Review: Steel, the Indestructible Man by Gerry Conway, Don Heck, et al.

The nature of shared universe comics is that when reading them, they lead you to discover more comics that you also want to read. This is their curse and their blessing all at once. Hence, it was while reading All-Star Squadron that I discovered the existence of Steel, the Indestructible Man, a comic set on Earth-Two during World War II, and so I decided to catch up on it before wrapping up my WWII-set comics with The Young All-Stars.

 

Steel was created by Gerry Conway, a mainstay of DC in the 1970s and 1980s; around the time he wrote this, he was also working on Superboy and the Legion of Super-Heroes, All Star Comics, and Justice League of America, among many others. I haven't found Conway's work on team books to be very interesting most of the time,* but Steel reads differently than the others. I don't want to falsely attribute motives to him, but Steel reads like something he wrote because he was in love with the idea, rather than because he'd been assigned to and was capable of putting out serviceable work at great volume. The lettercol of issue #2 indicates that he was inspired by the research he did while writing the WWII-era adventures of the Earth-Two Wonder Woman to come up with his own WWII hero.

 

Steel is set about a year before America entered the war, when many Americans believed we shouldn't be involved at all. Steel is Hank Heywood, a promising medical student who gave up his career after a trip to Poland where he saw Nazi brutality firsthand, and enlisted in the Marines. Injured while taking down a saboteur, he survived only because of an experimental surgery by his old mentor, who use "bio-retardant" to heal his wound and enable his body to accept steel beams and motors in place of damaged bones and muscle. But after his surgery, he realizes he can use his newfound strength and durability to fight for the cause in a more direct way.

 

from Steel, the Indestructible Man #1 (art by Don Heck & Joe Giella)

The actual superhero plots are often pretty banal; Steel fights mediocre enemies like the Mineral Master and the Gadgeteer. Like Roy Thomas's later All-Star Squadron, though, what elevates the material is a sense of history, the way it weaves Steel into the real social concerns of the 1940s. Every mediocre supervillain here is somehow tied to the concerns of the war; Heywood himself is torn between using his abilities to push America into war and the dreams of his peace of his fiancée; on a practical basis, he has to work his superheroing in and around his responsibilities as a Marine private. Like the best superhero premises, it feels like a strong "storytelling engine," one that could have generated ideas and conflicts for years to come.

 

Additionally, Conway does some of his finest scripting here; much of the series is narrated in the first person by excerpts from Heywood's journal, which gives the whole series a strong sense of personality. Don Heck is an artist I can't claim to have thought much about (my notes tell me I have reviewed seven  previous comics he's worked on, but in none of those reviews did I ever mention his work aside from All-Star Squadron), but here he does great work. Like the best superhero comics artists, he draws cleanly and clearly, and is also good at communicating character. Steel's costume might be over-the-top, but it's also entirely appropriate, and presents a strong image. And some of the stories have some good zip to them, like the one where Steel confronts a newspaper mogul over his complicity in a friend's betrayal.

from Steel, the Indestructible Man #5 (art by Don Heck & Frank Chiaramonte)

The only thing I didn't like was issue #5, which for some reason takes a swerve into the Gothic, with a tale of twin brothers and deformed creatures in a spooky house in the middle of a dark forest. It's no coincidence this story is totally detached from the concerns of World War II!

Interestingly, nothing in the first five issues definitively places it on Earth-Two; though Superman, the Sandman, the Flash, and Hawkman would have been active by this point (among others), no one ever mentions them or calls Steel a superhero. If #6 had been published, however, it would have featured the origin of Baron Blitzkrieg, a character Conway and Heck created for the Earth-Two Wonder Woman comics... but there never was an issue #6. Steel was a victim of the so-called "DC Implosion," one of seventeen comics cancelled overnight. Issue #5 previews a #6 that never appeared, and Conway and Heck had even written and pencilled the issue.

