A few years earlier that might have been the case. By ‘69 enough of the old guard had retired or been rendered irrelevant that I don’t think that would have been the case. Kinney bought DC in ‘67. By early ‘69 they were working to buy Warner Brothers. Money was what mattered not what got Weisinger’s undies in a bunch.

The Spectre #9 (April 1969)



Story #1 "Journal of Judgement" (actually, it's untitled, but we'll go with this)

Author: Mike Friedrich
Artist: Jerry Grandenetti

Synopsis: Striding through "the mystic moors", an area outside of the expertise of human knowledge the text further describes as "an eerie realm" The Spectre somberly carries a tome upon which the title "Journal of Judgement" has been inscribed. He stops long enough to raise his clenched fist and demand an answer from The Voice (confirmed in this issue as "the creator of your existence") as to why he must be shackled to this book.

The Voice responds by reminding him of an occurrence which transpired an unspecified amount of time ago though is implied to have taken place sometime between the end of last issue (or "a few nights ago" as Corrigan himself traces the date of last issue's 'dream' to) and the start of this one. The reminder proves unnecessary for The Spectre solemnly recalls the details The Voice only hints at through references to his "deeming [him]self the personal judge of life and death".

As we learn, Jim Corrigan found himself on a routine midnight assignment in one of the shadier parts of Gateway City alongside his Sergeant. Though it's not absolutely clear just what the hoods they've been following are trafficking this evening, chances are it's drugs. At any rate, the two officers barge onto the scene with the Sergeant taking a bullet to the shoulder. Though Corrigan quickly neutralizes the gunman with a quick blow to the jaw, he leaves himself open to an attack from the rear. One of the gang decides to make the most of this opportunity and levels his gun with Corrigan in his sights. Though the Detective-Captain seems unaware of the threat, his other half has been following this affair closely.

Rising and reforming himself from what can best be described as some sort of ectoplasmic pool, an enraged Spectre addresses the hood.

"Scum of the Earth! You would shoot an unarmed man in the back?"



Though the hapless villain pleads for mercy, The Spectre is offering none of it.

"There can be no mercy given to those of your kind -- even your very life is forfeit!"

And so it shall be. Two beams of light pierce the air between The Spectre's eyes and the gunman who falls to the ground dead.

In the meantime, the Sergeant has recovered sufficiently enough to witness these events unfold and scold The Spectre. "You had no right to do that -- no right at all!" Not a wise move. The Spectre swats the officer aside and grandly asks who he is "to question The Spectre, human?"

Alarmed, Corrigan demands an explanation from his other half which The Spectre shrugs off as an overreaction on Jim's part. This attitude doesn't sit well with the officer who admonishes The Spectre for playing judge and jury.

Spectre: But, Jim... it's my job!
Corrigan: To kill is nobody's job! And you killed him!



At this point, The Spectre attempts to force his way into his host body with Corrigan refusing to grant passage. Corrigan's force of will is strong enough to prevent the grim ghost from getting inside but the effort takes enough out of him that he collapses with The Spectre panicking and pleading for him to wake him.

And now we return to the present and to a remorseful Spectre who reflects upon "how sick my reactions seem to my present rational mind! What a difference that passage of time makes -- but what a price to pay!"

Cut to moments before he is given the above mentioned journal where he appears before The Voice who tells him that his mission is hereby ended. The Spectre pleads for a second chance and The Voice acquiesces, but with a catch.

"You shall be given a book - a book of life! If you handle the tasks assigned within this book - you shall be allowed to resume your normal previous standing"

And so this tale draws to a close as a new chapter in The Spectre's afterlife begins. Acknowledging that "my responsibility will be awesome! Some shall live... and some shall die! And I must make the choice!" The Spectre's new duties aren't as clearly defined as I'd like - just why the people in this book have been selected for entry isn't clear nor how The Spectre's powers are to be "limited" as he claims - but we are assured that from here on out, The Spectre shall undergo a sort of rite of passage, or "trial of endurance" as the text puts it, which promises to be a "hard task" which our hero nevertheless anticipates he "shall pass".

The Spectre, walking as if carrying heavy burden upon his shoulders, continues his walk through this realm to presumably begin his new journey.

