Showing posts with label Power Girl. Show all posts
Showing posts with label Power Girl. Show all posts

Tuesday, September 16, 2014

Birds of Prey #17 (May 2000)

Previously in Birds of Prey...


Birds of Prey #17: "Nuclear Roulette" is written by Chuck Dixon with art by Butch Guice.  His cover, depicting Power Girl desperately catching or stopping a nuclear missile pointed at New York is exciting, but the text on this cover is a little bizarre.  "Where are the Birds of Prey?  Power Girl would like to know."  Um, is that question supposed to be rhetorical?  Because Black Canary and Oracle are all over this issue.  And Power Girl is with them, working alongside Dinah and getting updates from Oracle.  There is some tension between them, yes, but it's not like the Birds have disappeared or like they're not trying to stop the Joker's plan to murder everyone in New York City.

Anyway, the issue opens with Black Canary flying over the ocean looking for the ship carrying a nuclear warhead bound for the Big Apple.  How is Canary flying?  Well, it has a lot to do with Power Girl and her post-Crisis crazy-ass Atlantean origin and powers.


Power Girl and Black Canary find a Liberian ship and Power Girl scans it and knows that this is the ship they're looking for.  She tells Oracle to get off her back, so there is clearly some history between them and PG doesn't care for her.  The blondes drop onto the ship where they immediately come under heavy fire from the crew.

Power Girl is mostly impervious to the bullets so she takes the brunt of the crew's attack while Dinah fights her way to the bridge to interrupt the missile launch.  She arrives too late, though, as the captain presses the button.


Six missiles launch from the ship, one of them slamming into Power Girl who is hovering in the air.  The missile that bumped her careens out of control and detonates in the water.  Oracle screams at Power Girl to get away from the blast sight, but Power Girl tells her it was only a conventional missile, not a neutron bomb.

Black Canary decides to interrogate the ship's captain to see how many, if any, of the missiles are nuclear.


As Power Girl races through the sky to stop the missiles, Oracle updates her that only one of the five remaining is neutron capable.  Then Power Girl shows an embarrassingly poor understanding of rudimentary mathematics, so either she's an idiot or Chuck Dixon is.  But anyway, Power Girl takes out two more of the missiles, neither of them being the nuclear bomb.

Now it's up to Oracle and her back up plans to stop the three remaining missiles.

The second half of the book is some tense Tom Clancy stuff, full of technical jargon pertaining to the Navy and national security (and kind of an awkward slam against President Carter).  I won't go into as much detail because you lose a lot of the suspense, but it's a cool sequence.

Essentially, Oracle contacts Major Van Lewton at the Pentagon and coordinates attacks with the United States Navy along the Atlantic Coast and violates some international laws.  U.S. Warships shoot down two of the three remaining missiles.


For the last missile, Oracle takes control of several satellites and bounces a laser off more than one, doing a "bank shot from pool" in order to blast the last missile before it hits New York.  The day is saved, everyone rejoices even though no one can ever speak a word of what happened hear because they all violated laws and treaties.

Back at the ship, Power Girl talks cryptically about why she doesn't like Oracle.  I have no idea what this tension is about, because PG just worked with Oracle a couple issues ago and they seemed fine.  Also, Power Girl's white and gold costume in this issue is stupid and her Atlantean origin is stupid.

This was a better issue than the last one.  It was nice to see Oracle do her thing and do it well, but Black Canary was shoved to the way background for this chapter.

Come back next week for a review of Birds of Prey #18.

Tuesday, September 2, 2014

Birds of Prey #16 (April 2000)

Previously in Birds of Prey...


While the last issue of Birds of Prey set a newly raised bar for the title with the addition of Butch Guice on art duties, issue #16, "The Joker's Tale" takes another step in the wrong direction.  This time, writer Chuck Dixon wastes Guice's considerable talent by forcing him to draw 40 panels on about ten pages of the Joker talking to a wall in his cell.

We begin some time after the Joker addressed the United Nations as Qurac's ambassador where he apparently announced that everyone in New York City would die in a matter of hours.  The Joker has been captured, and he figures he's back at Arkham Asylum, safe from whatever doom awaits New York.  He doesn't know who is interrogating him, but he wastes a lot of time trying to talk about his origin and stuff.


When pressed, he suggests that New York will be rendered lifeless by a neutron bomb and kind of rambles about how the bomb came into his possession.  Then he talks about how he got to Qurac by murdering the ambulance crew transferring him to Arkham the last time Batman beat him up.


Then he tells a would-be origin story of murdering his abusive father on his eighteenth birthday, but his interrogator doesn't believe the story is true and doesn't care any.  The Joker is stalling, like Chuck Dixon is stalling.

Finally the Joker recounts how he addressed the United Nations and then luxuriated in his diplomatic limousine, believing he had immunity.  Then the diplomatic convoy is attacked by Power Girl.


While Power Girl takes out Quraci henchmen in her new yellow and white costume, the Joker makes a run for it.  But Black Canary chases him.


