Return of the New Gods #12



First up, our cover is by Al Milgrom, doing his best Kirby imitation. It's suitably dynamic, though Darkseid would have made it epic. As we can see, this is more of a standard superhero take, visually. Orion has his new costume, Forager has been thrown into the mix, and we get the new character, Jezebelle, to add a female character. Poor Lonar didn't make the cover. At least Lightray is here, after being conspicuously absent from 1st Issue Special #13.

Inside, we get Don Newton's take on the same scene, with Lonar in the mix. Newton isn't quite in the Kirby mold. However, his moody art does a lot to elevate Gerry Conway's story. Newton spent a long time producing artwork for fanzines, before getting a chance to make his mark at Charlton. His best work was on The Phantom, for the last 7 or 8 issues, including this sweet, painted, final cover:



Like Jim Aparo before him, Newton came to DC, where he got to strut his stuff here, before moving on to Captain Marvel and the Marvel Family (in World's Finest) and Batman (in Detective Comics). Newton was the artist on Denny O'Neil's classic story, "The Curse of Crime Alley," as well as the death of the original Kathy Kane Batwoman, at the hands of Bronze Tiger. he is a highly unsung artist, though the recent Batman collection helps rectify that.

Next, we get a gorgeous two-page spread, recapping the background to New Genesis and Apokolips:



We next see our new team, as they approach Apokolips and are engaged in battle by parademons and dog cavalry. The banter we get is more typical of the Marvel heroes that Conway cut his teeth on, rather than the more epic speech patterns that Kirby gave them. Jezebelle refers to Forager as a "bug", a key element from the Kirby stories; but, Forager reminds her that he is a man. Orion tells Lightray that Forager has become a fine warrior and Lightray laments the need for warriors. They battle their way to Darkseid's palace, where Orion finds...



...nothing! Darkseid has bugged off to Earth's moon. The team travels there by Boom Tube and finds an advanced city located there, in secret. It appears deserted. Inside, the find a computer display with a list of names and locations:



These people hold the key to the Anti-Life Equation, the secret that Darkseid has sought for most of his life. The team split up and head to Earth to locate the people on the list.

Orion is first and he is intercepted as he approaches a Strategic Air Command base, from the air. Fighters are scrambled; but, Orion gets the better of them, then demands to see Brig. General Maxwell Taylor, who informs him he is there, as he stands at the front of a troop of soldiers. Just a side note: the fighters are way out of date, looking like 1950s F-86 Sabres, not more modern F-4 Phantoms. Newton must have had old reference material. Also, the general is shown in an olive drab uniform, which is Army, yet he commands a SAC base, which is Air Force. We saw the same thing before, in 1st Issue Special 12, with Starman. Too many damn hippies at DC; can't draw the military properly.

Next, we see Forager infiltrate the secret and underground "Project," working his way past the defenses, only to be confronted by guards. Newton does some really fine work here. Note Forager's progress through a ventilation shaft to the main area:



Forager is very reminiscent of Captain America here, especially with his shield.

He is brought to Dr Donald Bradford and Conway reminds us that the "Project" was responsible for breaking the DNA code and cloning the Newsboy Legion. It is unclear if Conway intended for Bradford to be one of the adult Newsboy Legion or just an associated scientist. Forager explains about the Anti-Life Equation and how Darkseid seeks it, to gain full control over every mind in the galaxy. he likens it to the hives of his people, where he was an anomaly, blessed with free will. He removes his mask, showing he is human.

Newton gets to show off some suitably epic decor, with advanced machinery and settings, like the best Bond films and sci-fi movies.

We move to Alaska, where an Eskimo, Nomak, sees Lonar, riding the skyways. And that is all we get. Poor Lonar.