Thoughts: Don't ask, don't tell. That has seemed to be the unwritten agreement readers have had with this incarnation of The Spectre curious as to how the one being tasked with the responsibility of ridding the world of crime is supposed to carry out his work without meting out any punishments too gruesome or permanent for the Comics Code of 1969. Though it doesn't feel right for The Spectre to be so neutered, we understand why and therefore don't question why he's perhaps a little friendlier than he should be. This issue however, breaks that agreement.

Having The Spectre outright kill a bad guy (and he does kill him, there's no last second resurrection or anything like that) only to be admonished by his "creator" as the text refers to The Voice that his role is not to act as "the personal judge of life and death" forces the reader to ask just what his mission is then. If The Spectre is here to fight supernatural forces, then what is he doing hanging around with Jim Corrigan? If he's here to fight street crime, then why is he paired up with a police officer who The Spectre himself has outright stated can handle himself just fine in this regard? As someone who's familiar with The Spectre's history, I'm lost and perhaps that's not a fair measure by which to gauge the success of this series - surely, there weren't too many readers in 1969 who had read any of his Golden Age adventures save, possibly, his outing in All Star Comics #1 when it was represented in Jules Feiffer's The Great Comic Book Heroes, but let's say I started following this character with Showcase #60. I would have likely read the text feature which recapped his origin (without mentioning just what his purpose was), explained that Jim and The Spectre had parted ways during WWII shortly after Corrigan had his life restored, and that he disappeared after More Fun 101, but that would be about it and I think that's the big failing of this run - The Spectre has no special purpose. Superman, Batman, Martian Manhunter - we know what these guys can do and we know why they do it, but the same can't be said for ol' Spec.

It's frustrating - why does The Spectre kill now all of a sudden? Surely he's seen criminals take pot shots at Corrigan before. A line explaining, for instance, that he's grown tired of the cycle of crime they fight but can never defeat would help, but again, nothing - he just loses it. Why does he strike down the Sergeant in such an imperious manner? What's with the detached, callous "who are you to question The Spectre, human?" line? Does his "sick... reactions" extend to his killing that crook or just to his attempt to force his way inside of his host? None of this is explained or made clear - he's simply given one personality one moment and another the next as if they're completely compatible.

Back to continuity - it isn't even long term history that's being glossed over here, Friedrich (who I erroneously stated earlier only wrote the one Spectre tale back in my review of issue three) brings up the events of the previous issue which only serves to make things more confusing here. It's a rarity for this title to acknowledge what transpired in earlier issues, but Friedrich cites The Spectre's "dream" from issue eight which only makes me wonder how The Spectre could fail so badly twice in one week. It's difficult to reconcile The Voice's declaration that their page deserves a second chance after killing a man and attacking a police officer here with the fact that they just gave him a second chance, what just a few days previously when he harmed an innocent bystander.

And I don't know just what this mission of "handl[ing] the tasks assigned within this book" entails. To be fair, it will become clear in the very next story in this issue, but taken as story unto itself, it's pretty vague. Furthermore, when it is addressed, it turns out that it means that The Spectre will be taking a backseat in his own title which is a clear indication that DC has lost faith in its hero and that judgement has already been passed in that respect. So not really the turning point or fresh start Friedrich would like us to believe, so much as a giving in. "We can't really do much with the character, but maybe if we push him into the background, we can get a few more feet out of the title.

I will say, that my appreciation of Jerry Grandenetti's work continues unabated here. The story doesn't call for any of those eerie 18th century street scenes his other stories have utilized so effectively, but Grandenetti proves that he can still add something new by supplying The Spectre with a disdainful sneer as judgement is passed upon him and an agonized wrenching of his muscles as he materializes before the hood he is about to smite. It's really great work and not something we've seen before with the character but later artists will take full advantage of.



So a disappointment especially in light of the fact that with a little extra work on Friedrich's part would have made this a compelling story. There's a contempt The Spectre displays for humanity here which John Ostrander would later use to great effect during his acclaimed run, but Friedrich doesn't follow up on it. Had The Spectre answered Corrigan's "What's gotten into you, Spectre?" query with something other than "Come off it! It's not as bad as all that!" we would have had something memorable here. I mean, "Scum of the Earth!" and "There can be no mercy given to those of your kind!" this stuff is gold. I've been waiting since the early 40's to see this Spectre return, but there's no explanation as to why he popped up all of a sudden and why we're expected to believe why this perfect encapsulation of who The Spectre is, is supposed to be inappropriate. Like I said, disappointing.

