Back Issue #72 by TwoMorrows Publishing

COMICS’ BRONZE AGE AND BEYOND!

May 2

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METAL MEN • RED TORNADO • ROBOTMAN • VISION • JOCASTA • CYBORG • SHOGUN WARRIORS MR. ATOM • BIG GUY & RUSTY • with ALLRED • SIMONSON • PÉREZ • TRIMPE and more!

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Edited by MICHAEL EURY, BACK ISSUE magazine celebrates comic books of the 1970s, 1980s, and today through recurring (and rotating) departments like “Pro2Pro” (dialogue between professionals), “BackStage Pass” (behind-the-scenes of comicsbased media), “Greatest Stories Never Told” (spotlighting unrealized comics series or stories), and more!

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“Halloween Heroes and Villains”! JEPH LOEB and TIM SALE’s chiller Batman: The Long Halloween, the Scarecrow (both the DC and Marvel versions), Solomon Grundy, Man-Wolf, Lord Pumpkin, Rutland, Vermont’s Halloween parades, and… the Korvac Saga’s Dead Avengers! With commentary from and/or art by CONWAY, GIL KANE, LOPRESTI, MOENCH, PÉREZ, DAVE WENZEL, and more. Cover by TIM SALE!

“Tabloids and Treasuries,” spotlighting every all-new tabloid from the 1970s. Superman vs. the Amazing Spider-Man, The Bible, Captain America’s Bicentennial Battles, The Wizard of Oz, even the PAUL DINI/ALEX ROSS World’s Greatest Super-Heroes editions! Commentary and art by ADAMS, GARCIA-LOPEZ, GRELL, KIRBY, KUBERT, MAYER, ROMITA SR., TOTH, and more. Wraparound cover by ALEX ROSS!

“Superman in the Bronze Age”! JULIUS SCHWARTZ, CURT SWAN, Superman Family, World of Krypton miniseries, and ALAN MOORE’s “Whatever Happened to the Man of Tomorrow?”, art & comments by ADAMS, ANDERSON, CARDY, CHAYKIN, PAUL KUPPERBERG, OKSNER, O’NEIL, PASKO, ROZAKIS, SAVIUK, and more. Cover by GARCÍA-LÓPEZ and SCOTT WILLIAMS! Edited by MICHAEL EURY.

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“British Invasion” issue! History of Marvel UK, Beatles in comics, DC’s ‘80s British talent pool, V for Vendetta, Excalibur, Marshal Law, Doctor Who, “Pro2Pro” interview with PETER MILLIGAN & BRENDAN McCARTHY, plus BERGER, BOLLAND, DAVIS, GIBBONS, STAN LEE, LLOYD, MOORE, DEZ SKINN, and others. Fold-out triptych cover by RON WILSON and DAVE HUNT of Marvel UK’s rare 1970s “Quadra-Poster”!

“Bronze Age Backup Series”! Green Lantern, Green Arrow, Black Canary, Metamorpho, GOODWIN and SIMONSON’s Manhunter, PASKO and GIFFEN’s Dr. Fate, “Whatever Happened To…?”, Nemesis, Rose and the Thorn, Seven Soldiers of Victory, art and commentary by CARY BURKETT, JOHN CALNAN, DICK GIORDANO, MIKE GRELL, ELLIOT S! MAGGIN, DAN SPIEGLE, cover by GRELL and JOE RUBINSTEIN.

“Bronze Age B-Teams”! Defenders issue-byissue overview, Champions, Guardians of the Galaxy, Inhumans, PETER DAVID’s X-Factor, Teen Titans West, Legion of Substitute Heroes, an all-star chatfest of Doom Patrol interviews, plus art and commentary by ROSS ANDRU, SAL BUSCEMA, KEITH GIFFEN, TONY ISABELLA, PAUL KUPPERBERG, ERIK LARSEN, GEORGE PÉREZ, BOB ROZAKIS, cover by KEVIN NOWLAN.