Jezebelle catches up with Dave Lincoln, a private eye who was instrumental in the original New Gods series, helping Orion battle Intergang. They only get a couple of panels. Metron, he of the high-tech barcolounger, meets up with Lorraine Hampton. Lightray comes to San Francisco, where he meets dug addict and hippie Richard Roe, and his old lady (who is trying to keep him off the junk). We cut to Orion, who talks with gen. Taylor, who isn't impressed and thinks Orion is part of some plot perpetrated by enemies at the Joint Chiefs. He refers to coddling "fly-boys" suggesting maybe he is Army, which makes no sense, as Army generals do not command Air Force bases. Civilians! The general sicks his dogfaces on Orion, who wipes the floor with them, then flies off, vowing to hunt down and destroy Darkseid, who just happens to be watching:



Note that Darkseid isn't as massive as in Kirby's hands. He's a bit taller; but lacks that physical presence that Kirby gave him. He's leaner. However, Newton is still able to make him imposing, and he brings to mind Darth Vader, in many ways. Of course, this is the era of Star wars; but, this issue was released a month before the film. Vader owes much to Kirby, both Dr Doom and Darkseid; but, I don't think that was Newton's visual inspiration. Doom maybe, as he has a similar bearing. He is less alien, than Kirby's original, which knocks him down a bit. However, Newton's depiction is how I first encountered Darkseid and how I thought of him, until reading Kirby's original series (in the Baxter-format reprints). In fact, I figured out Darkseid was at the center of the villains in the Great Darkness Saga, before the reveal, when I noticed the shadowy villain wore knee boots and immediately thought of Darkseid. Keith Giffen's drawing was mysterious enough not to blatantly say Darkseid; but, it looked enough like Newton's rendition that it is where my mind went.



Our story ends with a recap of the history of the New Gods, from Paul Levitz, boy editor. He remarks that this is a second chance and implores readers to buy and write.

Overall, we get a bang-up launch for the revival, with some two-fisted action, a bit of mystery, and an introduction to the players. orion is at center stage and Forager gets quite a bit of "screen time." Amazingly, Lightray is somewhat in the background, and Metron is pushed back a bit, too. Jezebelle and Lonar are still pretty much cyphers. Lonar was a Kirby creation, appearing towards the end of the original series, while Jezebelle is brand new. Conway needs to spend some time with them to more fully integrate them into the story. Newton and Dan Adkins, our inker, do a fantastic job, giving things the epic Kirby scope, but in a more traditional DC style. This doesn't quite have the impact we got from Jimmy Olsen #133, where Kirby debuted the 4th World, as it became known. The difference is that Kirby was pioneering, while Conway is attempting to do a remake, of sorts. He's following Kirby's groundwork; but, he isn't using Kirby's playbook. Question is, will it work any better, sales-wise?

ps. In researching the release of this and Mister Miracle, I found it amusing that the indicia of this issue says the book is published monthly, except for September, November, January, march and May. So, monthly, except 5 months out of the year.

Next, the relaunch of Mister Miracle!

Mister Miracle #19

Confession time: I am a much bigger fan of Mister Miracle than the New Gods. Even with Kirby, I prefer the character. He's more fully realized, with a deeper personality, and he makes for fun and exciting adventure, in most hands. He got the most mileage of any of the 4th Worlders, for good reason. I fell in love with the character in this series. That costume is pure dynamic and the aero discs blow away Silver Surfer's board. I actually got my first glimpse via this ad:



Is that cool or what? The character just leaps out at you and you are also curious about Oberon and Barda. Barda's more than a bit off-model here, though she has the right hair color in the series. However, she isn't quite given the same proportions that Kirby gave her. Kirby liked his women, well, almost zoftig. Barda, though, looked like an Amazon. There was nothing small about her. Some artists play that up, while others shrink or expand her, according to their style.



Our cover is suitably awesome, with Miracle facing off against a looming Granny Goodness, with co-conspirators Kanto, Vermin Vundebar and Dr Bedlam in the background, while Barda is decked out like Sleeping Beauty. Check it out in original form:



Marshall Rogers could teach Todd McFarlane a thing or two about capes! Meanwhile, you, too can be a part of the Superman movie! You'll just end up stuck in the background of the scene with the football team. In an age of multiple superhero movies, it's amazing to remember how excited we were, in 1977, at the prospect of Superman on the screen. The most we had, at that point, was re-runs of George Reeves and Mission impossible's Peter Lupus, in recruiting ads for the Air Force ('cause they fly, too.).