The Joker is struck by a pedestrian bicyclist and knocked into traffic, where he is finally caught and brought to Arkham.

Only he wasn't brought to Arkham.  Barbara Gordon surprises Joker by revealing she's holding him in New York so he'll reveal where the bomb is in order to save himself.


He tells her there are nuclear warheads on a ship in the mid-Atlantic.  As she starts to leave, he asks if he's the one who put her in the wheelchair so maybe he doesn't recognize or remember her.

Babs contacts Dinah and Power Girl...


... then she makes a surprise call to Major Van Lewton of the Pentagon's cyber-warfare devision.

I like the Joker, but does anyone really want to read 19 pages of him sitting in a cell, toying with his interrogators, occasionally flashing back to random acts of violence against people we don't care about.  After the joy of issue #15, this issue might be the worst Birds of Prey yet because nothing happens and it's not about the titular characters.

Come back in two weeks for a review of Birds of Prey #17.

Tuesday, August 19, 2014

Birds of Prey #14 (Feb 2000)

Previously in Birds of Prey...


Birds of Prey #14: "Apokolips Express Part 2" is written by Chuck Dixon with pencils by Greg Land and Patrick Zircher, inks by Drew Geraci, and colors by Gloria Vasquez.  The cover was done by Land and Brian Stelfreeze.

Black Canary and Catwoman are trapped on Apokolips with the mutated miniature Parademon who brought them there.  The Parademon, Pharzoof, starts recounting his origin and motives for kidnapping the ladies and a U.S. Marshal transport train full of G-list super-villains.  Dinah, however, really doesn't care about Pharzoof's origin and motives.  She hates him and she wants him to boom-tube them back to Earth.


Elsewhere on the planet, Marshal Dina--not to be confused with Dinah--leads her outnumbered and outgunned squadron in a desperate defense against thousands of Parademon warriors.  To balance the scales, she unleashes the train's five prisoners, which includes a clone of Guy Gardner and some other assholes.


The marshals we don't know and the villains we don't care about spend five or six pages fighting Parademons because Chuck Dixon and Greg Land still haven't gotten the hang of depicting character moments in this series.  Meanwhile, Black Canary and Catwoman sneak through the slave-operated diamond mine to find a motherbox.


Leaving Catwoman to her selfish devices, Black Canary and Pharzoof sneak into the armory of Granny Goodness' Female Furies.  It doesn't take long for the little monster to uncover a working motherbox, but before Black Canary can escape, one of the Female Furies attacks.


Back on Earth, Oracle sent Power Girl to the site of the marshals' train disappearance.  Power Girl hears from the agent-in-charge that the radiation readings around the train tracks suggest the train and its occupants were boom-tubed to Apokolips.

As the hordes of Parademons threaten to overwhelm the marshals, Dina leads her men in one final counter-surge with a rousing speech comparing them to other valiant defenders who all died horribly.


Black Canary fights Lashina for a little while.  Then Catwoman returns and jumps the Fury.  She tells Dinah to get away with Pharzoof and the motherbox.


Black Canary miraculously returns to the scene of the marshals' last stand and creates a boom-tube.  Black Canary, Catwoman, the surviving marshals, and the super-villains all escape, leaving Pharzoof back on Apokolips to be dealt with by Parademons and Female Furies.

On Earth, the villains are taken back into custody.  Black Canary reunites with Oracle via audio communication, and Catwoman slips away to burgle another day.


Thus concludes the most underwhelming story involving the Apokolips and the New Gods... until every story involving Apokolips and the New Gods published between the mid-2000s to present day. Once again, Chuck Dixon fails to capture real human character moments or progress the characters in any meaningful way, because Oracle is nothing more than a cameo in this two-parter, and Black Canary takes a backseat to Catwoman, a bunch of federal agents dressed like stormtroopers, and some lame-ass villains that aren't even worthy of the likes of Invisible Destroyer and Signalman.

This is the last issue to feature Greg Land and Drew Geraci for quite a while.  That's good.  It pleases me, and that's all I'll say.

Come back next Tuesday for a review of Birds of Prey #15.

Tuesday, August 12, 2014

Birds of Prey #13 (Jan 2000)

Previously in Birds of Prey...


Birds of Prey #13: "Apokolips Express" is written by Chuck Dixon with pencils by Greg Land and Patrick Zircher, inks by Drew Geraci, and colors by Gloria Vasquez.  The cover was done by Land and Brian Stelfreeze.

Black Canary boarded a military train full of U.S. Marshals transporting a group of super-villains--and Catwoman who snuck aboard to spring the villains.  But then a mysterious evil-doer who has been manipulating Oracle for some time triggered a Boom Tube sending the train and its occupants across time and space to a distant world.

Dinah and Dina, the head of the marshals, climb out of the wrecked train trying to figure out what happened and where they landed.  Black Canary realizes pretty quickly where they ended up.


Marshal Dina shoots down some of the aircraft coming to investigate the train's sudden arrival and derailment.  The rest of the marshals secure the location and the prisoners on board, all except for Catwoman of course.


