runaway who doesn't really know what he's saying.

Before they can "claim" him, he SHAZAMs up and hops out the office window.  He decides to search out the old wizard Shazam... by bashing his way through the abandoned subway tunnel in which they'd first met.  As it turns out, the brick wall he'd found in the first chapter was just a bit of wizard's magic made to keep people out of the holy chamber.

Billy approaches the empty stone throne, and notices an unlit brazier in the vicinity.  Bashing a couple of rocks together makes enough of a spark to ignite a flame.  This causes the ethereal form of Shazam to materialize atop the throne.

The two discuss the recent appearance of Black Adam, leading to Shazam sharing Adam's origin story.  As it turns out Black Adam (then Teth-Adam) was given his God-like powers by the wizard Shazam himself.  After using his great gift in constructive ways, Adam comes to the realization that with the power he wields he can not only rule over men and kingdoms... but the world as well!  Shazam was unable to strip Adam of his powers or even harm him.  Instead, he banishes Adam to another realm... as far as the farthest star.  The realm from which Sivana has apparently freed him.

Captain Marvel takes off to the Sivana home straightaway.  He breaks in through the roof to find the three Sivanas having a contentious chat.  As Cap approaches the Doc, Magnificus bashes him in the back with a piece of heavy machinery... to absolutely no effect.

Black Adam suddenly breaks into the scene... putting another hole in the Sivana roof.  Billy launches him back through the roof (hole #4 at this point!) with a well-placed uppercut.  The two battle in the sky above Sivana's neighborhood before they both careen back through the Sivana roof (there's five!).

When they land, the Doc blasts Captain Marvel in the back with his "Secret Weapon", which actually does prove to be effective.  This displeases Black Adam greatly, as he assumes that Sivana only crafted the device to eventually use on him.  Adam demands that Captain Marvel is sent to the dimension from which he was summoned... to be immediately proceeded by the destruction of Sivana's machinery which would spell eternal banishment for our Big Red Cheese.

--

Loving this series more with each subsequent issue.  This chapter really played with the duality of the Captain Marvel/Billy Batson dynamic.  While Marvel has the appearance of an adult, he still is very much a boy.  He acts impetuously and follows his inexperienced "gut".  In this issue, his naivety got him into a few jams.

There was also a bit of duality played with within the Sivana family.  Magnificus is clearly more on the side of the Doc, while Beautia leans more neutral... to the point where just prior to Captain Marvel's arrival it is plainly stated that the Doc was physically hitting her.  We've seen previously that Beautia has a bit of a soft spot for Billy, while Mag is somewhere between indifferent and antagonistic toward the boy.  I really enjoyed witnessing this twisted family's dynamic.

There really isn't all that much more to add.  I do have to say, the further I make in this series the more I feel that perhaps Tom Mandrake was a bit of a miscast for Captain Marvel.  I can't really qualify that statement, it's really just a feeling I'm getting.

Thus far this series has proven to be both quite entertaining as well as quite informative for a Captain Marvel novice such as myself.  I'm looking forward to seeing how this one plays out, and eventually hunting down the rest of Jerry Ordway's Power of Shazam! volume as well.

--

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Doom Patrol (vol.2) #19 (1989)

Doom Patrol (vol.2) #19 (February, 1989)
"Crawling from the Wreckage"
Writer - Grant Morrison
Penciller - Richard Case
Inker - Carlos Garzon
Letterer - John Workman
Colorist - Michele Wolfman
Editor - Robert Greenberger
Cover Price: $1.50

On this week's installment of Weird Comics History on the Weird Science DC Comics Podcast (now with a new domain! www.weirdsciencedcomics.com), Reggie and I discussed the British invasion of the eighties into the nineties at DC Comics.  We discussed such awesome creators as Alan Moore, Neil Gaiman, and Brian Bolland.  One fella we discussed is the (not even British!) Grant Morrison.  We both have a great affinity for his take on the Doom Patrol, and I think we both employed a tremendous amount of restraint in not totally derailing our topic for a several-hour gush session over his run.

I think today is as good a time as any to dip our toe into Grant Morrison's Doom Patrol.  This is one of those runs that I hold in such high esteem that the thought of reviewing it feels rather intimidating.  This book dredges up so many emotions, and an odd sensation of comfortable discomfort that I'm not sure I'll be able to summon the proper words to truly do it any justice.  Before I try, I suppose I should give a bit of my background with this title.

It was around the turn of the century, and Marvel's X-Men had just made their silver-screen debut.  The mutants were primed to be bigger than ever... only problem being, the books were damn near impenetrable for any potential new reader.  Legendary X-Men creator Chris Claremont had just recently returned to the X-Family after about a decade away.  Many a Marvelite was excited that this meant a return to the brilliance of his first decade-plus run.  What we received instead were meandering stories featuring such luminaries as the Neo, The Goth, and the Twisted Sisters.

