Briefly (9 May 2026)

Comics

Blue Beetle (1967) #1 W: D.C. Glanzman, Steve Ditko. A: Steve Ditko. Fun first issue for BEETLE; however, the QUESTION backup ends up overshadowing it. The feature’s fun, with some great art–Ditko’s doing a ballet–but the much shorter QUESTION has more plot and more character. Even with the new BEETLE’s origin in question in the feature. The art’s downright delightful even if the typeset word balloons don’t play.

Blue Beetle (1967) #2 W: D.C. Glanzman, Steve Ditko. A: Steve Ditko. BEETLE’s secret origin involves killer robots, mad scientists, secret islands, and the original Blue Beetle. There’s not much more to it, except the framing device, which has his love interest in danger as well. It’s fine, but nothing special (other than Ditko doing a pin-up). The Question backup is similarly ho-hum. Just fighting a science criminal.

Blue Beetle (1967) #3 W: D.C. Glanzman, Steve Ditko. A: Steve Ditko. BEETLE gets back on track with a strong feature. The formula seems to be basic science hero plot. The bad guys steal Beetle’s gun and use it to rob banks, even if they can’t figure out how to shoot it. Gorgeous movement in Ditko’s visual ballet. The Question backup’s better, too. Okay mystery, no subplots, implied politics, excellent art.

Blue Beetle (1967) #4 W: Steve Ditko, Steve Skeates. A: Steve Ditko. And off again… when the BEETLE feature doesn’t just have Ted after science crooks, it flops. Worse, there’s not the action ballet. Here, he’s tracking the original BB to a remote island on an archelogical expedition and there’s an evil cult. Yawn. The Question backup’s weird, too. Office infighting, bland villains. All Ditko’s energy seems spent (four issues in).

Blue Beetle (1967) #5 [1968] W: D.C. Glanzman, Steve Ditko. A: Steve Ditko. Self-parody about how the squares will inherit the Earth. In the feature, Beetle and guest star Vic Sage battle evil, nihilistic young artists. Ted and Vic are mad they don’t love [white supremacist dog whistle] enough. Oof. The QUESTION backup has Vic torturing the bad guy to radicalize him into psychosis, thereby requiring apprehension. Middling (for Ditko) art.

Blue Beetle (1967) #6 [1974] W: D.C. Glanzman, Steve Ditko. A: Steve Ditko. Leadenly portentous but solid “issue” (unpublished until a fan publication did so) has Ted Kord once again in trouble with the law, while the court of public opinion is condemning scientists, science, and Blue Beetle! The villain’s a mostly invisible man, so even without the best Ditko ballet, the physical stuff is still great. It’s just also incredibly goofy.

Movies

Barton Fink (1991) D: Joel Coen. S: John Turturro, John Goodman, Judy Davis, Steve Buscemi, Tony Shalhoub. Newly successful New York playwright Turturro goes to Hollywood, quickly discovering his “common man” hotel is a dump and he’s got writer’s block. Plus, there’s something a little odd about neighbor Goodman. Throw in a famous author, Pearl Harbor, and some murder, and… the Coen Brothers don’t find the movie. Some great filmmaking and good acting, but it misses.

Crime Doctor’s Man Hunt (1946) D: William Castle. S: Warner Baxter, Ellen Drew, William Frawley, Ivan Triesault, Claire Carleton. Despite an interesting mystery–albeit not a mysterious one–the entry can’t overcome Castle’s repetitive, rote direction. Yes, it’s soundstage after soundstage but it’s always the same shot during the endless expository scenes. Excellent Baxter with a flashlight sequence, and both the photography and music have their moments. If any of the supporting cast worked out, it might’ve clicked.

Just Before Dawn (1946) D: William Castle. S: Warner Baxter, Adele Roberts, Martin Kosleck, Marvin Miller, Robert Barrat. Banal (but lethal) entry involves Baxter happening upon a poisoning ring and a plastic surgery for wanted criminals concern. They’re barely connected (but still less contrived than Baxter’s entry into the case), which means the mystery isn’t particularly involving. Baxter’s more an adventurer this time around; it doesn’t play. Even with the thin parts, the performances are okay enough.

Millennium (1989) D: Michael Anderson. S: Kris Kristofferson, Cheryl Ladd, Daniel J. Travanti, Robert Joy, Maury Chaykin. Too high concept, too low budget sci-fi about the correlation and not causation of time travelers and airplane crashes. Kristofferson’s a no-nonsense flight investigator, Ladd’s a mystery woman who’s sometimes a sex kitten, other times a badass future warrior. They do not appear to enjoy kissing each other; Kristofferson makes his adject disinterest obvious. Ladd’s eventually appealing.

