Conan the Barbarian (1970) #5

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This issue’s based on a Howard poem; it’s hard to say how much Thomas added on his own without reading the poem. It seems like he includes it at one point and, if he does, he added a lot.

Thomas’s approach is a little different than before–five issues in, the series doesn’t have a consistent tone of stories, though a mix of battle and quest might be accurate. Conan’s the protagonist and active in the story. Thomas even adds a little dimension to the character (not a bunch, but a little). Even though the issue opens with Conan in a town and ends with him on the road, the end is strong enough to give the book an “on the road,” journeying feel to it.

Windsor-Smith has a couple pages of spotty art–a silly-looking demon in particular. Maybe it’s the Giacoia inks. The rest looks good.

Conan the Barbarian (1970) #4

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Well, Thomas avoids falling into the trap of predictable plot developments this issue. He’s adapting Howard’s The Tower of the Elephant, which gives the issue a somewhat different Conan than usual. As opposed to being a really active force in the story, Conan’s more an explorer here. Yes, at the end he’s responsible for bringing about the change, but he does it unknowingly.

In some ways, it might be the least compelling of the issues so far. It’s full of information, but not serialized information. Conan’s sidekick this issue lasts a few pages and makes little impression. The big reveal at the end has nothing to do with Conan, just its own thing. Conan’s a little sprog in an overwhelming preexisting situation.

Windsor-Smith’s art is solid, though he doesn’t get to do much–the story’s very dense, his panels are often tiny.

It’s all right, but it doesn’t connect.

Conan the Barbarian (1970) #3

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Thomas runs into a not insignificant problem this issue. Though the details are different, he has a lot of the same dramatics he used in the previous issue, especially when it comes to Conan’s friend and Conan’s friend’s wife. Having the same plot point in both issues… Thomas isn’t just making the series predictable, he’s making it melodramatic and pat.

He also needs to start using thought balloons. Having the characters give asides to the reader isn’t working.

Those problems aside, it’s a fantastic battle issue. Windsor-Smith gets in a grandiose scale even though he’s often dealing with small panels. There’s a real tension to it (and the battle, at least, is unpredictable).

The Conan mythos lets Thomas do so much—the story opens with a war god talking to Conan—it doesn’t seem like he should need repetitious plot points.

Taken on its own though, a fine issue.

Superman (1939) #242

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The Pseudo-Superman story comes to its close with Superman choosing to be de-powered. It’s a strange move, since he’s still really, really powerful. Maybe not Silver Age powerful, but he hadn’t really been doing those feats during the rest of the issues… it’s a little confusing. It’s an effective scene, but it doesn’t hold up under much scrutiny.

Similarly, Superman’s decision to fight Pseudo-Superman to the death… again, shouldn’t he have tried to work something out with him.

It’s a good close though. O’Neil fits tons of story in–most of the issue focuses on these two bums slash crooks who “kidnap” an inter-dimensional being and use it to beat up Superman and terrorize the world in general. Some great art on those pages.

The beating up Superman scene is particularly rough to read, since it’s all so vicious.

The final scene’s a little anticlimactic though.

Superman (1939) #241

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I guess Wonder Woman wasn’t much of a draw back in the early 1970s because her guest appearance is a surprise (there’s no mention on the cover) and she’s practically in the issue more than Superman.

Following up on Superman’s epiphany from the previous issue (he’d prefer to live a normal life), Wonder Woman’s Indian sidekick convinces him otherwise. It’s only a couple pages, but it’s effective, maybe because O’Neil’s dialogue for Superman is so desperate.

But then there’s the subsequent problem (where Wonder Woman takes over). Superman has super-brain damage and is acting like a (well-intentioned) goofball. It’s almost like they have him do Silver Age things, then deal with the “real world” consequences.

The sand double gets a solid explanation here, along with a goofy name: Pseudo-Superman.

The reprint back-ups are cute, but out of place for the serious–if humorously handled–feature story.

