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Post by wildfire2099 on May 12, 2017 22:05:43 GMT -5
I'll have to find that one.. I've never seen that story!
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Post by Prince Hal on May 14, 2017 13:27:49 GMT -5
Don't forget Adams. If I had to replace Cardy with someone from the era, it would definitely be Neal Adams, and he got in a few good issues there  Don't worry, I didn't forget -- was just giving an example of the use of the Swan look as the Superman house style that was being used "earlier in the 1960s" (if I may quote myself  ). And here's an opinion sure to be unpopular: while I liked Adams' Batman covers and his Deadman of course, I absolutely disliked the Adams' cover saturation of the rest of the DC superhero books that occurred later in the 1960s. His covers were much too overwrought and gnarly for my taste--not at all suited for the Superman books IMHO. But I guess his covers sold the comics, and that's what mattered. On Adams, I know what you mean. "Overwrought" is the perfect description. I never cared for his Superman or his Flash, for instance. To me, the Flash is a tricky character to portray (I'm talking barry Allen here; have no idea on how the characetr is being done today.) To me, tough, the Barry Flash is lean, lithe, not muscualr in the batman sense. That leanness of physique, I felt, should be mirrored in his cool, rational personality in the face of villainy and absurdity (the puppet cover, et al.) Thus, the standard Adams facial expressions, which on overs, anyway, seemed to run the gamut from rage to wrath, just never seemed to fit the Flash. The Specre? Fine. horor comics? Great. But Superman (whom I liken to the Flash in personality... after all, if he can't cool under pressure, who can be?), nah. Neal didn't always ring the bell with him, either. |
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fred2
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Post by fred2 on May 14, 2017 19:40:44 GMT -5
These Teen Titan reviews are good. Keep them coming. I never was much interested in them before; but I am fascinated how they have evolved over time.
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shaxper
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Post by shaxper on May 14, 2017 20:52:48 GMT -5
These Teen Titan reviews are good. Keep them coming. I never was much interested in them before; but I am fascinated how they have evolved over time. Thanks, Fred. We're hitting the truly interesting stretch now. Next issue contains possibly the most infamous editorial mandate in DC's Silver Age, and you've got the brand new origin and redesign of Wonder Girl after that, followed by the introduction of Mr. Jupiter and a complete redirect of the series as a result. The first two and a half years were a bit of a chore to review, but the show's just getting started now |
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Post by tarkintino on May 15, 2017 23:44:49 GMT -5
Brave and the Bold #83 (May 1969) "Punish Not My Evil Son" Script: Bob Haney Pencils: Neal Adams Inks: Neal Adams Colors: ? Letters: Ben Oda grade: A+ It's less a Teen Titans story than a Batman and Robin one, but the Titans do feature prominently, and I really believe this issue was the basis for some of the most important Batman and Teen Titans story arcs in the decades that followed, Bruce's attitude towards Lance mirroring his attitude towards a Post-Crisis Jason Todd: Important Details:- First significant appearance of the Teen Titans outside of their own title since it began two and a half years earlier. - Has Speedy officially joined the team as of this issue? He was still at "Call me if you need me" status as of the last issue of Teen Titans, but he's just here with the rest of the team now, no explanations offered. - Whereas the earliest Teen Titans stories depicted Dick Grayson expressing some rebelliousness against Bruce Wayne, he's a perfect zealot in this story The Batman line of comics were maturing the relationship between Bruce & Dick by this time, with Grayson not only asserting himself as the leader of his own team of heroes, but as a wiser young man, not the excitable "Boy Wonder" of old. This BatB story ties in well with what was the culmination of this growth-- Batman #217's "One Bullet Too Many," the December, 1969 story where Dick leaves Wayne Manor for college. Fitting that the last Batman title of the decade also featured the last of Dick Grayson being so connected to his younger years as the "Boy Wonder". |
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Post by tarkintino on May 15, 2017 23:53:47 GMT -5
Teen Titans #19 (February 1969) "Stepping Stones for a Giant Killer!" Script: Mike Friedrich Pencils: Gil Kane Inks: Wally Wood Colors: ? Letters: Ray Holloway grade: A- Minor Details:- In the letters page, presumably in response to many protests in regard to issue #17, Giordano promises that Robin isn't going anywhere because the new Batman animated series is proving to be a success. I would say that's a major detail (in the grand scheme of comics history), in that it proves DC had always supported the character, and knew he was popular enough to transition from the West/Ward series and into his first turn at animation. In fact, as comic Robin was becoming a mature college man, his Filmation version was still of the Burt Ward/"Holy____!!" variety, yet both were accepted at the same time. |
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shaxper
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Post by shaxper on May 16, 2017 5:17:32 GMT -5
The Batman line of comics were maturing the relationship between Bruce & Dick by this time, with Grayson not only asserting himself as the leader of his own team of heroes, but as a wiser young man, not the excitable "Boy Wonder" of old. This BatB story ties in well with what was the culmination of this growth-- Batman #217's "One Bullet Too Many," the December, 1969 story where Dick leaves Wayne Manor for college. Fitting that the last Batman title of the decade also featured the last of Dick Grayson being so connected to his younger years as the "Boy Wonder". Yikes! I didn't realize Batman #217 had already happened. I'll have to include it in these reviews. Thank you. |
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Post by Deleted on May 16, 2017 8:15:20 GMT -5
Looking forward to issues coming up. When I was younger, I didn't care for the Mr Jupiter era of Titans. Looking back, I find them very interesting and Mr J was teaching them some great lessons--how to function without powers and costumes (independence). I was glad when the costumes and powers came back--with the emphasis on spooky stories, but the Jupiter era is fascinating (both with story and art).