Briefly (2 May 2026)

Movies

36 Hours to Kill (1936) D: Eugene Forde. S: Brian Donlevy, Gloria Stuart, Douglas Fowley, Paul Fix, Jonathan Hale. Relaxed cheapie thriller about gangster Fowley taking a cross-country train to escape a dragnet, only to run into somewhat nosy reporter Donlevy. They then get into a love triangle with mystery woman Stuart. It’d be a lot better if at least ten minutes (of a sixty-five-minute runtime) weren’t dedicated to crappy racist jokes at Fetchit’s expense.

A Blueprint for Murder (1953) D: Andrew L. Stone. S: Joseph Cotten, Jean Peters, Gary Merrill, Jack Kruschen, Barney Phillips. Visiting brother-in-law Cotten begins to suspect Peters, step-mom to his niece and nephew, has malicious intent. Half the movie is Cotten and the supporting cast trying to catch her, half is the aftermath. The procedural stuff’s a drag. Cotten’s okay, but Peters only gets to show personality in the finale. Too low budget, too thin script.

Crime Doctor (1943) D: Michael Gordon. S: Warner Baxter, Margaret Lindsay, John Litel, Bess Flowers, Ray Collins. Densely plotted origin story has amnesiac Baxter becoming a renowned psychiatrist who used to be some kind of crook, but he avoids finding out until the last twenty minutes (of sixty-six). Occasionally inventive, usually competent, always efficient. Baxter and love interest Lindsay lack chemistry. Collins’s the mentor, Litel’s the villain. Also fun is spotting the THIN MAN alums. Adapted from the Philip Morris-sponsored radio show created by Max Marcin; first of ten CRIME DOCTOR films starring Baxter. Followed by THE CRIME DOCTOR’S STRANGEST CASE.

The Crime Doctor’s Courage (1945) D: George Sherman. S: Warner Baxter, Hillary Brooke, Jerome Cowan, Emory Parnell, Anthony Caruso. Baxter’s on vacation in sunny Los Angeles and quickly gets involved with a case of newlywed Brooke discovering husband Crane was cleared of his first two wives’ suspicious deaths (days after marrying them). There’s not much mystery to this one, just red herrings and a bunch of supernatural intimations to pack the runtime. Baxter’s game enough, but COURAGE’s thin. Followed by CRIME DOCTOR’S WARNING.

The Crime Doctor’s Warning (1945) D: William Castle. S: Warner Baxter, John Litel, Dusty Anderson, John Abbott, Miles Mander. Overlong installment has Baxter trying to clear rich kid turned wannabe artist Irwin, who may be murdering his models. There are plenty of faces to spot in the supporting cast–Mander’s the most fun of the credited, J.M. Kerrigan of the uncredited–but their scenes are always short. It’s mostly Baxter investigating alone in dark sets. Definitionally middling. Followed by JUST BEFORE DAWN.

The Crime Doctor’s Strangest Case (1943) D: Eugene Forde. S: Warner Baxter, Lynn Merrick, Gloria Dickson, Lloyd Bridges, Sam Flint. Very efficient programmer has Baxter investigating a rich guy’s murder by poison. Bridges is the prime suspect, and a fellow Baxter saved from a previous charge involving a poisoned rich guy. The mystery itself’s solid, and director Forde does well with suspense. The actors not as much. The finish needs to be better, but it nearly works out. Followed by SHADOWS IN THE NIGHT.

Seconds (1966) D: John Frankenheimer. S: Rock Hudson, Salome Jens, John Randolph, Richard Anderson, Murray Hamilton. Incredibly intense, meticulously photographed (gorgeous James Wong Howe black and white) and edited (Ferris Webster and David Newhouse) sci-fi thriller about two painters, lapsed amateur Randolph and successful but lost Hudson, and their dealings with a peculiar services company. Great performances from Randolph and Hudson. Excellent Frankenheimer direction. The third act whiffs a bit, but not too much.

Shadows in the Night (1944) D: Eugene Forde. S: Warner Baxter, Nina Foch, George Zucco, Lester Matthews, Ben Welden. Baxter’s out of his element at a seaside estate trying to figure out patient Foch’s nightmares, except he’s having them, too. The first half drags but once the reveals get started, it’s a fine enough mystery. Foch’s wanting. Welden’s very nearly Baxter’s sidekick, providing sorely needed rapport. The series’s brutal efficiency rarely allows time for the numerous red herrings. Followed by CRIME DOCTOR’S WARNING.