“Bronze Age Team-Ups”! Marvel Team-Up and Two-in-One, Super-Villain Team-Up, CLAREMONT and SIMONSON’s X-Men/New Teen Titans, DC Comics Presents, SuperTeam Family, HANEY and APARO’s Batman of Earth-B(&B), Superman/Captain Marvel smackdowns, plus art and commentary by BUCKLER, ENGLEHART, GARCÍA-LÓPEZ, GIFFEN, LEVITZ, WEIN, and a classic GIL KANE cover inked anew by TERRY AUSTIN.

“Heroes Out of Time!” Batman: Gotham by Gaslight with MIGNOLA, WAID, and AUGUSTYN, Booster Gold with JURGENS, X-Men: Days of Future Past with CHRIS CLAREMONT, Bill & Ted with EVAN DORKIN, interview with P. CRAIG RUSSELL, “Pro2Pro” with Time Masters’ BOB WAYNE and LEWIS SHINER, Karate Kid, New Mutants: Asgardian Wars, and Kang. Mignola cover.

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“1970s and ‘80s Legion of Super-Heroes!” LEVITZ interview, the Legion’s Honored Dead, the Cosmic Boy miniseries, a Time Trapper history, the New Adventures of Superboy, Legion fantasy cover gallery by JOHN WATSON, plus BATES, COCKRUM, CONWAY, COLON, GIFFEN, GRELL, JANES, KUPPERBERG, LaROCQUE, LIGHTLE, SCHAFFENBERGER, SHERMAN, STATON, SWAN, WAID, & more! COCKRUM cover!

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“Incredible Hulk in the Bronze Age!” Looks into Hulk’s mind, his role as a team player, his TV show and cartoon, merchandising, Hulk newspaper strip, Teen Hulk, villain history of the Abomination, art and artifacts by SAL BUSCEMA, JOHN BYRNE, PETER DAVID, KENNETH JOHNSON, BILL MANTLO, AL MILGROM, EARL NOREM, ROGER STERN, HERB TRIMPE, LEN WEIN, new cover by TRIMPE and GERHARD!

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Volume 1, Number 72 May 2014 Celebrating the Best Comics of the '70s, '80s, '90s, and Beyond!

Comics’ Bronze Age and Beyond!

EDITOR-IN-CHIEF Michael “Brainiac 0” Eury PUBLISHER John “T. O.” Morrow DESIGNER Rich “Faulty Responsometer” Fowlks COVER ARTIST Michael Allred COVER COLORIST Glenn “Doc Magnus” Whitmore COVER DESIGNER Michael “Ultron” Kronenberg PROOFREADER Rob “The Revision” Smentek Rand Hoppe Alex Jay Nick Katradis Douglas R. Kelly Rob Kelly James Kingman Paul Kupperberg Erik Larsen Paul Levitz Andy MacDonald David Michelinie Doug Moench Graham Nolan Luigi Novi Martin Pasko Jay Piscopo Jim Salicrup Alex Segura Sketch Maven Andy Smith J. E. Smith Joe Staton Roger Stern Lex Suite Roy Thomas Herb Trimpe Len Wein Marv Wolfman