Marvel was in a bit of a flux at the time, longtime Editor in Chief (and current DC EiC) Bob Harras was ousted in favor of Bill Jemas and Joe Quesada.  This new regime was quick to fix any series they felt were flagging, including the Claremont X-Run.  It was announced that (adjectiveless) X-Men would be renamed New X-Men, and would be written by a fresh off the JLA Grant Morrison.  Should be good, right?  I mean, he did write Doom Patrol after all.

Doom Patrol?  That book from the early nineties whose covers made me feel uncomfortable?  Those covers sometimes looked like what I can only describe as "meat sculptures".  It looked as though meat was manipulated into the form of characters... it bugged me.  I never read an issue because the covers were just so damn creepy and off putting... which is a true shame.

With Grant's impending arrival on New X-Men, I made it my duty to start tracking down some of his old Doom Patrol works... and boy, am I glad I did.  The Doom Patrol has grown to be one of my favorites... and is what I call a "comfort food" title, a distinction and title I've given to a choice few runs in comic book history.  Something I read through probably once a year... and something we're gonna discuss the opening chapter of... right now.

--

A race car is heading into the home stretch at breakneck speed.  An oil slick on the track causes the car to skid before flipping and ultimately exploding.  A mangled mess of a man emerges from the wreckage holding what remains of a human brain.  This is Cliff Steele's recurring nightmare... a dream whose origins are only too deeply rooted in reality.

Robotman awakens from slumber with a scream, an orderly rushes in to check the situation.  Steele appears to be a patient at a behavioral health facility.  He harshly dismisses the orderly and proceeds to sulk.

At the Alamance Memorial Hospital, the recently famous (among medical professionals) Dr. Eleanor Poole receives a phone call asking if she could look in on a patient named Larry Trainor (Negative Man).  She agrees, and the person on the other end hangs up...

The other party on the call is revealed to be Niles Caulder, the Chief.  He has been calling around to check in on the members of his Doom Patrol in light of recent events.  He is joined by former Doom Patrol member, Joshua Clay (Tempest).  The Chief attempts to convince Clay to join his newest incarnation of the team.  Josh steadfastly refuses, citing recent deaths and injuries... as well as a desire to put the superhero life behind him as rationale.

Back at the Unit, Robotman receives a visitor in the form of Will Magnus, the creator of the Metal Men.... and Cliff Steele's current metallic body.  Magnus offers his services in order to help Cliff get over his current state and get back to his Doom Patrolling ways, and is not-so-subtly told where to stick his concern.

We rejoin Dr. Poole as she checks in on Larry Trainor.  They engage in a bit of flirtatious small talk before Eleanor leaves.  No sooner does she leave than Larry becomes haunted by a voice calling his name.  Suddenly there is a pitch black humanoid form surrounded in a sort of psionic energy staring in through his window begging to be let in.

We now observe Cliff Steele heading out of the ward to the yard, Magnus in tow.  Cliff laments over his condition, referring to himself as a total amputee... he has phantom pains where all of his limbs once were.  When the subject of the Doom Patrol arises, he blames the team for the deaths of several of his friends.  He finally breaks down and begins smashing his metallic head into a brick wall wailing over how he doesn't feel anything real... and begs for it all to end.

Back with Larry, the black entity enters the room.  It reaches for Larry's hand and states that it also requires "thewoman" Dr. Poole for something it calls the Alchemical Marriage.  Amongst the sweeping madness, Poole enters the room.  The entity takes her hand... and three suddenly become one.

Back to Cliff... He and Magnus are back inside, and Will is getting tired of attending this pity-party.  He tells Steele that there are people with problems far worse than his.  Robotman snaps back to contest that claim... Magnus then takes him to meet Crazy Jane.  Crazy Jane is a multiple personality case whose condition arose as a way to cope with trauma.  Following the events of Invasion, her meta-gene has been activated granting each of her personalities a distinct superpower.  When we meet her, she is outside painting in the midst of a downpour.  Cliff gives her a somewhat pleasant though perhaps simply curious greeting and gazes into her painting.  A hand emerges from the canvas as an illustration of her potential powers.  Magnus excuses himself, and shortly Robotman invites Crazy Jane to come in out of the rain.

Meanwhile on a busy city street, a car t-bones a bus at an intersection.  From this wreckage stumbles out a smoking skeletal figure holding a black book who mentions something about Scissormen.

Shortly, the police are investigating the book, only to find that the pages are completely black.  Not knowing what to make of this the officers begin calling up the chain of command knowing it will ultimately lead to one Niles Caulder.

The issue closes out with a four (!) page letters column discussing the latest few issues of this volume.  The letters are a mixture of praise and critical.  Of special interest, there is brief mention that current inker Carlos Garzon has chosen not to remain on the title citing "a variety personal reasons".

