DP02-12 The Power Girl Paradox Part 1

.....After the New Doom Patrol story arc ran in SHOWCASE #'s 94 (08-09/77)- 96 (12/77-01/78) there was surprisingly little editorial comment on it. The first letters regarding it were printed in #96 from Bob Rodi and Rick Taylor (both from Illinois). Editor Paul Levitz responded to Rodi by plugging the upcoming Power Girl feature (which Rodi didn't mention) and responded to Taylor thus:

• "If the DP go back into their own mag you can count on Robotman and Celsius having a few interesting discussions about the leadership role-- and Bob can look for the manhunt for Capt. Zahl. But we'll be looking for your verdict to determine whether the DP make it on their own."

.....Back when these comics were being published, the direct market was in its infancy and publishing decisions that would be driven by sales were driven almost exclusively by newsstand sales and the letters' page where that above response appeared would have to have been prepared before any unsold copies of the Doom Patrol issues could be returned from dealers, counted and deducted from the numbers shipped out in order to determine approximate real sales figures. Those sales figures would presumably be "your verdict". It was a very different system from the modern direct market in which publishers solicit advanced orders from retailers (generally through distributors), total the orders, round the numbers upwards and print that many. If the advanced orders are unusually low and a publisher has reason to trust the retailers' instincts, a proposed title might not even be printed. The fates of existing ongoing titles are determined by the continued confidence of those whose livelihoods depend on selling them, as with the old newsstand system, except that those fates are now determined before they ship, not three or four months later. Since editor Paul Levitz didn't know in 1977 whether the DP's revival would lead to getting their own title again or being put back on the shelf for the moment, he focused on the next scheduled feature, one which he wrote himself.

.....Tellingly, the next issue, which begins a three-issue Power Girl story arc [SHOWCASE #'s 97 (02/78)- 99 (04/78)] has a letters' page that leads with a letter written in anticipation of the Power Girl feature. (The writer, Allan Palmer of Quebec, was tipped off about their plans by a fanzine article. In keeping with the way future Vertigo characters would turn up on the periphery of DC history in the pre-Crisis years, Palmer suggests that PG's recent out-of-the-blue debut in ALL STAR COMICS could be explained by saying that she had been on Earth-1 fighting crime as Black Orchid, another flying bullet-proof female character whose identity and origin had not yet been revealed. Levitz describes this as "a very plausible suggestion".) A second letter from Bill Dickinson (of MN) is all about the DP but there is no response to it. In fact, none of the editorial 'voice' on the page mentions the DP at all.

.....Issue #98 contains a letter from Kevin Callahan (CA) who intuits much of what should have been explained by DC about the DP arc: that the "Doc" who repaired Cliff's body was Doc Magnus; that the Lt. Cable who appears in all three issues is the same Lt. Matthew Cable from SWAMP THING; and that Cliff's new body, drawn by Joe Staton in all three issues, strongly resembles John Byrne's ROG-3000, a back-up feature in Staton's E-MAN title for Charlton two years earlier. [I go on at length about it in the synopsis post for the John Byrne Period.] The DP is also mentioned in a second letter from Al Schroeder III (TN), but the reply to Callahan is more pertinent:

• "The Doom Patrol is indeed not dead. While sales figures are not yet in, we're keeping the magnificent misfits in the public eye in SUPER-TEAM FAMILY #16, in which they costar with Supergirl. Watch for it in a few months.-- PL"

.....SHOWCASE #'s 99 (04/78) and 100 (05/78) have no letters' pages and SUPER-TEAM FAMILY #15 (03-04/78) was the last issue of that series. Both titles eventually became casualties of the DC Implosion. There would also be no new Doom Patrol title, at least not for a while, no Power Girl title for a bit longer and no Hawkman title (the next three-issue arc in SHOWCASE after an anniversary story in #100). Yet there were clearly plans in place to continue stories with each cast of characters, even if their outlets turned out to be makeshift. Hawkman, for instance, hadn't carried his own title since the days of the original DOOM PATROL series. When it was cancelled he became a co-star in the Atom's series for its last year and then spent the 1970's merely as a Justice League of America member except for sporadic use as a back-up feature in DETECTIVE COMICS. In the year leading up to his SHOWCASE arc Hawkman took on a greater visibility as a character in his own right, guest starring in SECRET SOCIETY OF SUPER-VILLAINS and SUPER-TEAM FAMILY independent of the JLA. Despite that, after the arc when DC expanded all their standard titles by eight pages (all new material) he became the back-up in DETECTIVE COMICS again and would have been there regularly had the implosion not hit. To save the company's namesake title from cancellation it became the new home of the double-length BATMAN FAMILY Dollar Comic anthology. The Hawkman feature was relocated to its WORLD'S FINEST COMICS counterpart, replacing the Creeper feature (whose planned SHOWCASE issue was never published).

.....Power Girl (whose bizarre connection to the Doom Patrol I'll try to explain in future posts) at least had a natural home with the Justice Society in ALL-STAR COMICS, where she debuted in the same issue that revived the title, #58 (01-02/76). The story was written and edited by Gerry Conway with assistant editor Paul Levitz. Nearly two years later Levitz wrote the earliest stories featuring the Huntress. She had a simultaneous debut in ALL-STAR COMICS #69 (11-12/77) and DC SUPER-STARS #17 (11-12/77), both drawn by Joe Staton, at that point the regular penciller for both ALL-STAR and SHOWCASE. Power Girl and the Huntress seemed a natural pair. Unlike Earth-2's adult Robin, introduced in one of the 1960's annual JLA/JSA crossovers, these two young women were true legacy characters, not contemporary sidekicks who had grown into the roles of the characters from whom they were derived but new original characters succeeding their predecessors. At the time that was unusual in comics. Aside from Lee Falk's ancestral line of Phantoms (the identity was passed from father to son) or Charlton's Ted Kord replacing Dan Garrett as Blue Beetle, there aren't too many obvious examples. From the way Conway introduced Power Girl, its possible that he considered legacy characters to be a potential important theme for a JSA feature, circumventing the question of how much older these revered Golden Age characters can get and still be plausible as super-heroes. Conway began the series with the newly revealed Power Girl, the aforementioned adult Robin and the by-then-adult Star Spangled Kid forming what they called "The Super Squad", to be augmented by original Justice Society members. The name "Super Squad" actually appeared on a banner on the covers below the logo for the first eight issues of the revival, three issues beyond the point where Conway left as writer and editor and was replaced by Levitz, with Joe Orlando as his editor. After that, a large Justice Society logo pushed the series' actual title to a banner across the top and there was no longer any ambiguity about the focus of the series. It was all about the Justice Society and, less obviously, all about All-American Comics.