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BACK SEAT DRIVER: Editorial by Brainiac 0 . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .2 FLASHBACK: Heady Metal: The Metal Men . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .3 Silver Age charm transmutes to Bronze Age seriousness for DC Comics’ robot heroes INTERVIEW: Charlie Boatner’s Batman/Metal Men Team-Up . . . . . . . . . . . . . . . . . . . . . .13 Whatever happened to What’s’ername? We ask the writer … and share Aparo artwork FLASHBACK: Behold, Their Vision! . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .17 Creators from the House of Ideas discuss the Android Avenger FLASHBACK: The Little Android That Could: A History of the Red Tornado . . . . . . . . . .25 How “the Justice Society’s pet android” became a Justice Leaguer and solo star BRING ON THE BAD GUYS: Bad Robot: Mister Atom . . . . . . . . . . . . . . . . . . . . . . . . . . . .33 The Bronze Age appearances of the World’s Mightiest Mortal’s metal menace FLASHBACK: Jocasta: The Bride of Ultron . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .39 This one-time Avengers hanger-on keeps … hanging on FLASHBACK: Bronze Steele: Robotman . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .46 It’s been a long, strange trip for the Doom Patrol’s Cliff Steele BEYOND CAPES: Shogun Warriors . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .56 The sky-high rise and abrupt fall of three giant robots in comics FLASHBACK: Stone and Steel: The Story of Cyborg . . . . . . . . . . . . . . . . . . . . . . . . . . . . .61 Victor Stone, from Teen Titans to Justice League and beyond BRING ON THE BAD GUYS: The Legacy of Brainiac . . . . . . . . . . . . . . . . . . . . . . . . . . . . .70 The “sons” of Superman’s robot foe in the DC Universe BEYOND CAPES: Big Guy and Rusty the Boy Robot . . . . . . . . . . . . . . . . . . . . . . . . . . . . .74 The Hard Boiled team of Frank Miller and Geof Darrow and their metal men BACK TALK . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .77 Reader comments about BI #67 and more BACK ISSUE™ is published 8 times a year by TwoMorrows Publishing, 10407 Bedfordtown Drive, Raleigh, NC 27614. Michael Eury, Editor-in-Chief. John Morrow, Publisher. Editorial Office: BACK ISSUE, c/o Michael Eury, Editor-in-Chief, 118 Edgewood Avenue NE, Concord, NC 28025. Email: euryman@gmail.com. Six-issue subscriptions: $60 Standard US, $85 Canada, $107 Surface International. Please send subscription orders and funds to TwoMorrows, NOT to the editorial office. Cover art by Michael Allred. Metal Men TM & © DC Comics. All Rights Reserved. All characters are © their respective companies. All material © their creators unless otherwise noted. All editorial matter © 2014 Michael Eury and TwoMorrows Publishing. BACK ISSUE is a TM of TwoMorrows Publishing. ISSN 1932-6904. Printed in China. FIRST PRINTING. Robots Issue

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Detail from the cover of The Avengers #96 (Feb. 1972), featuring the Vision. Cover art by Neal Adams. TM & © Marvel Characters, Inc.

SPECIAL THANKS Neal Adams Michael Allred Adam Beechen Charlie Boatner Jonathan Rikard Brown Kurt Busiek Jarrod Buttery John Byrne Paty Cockrum Computer Tyrants of Colu Gerry Conway DC Comics Geof Darrow Fred deBoom Tom DeFalco J. M. DeMatteis Steve Englehart Angela Fowlks Christos Gage Keith Giffen Grand Comic-Book Database Steven Grant P.C. Hamerlinck Jack C. Harris Ben Herman Heritage Comics Auctions

Greetings. I am Brainiac 0, the first son of Brainiac of Colu. That’s Brainiac Zero, not Brainiac letter O. Originally, though, I was Brainiac 2. Now, you’ve probably always thought that Vril Dox of L.E.G.I.O.N. was Brainiac 2 (especially if you’ve already read the Legacy of Brainiac article on page 70). But I was the first to be chosen by the Computer Tyrants to pose as the “son” of Superman’s enemy in Colu’s version of a witness

TM & © DC Comics.

protection family. Only, there were … problems. First, I’m not evil. Second, I was a fat kid. My pink-and-black Brainiac briefs—standard gear for Coluan evil computer-androids and their offspring—made my chubby thighs ripple. Third, I only have a fourth-level intelligence, which embarrassed my old man to no end. But the real Daddy deal-breaker was … I hate miniatures. So Papa Shrink-a-City booted me out of the flying saucer, renaming me “Zero” as the ultimate rejection. The Computer Tyrants erased me from continuity and shipped me off to Earth, where I was raised by a wonderful couple who taught me kindness and compassion. Since then, I’ve been living among you, disguised as one of you. But this issue’s theme gives me license to let it all hang out and finally be the real me! (Boy, is my wife gonna be surprised!) While this issue is branded “Robots,” there are androids and cyborgs in the following pages, too. Robots, like mutants, are often used metaphorically in comics, so some of the following articles discuss deeper issues including human dignity, disabilities, and racism. But that doesn’t get in the way of good, old-fashioned fun, and from the Metal Men to Big Guy, there’s enough fun in this issue to keep your gears lubed for hours!

