“GANGWAR PART TWO: A TRAGEDY IN FIVE ACTS”
Dramatized and Choreographed by: Marv Wolfman and Jerry Ordway
Inked by: Bob Smith | Lettered by: Albert de Guzman | Colored by: Anthony Tollin
Edited by: Mike Carlin
Dramatized and Choreographed by: Marv Wolfman and Jerry Ordway
Inked by: Bob Smith | Lettered by: Albert de Guzman | Colored by: Anthony Tollin
Edited by: Mike Carlin
The Plot: A series of vignettes follows Jimmy Olson, Lois Lane, Perry White, Jose Delgado, and Lex Luthor though their interactions with Jerry White. First, Jimmy is inside a convenience store when it’s robbed by a gang including Jerry. Superman catches most of the group, but Jerry gets away. Later, Lois visits Jose to find him arguing with Jerry. Jerry leaves to go warn “the boss”, a portly older man, that Lois was spying, but Superman interrupts their meeting before the boss can have Jerry beaten.
Later still, Lois presents a story to Perry White which includes reference to Jerry as a member of the gangs that have recently plagued Metropolis. Perry goes to visit his son in prison, but Jerry gives him the could shoulder. After being escorted to a darkened room, Jerry is harassed by a gang of inmates, but Superman appears and saves him—however, at some point after the Man of Steel departs, Jerry is beaten anyway.
As Lex Luthor receives a humanitarian award, Jose Delgado accosts him. Luthor’s private security catches up with Jose and prepares to kill him, but Superman intervenes. Later, Luthor meets with one of his scientists about Project Synapse, a plan to create a “super soldier” to challenge Superman, but declares the project a failure when only one of the test subjects survives.
Sub-Plots & Continuity Notes: Lois is at dinner with her parents and sister when she leaves to go speak with Jose. Clark is in attendance as well, and Lois wonders why her mother asked her to bring him. Lois’s father seems to want Clark to remain behind for some reason, but he leaves as well to follow Lois.
Jose demonstrates some accomplished martial arts moves against Luthor’s men. Also, last issue showed him leaping into a burning building to rescue some kids. I believe all of this is foreshadowing of his adopting a costumed identity in the near future.
It’s revealed that Luthor’s entire reason for turning the city’s youths into gang members and arming them was to find test subjects for Project Synapse.
My Thoughts: I think I've bashed Marv Wolfman enough recently, and there'll be time for a bit more in a few weeks as he wraps up his ADVENTURES OF SUPERMAN run, so let's take this opportunity to not discuss the substance of this lackluster story, and instead to pick on intrepid editor Mike Carlin: at the beginning of this issue, during the convenience store robbery, Jimmy wishes that Superman was around to help, but fights the crooks alone since the Man of Steel isn't there. Two pages later, as he chases the robbers out into the streets of Metropolis, Jimmy activates his signal watch and Superman shows up nearly instantaneously. Now, this is a problem I’ve noted in Marv Wolfman's writing from time to time: he seems to suffer lapses in logic while scripting, like he writes these things a page at a time over several days (which I suppose is possible if he was receiving the artwork from Ordway piecemeal).
Two pages/nine panels/literally like five minutes later...
But! This is absolutely, totally, one hundred and ten percent something any competent editor should easily catch. Maybe not immediately if the story was, indeed, being written slowly over time, but certainly while giving it a final pass-through. It sticks out like a sore, sloppily written thumb, and anybody reading the story all in one sitting would spot it immediately, as I did. I’ve called out the editors more than once in recent weeks, so here’s one more for the record: get it together, Carlin. You’re embarrassing yourself.
“THE NAME GAME”
Story & Pencils: John Byrne | Inks: Karl Kesel
Coloring: Tom Ziuko | Lettering: John Costanza | Editing: Michael Carlin
Story & Pencils: John Byrne | Inks: Karl Kesel
Coloring: Tom Ziuko | Lettering: John Costanza | Editing: Michael Carlin
The Plot: A dashing mystery man shows up at the Daily Planet, massages Lois Lane’s feet, and asks her out on a date. As if under a spell, Lois follows the man, Ben DeRoy, out of the building. As they wander Metropolis, a series of bizarre incidents transpire. Eventually DeRoy tires of Lois, turning her into a store mannequin and animating an actual mannequin to become his new date.