The mystery villain in the hat and trench coat makes his presence known and Marshal Dina opens fire and blasts him.  Black Canary freaks out, knowing that whoever that strange-o is he transported them to Apokolips and he can send them back to Earth.  So Black Canary and Catwoman head out looking for the mystery guy.


Back on Earth, Oracle has enlisted the aid of Power Girl to help her find Dinah and the mystery train.


Black Canary and Catwoman watch a flight of parademons soaring overhead toward the marshals' location.  Then the women find the damaged exo-suit of their mystery villain, which means whoever is behind this is actually really small and trying to hide his appearance.

The parademons attack the train, but the marshals are able to fall back and reposition.  Marshal Dina realizes she needs heavier weapons to defend the train and its cargo of villains.

Meanwhile, Catwoman wonders why Canary can't call Oracle for help.


As Black Canary and Catwoman skulk around Apokolips, they find a mining pit operated by slaves.  Catwoman is more interested in what the mine is producing than who is working it; she likes the shiny blood diamonds.

At the train, Dina fires a big honking bazooka weapon that blows away most of the parademons.  For the moment, the marshals have held them off but a prolonged defense will require a lot more power on their side.


Black Canary and Catwoman find the mystery villain crying behind a rock.  He turns out to be an unusually small parademon who wanted to kidnap the super-villains in order to lead a revolt.


At the train, Dina frees the five captives and tells them they all need to work together in order to survive.

Uh... I'll do more analysis when this arc is over, 'kay?

Come back next Tuesday for a review of Birds of Prey #14.

Wednesday, June 4, 2014

Black Canary & Zatanna: Bloodspell Part 3

Click here to review Part 1.  Click here to review Part 2.


Earlier in Black Canary and Zatanna: Bloodspell, Black Canary foiled a Vegas casino heist by a thief named Tina Spettro, but not before Tina tricked Black Canary into a bloodspell that binds her fate to the now-dead Tina's ghost.  Needing a magician's touch to get her out of this magic predicament, Dinah recruited her old friend and Justice League teammate, Zatanna Zatara.

Five years ago on the planet Apokolips, the sadistic Granny Goodness and her Female Furies had captured Zatanna, Black Canary, Wonder Woman, and Plastic Man.  The heroes were bound in Granny's gladiatorial arena and subjected to one of her elaborate deathtraps that Mr. Miracle cut his teeth escaping from.

Granny mocks Zatanna's notoriety as the Mistress of Magic's mouth is covered (by part of Plas, no less) preventing her from uttering any of her spells.  But at the last second before the trap is sprung, the captive heroes swap places with Granny and her Furies.


This little three-page vignette has no story connection to the rest of the tale.  Writer Paul Dini just drops it in as a means of showing Zatanna's resourcefulness and quick-thinking.  And it gives artist Joe Quinones a chance to draw our lovely heroines in older costumes, as well as a few more heroes and villains from DC's vault.

Back to the main story, Black Canary and Zatanna are riding to Las Vegas in Zatanna's enchanted trailer, which is being towed by an enchanted car that drives on its own.  Inside the trailer, Dinah takes a nice, refreshing bubble bath while trying not to arouse the displeasure of Zatanna's pet tiger, Sasha.

Zatanna's plan calls for them to travel to Vegas undercover so as to not warn Tina Spettro's ghost that Z is helping Dinah save the other victims of the bloodspell.  But the "undercover" part of Zatanna's scheme involves Black Canary posing as her magician's assistant.  And that involves Dinah wearing an outfit even skimpier and more revealing than most female superheroes wear.  Zatanna casts a magic costume-and-make-over spell and...


The ladies arrive at Xanadu in Las Vegas and meet with the hotel's owner, Dale Hollister, the same man that Tina Spettro planned to rob before she died.

Zatanna fills Hollister in on the situation with Tina's ghost, and in gratitude for Black Canary's earlier service, he offers to book Zatanna and "her assistant" in one of his showrooms to help them set the trap for Tina Spettro.

But as Hollister and Zatanna shake on the agreement, her tiger freaks out and lunges at both of them, slashing at them with his massive paws and drawing blood from each of their forearms.  Z reprimands the animal, which immediately seems confused and unaware of is prior attack.  Zatanna casts a healing spell on herself and Hollister.

That night, Zatanna performs her magic act for a packed house of spectators.  Her tricks include making Sasha the tiger vanish and reappear in a shrunken state.  Dinah watches the show from the wings; while backstage, she's passed a note from Dottie, the second-to-last surviving member of Tina's gang, asking for a meeting at her place that night.

If Dinah and Z were expecting a desperate woman when they meet Dottie, they're a little shocked to find a woman who has, for all intents and purposes, given up.  Dottie explains how crummy her life has been in the past year and, well, she doesn't exactly welcome death from a vengeful ghost, but she doesn't feel her life is all that worth living.  Dottie even goes so far as to ask Zatanna to change her into something else like an animal so she could just move on with a completely different life.