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shaxper
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Post by shaxper on May 16, 2017 10:40:50 GMT -5
The Batman line of comics were maturing the relationship between Bruce & Dick by this time, with Grayson not only asserting himself as the leader of his own team of heroes, but as a wiser young man, not the excitable "Boy Wonder" of old. This BatB story ties in well with what was the culmination of this growth-- Batman #217's "One Bullet Too Many," the December, 1969 story where Dick leaves Wayne Manor for college. Fitting that the last Batman title of the decade also featured the last of Dick Grayson being so connected to his younger years as the "Boy Wonder". Yikes! I didn't realize Batman #217 had already happened. I'll have to include it in these reviews. Thank you. Correcting myself in response to your correction. (Ouch. Just hurt my brain there). Batman #217 is still seven months away. I see now, tarkintino, that your point is there was a gradual evolution building up to that moment. I'd be curious to hear more about that, as #217 always struck me as something that came out of nowhere (a brief setup at the end of the previous issue of Detective aside). Is there a progression evident in the Batman and Detective stories at this point? If so, I've missed it upon previous readings. |
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shaxper
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Post by shaxper on May 18, 2017 7:36:20 GMT -5
Teen Titans #20 (April 1969)  "Titans Fit the Battle of Jericho" Script: Neal Adams (Marv Wolfman and Len Wein -- not attributed by DC or GCD) Pencils: Neal Adams, Sal Amendola (Nick Cardy -- not attibuted by DC or GCD) Inks: Nick Cardy Colors: ? Letters: Ben Oda and Morris Waldinger grade: D+ Just when this title was starting to get good, we suddenly have one of the worst issues yet (as well as possibly the worst work of Neal Adams' career), with clumsy art, a nonsensical plot, and seeming carelessness throughout (ex. the credits for this issue first appearing in an arbitrary splash panel on page 11). But the story behind this thoroughly unremarkable issue runs deep and complex, and it's become one of the more infamous contested moments in Silver Age DC history. What we know:Marv Wolfman and Len Wein, still newbies at DC, originally pitched a story in which a mysterious costumed hero named Jericho enlists the Titans' aid in stopping a gang of radical young black men from using violence against the establishment, Jericho ultimately turning out to be the brother of one of these kids and (big reveal moment) a black man himself. It was 1969, and there were no African American heroes in mainstream superhero books yet. This would have been huge. The story was approved by Managing Editor Irwin Donenfeld and slated to be a two parter, but, by the time part one was penciled, inked, and ready for publication, Carmine Infantino was now managing editor and ordered the story scrapped. Neal Adams pulled an all night rush job to redo the story, making everyone white, changing the scope of the story entirely, and salvaging what little he could of Nick Cardy's original art in spite of this:   and Wolfman and Wein were taken off of the title and not allowed any major assignments at DC for several years after. What Wolfman and Wein claim:According to Wolfman and Wein, Infantino's stated objection was that this kind of a story would have a backlash, especially in the South. They claim he scrapped the story entirely because of the subject matter. What Infantino claims:It was just a really bad story. What Neal Adams claims:Adams takes a middle-road approach to all of this, acknowledging that he found the story overly preachy and potentially very offensive in a reverse racism sort of way, but he also acknowledges that Wolfman and Wein were nearly blacklisted from DC over this script, something that doesn't happen just because you wrote a bad story. In the end, the cover and some of the original art were incorporated into the issue, but what we get is a story with only faint echoes of what was originally intended:   It's a nonsensical story with no real allure to it. No great action, no great characterization, a forgettable guest-hero, and an oddly paced conflict that doesn't really get started until page 19 and then fizzles out fast. But, judging it as the all-night revision that it was, it's probably one of the more impressive stories Neal Adams ever did. And (at least according to Adams) if it hadn't been done, Wolfman and Wein never would have worked at DC again. Important Details:- In the letter column, Giordano explains that, "Speedy will be around on a semi-permanent basis for a while." - The inter-dimensional alien invaders from Teen Titans #16 are revealed to be utilizing human operatives on Earth to accomplish their goals, including the radicalized teens in this story, Dr. Larner ( Teen Titans #8), and Scorcher (from Teen Titans #10). - Neal Adams claims that the conversation this issue started made possible the introduction of John Stewart two years later. Minor Details:Marv Wolfman purposefully recycles the name "Jericho" in his New Teen Titans series, much as he did for "Starfire". Source for the facts, history, and original artwork provided in this review: Titans Tower.com |
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Post by Cei-U! on May 18, 2017 8:20:58 GMT -5
I just wanted to point out that the Black Panther had been around for a couple of years by the time this issue hit the stands (and Dell's Lobo, a short-lived western with an African-American lead, appeared two years before T'challa), so there were black heroes in "mainstream comic books," just not at DC.