Our story opens with a nice shot of Scott Free's face, split in half by the Mister Miracle mask. Already, Rogers is strutting his stuff and he had a lot to strut. Scott and Barda are walking around Supertown, looking at the statuary, while Scott laments not being in the thick of the fighting, with the New Gods. barda reminds him that she, too, is a warrior Scott feels he has been left out because he is Highfather's son. Highfather, hearing this, chastises his sun and recaps the "Pact," the treaty between Highfather and Darkseid, wherein their sons were exchanged as hostages to peace. Wild Orion is brought to New genesis, where he learns of love and peace, helping to tame the beast within and turn him into a weapon against Darkseid. Scott, a blissful infant, is handed to Darkseid, who turns him over to the sadistic Granny Goodness, who raises him in her twisted orphanage, where he is taught the ways of slaughter and torture. Scott rebels against the teaching and is a constant target for torment, until he escapes to Earth. Highfather says he turned him over once and he suffered greatly. he has done his part, it is time to enjoy peace and life with his new bride (Scott and Barda were married at the end of the last Kirby issue). Barda says Highfather is right and that Scott should spend time loving. They embrace in a pretty hot silhouette, when Rogers gives us a nice visual metaphor:



Some hot lovin' followed by BOOM!!! Now that's storytelling!

Out of the Boom Tube pops Granny, Vermin, Kanto and Bedlam and Scott thanks them, for allowing him to kick their collective keisters. Scott's doing pretty well, while Barda bodyslams Bedlam, when Granny Pearl Harbors Scott, laying him out. Barda tells her "Back off witch!!!" (Code-Approved, don't you know), and the claws come out. Bedlam sneaks up on Barda while she engages Granny and nabs her with mental energy. Barda is taken out with some godly bondage, while Scott continues kickn' A.



Scott gets overwhelmed by numbers and is carried off, but gets free (pun intended) and escapes as the Boom Tube closes. Highfather and Himon, the man who helped Scott escape from Apokolips, come upon the scene. Scott asks them for help; but, Highfather says the New Gods are all engaged, as are Barda's comrades, the Female Furies. He will have to go it alone.

The scene switches to a house on Earth, where Oberon answers the door to find Mister Miracle and Oberon erupts with joy. Scott fills him in and asks for his help in rescuing Barda, who Mother Box has traced to Earth. Oberon hops onboard (literally, as he climbs on Scott's back) and off they go. Mother Box wraps Oberon in a cocoon, for protection, and Scott hits the gas on his aero discs. They fly across the country to Utah, to the outskirts of a mine, when they are hit by a holographic warning from Granny, who has a hostage:



Granny tells him that Scott can enter the mine to negotiate Barda's release if he leaves Mother Box behind. Scott complies, as we learn a bit about the living device and how it has aided Scott. He loads up with secreted weapons and tools, ala Houdini, and enters his enemy's lair. He meets up with the baddies and Kanto is sent to search him. he doesn't find Mother Box (or any of the secret weapons) and tells Granny he is clean. She then double-crosses Scott (bi@#$!) and he is shown a projection of Barda being reconditioned for obedience. Granny says she knows it won't work on Scott, so he will be left to wallow on Earth, as an exile. Scott is led down to a lower area, where he is chained up and dumped into a vat of liquid, re-enacting Houdini's water escape. Scott uses his hidden tools to get free.



Granny and her friends carry the unconscious Barda off to begin the next phase, when they See Scott in pursuit. A door drops to stop him; but, he uses grenades he hid in his hand (under false skin!) and busts through, only to see the Boom tube close. he figures out what Vermin meant when he said they would be looking down on Scott, trapped on Earth. The only place to do that is the moon. Scott vows to follow, as our story ends, with, coincidentally, the logo for Eclipse Comics:





Well, sort of.