Superman catches up with DeRoy, who reveals himself as an imp from the Fifth Dimension called Mister Mxyzptlk. Mxyzptlk tells Superman he will return to the Fifth Dimension if the Man of Steel can trick him into saying, spelling, or otherwise producing his name backwards. As Mxyzptlk proceeds with further mischief, Superman rewires the gigantic typewriter he had originally used to reveal his name, and tricks the imp into typing his name backwards, banishing him back to the Fifth Dimension.
Sub-Plots & Continuity Notes: Early in the story, Cat Grant invites herself over to Clark’s apartment to cook him her famous lasagna. In an epilogue scene, Lois has decided she might be interested in Clark after all these years and heads over to fix him dinner, only to find Cat already there. Cat gives Lois the boot while Clark is in the shower.
Back in the eighties, Metropolis was known as the Tube Top Capital of the World. |
As for Mxyzptlk, I’ve never loved the character — even as a child, he was one of my less favorite villains on SUPER FRIENDS — but he is a classic member of Superman’s rogues’ gallery, so it’s nice to see him reinvented here even if only for that reason.
(By the way, has anyone ever explained why he was consistently called “Mixelplik” on SUPER FRIENDS? That’s what I called him for years and years, until SUPERMAN: THE ANIMATED SERIES told me the correct pronunciation!)
Next Week: Marv Wolfman's tenure comes to an end in ADVENTURES OF SUPERMAN #434 and 425, introducing Gangbuster!
You don't be givin' Superman's new bride a foot massage.
ReplyDeleteWell to be fair, they're not exactly an item yet -- but I'll agree in principle, anyway!
DeleteI'm glad to have read up on these "Superman" issues. I find myself leaning towards the one with Mister Mxyzptlk because he likes causing mischief for the Last Son of Krypton. :)
ReplyDeleteTo my knowledge, I've heard three pronounciations for Mxyzptlk. The 1960s Animated series had a different one as well.
ReplyDeleteOh yeah, I do seem to recall that. I watched repeats of that series as a kid. I guess it was just such an odd spelling that the various TV producers felt it was open to interpretation.
Delete"This one is about par for the course as one of Byrne’s typical Superman stories: nothing world-shattering or momentous, but a solid little one-off adventure."
ReplyDeleteThat sums up John Byrne's Superman run to me, except not all of them are solid; his issues feel like a rough draft version of Superman, like the really good stories were just waiting in the wings.
These stories all feel a bit slight; even the two parters, like the one with the Mummy/Alien, like nothing of consequence happened, the stories ending in some anti-climax or characters sitting around explaining what just happened in giant word balloons.
It's almost as if the very first cover, Superman defeated by Metallo inadvertently summed up the series to come, disappointing and anti-climatic, in my opinion.
I will agree with you agreeing with me! ;)
DeleteByrne's Superman stuff is fine, but it's nothing terribly earth-shattering (aside from THE MAN OF STEEL rebooting the entire origin and backstory, of course). I like the issues, but, compared with his prior work on FANTASTIC FOUR, ALPHA FLIGHT, and X-MEN, this all feels somewhat "phoned in" (and I don't even love his FF like so many others, yet this feels lackluster compared with it).
Maybe Byrne was just stretched too thin writing and drawing two titles, though he'd been doing the same at Marvel before jumping to DC. I suppose it's also possible Superman just didn't inspire him in the way the Marvel characters did.
It always struck me as odd that a writer-artist like Byrne would almost always go to the anti-climax and have the story resolved not by action, but by everyone explaining the story with long passages of text. Byrne could do incredibly dynamic action sequences in this time period, after all. The handful of issues of the Hulk he did after he left Alpha Flight all featured amazing action sequences, and one had my favorite single panel punch ever. (It's when Doc Samson sucker punches the Hulk in #314.)