Zatanna refuses to cast that type of magic spell and explains that that sort of transformation spell is nearly irreversible because within hours the human brain begins to cede its faculties to animal instinct.  After a few days, Z explains, what remains of the human mind and soul would be totally supplanted by the animal and Dottie would be, essentially, dead and gone.

Instead, Zatanna plans to cast a protection spell around Dottie, but as she speaks the words, she inexplicably casts a different spell that transforms Dottie into glass.  Dinah reacts to Zatanna's sudden betrayal, an in the moment succumbs to her anger and becomes possessed by Tina's ghost.  Tina/Dinah then tries to shatter the glass Dottie, but Zatanna recovers and casts a protection spell that kicks Tina's ghost out of Dinah.

Tina's ghost curses at the ladies and announces her intention to kill Joy, the last name on her hit list before destroying Black Canary completely.


I guess putting the glass Dottie in Superman's impenetrable Fortress of Solitude is as good a place for safe keeping as any.  I didn't know it was ghost-proof but sure, whatever.

Zatanna reasons that Tina can now possess both her and Black Canary, but only one at a time, which means they still have a chance of stopping her.  They rush back to the Xanadu showroom, where Dale Hollister has been possessed by Tina's ghost.  She's using Hollister to murder joy with one of Zatanna's stage traps because since Joy switched out for Black Canary during the heist last year, she never actually took part in the bloodspell.

At that moment, however, Black Canary and Zatanna arrive to save the damsel in distress.  Tina was thrilled to possess the body of her billionaire ex-boyfriend, but she gets a much better rush when she takes over Zatanna again.


Tina/Zatanna turns on the machine set to kill Joy, then casts a spell turning Dale Hollister into a toad. Before she can squash him under heel, though, Black Canary jumps her, gagging her so she can't say any spells.  Tina/Zatanna fights her off, but then Dinah releases Sasha the tiger on her mistress.

When the tiger leaps at Tina/Zatanna, the ghost bolts from the magician and takes over Black Canary.  Tina then jumps back and forth between the women, using each one to attack the other, but not being able to say in one form for too long because the tiger can sense which woman is possessed and attacks that woman.


Tina/Canary uses her sonic scream to blow Zatanna off the stage and into the orchestral pit below.  When she follows her down, she finds Zatanna curled up, nearly catatonic.  Tina's ghost then leaps into the prone form of Zatanna... only to discover too late that she's been duped; that wasn't Zatanna's body.

The real Zatanna pops up and casts a containment spell trapping Tina's spirit in the body that was magically charmed to look like Zatanna, but was, in fact, a dove from her performance.  Tina Spettro's spirit is now trapped in the body of a bird.  Before the ladies can rest on their laurels, though, they realize that Joy is still in danger of being butchered by a giant drill.


Zatanna casts another spell reverting Dale Hollister back to his human form.  Luckily, he wasn't trapped in the form of an animal long enough to lose his mind and soul--unlike Tina Spettro.  As the sun comes up over the Nevada desert, Tina is totally supplanted by the bird.  Her spirit, at last, is dead.  They release her to the wind, nothing but a dove now.


Before the ladies can head to a margarita bar, Black Canary gets a call from Green Arrow telling her that Metropolis is under attack from alien robots.  The Justice League needs their help, and the ladies head out to the next adventure.

That's where the story ends, but there's nearly 40 pages of added content in both the hardcover and digital version of the graphic novel.  This includes character sketches and sample pages in various stages of the art process by Joe Quinones, and a copy of Paul Dini's full 94-page script for the book.  It's awesome material that I recommend fans check out.

So.  What did I think of Black Canary's first original graphic novel?

I loved it.  As I said earlier in my review, Paul Dini knows the characters so well that everything they do feels in-character.  Like their characters in the DCAU, these are iconic and timeless versions of Black Canary and Zatanna.  That's what a Dini story feels like, whether it's a cartoon or a book painted by Alex Ross, the characters feel timeless, infused with all the greatest attributes of the Silver and Bronze Age.  But his script moves with a modern, easily readable pace and tone.

My only complaint with Dini's story, though, is that the villain isn't all that memorable.  When I heard about this graphic novel about a year ago, I was hoping it would contribute a real heavy-hitter to Black Canary's paltry rogues gallery.  Tina Spettro is decent, but she'll never be used again after this story.  Her costume was simple, a drab grey jumpsuit--not exactly a visual feast, and for most of the story, she exists solely as a spirit inhabiting other characters.  She'll forevermore be counted as one of Black Canary's enemies, but she won't add a whole lot to that list.

As for the art, Quinones mostly knocks it out of the park ("mostly").  He caught my eye back in Wednesday's Comics a couple years ago, and I was really excited to see what he would bring to this story.  Given Dini's storytelling sensibilities, it seemed obvious that Quinones would bring a lighter, almost animated style like Bruce Timm or Darwyn Cooke to the art.  It fits the story, and Quinones brings an incredible amount of expressiveness to each of the characters.  There's never a question of what the women and men are thinking and feeling in every single panel.