Shoeshine (1946) D: Vittorio De Sica. S: Franco Interlenghi, Rinaldo Smordoni, Annielo Mele, Emilio Cigoli, Bruno Ortenzi. Stark, compassionate rendering of postwar Roman boyhood. Best friends Interlenghi and Smordoni luck into a financial windfall only it comes with devastating consequences. Fantastic performances, particularly from the mostly young cast. De Sica’s direction is superb. Sublime pacing and plotting, the editing is outstanding. Relentlessly depressing, but never quite despondent. The film finds the humanity everywhere it looks.

Sweet Smell of Success (1957) D: Alexander Mackendrick. S: Burt Lancaster, Tony Curtis, Susan Harrison, Martin Milner, Sam Levene. Amoral New York press agent Curtis will do anything to stay in also amoral gossip columnist Lancaster’s good graces. Determining who’s more amoral and how many lives can be ruined in the continuous thirty-six hour present action is the relentless, often mortifying character study. Fantastic performances, photography, and direction. Great location shooting. Spectacular, rapid fire dialogue and pace.

Comics

Masters of the Universe The Motion Picture (1987) #1 W: Ralph Macchio. A: Art Nichols, Dennis Janke, George Tuska, Mike Zeck. Rote movie adaptation is only of note–barely–for the use of the HE-MAN toy designs instead of the movie costumes (except for the cheap-o new movie creatures). George Tuska’s pencils are hurried, but he gives the book more than it deserves. Not enough to make it worth a look, but at least there’s some bare competence.

The Spirit (June 29, 1941) “The Balkan Ball”

Will Eisner (editor, script, pencils, inks)

Joe Kubert (colors)

Sam Rosen (letters)

Balkan Ball is an Ebony strip, which means there’s lots of racist caricature to negotiate, amplified by Ebony getting a sidekick, Pierpont, who is also visualized in racist caricature. Scarlett appears, too. So it’s three… well, it’s actually more, but only for what ought to be a delightful sight gag. As usual, Ebony’s strengths as a character work against the weaponizing visualization. Last big Ebony adventure: it was about him being a good detective on his own, even though others thought he wouldn’t be, so there was a very obvious disconnect. Balkan’s a little less disconnected as Ebony is more comfortable in his crimefighting abilities.

After the splash page, which sets it up as an Ebony (and Pierpont) strip, we get Spirit ditching Ebony to go to a fancy ball and keep an eye on the jewels. It’s for the war effort. So Spirit gives Ebony the car for the night (no, sir, the other car). Spirit then goes to pick up Ellen Dolan to take to the fancy ball, but the reader learns she’s already made a date with a prince. Ellen says there are all sorts of royalty around with the war on. Commissioner Dolan’s not particularly thrilled she’s dating a prince (suggesting loose moral behavior amongst Europe’s royalty). When Spirit gets there, Ellen tells him off and sends him out before breaking into tears at him finally picking her.

Not great Ellen writing.

Spirit then runs into the prince on the street—well, bumps—and is pretty sure he’s a professional thief, not an exiled royal. But Spirit lets it go and heads to the ball.

Meanwhile, Ebony goes to pick up Scarlett to take her to the movies, but she saddles him with her cousin, Pierpont, who’s a stereotypical troublemaking kid. Scarlett then runs out, and Ebony’s stuck. Worse, Pierpont is holding him a little hostage, threatening to badmouth Ebony to Scarlett. Instead of the movies, they go to bingo, where it turns out Pierpont’s a wunderkind at selecting the right bingo card.

Except they then get held up by some thugs, who they take out in short order—Ebony’s a crimefighter with a flying car, don’t forget—and those thugs are part of a plan to take out the Balkan Ball, bringing the threads together.

The narrative is thorough and precise. Eisner and studio hit all the points to build the story along, once again frustrating in what should be a cool strip for a little Black kid to be reading in summer 1941 instead of some traumatizing shit. Ebony and Pierpont are instrumental in foiling the heist, which will also get Ellen and Spirit into some close quarters; angry ones, too.

And the finish is well-executed. Good art on the Spirit’s relatively quick resolve with Ellen; probably the horniest Eisner and studio have gotten about this pairing. Spirit’s had some other hot encounters, but I don’t think any with Ellen. It’s brief, though. And there are some not-ideal power dynamics.

Then Ebony gets a good finish, too. Except they draw it racist, so there’s a shitty element to it.

Technically, stellar narrative pacing and plotting. Some of the other stuff… ick.