That wasn't the end of Steel, though; Roy Thomas brought the character into the All-Star Squadron, a natural fit if there ever was one, given the common vibe of both series. Thomas even took the completed issue #6 and worked it into All-Star Squadron, using it as flashbacks in A-SS #8-9 to explain how Steel came to be involved in that adventure of the Squadron. I reread #8-9 to cap off Steel, and found them more interesting with the context of knowing who Steel was and wanting to see his adventures continue. Steel would continue as an A-SS member up through the Crisis, and his grandson would also star in Justice League in the 1980s, which I look forward to reading someday.

Steel, the Indestructible Man was originally published in five issues (Mar.-Nov. 1978). The series was created and written by Gerry Conway; designed by Don Heck; pencilled by Don Heck (#1-5) and Juan Ortiz (#3-4); inked by Joe Giella (#1, 3-4), Vince Colletta (#2), Bruce Patterson (#3-4), and Frank Chiaramonte (#5); lettered by Ben Oda (#1-3), Todd Klein (#3), Clem Robins (#4), and Karin (#5); colored by A. Tollin (#1), Adrienne Roy (#2), Bob LeRose (#3-4), and Jerry Serpe (#5); and edited by Allen Milgrom.

 

* Lest it sound like I hate all Gerry Conway work, I actually really enjoyed some of his Crisis crossovers, especially the "Crisis on New Genesis" one. Plus I liked Sun Devils, but that came later.

 

This post is the thirteenth in a series about the Justice Society and Earth-Two. The next installment covers Superman vs. Wonder Woman: An Untold Epic of World War Two. Previous installments are listed below:

1. All Star Comics: Only Legends Live Forever (1976-79)
2. The Huntress: Origins (1977-82)
3. All-Star Squadron (1981-87)
4. Infinity, Inc.: The Generations Saga, Volume One (1983-84)
5. Infinity, Inc.: The Generations Saga, Volume Two (1984-85)
6. Showcase Presents... Power Girl (1978)
7. America vs. the Justice Society (1985)
8. Jonni Thunder, a.k.a. Thunderbolt (1985)
9. Crisis on Multiple Earths, Volume 7 (1983-85)
10. Infinity, Inc. #11-53 (1985-88) [reading order]
11. Last Days of the Justice Society of America (1986-88)
12. All-Star Comics 80-Page Giant (1999)
    

Review: All Star Comics: Only Legends Live Forever by Gerry Conway, Paul Levitz, Joe Staton, et al.

Comic hardcover, 446 pages
Published 2019 (contents: 1976-79)
Acquired January 2020
Read February 2020

All Star Comics: Only Legends Live Forever

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Writers: Gerry Conway, Paul Levitz

Pencillers: Ric Estrada, Keith Giffen, Joe Staton & Wally Wood
Inkers: Joe Giella, Dick Giordano, Dave Hunt, Bob Layton, Joe Staton, Wally Wood
Colorists: Liz Berube, Carl Gafford, Adrienne Roy, Jerry Serpe, Anthony Tollin
Letterers: Todd Klein, Bill Morse, Ben Oda, Milt Snapinn

I've decided to read my way through most of DC's Earth-Two/Justice Society work. Specifically, I'm interested in what they did with the concept from the late 1970s to the early 2000s. The Justice Society qua the Justice Society doesn't particularly interest me: I have no need to read a bunch of 1940s team-up comics. Rather, one of the thing I like most about DC is the sense of legacy and development, and I think you could argue that really starts with the Justice Society of America: because those characters didn't need need to stay eternally youthful like the Earth-One/Justice League ones, they could age, have children, change identities, and such, and when Earths-One and -Two were merged during the Crisis, this aspect of the premise got incorporate into the wider DC universe. So I'm not reading (much of) the old stuff, and I'm not going into the Geoff Johns era because, really, a little bit of Geoff Johns goes much too far in my experience. (And then in the "New 52" era, DC abandoned what made the concept work entirely.)

Helena, you're the best.
from Adventure Comics vol. 1 #465 (script by Paul Levitz, art by Joe Staton & Dave Hunt)

Anyway, I think that whole approach to the JSA really begins here, with its first ongoing revival in the 1970s. At this point the JSA had guested in a number of Crisis on Multiple Earths stories, but this was the first time they appeared as the stars of their own series since they were shunted out of All Star Comics back in 1951.