For what it's worth... I thought he did a great job here.

--

Now here's a book that really pulls you in.  I could only imagine what was going through the heads of regular readers of this title.  Going from the good-but-cartoony art of Erik Larsen to the opening page of this issue must have been a true shock to the system.  The Paul Kupperberg run wasn't a bad one by any stretch of the imagination... the only real criticism is that it felt "safe".  Compound that with Morrison's outside-the-box take, and you can see the stark contrast between the two eras.

For me (and I'd have to assume many others), Doom Patrol #19 was my introduction to these characters.  At the time, I'd never read anything with Robotman, and never even heard of the other characters.  Morrison does a wonderful job of introducing them and helping even a new reader with passing interest (at best) feel emotion toward them.

This is especially true in the case of Cliff Steele.  Having checked himself into a psychiatric facility to deal with what's become of his life... you see a man at the end of his rope.  He is hopeless, and try as he might... can never end his suffering, either by treatment... or by ending his own life.  His condition is heartbreaking, and one you usually wouldn't associate with a comic book superhero.  He laments his inability to react to the sight of a beautiful woman... how he feels like he has to use the restroom before remembering that he doesn't have any bowels.  Cliff is clearly a prisoner in his metal shell, meandering through this living death day after day.  Characterization like this is why Grant Morrison is among (and sometimes atop) my list of favorite writers.

Richard Case's art is great as well.  I mentioned during the podcast that I felt it seemed "flat... but purposely so"  I'm not sure it made sense when I said it, and seeing it in print... I'm still not sure, but I'll stand by it because I feel the same way now.  It really brings me into the time in which this book was produced... there is a very strong late-80's gritty indie vibe here, and it's absolutely perfect.

This issue (along with the entire Morrison run) has been collected in a Vertigo-branded trade paperback collection.  Many people fail to realize that though this run is darker, it is still a strictly DC Comics book.  Doom Patrol wouldn't move to the Vertigo imprint until the Rachel Pollack run.  Hell, this issue, while not brandishing the Comics Code Authority seal of approval does also not feature a "Suggested for Mature Readers" branding usually reserved for books of this ilk.

Definitely check this series out.  Whether in single issue, collected editions, or in digital format.  You would do yourself well to read through what one of the (in my opinion) greatest runs in comic book history.

--

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Batman and the Outsiders #1 (1983)

Batman and the Outsiders #1 (August, 1983)
"Wars Ended... Wars Begun!"
Writer & Co-Creator - Mike W. Barr
Artist & Co-Creator - Jim Aparo
Colorist - Adrienne Roy
Editor - Len Wein
Cover Price: $0.60

Another one from the famous covers collection.  I'd thought this would be an interesting issue to go over from the cover alone.  Just look at the dejected looks on the faces of the Justice League members... conversely, check out the smug kissers on the Outsiders.  I knew this one was destined for the collection by hook or by crook.  Let's see how this one plays out...

--

Lucius Fox is headed to the nation of Markovia on business for Wayne Enterprises, and his buddy (and boss) Bruce is throwing him a going away party.  Over the nights that follow, the Batman goes about his routine patrols, until returning to the cave only to find Alfred has some bad news.  As it turns out, Wayne Enterprises chose a rotten time to send a man out Markovia way as they are in the midst of a revolution.  The front page of a local Gotham newspaper states that Lucius Fox is among the missing.

Batman calls an emergency Justice League meeting to discuss retrieving his buddy Fox from the Markovian miasma.  He 'ports up to the JLA Satellite, and finds something less than a warm reception.

ruh-roh... When Superman says "We have to talk"...

Before he can lay out his plan, he is stopped by his "old friend" Superman.  He informs Batman that the League has already agreed not to interfere in the Markovian matter due to the State Department's fears that their presence would only exacerbate the situation.

Batman does not take this news well at all.  Rather than try to work out a compromise, he just ups and quits the League.  Just like that?  Just like that.  He swats Superman's hand away, recounts his origin story and skips the Satellite.  Hardly the "two-bit Justice League" speech I had expected from the cover, but I suppose it'll do.

Meanwhile, in Castle Markov... Markovian King Viktor is on his last legs, just moments away from shuffling off this mortal coil, he talks to his two sons, Gregor and Brion... the darker-haired (and uniformed) Gregor is next in line to the throne.   Before passing, Vik makes mention of their sister Tara, who many fans will recognize as Terra from the New Teen Titans.  The fellas grieving is cut short by the entrance of one Dr. Jace.  It is implied that Jace's experiments are responsible for Terra's ability to manipulate the Earth.  Brion, next in line to be a guinea pig, leaves the Castle with the doc.

Outside by Markovburg, a passing billionaire stops a family of refugees for directions.  It is, of course, Bruce Wayne... and he is desperately seeking Dr. Jace.  The fella points him in the right direction, and for his troubles Bruce unloads his rattletrap of a hooptie on him.