And yet... part of me wanted something a little more from the art.  Black Canary and Zatanna are beautiful women known for wearing fishnets.  They are sexual and sexualized characters, and I kind of expected more cheesecake from the story.  I'm not saying I would have preferred Ed Benes on this book, but I thought there would be more "Good Girl Art"-style imagery.  The only time Dinah's sexuality is really played up in this story is when Zatanna makes her over to look like a buxom assistant that deliberately doesn't look like Black Canary.


Instead of sexiness, Quinones emphasizes the toughness of Black Canary.  Nothing wrong with that; it makes her a more credible hero and probably a more compelling and likable protagonist.  But sometimes, just a few times, she looks a little too square-jawed and so spunky that she's not really all that attractive.  It's not often, but it is noticeable in a handful of panels.  Black Canary should be powerful and beautiful, but Quinones--unlike most people in comics over the years--sacrifices the latter for the former a couple times in this book.

One other interesting note I found while reading the book.  A lot of Justice League members pop up in small roles throughout the story.  Superman.  Wonder Woman.  Green Arrow.  Green Lantern.  Martian Manhunter.  Elongated Man.  Plastic Man.

Know who isn't on that list?  Batman.  Other than a toy in the background of one panel, Batman does not appear in this story, and that's pretty surprising given Paul Dini's history with the character.

I have given up on DC's mainstream comics from the New 52, and the Injustice: Gods Among Us tie-in comic became equally depressing, despite how well Black Canary was treated in the book.  The fact is, DC isn't offering a lot that appeals to me right now, but the books that do interest me are out-of-continuity stories like the digital first Batman '66, Adventures of Superman, the upcoming Sensation Comics starring Wonder Woman, and this original graphic novel.  DC needs to publish more books like Bloodspell.

Thursday, April 10, 2014

The Origin of Black Canary: 1983 Part 2 - JUSTICE LEAGUE OF AMERICA #220

I've waited months to review Justice League of America #220, a story that radically reimagines not only Black Canary's history but her whole identity and status as a member of both the Justice League of Earth 1 and the Justice Society of Earth 2.  At last, the time is right to cover this story, because according to the 1976 Super DC Calendar, today, April 10th, is Black Canary's birthday.


Justice League of America #220: "The Doppelgänger Gambit" is written by Roy Thomas with pencil art by Chuck Patton and inks by Romeo Tanghal and Pablo Marcos.  George Perez delivers a cover with not one but two Black Canaries--one corpse-like in a casket beside the late Larry Lance, and the other looking on in horror with members of the Justice Society of America, Red Tornado and Sargon the Sorcerer, all while the Earth 1 Johnny Thunder and the Thunderbolt loom menacingly.  The cover boasts that this issue includes the "true origin of the Black Canary".

Gerry Conway already wrote an amazing origin story for Black Canary with only one noticeable problem that I can see: it dated her.  Conway's story specifically locked Dinah into an era that was becoming evermore recognizable as the past.  The Justice League members were supposed to be young and in their prime, but the math would make Black Canary out to be something like sixty-two years old.

DC needed a retcon to explain this age discrepancy so that Black Canary could have functioned in both eras, on both teams, without qualifying for an AARP card.  And in the late 1980s they would write that retcon and it would work wonders.  But before they got there, Roy Thomas would craft a Black Canary origin story (supposedly inspired by a Marv Wolfman idea) that would make even Hawkman's history look straightforward.

Last time, for reasons unknown and inexplicable to characters who know him, Johnny Thunder's genie-like Thunderbolt attacked the Justice League of America during its annual meeting with the Justice Society.  Barry Allen, Hal Jordan, Firestorm, Elongated Man, and Zatanna were struck down by the mad Thunderbolt and now lie comatose in the JLA Satellite.  Only Black Canary and Red Tornado, both of whom originated from Earth 2, as well as Justice Society members Jay Garrick, Power Girl, Huntress, Hourman, and Starman came through the battle relatively unscathed.

Almost immediately after the attack, pairs of super villains from both worlds launched attacks against ancient temples of worship.  While Starman took Black Canary to the Thunderbolt Dimension to investigate the Johnny Thunder connection, the JSA members went planet side to take on the villains.


Power Girl shows her eagerness to tackle the villains, while Red Tornado advises caution and a strategy session to plan their counterstrike.  (Red Tornado is the worst.)  The unexpected arrival of Sargon the Sorcerer prompts half of the JSA to lash out at the mage.  Sargon mildly flirts with Huntress while magically besting her, Power Girl and Red Tornado, who, seriously, is the worst.

Sargon tells the Flash and Hourman that he was working with the Spectre when the Thunderbolt struck him down in his Earth 1 human host, Jim Corrigan.  The Flash welcomes Sargon's help and sends him out with Power Girl, who sounds less than thrilled.


In the Thunderbolt Dimension, Black Canary and Starman were captured, not by the Johnny Thunder they suspected--the Johnny Black Canary befriended in her very first published adventures--but the Johnny Thunder of Earth 1.  This Johnny Thunder is crazy and vengeful and he's taken control of the Thunderolt.