PRE-EMPTIVE EDITORIAL NOTE

MISSING IN ACTION METAL MAN? If you were hoping for a look at G.I. Robot this issue, be patient— he’ll be included in BACK ISSUE #78’s examination of Weird War Tales. In the meantime, here’s a salute to that Bronze Age bot, via the Ross Andru/Romeo Tanghal original art (courtesy of Heritage) to the cover for Weird War #113 (July 1982). 2 • BACK ISSUE • Robots Issue

THE METAL MEN ARE BACK! As you’ll read at the conclusion of this issue’s lead article, Jim Kingman’s look at the Metal Men’s Bronze Age adventures, Jim anxiously awaited the “imminent return” of DC’s favorite robots. Turns out his wait is much shorter than he’d dreamed: As this issue was being assembled in late 2013, we discovered that a retooled “New 52” version of the Metal Men is slated to appear in Justice League #28, courtesy of Geoff Johns, Ivan Reis, and Joe Prado (its cover art, by Reis and Prado, is seen here). By the time this BACK ISSUE is available, JL #28 will have been out for two months—so you Metalmaniacs who missed it should hunt it down.

TM & © DC Comics.

Before I’m flooded with “Hey, why’d you leave out [insert your favorite comic-book robot or cyborg here]?!” emails, if you’d like to read about the following tin titans, more info awaits in these BACK ISSUE back issues: • ROM: SPACEKNIGHT (BI #16 and BI #31) • TRANSFORMERS (BI #16) • DEATHLOK (BI #25; also, BI #49’s cover) • H.E.R.B.I.E. THE ROBOT (BI #25) • MACHINE MAN (BI #25) • ROG-2000 (BI #25) • SIX MILLION DOLLAR MAN AND BIONIC WOMAN (BI #25) • STEEL THE INDESTRUCTIBLE MAN (BI #25) • ASTRO BOY (BI #30) • STEVE GERBER’S METAL MEN (BI #31) • BRAINIAC (1980s VERSION) (BI #35) • ULTRON (BI #38) • VISION’S RELATIONSHIP WITH SCARLET WITCH (BI #45)

Brainiac 0

Jim Kingman

Bad Moon Rising Eclipso casts a pall over the previously twinkling robotic adventures on Walter Simonson’s cover to Metal Men #48 (Oct.–Nov. 1976). TM & © DC Comics.

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DC’s Metal Men—Gold, Iron, Lead, Mercury, Tin, and Platinum (the sole female in the group, affectionately called “Tina”)—debuted in Showcase #37 (Mar.–Apr. 1962) and appeared in three subsequent issues of the tryout title. Created by writer Robert Kanigher over a single weekend and illustrated by Ross Andru and Mike Esposito, the robotic band’s exploits were a hit for DC (then National Comics), and the team graduated to their own magazine in 1963, beginning in February with an Apr.–May cover-dated first issue. But by 1968, as the Silver Age of Comics began to wane and the lengthy dawn of the Bronze Age began, the lighthearted charm of DC’s Metal Men abruptly ended, and a new path of cynical seriousness robert kanigher was forged.