.....Are you familiar with the "three on a match" concept? When DC had an unexpected hit with Superman in ACTION COMICS in 1938, it took them a while to realize that having that anthology's only costumed character on the cover would spike sales. In 1939 they tried to test the appeal of costumes by trying a cover story on an older better established title, DETECTIVE COMICS, with Batman. That confirmed their popularity and all that remained was to determine whether it was a new, durable genre or merely a fad. To do this, editors Sheldon Mayer and M.C. Gaines, who had arrived from Dell since Superman's debut, were to create a whole stable of super-heroes. Although Superman and Batman were used to promote these new features (and mentioned as "honorary members" of the JSA when making rare cameo turns), they otherwise were kept separate where the actual stories were concerned. Their stories appeared in 'National' titles, but the next wave of characters would be seen in 'All-American' titles, named for Gaines' All-American Publications venture. If super-heroes had turned out to be a fad, the All-American titles could be cancelled without tarnishing the National brand. If they kept selling, National would add more. In 1940 Gaines and Mayer began with FLASH COMICS (an anthology including the debuts of Flash, Hawkman and Johnny Thunder) and ended with the first appearance of the Justice Society in ALL-STAR COMICS #3 (Winter/1940-1941). By the fall of 1941 National had formed its own team, the Seven Soldiers of Victory, also without Superman and Batman. By the late 1940's romance, westerns and horror began crowding out the super-heroes on the newsstands and, since Gaines had already sold back his interest in All-American to create EC Comics, the All-American brand identity disappeared along with most of the Justice Society's members. ALL-STAR COMICS actually wasn't cancelled, it became ALL-STAR WESTERN. Later, STAR SPANGLED COMICS became STAR SPANGLED WAR STORIES. The remaining heroes were consolidated as back-up features in titles whose leads became Batman, Superman or spin-off features like Robin solo stories or Superboy. In the 1980's many of those remaining back-up characters were retroactively assembled in the All-Star Squadron, but back in the 1970's they remained hopelessly obscure to all but a handful of fanatical Golden Age collectors. For a generation of comics fans in the 1970's the Justice Society embodied DC in the Golden Age specifically because they didn't survive past 1951 and were not impacted by the notorious Senate hearings on juvenile delinquency. From 1955 to about 1962 their names were stolen by space age strangers (or so it seemed at the time), but their peers, the Trinity (Superman, Batman and Wonder Woman), never went away. The Trinity escaped cancellation, weathered the witch hunts and went to other planets when the trends changed yet again. When the new strangers were explained as living on an alternate Earth, it necessitated there being an alternate Trinity-- one younger, one older. When Conway scripted the new ALL-STAR COMICS the numbering of the western phase of the title (#58 to #119) was ignored, but the stories couldn't reasonably pick up where they left off as easily as the issue numbers did. During the intervening 25 years some sampling of JSA members had been drawn out to join with JLA members for the annual 'Crisis' stories and if readers knew anything about them it was that most of them had retired from adventuring until those crossovers began in 1963. Conway couldn't set new stories in the 1950's with that imminent inactivity threatening to put a damper on things, so he set them in present day Earth-2 with a stand in for Superman (Power Girl, his cousin), a stand in for Batman (the Golden age Robin) and the only full member of the Seven Soldiers of Victory from their generation (Star Spangled Kid-- Wing had long since died and the Golden Age Speedy remained mysteriously absent until Crisis). There was no youth counter part to Wonder Woman (yet). Wonder Girl, after all, was a purely Earth-1 creation, as was Supergirl (the cousin of Earth-1's Superman and the character Power Girl was created to balance in Earth-2's alternate universe). Without a proxy Wonder Woman it wasn't really obvious that he was trying to acknowledge both National and All-American imprints. In a way, it may have been a tip of the hat to the early days of WORLD'S FINEST COMICS when Star Spangled Kid regularly had a feature and Batman and Superman each did as well, but not yet as a team. These younger characters formed a team of their own, a succession to the JSA, but when the Super Squad name dropped by the wayside it became clear that the JSA was to be carried forward, not succeeded. Enter the Huntress.

.....The first new issue of ALL-STAR COMICS gave us a cover of the younger generation of heroes rushing to save the older JSA members, roughly the plot Len Wein used to revive the X-men the previous year. Immediately following her debut, Huntress did the same on the cover of #70 (01-02/78). Since her debut, she took part in each of the annual JLA/JSA 'Crisis' stories until the big one in 1985-1986. At the end of that, she and the Earth-2 Robin became just two of numerous characters who didn't simply die but whose existence had never been part of the new synthesized Earth's history. For many readers (and we can only presume for Levitz) this meant much more than the loss of a beloved character (bad as that may be). It meant a lost opportunity for an Earth-2 counterpart to the concept of the Superman-Batman team. As I mentioned in a paragraph above, Superman and Batman each had features in WORLD'S FINEST COMICS, but weren't scripted as a team until the dawn of the Silver Age, less than a year before the adoption of the Comics' Code Authority. Those stories are generally acknowledged as Earth-1 history. To make the two worlds more closely mirror one another there grew an unspoken assumption that not only did the characters need to be duplicated, but the institutions as well. The Superman-Batman team couldn't really have been recreated in Power Girl and the adult Robin, since Robin's considerably greater experience would put them on an uneven footing. Power Girl and Huntress were both novices with roots to legends and more believably peers. Unfortunately they had only a year from Huntress' debut until the bimonthly ALL-STAR COMICS was cancelled in the DC Implosion. The JSA feature was then incorporated into the Dollar Comics format ADVENTURE COMICS for one more bimonthly year (1979) before being dropped when the title returned to standard length and its first monthly schedule in a decade. Huntress resurfaced in 1980 when DC tried to assuage reader complaints over their most recent price increase (from 40¢ to 50¢) by exchanging eight pages of ads per issue for eight extra pages of story. This made possible a Huntress back-up strip (again by Levitz and Staton) in WONDER WOMAN. Levitz wasted no time in having Power Girl as a guest star but the serial (which far outlasted many of its contemporaries-- most titles eventually just ran longer main features) was a less than ideal venue for building a partnership. They really needed their own feature and Levitz' increasing editorial duties made a now standard 25-page monthly title even less likely to happen than the 17-page bi-monthly title which had been much more common at DC when Power Girl and Huntress were introduced. The Implosion was once thought to have merely delayed such a potential title but that delay lasted until the circumstances of CRISIS ON INFINITE EARTHS, which made it impossible.

.....Today, of course, there is yet another alternate universe with an entirely new Earth-2 from which a kind of Huntress and a sort of Power Girl have been expunged and stranded in the New 52 Earth in the current WORLD'S FINEST series. Written by Paul Levitz, no less. Thirty-plus years overdue, but close enough. However, it was a much longer and harder road to reach that point than it would appear and the Doom Patrol ("...you remember Alice, don't you? This is a song about Alice...") got side-swiped in the process. Part 2 should be about what happened to that 1978 Supergirl story when the Implosion hit.

DP02-03 Showcase #96(12/77-01/78)[a]

.....FYI: This is a critical review of a comic book published over thirty years earlier. It was the third issue of a three issue arc. This blog's internal search can be used to find reviews of the previous two issues as well as related essays on the period by typing in the codes 'DP02-01' and 'DP02-02'.

.....On June 16th, 1963 cosmonaut Valentina Tereshkova became the first woman in space, riding aboard Vostok-6. It turned out to be the last Vostok mission, a series that began with the first man in space to orbit the Earth, Yuri Gagarin, in April, 1961.

..... The details can be found here and here.

.....The week before Gagarin went up, Journey Into Mystery #69(06/61) and Patsy Walker #95(06/61) became the first comic books to carry the "MC" logo, signifying the first public expression of the new Marvel Comics identity that had been clawing its way out of Atlas' grave since 1957. That fall, Fantastic Four #1(11/61) used the space race as a premise for what would become Marvel's flagship title. For the next few years the leap-frogging accomplishments of the USA and USSR space programs were echoed by Marvel and DC feverishly introducing new characters to capitalize on the public's renewed interest in super-heroes. The significance of this point in comics history was not lost on Warren Ellis, who used the ripple effect of Fantastic Four on comics publishing as a premise for his Planetary series. Fans of the Doom Patrol would no doubt recognize the importance of Tereshkova's historic flight to their favorite series. Not only was it coincidently during the same month as the cover date of the DP's first appearance but provided the name of one of its later members: Lt. Col. Valentina Vostok.

.....To be honest, I've never read Paul Kupperberg (or Paul Levitz, for that matter) explaining the derivation of Val's name. One or other may have trawled their memory for reasonably Russian-sounding names and picked them for alliteration, not remembering where or in what context they heard them originally. If that's the case it's an astounding coincidence and we may have to take a strop to Occam's razor. The reason I mention it is because Val becomes the focus of issue #96 as Arani had been in #95 and Cliff had been in #94. Her defection provides the plot for this issue as both American agent Matt Cable and Soviet agent Igor Brunovich each seek to capture her for their respective governments. In fact, the story is entitled "Defection!". Bruce Patterson replaces Frank Chiarmonte on inks and Ben Oda replaces Bill Morse on lettering. Otherwise the script (Kupperberg), pencils (Staton), colors (Berube) and edits (Levitz) are the same credits as in the previous issues. That consistency can work in a feature's favor when there is a limited window in which it can create an identity for itself and also win acceptance from a substantial readership for that identity. For that reason, this issue seems like a lost opportunity. The same team that has brought us this far and put Val front and center leaves her unconscious for much of the issue and unable to reveal any substantive background about herself. We don't learn why the Negative Energy Being envelopes her body instead of projecting from it a la Larry Trainor. We don't even know if its abilities and limitations are the same as Larry's (although she was contained by lead in #94). We don't know how she acquired the NEB (or how it acquired her). We don't know what her life was like before her defection; we don't know how she came into contact with either Joshua or Arani following her defection; we don't even know the details of her motives for defection. Perhaps she longed for the freedom we Americans have to wear stretch leotards with cleavage split to the navel. (I'm reminded of Lily Tomlin, who wondered what the world be like if we all grew up to take the jobs we wanted as small children-- a national economy built on astronauts and ballerinas, firemen and nurses. Could you imagine a world where we all dressed in the costumes of our 1970's heroes? Spend a day comparing the physiques at your local shopping mall and you'd know that all those gravity-defying codpieces and bustiers would have their work cut out for them.)