Go Justice Society!
from All-Star Comics #74 (script by Paul Levitz, art by Joe Staton & Joe Giella)

That said, this isn't that great. I mean, it's totally serviceable superhero action... but that's about it, with a couple exceptions. Gerry Conway and Paul Levitz have the sort of storytelling where the JSA is plunged from adventure into adventure: usually each storyline ends with a hook for the next already underway. But this actually makes the adventures seem small-- the pacing is never able to emphasize anything. It also makes it feel like these characters don't really have any lives outside of this title, since there's no gaps where they can live their own lives and have solo adventues. I mean, they literally don't, since none of them have ongoing series... but I would argue that they ought to feel like they do. Where do Sylvester Pemberton or Power Girl even live? What do they do when not superheroing? They feel more like, I dunno, the Teen Titans or the X-Men, than they do the multiversal equivalents of the Justice League.

Bruce Wayne: in any reality, still a jerk.
from All-Star Comics #69 (script by Paul Levitz, art by Joe Staton & Bob Layton)

Most of the original threats here aren't very interesting, either. Vulcan, the astronaut who's always on fire? Some underground people? (Why is it always with the underground people in comics?) The writing is a little inconsistent, too. No one seems to know if Power Girl can fly or just jump really far. (In the earliest Golden Age comics, Superman could just jump really far, but by this point, he was long able to fly, and Power Girl ought to have the same power set.) Sometimes the book seems to be about a subset of the JSA called the "All Star Super Squad" but this is pretty inconsistently indicated, and eventually fades away.

And to think, Roy Thomas brought this guy back. Roy Thomas gonna Roy Thomas, I guess.
from All-Star Comics #60 (script by Gerry Conway, art by Keith Giffen & Wally Wood)

I did think it was interesting that the "parallel Earth" angle was occasionally pushed: this Earth has no apartheid in South Africa, for example. Not much was done with that, however.

If I was decades out of time, surely the thing I'd be reading about was earthquake science, too. (In later issues of All Star Comics, as well as Infinity, Inc., it becomes clear he didn't even look up his own family!)
from All Star Comics #59 (script by Gerry Conway with Paul Levitz, art by Ric Estrada & Wally Wood)

That said, this comic has some interesting seeds and nuggets. I liked the development of Dick Grayson, now American ambassador to South Africa. I liked the introduction of Power Girl, even if she was sometimes written too broadly. (I think you can write a confident feminist, and not have her come off like this.) I liked the secret origin of the Justice Society. I liked the Wildcat focus issue. I liked the idea of the Star-Spangled Kid being out of time. (In execution, I didn't always understand it. Why was he so lonely? Weren't all of the Seven Soldiers of Victory out of time? Go hang out with them!) I liked the introduction of the Huntress. I liked the death of the Earth-Two Batman. I liked the explanation for why the JSA was inactive from 1951 to the mid-1960s.

Oh, poor Helena.
from All-Star Comics #71 (script by Paul Levitz, art by Joe Staton & Bob Layton)

You can see how later writers, especially Roy Thomas in the 1980s, would pick up and develop what was done here. There's the kernel of a good premise here, but (as it often is in mass-produced superhero comics) it will take a while for it to develop.

I haven't got to it yet, but I'm pretty sure Roy Thomas turned this one-issue story about the end of the original JSA into a whole epic.
from Adventure Comics vol. 1 #466 (script by Paul Levitz, art by Joe Staton)

(A couple quibbles about this collected edition. It's clearly from the same "masters" as the Justice Society, Volume 1 and Volume 2 collections of 2006. Those collections replaced references to issue numbers from the original comics with ones to collections of that era. Now, those make no sense: they should have been updated again or (my preference) changed back to the originals. Also, it would have been nice if Justice League of America #171-72 had been included here, between Adventure Comics #465 and 466, since those issues of Adventure lead into the JSA's appearance in JLA and follow up on it. Also, I remember it as being rather good! Also also, I think choosing "All Star Comics" as the series imprint is weird; I feel like people are far more likely to find what they want and know what they're looking at with "Justice Society" branding. Collections of issues of Action Comics are never called "Action Comics" on the cover, and if they are, it's "Superman: Action Comics.")