But far more shocking than their enemy's identity is what he shows them: a glass casket with the bodies of Black Canary's late husband, Larry Lance, and another body that looks exactly like her.  Johnny also holds captive the original and noble Johnny Thunder of Earth 2.

At Evil Johnny's command, Thunderbolt tells the story of how he and Good Johnny fought crime in the '40s on Earth 2, how Black Canary joined them in their crusade for justice, and how Thunderbolt was injured during one of their adventures, explaining why Johnny Thunder's monthly adventures went away in favor of Dinah's solo stories.


Good Johnny took off, devastated that the woman he fell in love with favored Larry Lance over him.  In subsequent years, he stayed out of her life while she grew closer to both Larry and the Justice Society.  Until, of course, the day the Justice Society of America quit fighting crime by refusing to divulge their real identities before Congress.


The Wizard... "the greatest super criminal in the history of the planet"?!!  That's a helluva stretch, but I will concede after this story he might be Black Canary's greatest villain.  Maybe.


A desperate Dinah and Larry Lance bring their infant baby to Johnny Thunder, who summons Thunderbolt.  The genie offers to take the baby to the Thunderbolt Dimension where her destructive sonic powers won't harm anyone.  The caveat being, of course, that once there the child can never leave.  If Dinah and Larry send their child with Thunderbolt, she'll be safe, but they'll never see her again.

Approximately ten years after this story is published, the X-Men's Cyclops and Jean Grey would face a similar dilemma when their infant was infected with a virus and needed to be sent into the future to save his life, resulting in their child becoming the militaristic leader of X-Force, Cable.  And that scenario makes only a little bit more sense than what Roy Thomas will offer up later in this issue.

Dinah and Larry agonize over the decision--I would think--but finally surrender their baby to the protection of Thunderbolt.  He brings the baby to the Thunderbolt Dimension and keeps her in suspended animation, but then he goes a little off-script and wipes the memory from Dinah, Larry, and Johnny Thunder.  He convinces them that the baby died... because it will be easier for them to deal with...  Yep.

Black Canary, much like any attentive reader, is full of questions.  But Evil Johnny interrupts the story to draw attention to the ensuing battles on Earth 1 between the heroic and villainous pairings.

In Mexico, Chronos and the Fiddler have seized an ancient pyramid.  Jay Garrick and Hourman rush to intervene but they're thwarted by a time-holograph created by Chronos, and then the Fiddler plays a little ditty causing the heroes to keep dancing until they die.

Meanwhile, Dr. Alchemy and the Icicle have taken over one of the Great Pyramids of Egypt when Huntress and Red Tornado come liberate the place.  Reddy drops Huntress off on the sloping face of the pyramid, but Icicle freezes the side, causing Huntress to slide down.  But being the daughter of Batman and Catwoman affords Huntress a healthy amount of agility and preparedness.  She manages to throw a batarang that knocks out Icicle even as she's sliding down.


At the same time, Red Tornado is battling Dr. Alchemy, who maneuvers the android into position so that Huntress slides off the pyramid and crashes right into him.  The result is that Huntress and Red Tornado are both knocked out, spoiling all of the good will Huntress gained by swatting Icicle.  God, Red Tornado sucks.

And at Stonehenge, we find the last duo, Power Girl and Sargon squaring off against the wicked mages, Felix Faust and the Wizard.  The bad guys use their magic to fool Power Girl and Sargon into striking each other, knocking each other unconscious.  Then, naturally, Wizard and Faust bicker amongst each other, because that's what villains do.

Back in the Thunderbolt Dimension, Evil Johnny taunts his hostages and brags of the devious goings-on that he's fostered down on Earth 1.  Unbeknownst to Evil Johnny, some of the electric sprites of the dimension have come to started rescuing Good Johnny from his bonds.  Just when Evil Johnny is ordering the genie to murder Black Canary and Starman, Good Johnny breaks free and shouts out the magic words that put Thunderbolt back in control.


Freed of Evil Johnny's influence, Thunderbolt races to the JLA Satellite to revive the Leaguers he hurt last issue.  And before long, the heroes of Earth 1 snap back into action.


Elongated Man and Barry Allen help Jay and Hourman take out Chronos and the Fiddler.  Firestorm and Hal Jordan help Huntress and Red Tornado take out Dr. Alchemy and the Icicle.   And Zatanna helps Power Girl and Sargon take out Felix Faust and the Wizard.

In the Thunderbolt Dimension, Evil Johnny is captured though still trying to regain control over the genie.  Black Canary is overwhelmed by the image of what looks like herself and her dead husband.  Is it a daughter she never knew or something even stranger, she wonders.

Oh, it's stranger.  And it's the kind of story that only Bob Haney Superman and the Spectre could tell.


So... Superman thought it best that Black Canary swap bodies and memories with her own daughter who lived a decades in suspended animation.  Dinah Drake effectively dies with her husband, while her consciousness takes over the dormant body of her daughter.


Aside from Red Tornado totally being the worst, what can we gather from this issue?

