"THE POWER AND THE PANZERS!"
Writer/Editor: Roy Thomas | Artists: Frank Robbins & Frank Springer
Colorist: George Roussos | Letterer: John Costanza
Consulting Editor: Archie Goodwin
Writer/Editor: Roy Thomas | Artists: Frank Robbins & Frank Springer
Colorist: George Roussos | Letterer: John Costanza
Consulting Editor: Archie Goodwin
What's this? Didn't we just look at issue 23 last week?? Did we skip an issue?! No, Frantic Ones, you didn't miss a thing. Apparently INVADERS #24 was entirely and completely a reprint of a Golden Age story, without even a new framing sequence to explain it! Chalk up another casualty to the Dreaded Deadline Doom, I guess. We now rejoin our Scarlet Scarab epic, already in progress...
The Plot: The Human Torch and Sub-Mariner battle Scarlet Scarab near the pyramids, while Captain America, Spitfire, and Union Jack aid British forces against the German advance on Cairo. Sacrlet Scarab wins his battle and moves along to the front line, where he seeks audience with the Nazi general leading the charge. When the battle briefly stops, Cap and the others go in search of Namor and the Torch.
Scarlet Scarab offers to fight for the Nazis if they will leave Egypt when the battle is done. When the Germans agree, the Scarab charges out to battle the reunited Invaders. But when he spots the German general about to execute an old Egyptian man for defying the Reich, the Scarab turns on his new allies. With the Invaders fighting alongside the Scarab, the Nazis are driver into retreat. In the aftermath, the Scarab departs, declaring himself neither friend nor foe of the Invaders.
Meanwhile Bucky arrives in California with the injured Toro, seeking Doctor Sabuki -- but is shocked to learn that the doctor has been sent to a Japanese internment camp.
Continuity Notes: The Scarlet Scarab tells the Torch that he is no longer Doctor Faoul; that the doctor perished when he donned the ruby scarab, and was fully replaced by the Scarlet Scarab persona (with a footnote to issue 23). After the Scarab defeats the Sub-Mariner and Human Torch, Namor recalls some of the hieroglyphs he read last issue, deducing that the ruby scarab drains and duplicates the powers of those with whom it comes into contact. My Thoughts: I'd call this a satisfactory, if abrupt conclusion to the story begun last issue. And the only reason I use the word "abrupt" is because it feels like everything happens a bit too fast. I've mentioned before that Thomas, in my opinion, seems to have issues with pacing multi-part stories in the seventeen-page format. Usually it comes through in the form of a story that feels artificially extended to fill two seventeen-page issues, where it would have fit nicely into a single twenty-some pager. But this one almost feels like the reverse; like Thomas had enough material for three seventeen-pagers, but cut things short in order to get it done in two.
But in any case, the story is fine, and while the final battle and the Scarlet Scarab's change of heart feel a bit perfunctory, they work well enough on the page.
Besides, I'm more interested in the fact that we did get the further development of Scarlet Scarab here which I had hoped for last week. Yeah, he initially runs off to join up with the Nazis, but all he really wants is to get the foreign powers -- all foreign powers -- out of Egypt. When he realizes the Germans aren't to be trusted, he turns of them quickly, and by the final page, declares himself a free agent. He's fighting for independence, and not allying himself with anyone in order to do so. I'd like to add that I appreciate Thomas's handling of all the characters' perspectives in this story. Scarlet Scarab is a native Egyptian who wants his land back. Namor, as sovereign of his own kingdom which has fought off invaders in the past, sympathizes with the Scarab even as they find themselves fighting against each other. Then you have two more of our protagonists, Union Jack and Spitfire, who fall very firmly on the "British Imperialism is Good" side of things. Which may seem an odd direction to take the good guys, but they're upper class Brits and in the context of the time these in which stories were set, would likely have been raised to believe exactly that -- so it makes perfect sense. Thomas could've gone the route of having all the Invaders agree with Scarlet Scarab's position (even if not his methods), but he instead has those who, realistically, would be naturally inclined to voice opposition to him, do so. I'm always happy to see this approach. Not all heroes are perfect, after all.
ReplyDeleteYeah, I agree that it was abrupt. The Scarab flies off after giving the general a sieg-heil to finish Namor, who says the Nazis are using him, and roughly one sentence is all it takes for him to zip back moments later to (of course) discover the Nazis Nazifying because they Nazis. A more impassioned speech by Namor was in order, I think, maybe appealing to Scarab as a fellow non-English/Allied outsider, which I likewise agree was done later to satisfying effect.
I know you didn’t read the reprint in #24, but it’s even funnier to see Torch pop up in this issue with his wild mop of hair after that. Also particularly noticeable to me in #25 were the extremely long, tapered points that Robbins gives Namor’s ears.
The Kane/Giacoia cover to #24 is quite nice. I just did a quick search to see if a digital version existed despite the reprint contents in case you wanted to add it to your post, and came across the original art at Heritage Auctions with Golden Age Human Torch and Sub-Mariner logos affixed. (Looking at it again I see that Kane drew the bracers Namor later wore, items that I always liked on him and Hawkman to break up their bare arms.)
Not just Namor's ears, but his hair, too -- it's out of control in this issue! Not sure what was going on with Robbins' pencil when he drew this issue, but it's a really noticeable change.
DeleteThat original art looks really nice, though it's weird to see it with the Torch and Sub-Mariner's logos... it fascinates me when people "deface" original artwork like that. This would be easy enough to undo, I suppose, but it still seems a weird thing to do!
Until I read the words “Robbins’ pencil” I hadn’t realized I was implicitly chalking it up to a flourish of his brush. And he’s not the inker! Springer may well be following Robbins’ lead but this is way more confounding to me now. Robbins — and/or Springer, I guess, but this I believe this is very consistent with Robbins’ full art — seems to have a thing for twirls and flares: Hair, flames, and gusts of wind all pointedly whirl and trail off; even his people do it. When I first mentioned my push-pull feelings about his Invaders art during your ’70s Batman posts you suggested it might be due to Colletta’s inks but, now it can be told, I largely meant the awkward figures that are to me equally balletic and bizarre. For every one that reads as pure dynamism there’s another suggesting he was told to fit an entire character into a panel and couldn’t figure out how. Mention this series and the scenes that flash through my mind are a wistful Torch, a triumphantly boastful Baron Blood, and a dainty Cap landing on the ground en pointe in a pliĆ©.
DeleteI absolutely know what you mean regarding Robbins' figures! There are a few that you see pop up now and then, from his time on CAPTAIN AMERICA, which always stick out in my mind -- one with Cap as Nomad swinging awkwardly through the air, with a bizarre pose and some really weird foreshortening going on, and another, a splash page, where Cap and Falcon meet Doctor Nightshade. Cap is in a really weird (but also kind of cool) pose as he stands before her.
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