.....The story picks up immediately after the previous issue's ending with the Doom Patrol returning to the old headquarters in Caulder's abandoned Midway City mansion. They are met by Lt. Matt Cable, who identifies himself as an agent of US intelligence but neglects to mention that he is with the covert DDI and not the CIA. When he tries to take Val into protective custody, Cliff and Josh stuff him into a closet. Val is no more willing to be interrogated by her team-mates than by Cable and she storms out. What happens in the next panel [page 5, panel 2] could be easily over looked, but for readers who would go on to try and reconstruct the chronology of this often mysterious group it became a source of many headaches. Blaming Cliff for the conflict with Val, Arani says, "Cliff Steele...my husband told me you could be stubborn at times... but he never mentioned anything about stupidity!" Insults aside for a moment, for her husband, meaning Niles Caulder/The Chief, to tell her about Cliff's personality would require him to be in contact with her after the formation of the Doom Patrol, long after their brief relationship in India. From what we learned through the 'psychoprobe' in the last issue, Caulder had the use of his legs and was unaware that Immortus was financing his experiments when he gave Arani the immortality serum prototype. The probe doesn't reveal anything else after that (at least not to the readers), but Caulder's own account of his origin from Doom Patrol #88(06/64) recently reprinted in Super-Team Family (see DP01-AR3) shows him learning Immortus' identity and faking his own death to escape him, losing the use of his legs in the process. He operated on Cliff from a wheelchair according to the Robotman origin in the DP's first appearance, so he would only come to know Cliff after having left Arani behind in India. In post-Crisis appearances, Caulder claims to have never met Arani at all, that she was delusional and obsessed with him. He could easily be lying or the scene with the psychoprobe revealing her memories may have been wiped from history by Crisis and never happened at all or happened differently. In this pre-Crisis story we are only assuming that the probe accurately displays what Arani remembers as she remembers it and that it reconstructs what her physical senses saw and heard rather than merely what she believes happened. For what it's worth, Immortus says, "After his marriage, Caulder left Arani in India, unaware that I knew of her existence..." As much as Caulder no doubt strongly desired to learn the results of using the immortality serum on Arani, it would also be possible that he avoided contacting her hoping to keep her off Immortus' radar. Not that I give much credence to anything Immortus says, but he found her, and not vice versa. How either of them knew of the existence of the other is not disclosed here or, I believe, ever. Yet they clearly both did. If, as Arani contends, Caulder informed her of the Doom Patrol and his part in it and went so far as to provide her with the alarm codes (in Showcase #94) and profiles of the team members, we have to consider a disturbing possibility that would not have even been on the table for readers back in 1977.

.....Consider the possibility that Niles Caulder himself activated Arani as an agent to flush out Immortus after the 'death' of the Doom Patrol at the end of the original series.

.....Before forming the Doom Patrol, Caulder by his own account had been defeated by General Immortus three times. During the Doom Patrol's history they gained a number of other enemies, most of whom were dispatched in some way or other, but a few who recurred as Immortus would. Principally those were Garguax and The Brain with his Brotherhood Of Evil. A little more than half-way through the Original Period the Doom Patrol teamed with the Flash against all three factions in The Brave And The Bold #65(04-05/66). After that, Immortus seemed to disappear. The others (including Monsieur Mallah and Madame Rouge) attack the DP again around the time of Steve and Rita's wedding. This cooperation among villains continued for about a year until it was interrupted on two fronts. Madame Rouge began to realize that she was in love with Caulder and Garguax betrayed the others to side with a fellow, more powerful invading alien. The Patrol and Brotherhood temporarily joined to fight the aliens together, successfully driving them back into space. Garguax does not appear again pre-Crisis. Caulder eventually gains custody of Madame Rouge after learning her origin-- she was a mentally unstable woman whom The Brain was able to make coherent and rational by focusing her mind on being purely evil. Caulder didn't consider this to be the "cure" that The Brain seemed to think it was. His attempts to restore her sanity eventually resulted in her being split physically into two people, one good and one evil. The 'evil' one died, but the 'good' one gradually went insane again. Enlisting the assistance of an aging Nazi named Captain Zahl she 'killed' both the Patrol and the Brotherhood. [Of course we saw earlier in the Showcase arc that Cliff survived. We next see The Brain and Mallah in The New Teen Titans #13(11/81)- 15(01/82), but their escape was not explained until Teen Titans Spotlight #11(06/87). After that the others emerged gradually.]

.....HYPOTHESIS: After surviving the blast that appeared to kill the Doom Patrol (presumably using either a force field or transporter built into the chair whose remains were later retrieved by Cliff and Arani in Doom Patrol #1(10/87)), The Chief offered his services to the U.S. government for a three-fold purpose:(1) to exploit the one advantage he had over his remaining enemies, that they thought he was dead, so that he could amass funds, weapons and political influence to fight them later; (2) to continue cutting-edge research without interruption; and (3) to monitor Mento's progress tracking down Madame Rouge and Captain (later General) Zahl. Brain and Mallah would not reemerge until that Zandia episode in NTT and with Garguax still in space the only player not accounted for was Immortus. With access to government data in the "mere months" before Cliff's return, The Chief would have learned about AWOL soldier Joshua Clay and defecting Soviet officer Valentina Vostock as well as Doc Magnus being in the custody of the military, just the man capable of repairing Cliff's body so that The Chief could remain hidden. What he did not have was bait that would flush out Immortus but the one thing he knew would cause Immortus to lose all caution was the prospect of obtaining an immortality formula, the same desire that brought them together in the first place. Arani would become that bait.

.....If we were to believe that the psychoprobe used in the previous issue revealed actual events being remembered, then Arani had developed super powers through training by a secretive order and was given an immortality serum prototype by Caulder, who left and formed the Doom Patrol. After the DP 'died' at the end of the original series, Caulder found her, still young, transferred his property into her name and provided her with the information and means necessary to collect Josh and Val and to leave a trail that Immortus could follow. Her perpetual 'search' for The Chief was actually meant to dissuade anyone else from conducting a search of their own that might actually find him-- anyone truly inclined to find him would join her instead and she would lead them into some unrelated mission far from him, which she would then decry as an "interruption" of her search. She could not reveal The Chief's whereabouts or the fact that he was still alive until Immortus was captured or killed, either due to an oath or by psychological blocks imposed by The Chief. In fact, the very next adventure involving Immortus was the one near the end of the Kupperberg period in which The Chief revealed himself to be still alive. Shortly after that, Arani gave up her life fighting aliens in Invasion! before any satisfactory explanation could be wrested from either of them.

.....If we were to believe that the psychoprobe was merely revealing an implanted memory, however, it could be possible that Arani was found by Caulder after his apparent death with the team. She may have always been mentally ill and Caulder applied a modified version of the 'cure' he used on Madame Rouge, once again resulting in a physical dichotomy but instead of splitting the subject in two it caused some latent metahuman ability to manifest extremes of hot and cold. To hide Caulder's part in this should she be subjected to interrogation, he would have implanted a memory of this taking place years earlier when he had working legs and replacing his own treatments in the sequence of events with the training of a fictional religious sect. Later, when Immortus captured her and witnessed this fabricated memory through the probe, he claimed to have been searching for Arani for years in order to maintain a facade of omniscience rather than admit that he had been kept unaware of her for years. He is, after all, an egomaniac. This explanation of events would answer several other questions: Why did the psychoprobe not reveal the years of Arani's life while Caulder was with the Doom Patrol? Because there weren't any. If Immortus really had known of Arani's existence, as he claimed, why not invade the religious sect that trained her? Because he was lying and/or they didn't exist anyway. Why did The Chief have a romantic relationship with the reformed Madame Rouge near the end of the original series if he was married to Arani, who was in hiding? Because they weren't married.

.....Of course, both of the above speculations would answer some questions the same way. How did Arani know enough to locate Val when she had only recently defected, let alone (as we would learn in flashbacks published later) only recently bonded with the Negative Energy Being? Because Caulder contacted Arani after surviving the disaster that released the Negative Energy Being and when the new Negative Woman was first sighted, he could explain to Arani what that meant. Why would anyone trying to hide from Immortus in order to surprise him do so in the headquarters of his bitterest enemies? Because she was actually trying to lure him.

.....And the proof of these hypotheses? Well,... none. Absolutely none. But if gleaning back issues for some vague hint that corroborated either of the above proposed scenarios were difficult, finding any scrap of evidence that might disprove them isn't any easier. During this arc the four characters we are given are the old pro, the mysterious heiress, the fugitive and the angry young man. The pro (Cliff) we already know, but even if we didn't, he's a bit of an open book anyway. The heiress (Arani) we gradually learn not to trust, mostly because she doesn't trust anyone else. Of the other two we know nothing. The fugitive is an unconscious hostage when our attention is on her and the young man doesn't get any solo exposure at all.