This ending is so, sooooo $@#%ed up!  I guess at this point Black Canary is considered to be the daughter of the original Black Canary, but she's full of her mother's memories and experiences.  What happens to her now will shape her life as though she's a different person, but couldn't that be said of any character.

The whole motive for this retcon was to de-age Black Canary.  And Roy Thomas did so by putting the character in the identical body of a child she never remembered having.  But the tale ends with her crying and being carried off--happily--in Superman's arms, so I guess it's a wash.  After all, that's how issue #74 ended when her husband died right in front of her.  Maybe that's one of Superman's untapped powers; he can make Black Canary get over any traumatic event.

The action scenes with the Justice Society versus the dastardly duos is mostly underwhelming.  The way the heroes fail to stop their adversaries is forced and lame, but the timely arrival of the Justice League heroes is pretty exciting.

Black Canary has never had much of a Rogues' Gallery; her list of personal foes makes Aquaman's look like the Society of Evil.  This story, however, puts two common foes of the JSA and JLA firmly in Dinah's stack of super villains.  Johnny Thunder of Earth 1 never achieved much on the page or off, but his schemes and his connection to her personal history make him an interesting enemy for later stories.  Likewise, Black Canary now has a personal, maybe the most personal beef with the Wizard.  He cursed her own freaking child and condemned it to suspended animation for life until she took over the body.

Well, Happy Birthday, Black Canary!  You get a new body and a new history, one that will last about five years before cooler heads think of a better idea for post-Crisis on Infinite Earths.

Thursday, April 3, 2014

The Origin of Black Canary: 1983 Part 1 - JUSTICE LEAGUE OF AMERICA #219

Because I can't help myself when it comes to these little segues, today, April 3rd, is the birthday of the original Flash, Jay Garrick, at least according to the Super DC Calendar from 1976.  That's why I've saved my reviews of Justice League of America #219-220 until now.  The story spanning these issues doesn't just radically revise Black Canary's origin, but also prominently features Jay Garrick and the Justice Society of America.


Justice League of America #219: "Crisis in the Thunderbolt Dimension" is cowritten by series regular Gerry Conway along with Roy Thomas, who'd been writing All-Star Squadron at the time and pretty much owned anything related to the Golden Age heroes.  Pencils and inks on the issue are provided by Chuck Patton and Romeo Tanghal respectively.  The cover, depicting a familiar-looking genie called Thunderbolt attacking the Justice League while their Earth 2 counterparts look on in horror, is drawn by none other than George Perez.  The story came out in October of 1983.

The story begins with a group of heavily armed terrorists taking hostages in a public park in Central City.  While the terrorist leader announces their demands to the police, however, an unseen force begins taking down his cronies and henchmen.  See, in all their scheming, this group didn't count on two scarlet speedsters to interfere with their plans.

Both Barry Allen and Jay Garrick, each known as The Flash, the Fastest Man Alive in their worlds, race into action in a title page that pays homage to the original Flash of Two Worlds story.


Jay and Barry take turns redirecting the terrorist's machine-gun spray so that it spells JSA and JLA on the wall.  The Central City spectators and police are a bit slow to recognize Jay, who they mostly know as a fictional superhero appearing in Flash Comics.  'Cause, y'know, that made sense at the time.

After saving the day, the Flashes run to the Justice League Satellite transporter.  Jay lends voice to a concern that I've had for years about the proper naming for Earths 1 and 2.


As they speed up the side of the building and prepare to teleport to the League's orbital headquarters, the two reflect on their annual meetings and how enjoyable it is for them.  However, as they're about to leave, the weather abruptly turns stormy.  And a crackling spike of pink lighting arcs down from the sky toward the speedsters.

Jay recognizes the energy source too late.  The lightning grazes him but turns its full force on Barry.  Even the Flash of Earth 1 can't outrun the bolt that seems to strike him dead.


The Thunderbolt gives no reply.  Jay tries to attack, but it effortlessly knocks him back with a low-level blast.  He looks up just in time to see the Thunderbolt fade away.  Jay crawls over to examine Barry and finds the other Flash barely clinging to life.

Desperate, Jay knows he must get Barry up to the satellite, currently orbiting the Earth at a distance of 22,300 miles above the surface.  There the combined members of the Justice League and Justice Society of America mingle like friends at a company picnic.


I love Black Canary's half-conversation with Huntress and Power Girl.  There's so much innuendo delivered in her line before Power Girl clears up the matter.  And speaking of Power Girl, Firestorm is pining over her like a classic teenager with a crush.  And why wouldn't he?  It's Power Girl!

Green Lantern and Starman talk about boring cosmic stuff, while Elongated Man pulls Firestorm aside so that he, Zatanna, and Hourman can give the kid some dating advice.  Unfortunately, just before Firestorm asks Power Girl to visit the Trophy Room (wink wink), the frivolity is spoiled by the pink lightning bolt crashing into the room.

Black Canary and Starman recognize the energy signature of the lightning bolt, but Firestorm doesn't much care.  Unwilling to be ****-blocked by a light show, the Nuclear Man rushes to confront the lightning.  It promptly shocks him, knocking the life out of him.  Then the lightning takes the familiar form of Johnny Thunder's genie, the Thunderbolt.