Briefly (12 April 2026)

Movies

Big Driver (2014) D: Mikael Salomon. S: Maria Bello, Ann Dowd, Will Harris, Olympia Dukakis, Joan Jett. Tonally concerning, poorly written adaptation of Stephen King novella about cozy murder mystery novelist Bello surviving a sexual assault and attempted murder. Way too many exploitation vibes for a Lifetime TV movie, especially how it objectifies Bello’s trauma for audio-video fodder. She does better than the project deserves, though even a tense third act can’t overcome the writing.

Man Wanted (1932) D: William Dieterle. S: Kay Francis, David Manners, Una Merkel, Bess Flowers, Elizabeth Patterson. Girlboss Francis can’t find a good secretary until she hires recent Harvard grad Manners. Except he’s only good at it because he moons over her the whole time. Too bad she’s married to philandering Thomson (and Manners is engaged to annoying Merkel). Manners is lousy, so the precisely shot lusty moments don’t work. Francis’s solid, good production, wanting script.

A Night in Casablanca (1946) D: Archie Mayo. S: Groucho Marx, Harpo Marx, Chico Marx, Paul Harvey, Charles Drake. Groucho takes over the Hotel Casablanca, unaware he’s in the crosshairs of escaped Nazi Ruman, who’s hiding stolen treasure in the hotel. Very choppy, with whole subplots disappearing. A handful of decent moments, but the low budget and Mayo’s iffy handle on directing the picture hurt. Verea’s the fatale (she’s solid). Harpo gets to play a very pretty song.

Project Hail Mary (2026) D: Phil Lord & Christopher Miller. S: Ryan Gosling, James Ortiz, Sandra Hüller, Milana Vayntrub, Meryl Streep. Amnesiac Gosling wakes up on a spaceship far from Earth and has to remember why he’s there. The audience learns through pointlessly expository flashbacks. Drew Goddard’s script or Lord and Miller’s direction are both profoundly flat, with no dramatic tension, even in disaster sequences. Daniel Pemberton’s unceasing muzak doesn’t help either. Gosling and Ortiz do okay, for zero reward.

The Racketeer (1929) D: Howard Higgin. S: Robert Armstrong, Carole Lombard, Roland Drew, Paul Hurst, Kit Guard. Languid romantic melodrama about semi-legit gangster Armstrong falling hard for fallen woman Lombard, who can’t shake her devotion to drunken violinist Drew. Guard Armstrong’s right-hand man, Hurst, is the cop out to get them. Very talky, very slow (at an hour and change); no one can pace their dialogue. Perhaps notable as an early talkie, otherwise not.

Solarbabies (1986) D: Alan Johnson. S: Richard Jordan, Jami Gertz, Jason Patric, Lukas Haas, James Le Gros. Dismal post-apocalyptic kids movie about a bunch of rollerskating orphans (don’t worry, it doesn’t make sense) finding a magic orb. Top-billed Jordan’s the vicious cop after them, Durning (who hopefully enjoyed his trip to Spain for filming at least) is the weary orphanage warden. Nothing good about it, though many elements are worse than others. Terrible music.

Welcome to Collinwood (2002) D: Anthony Russo. S: Sam Rockwell, William H. Macy, Isaiah Washington, George Clooney, Gabrielle Union. Often funny remake of BIG DEAL ON MADONNA STREET relocates the action to an impoverished Cleveland neighborhood and its desperate denizens. Nice performances all around, with standouts from Rockwell, Macy, Washington, and Clarkson. It’s short, breezy, and amusing, but the writing and directing Russo Brothers don’t have anything other than excellent actors performing an adequate screenplay. Simultaneously tries too hard and not enough.

Comics

Action Comics (1938) #592 [1987] W: John Byrne. A: John Byrne, Keith Williams. Big Barda comes to Metropolis and is almost immediately captured by one of Darkseid’s previously unknown ex-minions. Meanwhile, Clark Kent visits a clinic treating victims of an unknown radiation poisoning. The two things are connected, leading to a rescue and a fight. While multi-hyphenate John Byrne canonically loves Kirby, you couldn’t tell from the story or art.

Action Comics (1938) #593 [1987] W: John Byrne. A: John Byrne, Keith Williams. John Byrne’s attempt to make Superman relevant again to readers now includes brainwashed Supes and Big Barda doing pornos together. Darkseid sends Mister Miracle to the rescue for dumb reasons. Some implied sexual assault (again), bland Byrne art, and tedious writing round out the issue. It’s further example of Byrne sapping the life out of Kirby characters, nothing more.