.....HYPOTHESIS ENDS.

.....The highlight that would most likely be included in encapsulated descriptions of this issue, such as in price guides or online comics data bases, would be the introduction (and dispatch) of this issue's villain. Accompanying Brunovitch on his mission to retrieve Val is the massive, period-costumed COSSACK. In the age of Sky-Lab, an antiquated Soviet stereotype might have seemed quaint, but the Cossack is not quite that. Actual cossacks were not one thing, but several things. Different versions appeared in different regions. They were often a home-grown (and largely self-appointed) force for law and order at the local level dating back centuries prior to the communist revolutions. Their various relationships to the czars would fluctuate over decades, alternately fighting on their behalf or rebelling against them. Many, if not most, were not Russian. Poring over this issue (the character's only appearance) I grasped at any straw I could to give him some kind of context. There, on page 9, panel 3, is the only instance of him speaking something other than English. After evading the team and with Val in tow he shouts, "Na zdrowie, fools!" "Na zdrowie" is a Polish toast, comparable to "To your health" in English. The Russian counterpart would be the similar "Za zdorovye". If an actual Russian cossack were taunting opponents with a sarcastic drinking toast, he might use the Ukranian "Budem", but probably not Polish.

.....Still, even knowing all of this isn't enough to make sense of the character, especially when it is revealed that the Cossack is a robot. There were some signs, such as his speed despite his size and the fact that his horse sprouted wings to fly away when necessary. Also, when Val discovers him in the mansion he is one man on horseback, standing in front of a similar sized hole in the wall of an upper floor with rubble strewn about but no obvious blast marks. The physical damage could be attributed to a mechanical horse alone, true, but he did manage to survive riding through the wall on the horse. The revelation that he is also mechanical is not so much of a shock, then. But it is confusing. While the team was on the moon (in Showcase #95), Cable spotted Brunovich casing the mansion, also looking for Val. It's implied that Brunovich is a capable operative, meant to smuggle the defecting officer back to the Soviets using stealth. Why then is Plan 'B' to employ a large robot in a century-old costume with a flying horse? If you can't get the stealth you want, if you are forced to deal in public, then why not a robot who might blend in until you need him? Hell, they had enough sense to make the horse's wings retractable, although not enough to understand that a horse might seem out of place in Midway City after hours. And why choose the motif of a cossack, of all things? The cossacks died out under the Soviets. And why does the Cossack repeatedly threaten to kill Val if this essentially a 'catch-and-retrieve' mission? We get "The defector shall not live to see another day!", "Valentina Vostok will die!", (to Val:)"...you may call me... your executioner!" and "My orders are to kill you... and the Cossack does not fail!" That's all within three consecutive pages (pp4-6). Despite that, when his sword impales Val while she is in Negative Woman form it merely renders her unconscious. While she is unconscious, he does nothing to harm her.

.....At best, the behavior of the Cossack adds up to a robot that is so sophisticated that it uses intimidation tactics, is programmed to use interjections in a language other than the one in which it's been conversing, can adapt to new threats and yet dresses in 19th century clothing. In the long tradition of suspending disbelief in comic book stories, that's far from the worst case scenario. What is harder to swallow than the fact of the robot is the fact that since he is a robot, the profile I've just presented is the result of someone else's (probably a Soviet committee's) deliberate, conscious design. And bear in mind that while this story ran at DC, readers of Marvel comics were familiar with Red Guardian (Defenders), Colossus (X-Men) and Darkstar (Champions), all of whom were active in 1977, as well as numerous Soviet villains left over from the 1960's. That is, working models exist for comparisons. But knowing that the Cossack character would never be reoccurring is not a reason to allow his appearance to become incoherent. Being a robot, the Cossack himself may no longer be a concern for the Doom Patrol after this story but the still unseen interests who built and sent him should certainly be and many of the operating parameters they gave him should be cause for confusion for the team.

.....The basic plot of the story is much sturdier than the details. At its core, we see a fractious element within the team exposed, then one team member is threatened and the others cooperate to come to their aid, strengthening their bond in the process. Although that basic plot plays out in its entirety in this issue, there are clear indications that future installments and possibly an ongoing series were presumed to follow. After Cable is locked in the closet, Val storms out and is ambushed on an upper floor by the Cossack. When the other DP members chase after the Cossack and the unconscious Val, Joshua's dialogue repeatedly reinforces the subplot that he is in love with Val. This would be a point of interest for ongoing readers because an intragroup romance can change team dynamics, but that can only be evident if there are ongoing adventures. It can't be a plot in itself, it can only be a plot element of a series. While the DP chase the Cossack, Cable escapes from the closet then finds and subdues Brunovich, taking him into custody. We could tell ourselves that bringing Brunovich to the proper authorities would take Cable out of the DP's lives for the moment, if not for the caption at the bottom of page11: "In the light of dawn, Matt Cable drags his prisoner back to Doom Patrol headquarters to wait once again for its occupants..." We never see that second confrontation. This issue ends with the Cossack in pieces and the four new teammates leaving the scene together. The fate of the robot horse is unclear. Overall the story suffers from an over-dependence on there being future issues. It is written with the presumption that (a) anything written further on will have to be foreshadowed here in the present and that this foreshadowing is so important that it is given precedence over providing backstory for the readers here and now and (b) that the readers here and now will bother following the series into future installments when so much is kept so cryptic.

.....Perhaps you should give your eyes a rest while I hose off my brain and gear up for a following installment in which I try to piece together a hypothetical proposal for an ongoing series that could have followed this Showcase arc. (Obviously, I can't give a critical review of something that didn't happen, so this would only deal with plotting rather than style or execution. It should be much shorter.) This post has under gone several rewrites, some of them weeks apart from one another, so if something doesn't seem quite coherent it could be that I wiped a sentence I hadn't intended to. Feel free to point out any shaky syntax in the comments section, as well as any points you feel I may have missed.

[Final draft posted October 25th, 2010]

DP02-02 Showcase #95(10-11/77)[a]

.....[Happy Birthday Matthew Cable! (see below)]

.....FYI: This is a critical review of a comic book published over thirty years earlier. It was the second issue of a three issue arc. For the perspective of events leading up to the arc, use this blog's internal search to search the term DP02-01[a]; for the review of the previous issue, search DP02-01[b]; for trivia regarding all three issues, search DP02-01[c].

.....A couple of months ago while I was rereading this Showcase arc for review, it occurred to me to try and reconcile conflicting ideas about when exactly in continuity this story takes place. Aside from free standing graphic novels, which don't necessarily need to take place in continuity at all to make sense (even when they feature famous recurring characters), this is always a good first step in reviewing comics. It comes under the heading of an author establishing an environment. If "Wuthering Heights" had taken place in downtown Rio de Janeiro it would have been a very different story. In serialized stories, the other chapters add more than merely events and locations to the readers' understanding of what they are reading at hand. They can give you the frames of reference of the various characters in the story.

.....Choosing an existing character rather than creating one tailored to your story's needs is usually done to cash in on either a character's popular recognition quotient or their critical gravitas. When the character isn't known to have much of either, as was the case when Matt Cable was picked to be the government agent sent to retrieve errant cosmonaut Valentina Vostok, then the choice may be to tie-in further, related characters later (in his case, Swamp Thing). It could also reflect a decision to circumvent the need for exposition or flashbacks to fill out the back story of what will amount to a supporting character whose purpose is to advance the plot, especially when you have a finite number of issues to work with. Why go to the trouble of creating and fleshing out a character when you have one from a title cancelled just a year earlier?

.....For the past two decades comics readers have known Matthew as the raven sidekick to Morpheus in Sandman. He spent the preceding two decades as a human supporting character in Swamp Thing (in the 70's) and then Saga Of The Swamp Thing (in the 80's). He spent the later half of the 80's in a coma and died while dreaming, thus making him eligible to remain in Morpheus' kingdom as his subject. The details of their arrangement, if not his transformation into a raven, are in Swamp Thing #84(03/89), pages 15-21.

.....To get my bearings with regards to where in Cable's life he confronts the Doom Patrol I took some time to scrawl through the priceless chronology at Rich Handley's website "Roots Of The Swamp Thing" at http://www.swampthingroots.com/index.html because while there are plenty of data-rich comics-related sites out there, Handley cites his sources for each event, and in the case of ambiguities where order can't be conclusively determined he steps in to explain his reasons for placing events where they are. Some of what I found I already knew: that Cable was the bodyguard/liaison for the Hollands assigned by an agency called the D.D.I. When they were killed by an organization called the Conclave for refusing to hand over their valuable research for the Conclave's illicit purposes, Cable became personally driven to bring the killers to justice and tracked the Swamp Thing because he believed him connected to the deaths. The leader of the Conclave is paralyzed by a fall trying to escape Swamp Thing and Batman in Swamp Thing #7(11-12/73) and Cable learns the monster is really what's left of Alec in the last issue written by Len Wein, #13(11-12/74).