Nearby, a young man approaches a Markovian soldier.  He claims to be Lucius Fox's brother, but we know him better as Jefferson Pierce... Black Lightning.  In true invader form, he requests to be "taken to his leader".  He flashes a bag containing a solid gold brick to sweeten the deal, and the soldier... whose name we come to find is "Stud", dutifully leads him boss-ward.

In the General's tent, Jeff is given an audience with Karnz, the man in charge.  Before they can come to an agreement, Karnz is stabbed in the back from an assassin on the outside of the tent.  The soldiers swarm Pierce, and goes into fight-mode.

Outside the tent, we meet our assassin.  She is Katana, and she is able to flee from the bevy of pursuant soldier-boys.  Ol' Black Lightning's not as lucky... getting clubbed in the back of the head with the butt of a rifle in all the confusion.

Batman has his man wired, and is listening to the whole ordeal.  Irritated, he heads down a dilapidated road.  As he continues, he comes across a young woman with long blonde hair (with rainbow "highlights") who is passed out.  He notices that she appears to be surrounded by a sort of halo... hmmm.  He tries to stir her back to consciousness, only to be blasted by a kind of energy shot for his troubles.

The young woman attempts to flee.  She takes flight, however, cannot maintain it.  She falls into Batman's waiting arms.  He reinforces that he means her no harm, and tries to figure out a way to help her.  She does not appear to understand very basic human needs, such as eating food.

Dr. Jace and Prince Brion Markov have arrived at the lab.  She gives him one last chance to back out, and he refuses.  With a pull of a switch, the young Prince is bombarded by powerful rays.  The experiment was a success.

Just then, several revolutionaries crash the scene.  The future Geo-Force is able to hold his own briefly, until taking a bullet in the back.  Luckily (like... really luckily), Metamorpho the Element Man is in the house.

Ol' Rex is a house of fire... for a moment.  He winds up shot by a sort of wire-pistol that cuts him into (not quite) bite-sized pieces.  His parts hit the ground in a funky colored pile, and is ultimately scooped into a sack.  He's destined to meet "The Baron", while Geo-Force is headed for an unmarked grave... which he doesn't stay planted in for long.

We now go back to Batman and his new pal Halo.  They approach some soldiers, with hopes of eavesdropping.  When a soldier begins creeping up behind the Bat, Halo fires a blast at the fellas head.  This unfortunately garners the attention of the rest of the squadron.  In all the confusion, he, like Pierce before him meets the butt-end of a rifle.  Halo watches as he's loaded on something of a spit, and hauled away.

When the Batman comes to, the first person he sees is the fella who he was seeking in the first place... Lucius Fox.  They are in a sort of cell and are wearing shackles.  Among their number are Black Lightning and a pile of Element Man.  Before the can sufficiently catch-up, a new man enters the scene.  He is Baron Bedlam, the party behind the current Markovian insurrection.

The issue closes out with a text-piece by writer/co-creator Mike W. Barr.  It's an interesting one where he discusses some of the challenges he'd faced in compiling his team of Outsiders.  I also learned that this title was the replacement for the recently wrapped up The Brave and the Bold.

--

This was a great way to start this series.  It was both fun to read and to look at.  Of course, I'd be lying if I said I wasn't just a bit disappointed that the story didn't quite live up to the cover... but, then again... how could it?

The introduction of Markovia was one of those things about DC Comics (and comics in general, I suppose) that I've always dug.  I enjoy seeing these fictional locations, where anything can happen.  They're kinda "squint just right, and it's a real place... but not quite" locations, and they give the creators a ton more leeway in just how far they can take their stories.  The Markovian Royal Family definitely has some potential.  I do look forward to seeing how their revolution plays out.

Halo's debut was interesting, and very well done.  If I recall correctly, it would be a couple of years before the mystery of Halo is finally addressed and solved.  I enjoyed my time with Jefferson Pierce, having very little experience with his character during this era.  Katana's brief intro, assassination plot and all was a great addition to this already mystery-filled tale.  All of the "new" characters were truly a treat to meet.

I do feel as though Batman's motivations for leaving the Justice League was a bit weak.  I don't believe he couldn't have convinced... at least part of the League to aid him in his Fox hunt (ehh?  ehh?).  I mean, Ollie and Dinah were there... ya gotta figure Batman could've got them to play along.  Like I said... kinda weak, but moved the story along to where it needed to go.

The art was wonderful, as is to be expected.  I really enjoyed the visual look of this issue.  Really, outside the sorta-kinda weaksauce rationale for leaving the League, I cannot think of a single complaint.  This has been collected in a SHOWCASE Presents "phone book" edition, so it isn't terribly hard to come across.  If you can get past the black and white format, it's definitely something to keep an eye out for.

--

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