Cei-U!
I summon the nit I just picked!
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shaxper
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Post by shaxper on May 18, 2017 8:28:18 GMT -5
I just wanted to point out that the Black Panther had been around for a couple of years by the time this issue hit the stands Good point. I was thinking of the influx of Black African American heroes that came in the decade after: Luke Cage, Black Lightning, Black Goliath, John Stewart, but I stand corrected. |
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Post by Deleted on May 18, 2017 8:47:31 GMT -5
I remember reading about the controversy regarding this issue and how the Nick Cardy pages were some of his very best. I believe only a few pages of the original art exist. The opening sequence of the story is what always struck me--Joshua sneaking into Titans Lair and taking the team by surprise.
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shaxper
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Post by shaxper on May 18, 2017 9:10:19 GMT -5
I remember reading about the controversy regarding this issue and how the Nick Cardy pages were some of his very best. I believe only a few pages of the original art exist. You can see scans of nine original pages here. |
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shaxper
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Post by shaxper on May 18, 2017 9:42:46 GMT -5
Teen Titans #21 (June 1969)  "Citadel of Fear" Script: Neal Adams Pencils: Neal Adams Inks: Nick Cardy Colors: ? Letters: John Costanza; Joe Letterese (page 1) grade: B Sure seems like a series of last minute decisions drove the creation of this issue. It begins with The Hawk and The Dove, one issue away from cancellation (and conveniently also edited by Dick Giordano), randomly tacking this coda onto the end of their most recent issue:  (from The Hawk and The Dove #5) This had been a powerful story in which Hawk nearly died, causing Dove to go berserk and, thus, seriously reexamine his stance on non-violence. The ending simply resounded, and this little tacked-on piece felt completely out of place. Heck, it didn't even lay out a particular plot. We're told nothing about who they are pursuing or why; it's just an empty setup for a guest appearance in Teen Titans. And when this issue begins, it explicitly continues from that moment, leaving readers to believe they have to pick up The Hawk and The Dove #5 to know what's going on, even though Adams couldn't even be bothered to keep consistent the look of the dude they were chasing  nor have him play any role in this story after that first panel. It's a total rip-off. And if this issue was supposed to do anything more for The Hawk and The Dove than force Titans readers to rush out and buy the issue this one allegedly continued from, it certainly failed at that. The characters really don't get showcased well here. Sure, they save Speedy's life at a critical moment, but whereas their characterizations brim to the surface in their own series and are the strength of the title, Hawk and Dove's personalities are relatively muted here in favor of furthering the story. Another last minute decision would seem to be having Neal Adams continue on the title after pulling that last minute re-draw/re-write on Teen Titans #20. He brings back the threat of the inter-dimensional invaders he set up in that story, even if their means and motives aren't really clear at this point. The threat will continue into the next issue, making this the Titans first ever multi-part story. In spite of these last minute decisions and a pretty nonsensical plot, there's a lot that works in this story, most notably Adams' art, which definitely isn't rushed this time around.  And Cardy's inking enhances the effect significantly:  It's gorgeous stuff. In terms of characterization, the letter page promises a more character-intensive approach to the Titans from here on in, but we're still only really getting that for Speedy at this point, as he works on his anger issues  and shows signs of a budding romance with Wonder Girl  It's well done, but no similar treatment is given to the rest of the Titans, nor guest stars Hawk and Dove. All in all, a visually exciting adventure, but a flub both in terms of story and in its efforts to promote the ailing The Hawk and The Dove title. Important Details:- First meeting of The Teen Titans and The Hawk and The Dove. H&D will eventually become reserve members and then members of Titans West. Minor Details:- For at least the second issue in a row, fans are asking about Wonder Girl's origin. Giordano promises we'll be getting it shortly. - A fan asks for Beast Boy to join the team. Giordano flat out says that he doesn't like the character because, "I feel I should want to be that superhero...and I don't want to be Beast Boy." Plot Synopsis: The Titans and Hawk and Dove literally collide while pursuing a smuggler, and misunderstanding abounds. They pursue the smuggler through a teleportation machine and end up facing a series of deathtraps orchestrated by the minions of the inter-dimensional invaders, at which point Hawk and Dove save Speedy's life, but they continue to fight because Speedy and Hawk both have a thing for Wonder Girl. Ultimately, Hawk and Dove have to leave as their powers begin to fade, nothing really being resolved, though Speedy now feels guilty for how he treated them. Meanwhile, Robin and Kid Flash have been captured, and the issue ends with Speedy and Wonder Girl still needing to find them. |
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