Superboy and the Legion of Super-Heroes (1977) #243

Paul Levitz (script)

Joe Staton (pencils)

Jack Abel (inks)

Cory Adams (colors)

Jean Simek (letters)

Al Milgrom (editor)

It’s one issue-long story this time, no backup, which is both good and bad. It’s bad because this issue’s a letdown from the previous two “Earthwar!” entries, but it’s good because after an issue of Joe Staton penciling instead of James Sherman… It’s okay if the issue is over.

Writer Paul Levitz carries on as though nothing’s changed with the penciller replacement. Except Levitz’s exposition plays very differently against Staton and inker Jack Abel’s bland future scenery. It’s not just bland compared to the previous issue; it’s bland for any Legion. Staton and Abel are working fast, and it’s impressive how much they get done; completion, not excellence, is their goal.

The wind’s out of the sails immediately, with Levitz opening with that female Science cop Wildfire almost killed a couple issues ago. She gets a name this time—Shvaughn Erin—and quite a bit of expository reflection to catch readers up. We get to see Staton and Abel’s take on moody close-ups. Not promising. We also finally find out why she was on an urgent mission to see the Legion at the start of this story arc–one of their greatest foes has escaped captivity. She’s fairly sure the escape will have something to do with the resolution of this big storyline. So much so, she knows not to think the name of the great foe; be too soon to reveal.

The story then jumps to Weber’s World, the artificial planet of intergalactic peace, as aliens arrive for the long-promised peace negotiations. Not good space alien art. Lots of dialogue for them, and weak art to go along with it. It’s rough times, though Staton and Abel do better with the action scenes than the talking heads. And there’s some action in this part. It’s chase action, which is probably the best kind for the artists. Because their space-war action art won’t really click, nor will their future ground-war action art. They get it all done, though. They do accomplish their task.

Superboy and the guys who didn’t do that genocide–which they totally could have done, too, they’re tough guys–last issue on Khund arrive on Weber’s World just after the latest assassination attempt, and because the negotiating aliens (the Dominators, who are supposedly peace-loving) only trust the Legion, Earth negotiators are on their own.

Levitz cuts from the protagonists of parts one and two and does this summary bit over the war on Earth. It’s all about the valiant Legionnaires who are still around, making their last stand. There’s a bit about their deeply held value of not killing sentient beings, which is an odd inclusion unless someone read the last issue and thought they should remind some of the boys. The “sentient” bit lands odd, of course. Presumably, the multiple telepaths have cleared all their meats.

Anyway.

This section of the issue gets tedious fast. It’s cameo and guest star time, but it’s not exciting. The book’s not visually engaging. Sometimes, quite the opposite. And it gets more and more tedious as it goes on. No matter what Levitz has in store, Staton and Abel don’t make it look interesting. By the time the comic gets to the conclusion—after a nothing-burger reveal of the “Earthwar!” masterminds as an old Legion nemesis (with no editor’s note or context from Levitz for unfamiliar readers, which is a choice of its own)–the art’s operating on fumes, looking more like a proposal than finished work.

The issue’s a race for both Levitz—whose pacing for this story is completely different than the previous two entries—and the artists. They both make it, the artists worse for wear, and Levitz has exhausted his repertoire of narrative devices. He tries everything, and Staton can’t make hash out of any of it.

For part three in this arc, it’s a major letdown and entirely obvious why it’s happened. It is an exemplar team superhero comic narrative, again, only for the endurance, this time, not for the quality.

Maybe Sherman’s back next time. And if not, hopefully Levitz figures out how to adjust to Sherman’s absence for the finale.

The Spirit (June 22, 1941) “The Tale of the Dictator’s Reform”

Will Eisner (editor, script, pencils, inks)

Joe Kubert (colors)

Sam Rosen (letters)

The Tale of the Dictator’s Reform is not Spirit’s biggest creative swing to date, but the strip is definitely the wildest. Hitler coming to the United States on a fact-finding mission—only to have a change of heart thanks to Spirit’s intervention—will forever be singular. Eisner and studio know the strip won’t age well, with the ending acknowledging certain inevitables, but it’s also a strip from summer 1941. It’s five months before Pearl Harbor, it’s years before learning the extent of the Holocaust; it’s incredibly naive, but earnestly so.

The splash page is a lengthy expository paragraph (with humorous little illustrations) explaining Hitler—who is unnamed because, remember, at this point, the United States still had diplomatic relations with Germany—wants to see what’s going on in the United States and help people see they should be on his side. Again, it’s earnestly done, so it’s not like Eisner knew the Nazis got a bunch of their ideas from the United States, its politicians, and its citizenry. Instead, Hitler’s going to find out no one here likes him, fascism, or any of the hate he’s selling.