.....Since I don't own half of the remaining issues of the series Handley's website filled in the missing pieces (and more). The balance of the run is written by David Michelinie and Gerry Conway in turns. Michelinie leaves his first arc (#'s14-18) with a clean break with Alec in the Florida swamps so that Conway's story, intended for a giant sized special of some kind, can begin and end there. This would enable Michelinie to pick up his narrative where he left it in the ongoing series for regular readers who didn't get the special. In the Conway story, a duplicate Swamp Thing, which grew from a severed arm discarded back in the Wein/Wrightson days, wreaks misunderstood-monster havoc and Cable witnesses it being blown up, assuming it's Alec. The plans for the special were scrapped, so the Conway story ran in Swamp Thing #19(10-11/75) and 20(12/75-01/76), right after Alec's first (and for a while only) appearance outside his own title. Oh, and I also learned that Matthew Cable was born June 2, 1948.

.....Brave And The Bold #122 (10/75) is a single issue Bob Haney story in which a showman captures Alec in the swamp and displays him on a flat bed truck for money. While in Gotham, D.D.I. screws up the transport of a biological weapon, unleashing a weed that proceeds to overrun and strangle Gotham. Batman frees the Swamp Thing to attack its root (saving the city), then strong-arms his captor into returning him to the swamp where he belongs. The rest of the Swamp Thing's own series takes him away from the swamp and Matt Cable doesn't appear in it. It was therefore long presumed that the Doom Patrol story running in Showcase in 1977 would naturally take place after Swamp Thing was cancelled in 1976. Yet, on page 10 of Showcase #95, Matt is standing in Midway City across the street from Caulder's mansion and next to a newspaper display box with the headline, "SLIME MONSTER EATS GOTHAM!". Unless there's a Batman fan out there with uninterrupted runs of Batman, Detective, World's Finest and Brave And The Bold who could point to a 1977 story of a giant monster eating Gotham City, my guess is that's the Haney story. If not for this panel, possibly an inside joke on Joe Staton's part or even Paul Levitz (editor of Showcase and assistant editor of Swamp Thing), the Haney story could just as easily taken place before as after the Conway story. But as Rich Handley points out, before Martin Pasko left Saga Of The Swamp Thing in 1983 he described the fallout in the wake of the Swamp Thing's presumed death. Pasko (either forgetting or unaware of the DP connection) explains why readers hadn't seen Cable since the Conway story. He returns to the Fenwick Military Academy (where he was still working in Showcase #94) to close the Swamp Thing file. His superior sees the department's inability to secure the monster to be an embarrassment and considers eliminating anyone with knowledge of it, including Cable. Rather than lose an agent to sudden death, he tries to wipe Cable's memory with electro-shock therapy. It doesn't work, but Cable pretends that it did to avoid being murdered, then quits the service and surfaces later. If the Showcase arc had taken place after the Conway story, Cable would have seen the headline about Gotham, realized that Swamp Thing was still alive and reopened the file. This means that the order of the stories should be:

1. The Michelinie story in Swamp Thing #18(09/75)
2. The Haney Batman team-up in Brave And The Bold #122(10/75)
3. The Doom Patrol arc in Showcase #94(08-09/77)- #96(12/77-01/78)
4. The Conway story in Swamp Thing #19(10-11/75)- #20(12/75-01/76)
5. Pasko's flashbacks in Saga Of The Swamp Thing #17(10/83)- #18(12/83)
6. Michelinie returns in Swamp Thing #21(02-03/76)- #22(04-05/76)
7. Conway finishes in Swamp Thing #23(06-07/76)- #24(08-09/76)

.....In light of the review of the previous issue, DP02-01[b], I've already established that the compression of time between the devastation of the original Doom Patrol in Doom Patrol #121(09-10/68) and Robotman's restoration in 1977 is a reasonable, possibly necessary conceit for the feature to go forward. (Cliff was the most likely survivor for the sake of maintaining team identity, but only given a narrow window of time to salvage him.) So, the mere fact of the Showcase arc taking place contemporaneously to comics published two years earlier is not a problem in itself. The problems arise when trying to reconcile Will Magnus' cameo in #94, since at the time of the previous issue of Brave And The Bold, #121(09/75) with Batman and the Metal Men, Magnus was still receiving psychological treatment. When their title was revived in Metal Men #45(04-05/76), Magnus was in the care of Dr. Rosen and therapist Isobel Sullivan. Sullivan disappeared without mention after issue #50(02-03/77) despite the fact that there were increasing indications that she was intended to grow into a love interest for Magnus. She's also absent from the Metal Men's guest spot in Brave And The Bold #135(07/77)- #136(09/77), which most databases place during the break between Metal Men #47(08-09/76) and #48(10-11/76). From #48 to #53 there's a continuous storyline ending with the robots walking out on their creator. They are reunited when the series ended with the robots gaining rights as World Citizens in #56(02-03/78).

.....So, the 1977 B&B story could not take place before Metal Men #45 because Magnus was still recovering from his mental condition then. It could not take place between #53 and #54 because it features Magnus and the robots together. Finally, it could not take place after the series ended because one of the key plot points of the B&B story is that robots don't have the same inalienable rights as humans, a problem they circumvented by becoming World Citizens. That leaves the break between #47 and #48. So where is Magnus' Showcase #94 cameo in all this? Ordinarily I would put it between Metal Men #53 and #54. That's when he wouldn't be with the robots and his therapist was already gone. He would be free to do a favor for Caulder (or himself) without anyone knowing. The problem is that the cameo takes place "weeks" before Matt Cable is standing next to a newspaper headline describing Brave And The Bold #122, but the break after Metal Men #53 takes place after Brave And The Bold #'s 135- 136. If it were generally acceptable for B&B #'s 135-136 to take place between #'s 121 and 122, we would have more options to placing the cameo. To the best of my reckoning, the least controversial sequence of events should be:

1. Brave And The Bold #121(09/75) Batman teams with the Metal Men, w/o Magnus
2. Metal Men #45(04-05/76)- #47(08-09/76) Magnus returns to activity (cured?)
3. Showcase #94(08-09/77) pages 1-4 (or just page 4; Magnus rescues Cliff)
4. Swamp Thing #15(03-04/75)- #18(09/75) Matt and Swamp Thing get separated in Florida
5. Brave And The Bold #122(10/75) Batman teams with Swamp Thing
6. (lots of intermediate Batman continuity)
7. Brave And The Bold #135(07/77)- #136(09/77) Batman teams with the Metal Men and Magnus
8. Metal Men #48(10-11/76)- #53(08-09/77) Metal Men fight Eclipso, etc. and leave Magnus
9. Showcase #94(08-09/77) pages 5-17 Matt reports to Fenwick Military Academy and is assigned to find Val before the Russians do (specifically, page 9).
10. Showcase #95(10-11/77) Matt stands next to terribly out of date newspaper headline
11. Showcase #96(12/77-01/78) Matt's involvement with Doom Patrol ends (not resolved during story)
12. Swamp Thing #19(10-11/75)- 20(12/75-01/76) Matt witnesses destruction of ersatz Swamp Thing and believes Alec is really dead.
13. [flashbacks] in Saga Of The Swamp Thing #17(10/83)- #18(12/83) Matt ends the search for Alec
14. [Note: In the letters' page of Saga Of The Swamp Thing #6(10/82) either Martin Pasko (writer) or Len Wein (editor) say, "As far as we're concerned, the stories published after #21 [in 1976] never happened, that is, Alec never became predominantly human, he never had a brother,... etc". It is a popular myth that Alan Moore's "Anatomy Lesson" story was the reason for them being 'retconned' out of DC history, but the truth is that such was the case before he even plotted the book. Moore's story famously asserts that Swamp Thing was never Holland but a plant creature born with Holland's memories and believing it was once human. However, these stories don't conflict with Moore's any more so than the first Wein/Wrightson Arcane story in which the Swamp Thing temporarily takes the shape of a human Alec Holland. In both cases artificial means were used to change the plant monster's body to conform to his self image. In both cases it was temporary and its plant nature inevitably reasserted itself. Fortunately, the sequence of events as I've spelled it out above should hold regardless of whether the last four issue of the first Swamp Thing series are in continuity or not.]

.....Well, now that that's settled...

