Atari Force 3 (1982)

2334Even though the characters are still visually bland, Atari Force gets Gil Kane on the art and he knows what he’s doing. It’s a big read instead of a long one. Writers Conway and Thomas split the issue into three chapters, but it’s more like two–there’s even a cliffhanger mid-point.

For this issue, there are no more flashback introductions. Instead, there’s a somewhat weak flashback explaining the alien planet they find. It’s bumpy but passable.

Conway and Thomas to continue their rather serious look at what should be a goofy comic. One of the characters is a pacifist, burnt out by all the warring on Earth, and he doesn’t give up his convictions. There’s not a lot of fallout from it, but the writers do return to it a few times and the guy does turn out to be right.

With Kane, Force is all around competent now.

B 

CREDITS

Enter — the Dark Destroyer!; writers, Gerry Conway and Roy Thomas; penciller, Gil Kane; inkers, Dick Giordano and Mike DeCarlo; colorist, Adrienne Roy; letterer, John Costanza; editor, Giordano; publisher, DC Comics.

Atari Force 2 (1982)

2333This issue covers two more team members–both new members whose little origin stories come right after their introductions–and both of their stories are, once again, rather rough.

First there’s the Indian guy, who only got out of poverty because some British guy mistakenly accused the kid of theft and a tragedy followed. Then there’s the head of security. For her, Thomas and Conway have a really depressing war story. Atari Force, for all its jumpsuits and Atari lingo, is a rather grown-up comic. Not what one would expect from a game tie-in geared at kids (were Atari consoles aimed at kids?).

There’s also the bigger story. The team comes together to travel between alternate realities to find a world for the benevolent Atari corporation to colonize. So no big sci-fi action yet, but soon.

The art’s still a little off, but it’s fine enough.

B 

CREDITS

Berserk; writers, Gerry Conway and Roy Thomas; penciller, Ross Andru; inkers, Dick Giordano and Mike DeCarlo; colorist, Adrienne Roy; letterer, John Costanza; editor, Giordano; publisher, DC Comics.

Atari Force 1 (1982)

2332Atari Force is immediately strange on three levels. First, it’s game tie-in to the company, not a game. Second, it’s a reduced size comic and all the art looks too spacious. Ross Amdru is clearly trying to fill things out.

Finally, writes Gerry Conway and Roy Thomas borrow lots of sci-fi movie tropes. But they don’t apply them in the standard way–they turn them into action set pieces. Atari Force, despite Andru’s awkward page layouts, is something of a direct precursor to the 2010 film. It’s technological excitement in a sunny post-apocalypse.

This issue deals with a couple characters who are heading to Atari headquarters–it’s called something else, maybe the Atari Institute–to help save the world. Something along those lines. There’s actually a really tough flashback to post-World War III Africa. It’s not gritty looking, but it’s serious.

It’s a rather strange comic.

C 

CREDITS

Intruder Alert; writers, Gerry Conway and Roy Thomas; penciller, Ross Andru; inkers, Dick Giordano and Mike DeCarlo; colorist, Adrienne Roy; letterer, John Costanza; editor, Giordano; publisher, DC Comics.

Detective Comics (1937) #531

Detective Comics  531

One could just read this issue for the art. Alcala beautifully complements Gene Colan. He sort of brings out the lusciousness, but reigns it in just enough. Colan’s never too lush; Alcala is never reductive.

The story’s not bad, but Moench doesn’t quite sell Jason Todd, detective. He investigates, but without any finesse. The scenes where Jason’s talking to potential witnesses flop; no one would talk freely considering Jason’s suspicious behavior.

For the finish, Moench makes an incredibly odd choice–he doesn’t reveal the villain’s face. I had to reread it to make sure I wasn’t missing it.

Moench’s ambition outpaces his skill on the difficult Bruce and Jason character drama.

The Green Arrow backup has decent, if strangely constrained art from Jerome Moore and Mike DeCarlo. Joey Cavalieri makes a funny Superman peanut butter joke. It’s nowhere near as bad as usual.

Detective Comics 531 (October 1983)

5636.jpg
One could just read this issue for the art. Alcala beautifully complements Gene Colan. He sort of brings out the lusciousness, but reigns it in just enough. Colan’s never too lush; Alcala is never reductive.

The story’s not bad, but Moench doesn’t quite sell Jason Todd, detective. He investigates, but without any finesse. The scenes where Jason’s talking to potential witnesses flop; no one would talk freely considering Jason’s suspicious behavior.

For the finish, Moench makes an incredibly odd choice–he doesn’t reveal the villain’s face. I had to reread it to make sure I wasn’t missing it.

Moench’s ambition outpaces his skill on the difficult Bruce and Jason character drama.

The Green Arrow backup has decent, if strangely constrained art from Jerome Moore and Mike DeCarlo. Joey Cavalieri makes a funny Superman peanut butter joke. It’s nowhere near as bad as usual.

Batman (1940) #341

Br341

It’s the ghost of Wayne Manor! Actually, it’s just Man-Bat. It’s Bruce Wayne and Jim Gordon bickering! Actually, they’re both just upset about politics. It’s a guest appearance from Dr. Thirteen! A really boring one.

Apparently, Conway wanted to do a Man-Bat story but also had an issue to fill. He pads this issue with a ludicrous “haunted” Wayne Manor mystery. Lots of things don’t make sense–primarily, Batman dismissing the idea of someone creeping around Wayne Manor. Or what about Batman not having a security system in place–even though he has a computer monitoring all Wayne Manor Batcave entrances, it doesn’t alert him when they’ve been breached.

The Novick art is a disappointment. Man-Bat looks silly.

There’s a two page Batman mystery–the Adrian Gonzales art is better than the feature’s.

Then the Robin backup with somewhat loose Trevor Von Eeden art, but not bad.

Batman 341 (November 1981)

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It’s the ghost of Wayne Manor! Actually, it’s just Man-Bat. It’s Bruce Wayne and Jim Gordon bickering! Actually, they’re both just upset about politics. It’s a guest appearance from Dr. Thirteen! A really boring one.

Apparently, Conway wanted to do a Man-Bat story but also had an issue to fill. He pads this issue with a ludicrous “haunted” Wayne Manor mystery. Lots of things don’t make sense–primarily, Batman dismissing the idea of someone creeping around Wayne Manor. Or what about Batman not having a security system in place–even though he has a computer monitoring all Wayne Manor Batcave entrances, it doesn’t alert him when they’ve been breached.

The Novick art is a disappointment. Man-Bat looks silly.

There’s a two page Batman mystery–the Adrian Gonzales art is better than the feature’s.

Then the Robin backup with somewhat loose Trevor Von Eeden art, but not bad.

CREDITS

The Ghost of Wayne Mansion; writer, Gerry Conway; penciller, Irv Novick; inker, Frank McLaughlin; colorist, Adrienne Roy; letterer, Ben Oda. Murder Will Out; writer, Robin Snyder; artist, Adrian Gonzales; colorist, Roy; letterer, John Costanza. Night of the Coven; writer, Conway; penciller, Trevor von Eeden; inker, Mike DeCarlo; colorist, Carl Gafford; letterer, Oda. Editors, Dave Manak and Dick Giordano; publisher, DC Comics.