Good thing Hitler went to Central City instead of Tulsa, Oklahoma.

The strip takes its subject from a council of patriotic hoboes to a couple little kids getting the better of him. Dolan’s going to hear about the visit from the kids’ father and will sound an alarm. By that time, Hitler’s found his way to Wildwood Cemetery, where Spirit hosts him for some light exposition and lighter debating. It doesn’t take much for Hitler to see the error of his ways, just some good, plain talk from the Spirit.

The final page of the strip has Eisner resetting the stage, but there’s also some follow-up to the police’s search. Sight gags with Hitler were probably a lot funnier in summer 1941 than later, but they’re still a flex at that point. As a comic strip, The Spirit has always been produced in a world with Nazi Germany; it just took a while to acknowledge it in the story content, with Spirit only relatively recently getting into the spy game. And they’re still cagey about proper nouns—the “Dictator” comes from the country of Europe in the strip… Eisner and studio had their reasons, but those reasons might be too constraining for their ambitions here.

Technically, there’s not a lot going on with the strip’s execution. Some good composition choices, the kids in the park are funny, but the strip fails in its didactic efforts. It’s thin.

Though, right on for them running with it. Eisner and studio probably didn’t know the extent of Nazi sympathy in the United States at the time, but they knew some of it, and they delivered a definite condemnation.

Weird strip.

The Spirit (June 15, 1941) “Dusk and Twilight”

Will Eisner (editor, script, pencils, inks)

Joe Kubert (colors)

Sam Rosen (letters)

Dusk and Twilight is, no pun, a dark strip. The splash page introduces us to Dusk, who may look like he’s in a carnival act, but he’s actually a murderer with hands of steel and a gentle disposition. We learn these two details on the second page, when he goes to a famous brain surgeon’s house, asks the little daughter to show him into the dad’s office, strangles the dad, pats the daughter on the head, and strolls away slowly enough to make sure he gets to hear the daughter find the body.

It’s creepy. It’s the youngest kid ever in danger in The Spirit; it’s the strip’s first psychopathic-killer protagonist of this nature; and it’s not even the biggest swing in the strip. Once Dusk is done delighting in the screams of a little girl, he goes on a jaunt through a nearby cemetery. It just happens to be Wildwood Cemetery, where Spirit and Ebony are returning home after their latest adventure. Ebony’s a little nonplussed about it, prompting Spirit to ask why he’s not more excited about catching killers.

Ebony looks directly at the reader and asks how he’s supposed to be so invested in human life when Europeans are being murdered by the thousands, and no one in the United States seems to give a shit. After a “right on” from Spirit, Dusk happens across the duo and starts thinking about killing at least one of them. Spirit spots something off about this particular guest star, and they take a walk, leaving Ebony to wait.

Dusk will take Spirit to his underground lair and introduce him to his wife, Twilight, who Dusk has kidnapped and either kept primal or made primal. Twilight’s always trying to kill Dusk with throwing knives, but she’s got terrible depth perception. She’ll later prove perfectly good slashing with her knives, but only when Spirit’s trying not to hit another female guest star in the strip.

At this point, Dusk becomes less scary and a tad more cartoonish. Spirit has had savage wild women before; it’s had mad scientists who make mutant henchmen to fight Spirit. Even after an interlude at the Central City police department, so Dolan can get on the case, and the briefing talks about the little girl finding the dad’s body, Dusk seems a little more for a smile than a scare. Not a laugh, he’s too dangerous to be funny, but he’s got personality. Especially once he discovers Spirit isn’t the kindred… spirit (sorry), he had hoped.

The art is sometimes a little more Expressionist in the establishing shots than usual, lots of curling visuals, including Dusk’s wiry frame. But the art’s also rather hurried. Lots goes on with varying levels of detail; figure detail, character detail, yes; background detail, detailed scenery, no. Again, it’s hurried. And a lot of the strip’s visual pacing relies on sight gags, which makes it feel more like a traditional comic strip at times–panel, panel, punchline, and so on.

It’s a solid Spirit. Outside the opening macabre (and Ebony’s plea), it’s not particularly distinct (well, Spirit does get really upset about having to fight another lady, as I said), just a perfectly fine strip.