.....Showcase #95 takes place almost entirely in General Immortus' headquarters except for three partial page scenes and an extended flashback. It opens with Robotman (Cliff), Negative Woman (Valentina) and Tempest (Josh) imprisoned and witnessing the villain subjecting Celsius (Arani) to a "psycho-probe". I'm going to stop right here for a moment not merely for 'spoiler' announcements (I consider this blog's banner to be a blanket spoiler announcement) but to reassure anyone who's had the patience to slog through the disambiguation above to get to this review that I am not stupid. I realize that this scene and much of what follows is a textbook "Scott Evil" moment. Scott was the son of Dr. Evil, the villain of the Austin Powers movies. While Powers and the Dr. were literally frozen in time since the 1960's and are content to be living cliches of that period's adventure fiction, the Dr.'s son has no patience for the conventions of the roles they feel so comfortable perpetuating. Why put your enemy in an elaborate, expensive trap with an opportunity to escape? If you have no moral qualms about the trap being potentially lethal, why not simply kill them? A savvy audience knows, or could guess, that the situation becomes a door for exposition as well as a chance to give the hero/protagonist a concrete, quantifiable accomplishment to achieve. But that's only the writer's motivation. What is the villain's?

.....Here we have a villain about whom we have known little for the fourteen years he had repeatedly resurfaced. He is presumed to be immortal (how?). He has had a part in major international military conflicts for thousands of years (why?) He seems always capable of raising armies at a moments notice (how?) If someone were as old as he claims to be and played decisive roles in landmark battles as he claims to have, then even if he were always on the winning side-- especially if he were on the winning side-- then he would know better than anyone the transitory nature of power. The Khan dynasty and Roman Empire were rarities. Most regimes come and go in mere decades. Why squander something as rare as immortality on that? A clue may come in the opening caption; a hint at why he would be so careless- or arrogant- that he would imprison the DP all in the same room so that they could communicate with each other as well as witness the valuable information he is trying to extract from Celsius. The caption reads, "What does a man do with immortality?" The name Fu Manchu comes to mind. I can't think of an earlier fictional villain who routinely led his enemies into a succession of lethal traps requiring not merely an expert grasp of advanced technologies to create but considerable advance planning just to spring. And again in his case there is the factor of immortality. He can afford to play and experiment; he expects to live long enough to try again. He really doesn't need to kill his enemies; he could choose to outlive them. Where Fu Manchu differs from Immortus is not only in personal style (cool and aloof vs. blustering martinet) but in motive. Fu Manchu believes in his innate superiority to others and that his control of the world could only improve it. With Immortus, one is never sure if his perpetual lust for warfare is a means to some unspoken end or an end in itself.

.....Immortus has always been a threat simply by his short term goals. In the case of this story (and the last) his short term goal is the pursuit of the formula for an immortality serum. On pages 6-9 the reader sees the result of the "psycho-probe", a flashback from Arani's memories of meeting Caulder while he was a young medical school graduate volunteering in India. That first half of the flashback takes place before the Caulder's own flashback revealing his own origins to the DP in Doom Patrol #88(06/64), which had been recently reprinted in Super-Team Family #9(02-03/77)- #10(04-05/77). Two pages into the Chief's origin story, Arani's flashback in Showcase resumes with her in the care of "a sect of holy men" to whom Caulder entrusted her. They develop her powers as Celsius and Caulder returns telling her of an anonymous benefactor (revealed as Immortus in the reprints) funding immortality research. He marries her and gives her the first (only?) dose of what he tells her is an immortality serum. Where Arani's flashback ends, Caulder's 1964 flashback continues for another six pages in which he explains discovering Immortus' plans to abuse his work and faking his own death to escape the situation.

.....Telling a story by having two flashbacks weave in and out of each other is a risky venture under the best of circumstances (see the Byrne Period synopsis, DP07-AA). Trying it with flashbacks in different issues compounds the difficulty. When the earlier flashback is an unheralded reprint, split across two issues and published six months earlier in a different title with a higher price point... This could be explained as poor planning, wishful thinking or deliberate obfuscation. I would prefer to believe that Kupperberg's relative inexperience and Levitz' excessive workload were more likely causes than a prior intention to craft a story so that it could be followed only by a small coterie of broad-based collectors. It's almost inevitable that longtime fans will get an enhanced experience reading stories with characters who have a large back story. But that perspective shouldn't be necessary with new characters.

.....Otherwise Showcase #95 is fairly pedestrian. Although Immortus was able to obtain a formula from Arani's memories, he didn't understand that it was customized for her biology and it only works long enough to make him look too young for his troops to recognize him. Unwilling to accept his much needed direction, the DP manages to overpower them and escape. That ending was more in the mold of Stan Lee or O. Henry than Gardner Fox. The question is how this, the new team's first real adventure, would compare to the style of Arnold Drake, the only relevant precedent. It's almost an apples and oranges comparison because of the absence of the Chief, who loomed large in much of Drake's plotting. Celsius may be the new group's leader but she does not function in a script as a 'Chief' character. One element of the older stories that could have transfered to the new group and didn't was the tendency for enemies to plan their strategies around the original DP being put into positions that would threaten their lives unless they complied with the villains' wishes. The DP members, faced with a losing proposition, would surprise their enemies by choosing to 'lose' and suffer injuries (or collateral damage in Cliff's case) to turn the tide. Here they are simply restrained and escape by escalating their efforts. There's no wit or poetry to it.

.....In fact, the issue has four real points of interest. One is Arani's flashback, which does add genuinely new information to the pot in that it provides an origin for one of the new members. It raises other questions, but at the time it was not written in stone that an ongoing series would not follow. The second point of interest are the handful of panels on the tenth, fifteenth and last pages featuring Matt Cable at the DP mansion waiting for the DP to return to arrest Val. Their purpose is obvious- to lay ground for the next issue and facilitate pacing in this one, and they succeed on both counts.

.....The third point of interest is an 'unexpected twist' moment in which the team discovers that Immortus' headquarters is on the moon by trying to bust through a wall and nearly being sucked out into the vacuum of space. It could have been a more dramatic moment if Staton had not been limited to 17 pages and could use a full page panel to emphasize that what the characters are experiencing is the sudden realization that they are operating on a different scale. Still, Jack Kirby only had 12 pages to work in the first S.H.I.E.L.D. story in Strange Tales #135(08/65) when Nick Fury throws a chair (with bomb attached) out a window and the readers see for the first time that the story has been taking place in their flying Headquarters. With Kirby's full page panel of the exterior and tiny chair to show scale the effect is immediate and lasting. The panel with the 'reveal' on page 13 is about the same dimensions as the panels on page 11 in which the team strain against their bonds. Containment and claustrophobia shouldn't be the same size or feeling as being dwarfed.

.....The fourth point is the O. Henry moment in which Immortus has temporarily (and unwittingly) traded his authority for youth, which alone is worthy of Drake. The next issue raises the action quotient and should be a fun read. The next post will be about popular music at the time the 1977 revival was on the racks.

DP02- 01 Showcase #94(08-09/77) [c]

.....[continued from part b]



.....Every so often in their lives people happen across a tidbit of information that is simply intriguing in its own right-- not world -changing, but intriguing. Then, realizing that it is intriguing because it seems odd or unusual and unlikely to be widely known, it then occurs to them to somehow work this tidbit of information into their next casual conversation so that they might seem more clever merely by knowing it. It is only after doing so that they learn that they appear much less clever for having thought that a tidbit of information unrelated to any other topic had any place in a casual conversation.

.....So, the next time you're attending a formal, black-tie dinner engagement and someone mentions the 1977 Doom Patrol revival in Showcase be sure to mention...


.....All three issues of Showcase were "Vol. 16" in the indicia, although the title didn't indicate volume numbers when it was discontinued in 1970. That was a practice that DC adopted starting with 1972 cover dates and discontinued as of the 1984 cover dates. Unlike the more common usage of volume numbers in comics, to distinguish between one or more title with the same name, during these twelve years (01/72-12/83) the volume numbers designated the year of publication. The original run of Showcase , for instance, was 1956 to 1970 inclusive, or 15 years. By ignoring the years of nonpublication the revival becomes volume 16 in 1977 and volume 17 in 1978.

.....All three issues were 32 pages of 'guts' plus slick paper covers, the standard format since the fifties. They had 35 cent cover prices, 17 pages of story and were approved by the Comics Code Authority. The bar code numbers were 0-70989-30676-[xx], where the 'xx' matched the cover month (i.e., 09, 11 and 01).


.....The three story titles are: "The Doom Patrol Lives Forever!" (J-4743) in #94, [untitled] (J-4858) in #95 and "Defection!" (J-4937) in #96.