This post is the first in a series about the Justice Society and Earth-Two. The next installment covers The Huntress: Origins.

Faster than a DC Bullet: Project Crisis!, Part V: Crisis on Multiple Earths, Volume 3

Comic trade paperback, 191 pages
Published 2004 (contents: 1971-74)
Borrowed from the library
Read June 2013

Crisis on Multiple Earths, Volume 3

Writers: Mike Friedrich, Len Wein
Penciller: Dick Dillin
Inkers: Joe Giella, Dick Giordano
Letterers: John Costanza, Ben Oda

Dennis O'Neil's run on Justice League is sadly brief, as Volume 3 of Crisis on Multiple Earths sees him replaced by Mike Friedrich for one story and Len Wein for three. Friedrich's "Earth-- The Monster Maker!" / "Solomon Grundy-- The One and Only" tries to use the parallel Earths to advantage by telling the story of an alien and his symbiotic pet stranded between the two Earths, but it turns out to be boring fight scene after boring fight scene until the heroes figure out the kid is lost, not evil. Of vague interest is some interaction between the Robins of both Earths, but vague is as far as the characterization goes. The Robin of Earth-One borrows a costume unused by the Earth-Two Robin-- I can see why, because it's godawful, even if Neal Adams (acknowledged in dialogue!) did design it.

I found both of Len Wein's big event stories ("The Unknown Soldier of Victory!"/"The Hand That Shook the World"/"And One of Us Must Die!" and "Crisis on Earth-X!"/"Thirteen against the Earth!") very uninspired. They're old-school team-ups, where the Justice League/Justice Society/whatever team split up into groups and each fight mini-battle before uniting for the finale. Depressingly formulaic. Wein pulls in more and more obscure heroes, but does nothing to make you care about them. "The Creature in the Velvet Cage" is decent, but it explains something that didn't really need an explanation: why did the Sandman change his costume back to his gas mask one (um, because it's awesome and the purple one sucked?) and what happened to Sandy Hawkins?

Dick Dillin is still pretty awesome, though. Keep rocking it out on art, man.

Faster than a DC Bullet: Project Crisis!, Part I: Crisis on Multiple Earths: The Team-Ups, Volume One

Comic trade paperback, 223 pages
Published 2005 (contents: 1961-68)
Borrowed from the library
Read May 2013

Crisis on Multiple Earths: The Team-Ups, Volume One

Writers: Gardner Fox, John Broome
Pencillers: Murphy Anderson, Dick Dillin, Carmine Infantino, Gil Kane
Inkers: Murphy Anderson, Joe Giella, Sid Greene 
Letterer: Gaspar Saladino

Having finished Birds of Prey, it's time to move on to my next comics-reading project: Project Crisis!, which is a journey through the spine of the DC Universe, its various "crisis" crossovers. Starting with the old "crises on multiple Earths," I'll then move on to Crisis on Infinite Earths, Zero Hour: Crisis in Time, Identity Crisis, Infinite Crisis, and Final Crisis. There's a lot there, and much of it is well-regarded for what it did, not how it did it, so I'm curious to see what I'll think of it all.

Before all those big, multiverse-shattering mega-events, though, comes the stories collected in Crisis on Multiple Earths: The Team-Ups, Volume One. Here we have nine single-issue stories, most of which are about superheroes crossing the dimensional boundaries between Earth-One and Earth-Two. These stories aren't exactly the most sophisticated by modern standards, but there's a certain thrill to them-- Gardner Fox correctly identifies, I think, that the idea of there being multiple Earths is just fun, and working your way through all its various permutations is guaranteed to be interesting.