Hourman pops a pill and charges the Thunderbolt with his newfound super-strength, but is easily batted away.  Green Lantern attacks with his Power Ring and Starman with his Cosmic Rod (wink wink, wait, that's not a euphemism!)  Thunderbolt absorbs the energy and redirects it, striking Green Lantern with all the power.  The Thunderbolt next turns its attention on Red Tornado, knocking the android across the room, demolishing some of the satellite's dimensional transporter in the process.  It strikes at Power Girl, Elongated Man, and Zatanna before the Mistress of Magic can cast a spell against it.


As the heroes still standing check on their wounded and ask questions, the transporter tube opens to reveal Jay Garrick carrying the unconscious Barry Allen.  The Flash, Green Lantern, Zatanna, Firestorm, and Elongated Man are all taken to the medi-lab, where they remain in critical condition.  It doesn't take long for the survivors to realize what they all have in common: Black Canary, Power Girl, Huntress, Hourman, Starman, and Jay Garrick were all born on Earth 2, and Red Tornado was first assembled there.  The next question, of course, is why does that matter?

For newer readers who might have thought Black Canary was always a native Leaguer, she recounts her story of coming to Earth 1.  It started when Starman crashed through the roof her home with Larry Lance, her husband on Earth 2.


Dinah goes on to remember how on her first day with the Justice League she let slip a tremendous blast of sonic energy.  Batman had explained that her proximity to Aquarius' energy when Larry died and mutated her, granting her a new metahuman power, her Canary Cry.  Dinah admits that Batman's explanation never quite made sense to her (or to Gerry Conway and Roy Thomas, I'd bet).

While she's daydreaming about the past, Power Girl and Red Tornado use the satellite's surveillance equipment to confirm that Superman and Wonder Woman have also been rendered unconscious by the Thunderbolt, and Aquaman, Green Arrow, Hawkman and Hawkgirl may also have been taken out like the other League members.

Huntress speculates that the problem might not emanate from a rogue Thunderbolt but from Johnny Thunder himself.  Black Canary refuses to believe her old friend could have betrayed them like this.  At that point, Power Girl reveals that pairs of super villains from both Earths are attacking ancient temples on the planet below.  From Earth 1, Chronos, Dr. Alchemy, and Felix Faust are each partnered with The Fiddler, Icicle, and the Wizard from Earth 2.

The heroes speculate that these combined villains are behind the Thunderbolt's attack on the League.  They quickly jump into action.


I'm going to say it right here, a big part of me has and always will prefer Black Canary and Starman as a couple over Black Canary and Green Arrow.  That these two had a brief but passionate affair was the best retcon James Robinson ever contributed to the DC Universe.  I just love the way these two interact, and you can see the love Ted has for her in the last panel.

Black Canary agrees to Starman's plan to track the Thunderbolt and get answers directly from the source of their problem.  He uses his Cosmic Rod (tee-hee) to transport them through space and into the alternate dimension of the genie: the Thunderbolt Dimension!

While struggling to get their bearings in the topsy-turvy alternate world, they spy someone watching them from a lofty throne.  Before they can react, the Thunderbolt attacks Starman.  Black Canary lets loose a sonic cry, but it has no effect on the genie this time.  Dinah is immobilized and the two are brought before their captor: the Johnny Thunder of Earth 1!


What's with the glass coffin holding Larry Lance and a double of Black Canary?!!  I guess you'll have to wait until next Thursday for my review of issue #220.

This is a great issue, and as one of the annual crossovers with the Golden Age heroes of Earth 2, it's a real treat to see characters like Jay Garrick, Hourman, and Starman get such a worthy place in the story.  True it's at the expense of the titular members of the Justice League, but even they get moments to shine, however briefly.  Everyone gets to use his or her power, mostly to little effect, but it still looks cool.

But naturally my favorite part of the story is the emphasis on Black Canary's pre-League roots.  She originally debuted in the Johnny Thunder strip in Flash Comics, so it's thrilling to see that history play out as her friends are stalked by Johnny Thunder's wayward djinn.  Everyone questions the culpability of Johnny Thunder, but Dinah refuses to believe her old friend could have gone bad like this.  It is more dramatic and powerful then at the end when she learns that a Johnny Thunder is behind her woes, just not the Johnny everyone suspected.

Conway and Thomas' script is impeccable in this issue, filled with nice character beats, like the dialogue between the Flashes and the cops in the first scene; and Firestorm's angst over Power Girl; and Starman coming to Black Canary alone, giving her a chance to resolve this personal conflict for herself.  All perfect moments.  Patton and Tanghal's art, too, is beautiful.  The tension and terror on the characters' face have never seemed so dramatic.  Brilliant stuff here.

In the end, though, this issue is mostly a set-up for the greatness--and wonkiness--that will come with issue #220.  That issue is full of a ton of action and a whole new origin story for Black Canary.  Come back in a week to check out my review!