.....All three issues had covers by Jim Aparo (C-500, C-545 and C-582), who had no other connection to the feature. Also having no connection to the feature are the announced art team! During 1976 to 1981 DC ran a one-page editorial feature called "Daily Planet" with a different 'issue' for every week of releases. There would be some popular feature (Bob Rozakis' "Answer Man" column, a word puzzle or a Fred Hembeck comic strip) but most of the space was devoted to a brief list of the current week's releases and brief 'articles' about the next week's. Volume 77, Issue 21 (for the week of May 23,1977) had the headline, "DOOM PATROL LIVES!" and uses a differently cropped (wider) example of the cover art for an article on Showcase #94. Sounds good, but after that things are a little ...off. To begin with, the dateline for the article is "DC, New York". The three panels with Matt Cable do take place "on the outskirts of Washington, D.C." but they're hardly worth mentioning. Also, the story takes place primarily in Midway City, known to be in the midwest (probably Michigan) and not New York. The other, even more confusing possibility is that it mentions the publisher as a location (which is in New York). The second minor goof is the over-simplified plot summary, that Robotman "has rounded up three new heroes to replace the comrades he lost years ago". In the actual story Robotman discovers the already assembled group and is skeptical about them using the name "Doom Patrol". The third goof is much more serious. It correctly identifies Kupperberg as the writer, but says, "Ed Davis and Joe Rubinstein will be handling the art chores". I don't know where they were handling them, but it wasn't in Showcase #94. About three months earlier they both worked on a ten-page story for DC Super Stars #14(05-06/77), "The Secret Origin Of Two-Face-- Double Take!" (J-4579), also edited by Paul Levitz (thank you, GCD!) but I can't find anything to suggest that they worked together with any regularity. The whole arc was pencilled by Joe Staton. In fact, Staton went on to do the next three issue arc (Power Girl) and the double-length story in the 100th issue as well.

.....All three issues have a text page feature called "Critic's Corner"-- that's singular possesive, as in 'the corner of one critic'. It's intended as a letters' page and eventually becomes one in issue #96 (L-797) with Paul Levitz responding to the letters. While they're waiting for the mail to come in they run a brief history of Showcase (L-704) by Levitz in #94 and biographies of Paul Kupperberg and Joe Staton (L-750), also by Levitz, in #95. Also in #95, they forego the Daily Planet page and run a 'Publishorial' by Jenette Kahn and complete the page with "DC Profiles#19: Julius Schwartz".

.....There were several hundred words about historical context and the hell that was the seventies that have been wiped out and replaced with what you've read above. I've been editing it into something more coherent and less rant-y that would make a nice supplement to the review for #95 ( as in, #95[a]= review, #95[b]= editorial, unlike the [a], [b] and [c] format used for this issue). What I will leave you with is the revelation that prompted it:

.....One of my other hobbies is recorded music. One thing it has in common with comics is that 1955 was a year in which both industries established self-imposed standards. Comics had the CCA. Music had Billboard Magazine's Top (and later Hot) 100 singles chart. Using a secret formula as closely guarded as Coca-Cola's, they sought to create the huckster's equivalent of The Unified Field Theory. This new chart would determine the commercial success of a song by taking into account the relative influence of sales figures from outlets previously considered largely unrelated to each other: singles sales, jukebox plays, cover version royalties, radio airplay, sheet music sales, etc. These all had separate charts for years, some having several from competing publications all claiming superior expertise and more accurate sources. Shortly after Billboard introduced its new chart, they were quickly forgotten. Looking through old charts frequently challenges what many people think they know about American pop music. I found something that didn't surprise me much at all. If you look at the two decades that precede the Doom Patrol revival you'll see that the first (1957-1966) saw 213 songs reach Number One. The second (1967-1976) had 233, suggesting slightly more turnover. Once you look further into the charts, at the total number of weeks each top hit had a chart presence, from debut to peak to fall, you see an alarming intransigence. I started out looking up the top ten songs on the public's mind when Showcase #94 shipped. I chose the week preceding its announced date, the 'week of' and the two following. The top song, Stevie Wonder's "Sir Duke", remained #1 the weeks before, during and after shipping. [Coincidently(?) when Grant Morrison tried to flesh out the characters' lives outside the team he gave Cliff an affection for old jazz records; the Sir Duke to whom Wonder is referring is Duke Ellington.] For any song to spend a month at #1 means little; later that year Debbie Boone stayed at #1 for 10 weeks. But the week after shipping, the #2 song dropped to the #10 position and the songs that had been #'s 3-10-- every one, in order-- rose one spot each exactly, maintaining their relative positions. In case you're wondering, it's common for three or four songs to move in a cluster, yes, but for the entire top ten to stay almost exactly in place? That's very unusual... and very, very bad. It hints at cultural fascism, a reluctance to consider new things at best and an inability to tolerate challenges at worst. Needless to say, this might have been the worst possible time to reintroduce the Doom Patrol, or many of the other cult favorites being given features immediately before the DC Implosion. In fact, by the end of 1979 both Marvel and DC had eliminated most of the titles they began since 1975 but relatively few of the ones that were already being published as of 1972.

.....My plans for the next few posts are:

1. #95 [a] = the review of Showcase #95
2. #95 [b] = more on the contemporary music scene
3. #96 [a] = the review of Showcase #96
4. #96 [b] = discerning hints towards plans for the group from letters and editorial content at the time
5. Super-Team Family #16 = a primer on the DC Implosion with links to more detailed resources, to explain why this issue never existed; I'll be adding some of my own info about Marvel's own mass cancellations the following year
6. Supergirl Part 1 = without the original issues to draw on for the next story I'm going to leave a plot summary paraphrasing other sources, which I'll link to and/or cite; this was the story intended for STF but instead was reworked into a three-part serial for Superman Family
7. The next three posts will be place holders for the issues of Superman Family mentioned above, in the hopes of finding inexpensive copies I can review individually later.

.....On the outside chance that the above wasn't enough minituae for one sitting, you can find related information about this arc by using the internal search 'mini-Google' box in the upper left-hand corner of this page. Enter "DP02-AA" for a synopsis of the entire revival period or "DP07-AA" for a synopsis of the much later John Byrne Period, which begins with a possible explanation for Robotman's design overhaul at this time. Enjoy, and feel free to comment on your own recollections of this period, if any.

DP02-01 Showcase #94(08-09/77) [b]

.....[continued from part a]


.....According to the full page ads, Showcase #94(08-09/77) went "on sale May 31st!" This comic not only revived the team name as a feature, but the Showcase title itself, which originally ran from #1(03-04/56) to #93(09/70). Keeping with the spirit of that earlier run, this would be the first of three installments seeking to lead into an ongoing series. The only credits are for the four contributors who will see through all three issues: writer Paul Kupperberg, penciller Joe Staton (who presumably inks himself here), colorist Liz Berube and story editor Paul Levitz. As noted in part [a], Levitz had been dropping hints that this project was in the works for at least a year while working as story editor for managing editor Joe Orlando in a few other titles. In the letters' page of one of those titles, he mentions that shuffling of personel at the time had left Orlando in charge of nearly two-thirds of DC's titles (which I've yet to verify) and relying on his story editors to keep on top of details. The details of this debut story are, using a journalist's perspective, in the concretes: who, what, when and where, but not in the abstracts: how and why.

.....With only 17 pages to work with (roughly two-thirds the average story page count of the 1960's), Kupperberg and Staton make great economic use of them to positively establish the names of both old characters such as Robotman, General Immortus and Matt Cable and new characters Celsius, Tempest and Negative Woman. They also briefly cover the nature of the DP's powers. It places the events of Doom Patrol #121(09-10/68) as happening "Mere months ago..." and Cliff's upper body (minus an arm) reaching the shore as "Short weeks ago". The main body of the story takes place "now" in the original Midway City mansion headquarters and stays there (except for a three panel "interlude" on page 9 for foreshadowing). That takes care of the four concretes and all done very concisely. What isn't covered in the minimally invasive captions is worked into conversations without that familiar feeling of running into a brick wall one frequently gets from exposition. By putting the reader so solidly into the events they can be forgiving about the lack of explicit reasons for what they are witnessing.