Superman (1939) #240

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Superman’s powers finally go this issue, burning out as he uses them more and more. It’s a very awkward issue, with Supes coming across almost like Spider-Man at times, he’s so depressed. He discovers, for example, average people don’t really care about him. Without his powers, he’s an object for their scorn.

Given the Pre-Crisis Superman is without an immediate support system, he’s basically on his own… until Wonder Woman’s pet sufi shows up to offer a cure. It’s such a small story–Clark Kent gets tailed by bad guys who go after an impaired (human) Superman–and O’Neil’s frequent references to Superman’s Silver Age planet juggling abilities make it feel unique.

The conclusion is, though somewhat hackneyed (human Superman versus thugs), very effective.

Lots has to do with Swan’s art. His figures in action are great, but he also goes for viscerally involving panel layouts.

Good stuff.

Superman (1939) #238

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Superman finally decides he can’t go around on half-power–but there’s a great butt shot from Swan on the first page for the ladies when he’s leaping instead of flying–at the end of the issue. His sand-double has been sucking his powers away and worse, the sand-double isn’t willing to help as Superman has to save the planet.

It’s kind of a neat way to agitate a situation (it starts as a ransom demand, but then there’s the atom bomb being dropped into the earth’s core) and O’Neil’s of the crisis is excellent. His devices to distract from Superman when Superman’s off page getting his plan together… not so excellent. They’re okay, but basically just standard “Where is Superman?” scenes with the supporting cast.

The back-up Krypton story has nice art from Gray Morrow, but it’s a lame Adam and Eve as sci-fi story.

Superman (1939) #237

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Here’s a packed issue. Superman even comments on it–he rescues a rocket, Lois crashes, there are killer ants, his sand-double is around, he’s a carrier of some strange space bug–it goes on and on. O’Neil fits it all in with barely any room for anything else. Only when Superman decides he’s going to leave Earth (it takes him a panel, not an interconnected eight issue story arc), does the story take a breather.

There’s a particular moment, with Superman sitting out in space, waiting, basically, for Lois to die. He’s sacrificing her for the greater good (fear of infecting the rest of the planet with the space bug). It’s a very strange moment, because Superman’s given up. The solution appears, deus ex machina, to Superman; he doesn’t even try to save Lois.

Add in Swan’s odd head shots (they all look taped on) and the issue’s problematic.

Superman (1939) #235

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The issue ends with Superman in Metropolis Stadium attempting a heart-to-heart with his sand-double. It’s a really awkward moment, since the Colosseum’s full of people. O’Neil doesn’t get a single reaction shot in this sequence, after getting them in an opening action sequence at the Colosseum. It’s off. I mean, Lois should have a reaction, shouldn’t she?

There are other weak points to this issue–Morgan Edge being the J. Jonah Jameson of the DC Universe is problematic, regardless of if he’s just stooging for Darkseid–but there’s a lot of good stuff too, like Superman waving at a crowd of people to say hi to Lois. Or just O’Neil’s plotting, which allows for these nice action sequences without them taking over the entire issue before the big finale.

It’s solid, unspectacular.

O’Neil’s Superman seems way too nonplussed too, given the sand-double and losing his powers.

Superman (1939) #234

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Ok, here’s where it’s a little hokey. Both stories actually (there’s another history of Krypton back-up, which has a goofy villain reveal at the end). O’Neil has Superman trying to stop a volcano, but he doesn’t want to trespass on the land to do so. While I kind of get O’Neil making it “real,” he also makes it absurd. The villain’s the landowner who’s shooting his fleeing employees… pretty sure, even in 1971, you weren’t allowed to murder disobedient employees.

Otherwise, it’s a solid enough story. The sand-Superman is really creepy, Superman worrying about doing his newscast while fighting the volcano is amusing (though there’s a big plot hole when he talks, as Superman, and he’s still got his news commentary microphone on).

Nice artwork. Lots of thought balloons again, this time explaining how Superman’s thought process for combating the volcano.

Unfortunately, the back-up’s pretty weak overall.