"Flash of Two Worlds!" of course introduced all this parallel-Earth malarkey to DC, and is justly famous, but I also enjoyed "Double Danger on Earth!", where Jay Garrick crosses from Earth-Two to Earth-One in pursuit of a vital meteorite that was destroyed on his world but might still exist on Barry Allen's, or "Invader from the Dark Dimension!", where strange creatures from a dimension outside of both Earths, made up of pure darkness, menace our heroes. Fox never really repeats his old triumphs, continually aiming to do something new and unusual.

The only story here not written by Gardner Fox is "Secret Origin of the Guardians!", John Broome's somewhat overcomplicated tale of the two Green Lanterns meeting one another. It lacks the energy that Fox brings to his stories-- not to mention that delightful Carmine Infantino art that features in all the Flash stories.

Interestingly, there are also a couple stories here that don't feature trans-dimensional team-ups, but team-ups isolated to Earth-Two.  "Solomon Grundy Goes on a Rampage!" and "Perils of the Psycho-Pirate!" feature Doctor Fate, Hourman, and the Earth-Two Green Lantern in somewhat typical superhero team-ups, while "Mastermind of Menaces!" does the same for Starman and the Black Canary. Then there's one last story, "The Hour Hourman Died!" which has no team-up element at all, but it's called a "bonus feature," so I guess that's okay. Most of these stories are fine, but lack the certain frisson that comes from the parallel-Earth setup. "The Hour Hourman Died!" is pretty neat, though-- a clever concept.

Faster than a DC Bullet: Project Star City, Part XX: The Black Canary Archives, Volume 1

Comic hardcover, 227 pages
Published 2001 (contents: 1947-72)
Borrowed from the library
Read April 2010

The Black Canary Archives, Volume 1

Story: Robert Kanigher, Gardner Fox, Dennis O'Neil
Art: Carmine Infantino, Joe Giella, Bernard Sachs, Murphy Anderson, Alex Toth

Collecting all of Black Canary's solo adventures, this volume mostly concerns the character we now know as Dinah Lance née Drake, mother of Dinah Laurel Lance, the Black Canary who ultimately became involved with Oliver Queen. The character is actually somewhat impressive for a 1947 comic book character: after her early adventures with the "humorous" Johnny Thunder, she acquired her own setup, a mild-mannered florist secretly fighting crime with her judo skills at night, much to the consternation of Larry Lance, private detective-- who could never one-up the Black Canary, nor get a date with her. It's an inversion of the good old Clark/Lois dynamic, and it works wonderfully for it. Except not quite: Carmine Infantino's introduction to this volume claims that Dinah Drake "spent much of her time yearning for a good lucking detective whose only interest was in her alter ego", but that's not actually the case; Dinah taunts Larry and never shows a sign that she's interested in him romantically. She's no milquetoast like Clark Kent can be! This unusual setup (and some sharp art) raises Robert Kanigher's twenty-two 6-10-page stories out of the repetitive rut they could easily fall into (see Showcase Presents The Green Arrow). The plots are typically contrived, but I enjoyed the tales nonetheless, especially once Johnny Thunder was nixed in favor of Larry Lance.

Two longer stories come from later in the Black Canary's lifespan, after Dinah Drake has married Larry Lance. "Mastermind of Menaces!" and "The Big Super-Hero Hunt" by Gardner Fox unite Black Canary and Larry Lance with fellow Justice Society member Starman in a pair of stories that are fairly enjoyable, especially the former one. These stories manage to balance all three protagonists well-- Canary isn't sidelined in favor of the male hero in Starman, and even Larry Lance gets to be a semi-competent detective for once.

The last story, "The Canary and the Cat!" by Denny O'Neil is the only one in the book about the second Black Canary... and it shows that O'Neil doesn't really get her character beyond the fact that she knows judo and is in love with Green Arrow. Would Dinah ever sit around thinking about how great Oliver is for fighting crime? Seems unlikely. "I'm an expert at judo... that's all!" she thinks. Geeze, what happened to your floral business, Dinah? Or your own crime-fighting abilities? She does get to kick some butt, though, and Alex Toth's stylized artwork is very nice to look at.