.....After a non-story splash page and a two-page "Epilogue" briefly recapping the origins and 'deaths' of the original foursome we find the first real new story on page four. (Why did Madame Rouge want to murder them? She was their "old foe". To be fair, in the 1960's that was often enough.) The whole page tells in four panels how Cliff's remains washed up on shore, drawing parallels between the racing accident that ended his human life and his most recent carnage. Is that observant or perfunctory? Is it poetic license and being selective, or is it simply something you'd be stupid not to notice? I'd go with observant and largely due to context. At this point in the team's history they may have known failure or being misunderstood, but they had never died. Death would only become a constant companion to the Doom Patrol with subsequent incarnations. Arguably Cliff hadn't died here, either, but he was immersed in the event that he believed was the death of his friends and the team as a unit. Also, without a readily available explanation for the survival of the other members (it is at least rational that a robot body could withstand the blast) the other obvious way to connect to the team name is by parallel events. Just as in the first story in 1963, the new team convenes in the mansion before setting forth in an adventure involving General Immortus. What better way to prepare Cliff for that experience than to have an echo of what brought him to that first meeting? It also focuses the reader on something to distract them from unanswered/unraised questions. The first being, exactly how long can Cliff's organic brain go without nourishment? Without a digestive system, it's fed by a nutrient tank housed in his chest. It's true that it's as likely to have survived the blast as his brain was, but the attack was "mere months ago"and he surfaced "short weeks ago", meaning that the tank would have needed to feed him for over a month. Well, so be it. Nine years I would have had a problem with, but if Kupperberg had the foresight to know that would be problematic, enough to begin by compressing the length of their absence, I can live with a month or two.

.....Next unanswered question? As Cliff crawls onto the beach in the last panel he begs for help from a figure wearing brown pants and an orange plaid jacket and casting a shadow of a man smoking a pipe. Now, isn't it more than just slightly coincidental that Doc Magnus, DC's resident good-guy robotics expert would happen to be standing on a beach in the Caribbean when a MIA robot hero washes up on shore? Also odd is the decision to not positively identify him. That faceless, one panel cameo is his only appearance in the arc. He is only ever mentioned again on the following page when Cliff reaches the mansion and notes, "It's a good thing the doc was able to reconstruct the code-pattern implanted in my hand..." to bypass the mansion's automated security systems. If Cliff didn't know or couldn't remember what the code-pattern was, how could "the doc" (and we can just call him Magnus from here on out, since he would be identified in much later stories) have known what he was looking for or recognized it when he found it? Even the smartest man in the world needs something to work with. The code is a minor point, but coupled with his fortuitous presence on the island at just the right time and his strong affiliation with the U.S. military in the contemporaneously published Metal Men revival, it makes a strong argument for the possibility that the Chief escaped the blast as well and was manipulating events remotely. Over a decade later Kupperberg would have the Chief emerge from the shadows to reveal he was doing sensitive work for the U.S. government for which they indulged him much. Morrison would have him bring in Magnus as a formal affiliate of the group, as did Pollack initially. Arcudi even had Cliff dreaming of Magnus (as Veridium) converting his friends to robots. After this mysterious cameo only Byrne did without Magnus, although it's not inconceivable that the Metal Men were among numerous 1960's touchstones he would have eventually revisited as he did Metamorpho, had he been given the time.

.....Page 5 shows Cliff entering the mansion; pages 6-8 depict the confrontation between Cliff and the new team, a textbook way to demonstrate the super-powers of each and distinguish them from one another early on. The authors of that particular chapter of the textbook were Lee and Kirby, of course. (Ditko was never one for team books.) Beginning with The Fantastic Four they often used scuffles amongst their heroes as quick tutorials for new readers. It might expose a hero's neurosis, but that in turn could be a more believable plot device than the then-common gimmick weakness (wood, fire, the color yellow...). To my memory only Thor's arbitrary time limit for losing contact with his hammer (lest he revert back to human form...verily...) survived as a gimmick weakness beyond Marvel's early days. They were much more commonly associated with DC, so much so that in political circles a game-changing element that could cost an otherwise strong candidate an election or the passage of a bill is referred to as their "kryptonite". It's a fair bet that's not a reference to bicycle locks. Arnold Drake was one of the first writers at DC to intuitively understand that many of the standards for super-hero behavior that their editors adhered to with the tenacity of a religious acolyte weren't really painting the characters in the good light they were assumed to. If Lee's and Kirby's characters came off as slightly neurotic when squandering their powers, DC's characters would often inform the readers of their abilities by working explicit descriptions of their powers and limitations into what would otherwise be casual conversations and sounded like total asses. A decade later when Kupperberg employs the 'in-fighting' technique, it has already been the basis for nearly every issue of Marvel Team-Up and random issues of various titles from both publishers. While far from innovative it has been used effectively by limiting the scene to three pages and incorporating the new characters' code names into the action.

.....When Cliff recovers, the strangers identify themselves by their real names: Valentina Vostock (Negative Woman), Joshua Clay (Tempest) and Arani (Celsius), "three true names that must remain forever secret!" on page 9. The first half of the story ends at the bottom of the page with a three-panel interlude at Fenwick Military Academy, where Dr. Gilary discusses his examination of a Soviet jet salvaged from the Caribbean with Lt. Cable, whose next assignment is to find Lt. Col. Valentina Vostock, "the defecting Russian cosmonaut who stole the jet..." [More on Matt Cable and this story's position relative to Swamp Thing's continuity, as well as Will Magnus and the Metal Men in the upcoming review of Showcase #95.] This is an obvious, deliberately framed mystery and not an oversight. Anyone who had been reading comics at the time knew, at the end of the story, that no one 'forgot' to explain Vostock's back story. In fact, that scene is an implied 'promise' to reveal something in a future story, sales willing. No, the real mysteries, some of which have not been satisfactorily revealed to this day, come from Arani. First of all, she gives only one name. Second, she claims to know as much about the DP as Cliff himself, but will not say how. She claims to know that General Immortus poses an imminent threat and it is because he may soon replenish his immortality serum. She claims to have brought Josh and Val together to stop him, but doesn't explain how that happened when both "have our reasons for staying hidden from the world". How did she even know to look for them, let alone how to find them? How did any of them acquire the access codes to the mansion? If they need to stay one step ahead of Immortus, why go to the mansion headquarters of the one group who was ever able to stop him in the past and take up their name? For years to come, Arani would become a rarity among comics characters: a designated bottomless pit for plot holes. She's far from being the only character with unresolved questions or mysterious motives. In fact, I can't remember a Mort Weisinger story where anyone had anything resembling a human motive for what they were doing. But Arani seemed to exist to generate these questions. As long as the other characters around her were transparent to the audience (even if they lied to each other or themselves), Arani would remain opaque and readers gradually came to accept that that was who she was. One way of achieving this was to have at least one of her seemingly paranoiac declarations pan out for every three or four she came up with. It would keep readers willing to guess what she really knew, what she thought she knew and what she wanted people to believe. Even more so than in the sixties, Cliff became the readers' proxy after this point and Arani may have been a large part of that. You'll note that in future stories, Cliff is often the first to voice his exasperation over Arani's secrecy and her claims to know things with absolute certainty for reasons she refuses to indulge. And yet, like the readers, he sticks around because he can't risk the chance that she may be right.

.....The final six pages are reserved for an attack by General Immortus and his current army. In the midst of the action, though, a little tidbit about Tempest's past slips out-- two bits, actually. The first was that "even as a child, Joshua Clay knew he possessed unusual powers..." and the second is that he hid those powers "until the day he killed" with them. Obviously (hopefully?) that's a teaser for a more detailed origin, but one we won't be getting in this arc. We also don't get an explanation of why Negative Women remains bonded with the Negative Energy Being when activated, instead of projecting it the way Negative Man and Rebis did. One has to wonder, with only three issues scheduled for the trial run, and of course actual plots such as Immortus and Cable to deal with on top of these backstory mysteries, if it was always Kupperberg's and Levitz' intention to answer these questions in an ongoing series or anthology feature. All of these could be foreshadowing actual intended storylines that were never produced. The difference in Negative Woman's powers could possibly be a gaffe on Staton's part, or not, but the bits of Tempest's past are explicitly stated in the middle of a fight scene. Nothing about that says 'casual banter'. If you're writing captions on the fly (for a book you were planning for a year, keep in mind) you might say any number of things, but you're not likely to blurt out, "Oh, yeah and he killed somebody, too. Now over here on the left we have..." That might have been shrugged off in the mid-1990's, but not in the mid 1970's. With the team captured by General Immortus in a cliff-hanger ending, I'll leave it until the review for the next issue to discuss which questions are addressed (if not answered) and compare them to which are not. I'll do the same for the third and possibly speculate on what an ongoing series might have looked like had it been published.

.....The next post will be devoted to the trivia and historical context surrounding this issue and this arc. There's quite a bit more than I could integrate into the above review, or the history/background essay in part [a], without turning them into mini-books. Therefore, part [c] will be high-concentration geekery which you can skip over if you're just looking for old plotlines in the reviews.