Superboy and the Legion of Super-Heroes (1977) #242

Paul Levitz (script)

James Sherman (pencils)

Bob McLeod (inks)

Cory Adams (colors)

Ben Oda (letters)

Al Milgrom (editor)

Once again, the feature story opens with Wildfire being a jerk. Last issue, he was going to let a Science Police officer die because her spaceship wasn’t well-maintained, and this issue, he’s going off on a fascist rant. At least it’s less life-threatening this time. It’d also be less striking if his girlfriend, Dawnstar, didn’t demand absolute loyalty to the Legion leader from her teammates. There’s a definite fash vibe to the story, which just increases later, with even Superboy lashing out.

Wildfire and Dawnstar are on the Weber’s World team, Superboy’s on the Earth defense team. The former’s supposed to be protecting a galactic peace summit, but the other power hasn’t arrived, and there are already terror attacks against the good guy negotiators. A confounding, frustrating situation, so it’s good the other heroes on the mission—Ultra Boy and Mon-El—frequently ignore Wildfire’s directions and, in fact, do save people’s lives. While writer Paul Levitz will focus on the Earth-bound story arc, the Weber’s World story has a lot of kick to it. Partially because of the intergalactic intrigue stuff, partially because it gives penciller James Sherman a chance to draw a future city planet, and it’s gorgeous.

Sherman, ably inked by Bob McLeod, turns in a sumptuous piece of work here. Every element—faces, figures, backgrounds—invites intentional inspection. Especially the facial expressions; Sherman’s got these big expressive eyes and intense detail. And those expressions get dark, too. Devastated at the loss of life during space-based warfare Superboy is one thing, but potentially genocidal Superboy is a whole other. Sherman and McLeod make both happen.

Great art. If there’s better future space teen superhero art, I can’t wait to see it someday.

Anyway.

Back on Earth, it’s not the other power from the negotiations attacking (those are the Dominators), but rather the Khunds. The Khunds appear to be a human colony gone nasty, and they’ve launched a drone ship attack on Earth. Earth’s not ready for it. Wildfire’s not there to say it’s because the Science Police are bad at their job, but it sure seems like they could be better prepared (more on Science Police preparations in the backup, it turns out).

Brainiac 5 pisses everyone off, telling them there’s no way to win the battle for Earth. They need to retreat and regroup. Deputy leader Element Lad isn’t listening to any of that quitter talk, so he ships Brainy off to Weber’s World (with no presence in the rest of this issue) and forms a strike force to go take out the leader of the Khunds. The team consists of Element Lad, Colossal Boy, Sun Boy, and Superboy. They’re going to the capital city, populated mostly by civilians.

Element Lad’s going to take it to eleven and threaten painful murder, while Superboy’s not going to promote truth, justice, and that stuff.

All that anger gives way to Levitz revealing—or at least establishing—the villains, and setting up for next issue.

It’s excellent comics.

Then there’s the backup, which does indeed involve the Science Police (more, actually, since they don’t have any character-level presence in the feature). The Legion’s “prettiest” members are out for a night on the town when some criminals hijack the levitating restaurant. The Science Police are having their annual award dinner and are the perfect target. As long as the criminals have the brass held hostage, the rank and file won’t stop them from looting all the fancy shops of future Metropolis.

It’s a sizable, fourteen-page backup from writer Paul Kupperberg (with a Levitz plot), penciller Arvell Jones, and inker Danny Bulandi. The Legionnaire team is Dream Girl, Shadow Lass, Princess Projectra, and Light Lass. They immediately take on the criminals, only to discover the hostage part of the equation, and are captured.

Except they’re not, because Princess Projectra has projecting-hallucination powers, and so does maybe Dream Girl? It’s the traditional Legionnaires’ powers equation with a distinctive setting. They’re in the “civilian” future city, and while Jones doesn’t go for Sherman’s detail, he does lean into the scenery. The art’s got a lot of personality.

The story has the Legionnaires splitting up to stop various heists, which are very similar to those in the modern day, and each learning a clue to unlock the third act. It’s straightforward, solid superhero stuff, not superlative like the feature, but a nice, sturdy way to round out the issue.

The Spirit (June 8, 1941) “Five Passengers in Search of an Author”

Will Eisner (editor, script, pencils, inks)

Joe Kubert (colors)

Sam Rosen (letters)

Five Passengers opens on a moody airstrip with an unlikely cast. A local schoolteacher’s favorite assignment is to bring the youngsters to watch the flight to Washington D.C. Each student gets to pick one of the passengers they’re watching board and write a fictional biography of the person. Given the strip will eventually involve foreign agents and other ill-intentioned folk, it’s strange no one ever thinks the schoolteacher’s off. The pilots even comment on the teacher and his class; it’s a regular field trip.