I'll continue my review of this issue with the next tale found there-in shortly. 

I don't buy that Grandenetti is inking himself in this issue--too conventional looking. For some reason, Bill Draut springs to mind.

The Spectre #9 (April 1969)

Story #2: "Abraca-Doom!"


Script: Denny O Neil
Drawer: Berni Wrightson

Synopsis:  "The book commands me to pass judgement on this man Fredrick Foost! Yet what am I to judge? Foost does not appear to be a villain, indeed... he is but a wandering performer, a stage magician..."

It seems as if The Voice's edict that The Spectre observe the people named within The Journal of Judgement is intended as an excuse for him to become host of his own magazine. As such, the above remarks spoken by The Spectre are delivered in the capacity of narrator rather than active participant. This isn't to say that he won't appear within this story, but be advised that this is mostly a typical horror tale of the kind you'd find elsewhere during this period in which our hero plays a supporting role.

Alright, so...

"Stage magician" is actually too generous a word to describe Foost's level of skill as an entertainer at least based upon his performance when we enter this tale. 'Two-bit Carny' is probably more apt. After failing to perform the relatively simple trick of making a "birdie" disappear before an audience of 'marks', Foost and his companion, Willard find themselves racing out of town before the unimpressed yokels can manage to get their mitts on the pair. They don't get far before they begin fighting violently between themselves and they don't get far with that either for as Foost beats his assistant, he finds himself transported to another realm where The Devil himself makes his introductions. Before he can acquire Foost's signature granting him possession of his soul in exchange for "a talisman -- the Abraca-doom! An object of the blackest occult!" which he promises will make him a "real magician", The Spectre arrives to offer a warning.

"Sign that parchment, Foost, and you consign yourself to an eternity of unimaginable torment!"

Interjecting that immortality is also included in the bargain thus preventing him from ever collecting on his end of the deal, The Devil adds a codicil to their agreement that the only catch is that should Foost's talisman ever come within six feet of an identical one - the "Abraca-Death" - which he has "given... to another conjurer", his immortality shall come to a close and his soul shall become his. Foost signs the paper and The Spectre calls him a fool.



"He's made a fearful decision! Still, I feel this Foost is not genuinely evil! I shall wait before judging... wait and hope!"

So Foost is granted the talisman and decides to head back to Karlsburg where he becomes a magician-extraordinaire. The Spectre observes from a distance and prays that he will remain uncorrupted.

Foost however, makes a decision which enters a morally gray area. When asked to perform before the heads of Marlovia, Foost causes the pair of royals to vanish and he subsequently takes their place as Count Lagos, "sovereign ruler of Marlovia". The Spectre follows these events and notes that while Foost employed black magic to achieve these results, the rulers he made disappear (it's not quite clear to where, but it seems likely they've been destroyed) were "tyrants" and therefore their loss is actually for the benefit of mankind. Indeed, Marlovia has been prospering under its new ruler according to the newspaper The Spectre peruses.



The Spectre isn't the only one displaying an interest in the welfare of Marlovia - the unnamed kingdom which borders Foost's land has decided to attack his country and Foost gets personally involved. Surveying the troops and tanks attempting to invade his land, he thinks "I could wish fire and brimstone upon them if I wanted... but I'm not a cruel ruler! Instead, I'll merely halt them!"

So the enemy is stayed when Foost commands their metal vehicles and weapons to rust and things seem to settle down until he receives a phone call from "the prime minister of the nation which borders yours" (yes, that is how he refers to himself) requesting that they meet. Given the momentous potential such a meeting holds, The Spectre decides to listen in on Foost's thoughts.

"With the backing of the prime minister's nation, Marlovia could become supreme... between us, we could topple other leaders!"

Intending to use the Abraca-Doom against the prime minster to influence his thoughts and override his will, Foost agrees to the meeting. The Spectre once again, attempts to intervene.

"I warn you... do not go! ... Your magic could be a force for good! Instead, you are choosing to use it only to gain power... power which deprive others of their freedom... power which will corrupt!"

Foost admits that this is exactly his intent at which The Spectre decides to reason with him no more.

"Then it is my judgement that you be allowed to pass!"