DeleteYet when he came to Superman, his action muse seems to have left him, and he had so many stories ended by Superman explaining the anti-climax in word balloons. As if he was Reed Richards, for which that made sense. It's like he forgot how to show, not tell.
I know exactly the Hulk panel you're talking about! I haven't read Byrne's HULK run in years. That would be a pretty short span of issues to look at here, someday. Hmm...
DeleteAnd also...wow, Wolfman is almost done and no one seems to care. I knew from my circle of friends dropping his book as fast as they could that it was dire, but I figured there would be SOMEONE out there who liked it.
ReplyDeleteWolfman clearly needed someone like George Perez to push him to greatness, and Ordway just didn't have that chemistry with him. Still, it's kind of funny on the internet, where every bad creation has an unabashed fan, that Wolfman's run hasn't drawn a defender.
Yeah, it's amazing how few comments I've gotten on the Wolfman issues. It's like people don't even read those parts of the posts (which is entirely possible; I'd probably skip 'em myself if all I was interested in was the Byrne stuff)!
DeleteI never read the Wolfman issues, not even with the Superman/Darkseid crossover with Action Comics. And I've liked other things he's written but wasn't into these.
ReplyDeleteTo be fair maybe Byrne had some long range plan for Superman, things developed now would come back in a really neat way but as stand alone issues none of them compared with the inventiveness of the classic Superman era.
I really do like his art though.
cheers
Yes, it's definitely possible (and I'd say even probable) that Byrne had longer-range plans which he never got to pay off due to leaving the series. That would unfortunately become a trend in his career after this point.
DeleteI seem to recall Byrne saying he intended to do a hundred issues of Superman, so perhaps all he ever got around to doing was groundwork for later things, but at the moment I can't find proof that he actually said it. Would make sense if he was putting pieces in place early on, and then left before they could be used.
DeleteI wouldn't be surprised if he said that somewhere. He was probably feeling pretty optimistic, moving over to another company where he'd be able to work without Jim Shooter looking over his shoulder.
DeleteRecently he came the closest I've ever seen to acknowledging that his own temperament might share some of the blame for his constantly leaving titles over the years. He said something about wondering if he should consider that since he's the main common denominator in all these situations, maybe he's the problem. But then in typical Byrne fashion, he blew that off by saying "If only it were that simple..."
I respectfully submit that perhaps it is that simple. I'm sure he's had difficult editors over the years; too many people have horror stories about Shooter, for example, for Byrne to be the only one who he picked on. But Byrne has a long history of leaving titles due to creative differences -- which is fine, it happens all the time in numerous creative industries. but he needs to admit that his own bull-headedness is a big part of why he's jumped ship so many times. Chris Claremont had huge feuds with Shooter, but he remained on X-MEN through all of them, outlasting Shooter's time at Marvel. Byrne just packs it all the time in rather than roll with the punches as they come.
(And I'm sure he has rolled with plenty of punches over the decades, but you know what I mean. He's much more prone to that "straw that broke the camel's back" thing than nearly any other creator in the industry.)
When I was a kid, my dad knew someone who got married three times in eight years, and my dad was wondering what was up with that, why he kept having such short marriages.
DeleteMy mom looked at him and simply said "it's not the lemons, it's the picker."
When something keeps happening over and over, it's usually because of the common factor, in both cases, the same person.
"It's not the lemons, it's the picker" is a great line! And it totally fits Byrne, too. I think the picker is to blame far more often than not in all his early exits over the years.
Delete(The one I'll give him for sure is FANTASTIC FOUR, only because from what I've seen and heard, he tried to stick it out. Shooter eventually became way too much for him to deal with, but he was on the series for something like five or six years -- his longest run on any title ever, as far as I know -- so I'll allow a back-breaking straw there. But in so many other cases, he left fairly early on rather than try to work through issues with his editors.)