The school field trip is just a bookending device, however, and the action quickly gets underway with the incredible events aboard the airplane once it is in flight. There’s a mobster turned FBI informant on the plane, and the only way the mob can get him is to take him out on the plane, then for the hitman to parachute. A concerned older passenger observes, dressed entirely in blue, but can’t possibly be Spirit in disguise because he’s not just wearing glasses, he’s also got an old man white hair tuft beard.

It’s the Spirit, of course, who’s there on an unrelated case. Also, on board on an unrelated case is that foreign agent, who aids the mob hitman in his escape before turning to his own, now easily attainable, business. So everyone’s got their own agenda, there’s the potential for numerous double-crosses, and as long as the knocked out flight attendant doesn’t roll out of the plane, every Passenger will have either died or killed another passenger.

Then there’s a surprise after all that intrigue—which already will have involved parachutes, multiple disguise reveals, and a possible logic error in the narration text—but it’s not enough for Eisner; there’s got to be a comeback reveal. Then the bookend finish. Then something appropriately pro-British, because there’s a war on and everything.

Even the reveal at the end is basically just a cameo guest appearance, with some entirely functional dialogue to pass the time. Eisner and studio turn everything up to eleven with this strip—the opening has the class on the field trip to appeal to same-age readers, followed by almost immediate intrigue, violent mob action, and airplane peril. It’s a showcase of extremes, except there’s minimal Spirit fisticuffs. It’s not a Spirit action showcase, it’s a soft pilot for Spy Spirit’s Mystery of the Week. And it’s interesting to see Eisner and studio flex with narrative promises over visual ones. The strip’s a very accessible Spirit, especially in a newspaper full of war news.

The art’s entirely solid, with some moody panels but no real standouts. The timing is excellent, with Passengers using comedic comic strip timing in an intrigue setting and such. The strip’s successful; it just lacks any particular oomph, which is a choice given the guest star’s identity.

The Spirit (June 1, 1941) “Killer McNobby”

Will Eisner (editor, script, pencils, inks)

Joe Kubert (colors)

Sam Rosen (letters)

And, now, Killer McNobby takes the crown for most formal flexing Spirit strip. They do the narration entirely in rhyme, with accompanying illustration. It’s almost like Eisner and studio realized if they didn’t do something different with it, Killer would be maybe the fifth “Spirit vs. Titular (asterisk) Criminal” strip. Maybe tenth. It’s kind of a default by now, enough so they’ve been deconstructing the tropes recently.

Killer is a bad dude who starts small and gets bolder and more successful. His modus operandi is killing his victims so there aren’t any witnesses to his robberies. There’s a simplicity to the man, and Central City knows to fear him. But Spirit’s not scared, so they get into a fist fight from afternoon to the next morning in a lot in the slums. Gangsters either do or do not show up, the underworld definitely comes out, but the rhyme—there’s eventually a chorus, it’s a song, it’s an urban folk fight song for Spirit; it’s a big ol’ swing. But before I get too distracted by how well-executed Killer gets, I’ll note the incongruities in the lyrics.

The lyrics are impressive in terms of humor and rhyming; in terms of relaying the narrative as it plays out in the accompanying illustrations… they get a C. It happens a lot during the fight sequence, which is unfortunate because it’s a glorious fight sequence after the build-up. Once it’s clear we’re headed into fisticuffs, the rhymes either do or don’t make sense with the illustrations; they quickly become confusing. More confusing is the lyrics not making sense between the rhymes; they lose internal consistency for a while and just roll with it, presumably because they knew once you saw the fight page, you were reading as fast as you could to get to that one. Killer must have looked great on the newspaper page.

There’s not much story. Spirit just goes after dude when enough is enough. They get into the fight, they both have highs and lows, and then there’s the finish. And Eisner and studio change up the lyric structure again to get to a rhyme, saying whatever they have to say to get there. It’s ambitious, it’s successful, it’s just not particularly tenacious. They do an awesome, delightful strip. When re-reading the lyrics to try to understand how the underworld can all be in attendance without any gangsters, the art starts to feel distracting. And the way Eisner works the art to ignore traditional comic strip narrative—it’s far more expressive, both for humor and exposition. It just doesn’t always fit with the lyrics, except typographically, of course. There’s a not zero chance much of the song was written to fit the spaces between the visuals. Killer’s a gorgeously illustrated strip; they worked hard on this one, and they deliver.

Spirit’s been making lots of big swings lately, both in narrative and style; Killer McNobby’s the champ.

For now, anyhow.