Foost meets with the prime minster and is stunned to come face to face with... Willard, his old stage companion. How did Willard attain such a prestigious title as 'Prime Minster of whatever country borders Marlovia'? Why, with the Abraca-doom of course! Having stepped within six feet of one another, the pair realise how they've been tricked and The Devil reappears welcoming them to "eternity" as they vanish.

Thoughts: Not quite a Spectre tale, but not quite a straight-up morality horror tale either, though it tips more towards the latter than the former. This one's a bit unusual in that while 'Abraca-Doom!' works as a typical horror comic on its own merits, it does nevertheless give The Spectre - the host of this yarn - a role to play within. It would be sort of like having Rod Serling play William Shatner's airsick travel companion in 'Nightmare at 20,000 Feet' while also introducing and closing the show. Nice to see that The Spectre isn't taking as much of a back seat as his demotion might have suggested.

It is an interesting concept - a man who sells his soul to The Devil but hasn't yet become the type of person who deserves the fate the fiend has planned for him - and giving The Spectre an in-story reason for keeping away from the action as he lets events unfold of their own accord for the most part, is appreciated. Placing the hero in a situation where shades of grey exist is also fairly innovative though Foost isn't exactly more than a one-dimensional caricature. Still, this is nevertheless a rather typical type of story you'd expect to find in any horror comic of the 1950's in which the writer has taken pity on the old actor who the studio has pushed to the side and so gives him some small part to play just to help him maintain his dignity. It isn't as if Foost is actually weighing right vs. wrong - he instead simply swings from not wanting to hurt people to abruptly craving such an opportunity. Like I said, one-dimensional.  I also would have liked some sort of clarification regarding just what The Spectre could have done should Foost not have gone into full-on bad guy mode.  I mean, he did already sign his soul over to The Devil by this point - good or bad, wasn't his fate sealed at this point?

I will give a shout-out to the way O Neil has Foost enter the astral realm where he first encounters The Devil. "Huh--? Willy... Where are you going... Willy?" Normally when a character in a story such as this vanishes to be transported elsewhere, they quickly catch on to what's happened even if they can't understand why. That Foost doesn't immediately recognize that it is him that's vanishing and not his assistant, is a clever bit of writing on O Neil's part. Of course, as the twist ending reveals, Willard did also make a deal with The Devil which might mean that he really does disappear at this moment (the art isn't clear) in which case, it acts instead as a clever bit of foreshadowing.

Speaking of the art...




It's absolutely beautiful. Wrightson started working for DC back in 1968 making this an early assignment. It's too bad that we didn't get a full blown Spectre story here, but since it would feel disingenuous to complain after the incredible job he did here, I won't. It would have been interesting to see how a more vengeful Spectre would have looked under his pen, but the terror in the eyes of the two men Foost does away with certainly gives you a good idea of how his victims would have turned out. Perhaps the best evidence of Wrightson's talents is the way he makes The Devil look intimidating despite the fact that he's wearing a pinkish outfit with bare legs. Compare this with Neal Adams rendition of his villain in issue three which does no favours for the silliness of his costume.

Wish I could have shared some more Wrightson-Spectre work, but aside from some covers during the 90's, it doesn't seem as if he ever really worked on the character again. Shame.

You may have mentioned this, but since Orlando's mystery books were doing well, they may have been test-driving the Spectre as a hosted anthology book.

I didn't bring it up and to be honest, if The Spectre were the testing grounds for something I have no idea what it was.  Was it a testing ground for Neal Adams?  At least as a writer?  For new writers and artists such as Mike Friedrich and Bernie Wrightson?  Was it a place where fans of the Golden Age could go to get a monthly dose of characters such as Wildcat, Hourman, Psycho Pirate?  Was it a straight-up superhero book hence stalwarts such as Gardner Fox and Murphy Anderson initially being given the reins?  It seems late in the game for them to even be trying to salvage the title - half-way through their penultimate issue - and with The Spectre taking a more active role in issue ten than he is here, it appears that DC never knew what they wanted from the series since they'll be downplaying the narrator angle almost immediately. 

To be honest, I suspect (and I have no way of knowing whether this is the case or not) that DC saw the property as 'damaged goods' and if they wanted to sell fans on a horror anthology, would have had better luck just setting themselves free from The Spectre altogether or, if they didn't want to have to pay extra for doing a new number one, then just renaming the series with issue 11.