This is a terrific first issue, establishing the past history of the character and his place in the story, his friends and enemies, and then lets him do his thing, escaping from death traps. Along the way, Steve Engelhart is emphasizing that Scott is a god and that will be a major theme of his run, far more than Kirby. Engelhart is continuing the themes he explored with Mantis (the Marvel character) and in Green Lantern, which gives Mister Miracle more of a role than just escape artist and adventurer. Kirby made him more of a reluctant fighter in the war between Apokolips and New Genesis, though one who loved danger and adventure. He was a bright figure who fought the forces of darkness. Engelhart is taking that a step further. As he progresses, we will see Scott become more of a messianic figure. It is fitting, as he is the son of Highfather.

As with Don Newton, I will be crowing ad nauseum about Marshall Rogers' art. it is gorgeous, even better than his Batman, for my money. He really gets to let his imagination fly, as Kirby did, in his version. Mister Miracle zooms and swoops, his cape billowing and twisting. Scott contorts his body, battles and squirms out of bonds. It's the perfect showcase for an extremely talented young artist.

My one quibble is that Barda, one of the better female characters of the series and at DC, is reduced to a damsel-in-distress. Apart from her awesome bodyslam of Bedlam, she is taken out far too easily. Guess Engelhart wasn't quite as enlightened as he liked to think. Barda ends up the damsel for the next couple of issues, robbing us of a great character. Hopefully, we will get to see her return to form, once she is free.

Really nice to see Orion's masked superhero look again. That's how he looked when I first encountered him, and I've always preferred it to Kirby's original design.

Mr Miracle was my favorite of the New Gods saga.

I was too young for the Kirby stories, so this was my intro.  A neighbor had New Gods #12 (I didn't see 1st Issue Special until college) and I got Mister Miracle #21 with my own money (first comic I bought myself).  I love Newton's work, always have.  Conway is a mixed bag for me.  I like a lot of JLA, from his time; but hated a lot of it later on.  He was burnt out before the Detroit League, in my estimation.  Not a big fanof a lot of his other material and his Spider-Man was always too whiney for me, as a kid.  Granted, I didn't see stuff like the Death of Gwen Stacy, until much later; but, I saw enough other stuff to say, "Stop snivelling!" and put down the comic.  I always preferred Spidey more in Marvel Team-Up.

I haven't read Return of the New Gods in a while, and am doing so before I post; so, i am trying to keep an open mind.  Newton's art is enough to override Conway, for me.  I would like to know who conceived the costume changes and designed the new characters; whether it was Vosburg, Newton, or someone else.  Jezebelle looks too much like a third-rate stripper (possible intentional).  I do like how Newton handles Forager, who was one of the more intriguing characters in the original.  I was less than thrilled when he was killed off in the late 80s revival.  He deserved better.

I do have to say, there seems to be a fascination with moon bases around this time.  Starman had one, New Gods has one, Mister Miracle is gong there, the inhumans end up there, the Watcher hangs out there, the X-Men will fight for Jean Grey there; must have been a lot of fans of Space 1999 at DC and Marvel, around this time. 

Thing is, from what Mark Evanier has said, Scott and Barda were pretty much Jack and Roz Kirby.  They had that same kind of interaction, and Jack's art was miraculous, while Roz fought tooth and nail for her man (see their battles with Marvel and that infamous Comics Journal interview).  I loved their one-episode appearance on JLU, after being mere background on Superman TAS (at the end of "Apokolips Now!").  I especially loved Arte Johnson voicing Vermin Vundebarr.




It helps that the story (in JLU) was credited to Steranko, who both inspired the character and who knew a thing or two about escapes.  Just imagine if he had tried his hand with the 4th World?

My dad wasn't in the air force, both we both were avid model builders when I was little. I was dismayed whenever artists would draw generic airplanes in comics (looking at you, Sal!) instead of actual ones.

Which is art of why I like Michael Golden's art so much.

(Cockrum drew a mean Harrier in early X-Men issues too, as I recall).