doc magnus

Gone were the adversaries that made Metal Men an outlandishly entertaining read for over six years: the Gas Gang, the Missile Men, Chemo, the Plastic Perils, and the Metal Mods; gone were robotics gone mad: robot Amazons, a robot Centaur, robot termites, a robot dinosaur, a robot skyscraper, and a deadly robot rollercoaster, to name a few; and gone was “Nameless,” Tin’s girlfriend, who never achieved a proper name. Most important of all, gone for good intent and constructive purpose was Dr. Will (Doc) Magnus, governmentpayrolled scientist and the robot band’s inventor, whose sudden departure catapulted the original heavy metal band into more heady territory: faulty, outcast, hunted, and targeted for destruction. In an editorial effort to save them from cancellation due to declining sales, this “New, Hunted” Metal Men debuted in Metal Men #33 (Aug.–Sept. 1968), which sports one of the great dramatic covers of the late 1960s. In this startling issue, written by Kanigher and illustrated by Mike Sekowsky, Magnus was electrified and experienced a cerebral hemorrhage that sent him into a coma. This was caused by the tremendous discharge of energy he generated to enhance the strength of the robots’ “responsometers,” the crucial computerized component that gave the team near-human intelligence and emotions. That strength proved more hindrance than helpful when the Metal Men attempted to save humans from a raging fire and foil a bank robbery. Unable to control their individually enhanced powers, the Metal Men inadvertently put lives into jeopardy, and the band was misunderstood by the police and hunted down. Col. David Magnus, Doc’s brother, rescued the robots and took them to a safe, hidden military location where they were shut down until their creator, hopefully, emerged from his coma and could repair them. Meanwhile, giant flies from a doomed world invaded Earth for its food supply. When the government realized the US military could not defeat the giant flies, the Metal Men were reactivated to battle the invaders. Though successful, the Metal Men remained hunted by the police. Despite how humans now saw them, the Metal Men at least remained true to themselves, albeit not for much longer: Gold, the noble leader, and malleable; Lead, a loyal follower and dimwitted (the perfect shield, though); Iron, the muscle man, and more thoughtful than given credit for; Mercury, a hothead, self-appointed leader, quite fluid as liquid metal, prone to exploding into globules; Tina, a platinum romantic, hopelessly in love with Doc; and Tin, a hard metal, meek in appearance, fraught with an inferiority complex, but always having your back, whether teammate or human. They would remain hunted through Metal Men #36 (Feb.–Mar. 1969). A running theme was gigantic

Pipe Dreams (left) Our favorite robots’ happy days were distant memories on this Mike Sekowsky/ Dick Giordano cover to Metal Men #41 (Dec. 1969–Jan. 1970), the final issue of the book’s Silver Age run. (above) Notice a resemblance between the MM’s two creators? Kanigher caricature by Joe Kubert, and Magnus headshot by Ross Andru and Esposito. TM & © DC Comics.

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alien species: the aforementioned giant flies, then an alien wrath that became a volcano man, and finally alien clowns who shrunk the Metal Men, therefore appearing gigantic to the tiny metal band.

GIMME SOME SKIN With Metal Men #37 (Apr.–May 1969, and also displaying another classic cover), the series shifted direction again as Sekowsky also became writer and editor of the book. Gone was Col. Magnus, replaced by the rich and mysterious Mr. Conan. Also visibly gone was the “metal” in Metal Men, as the Alloyed Allies were covered in skinlike plastic by a scientific team and given human guises and identities to allow them to blend in with a human race that had become distrustful of them. Still endowed with (now-repaired) responsometers, the metal band was sent by Conan on missions to battle chaos, both real and supernatural, across the globe. Meanwhile, the small foreign country of Karnia kidnapped Doc Magnus, where he was subjected to several brain surgeries that not only shifted his allegiance to Karnia’s despot leader but also drove him power mad. Even after the leader’s demise, Magnus remained intent on ruling the world with new robots, seeking ransom by threatening to blow up major world cities. Conan enlisted the devastated Metal Men to destroy Magnus. The band came up short of their quest just as the series was canceled. That cancellation axe came down with Metal Men #41 (Dec. 1969–Jan. 1970), leaving several loose ends dangling, including a police detective’s apparent

marriage proposal to Tina. The Metal Men then mostly missed out on comics’ brief relevancy period (appearing only for a reprint of their first Showcase appearance in The Flash #214, Apr. 1972, a 100-Page SuperSpectacular). After an 18-month absence, the Metal Men returned for an all-new team-up with Batman in The Brave and the Bold #103 (Sept.–Oct. 1972). This bizarre but entertaining yarn, picking up sometime after the end of MM #41 and casting the Metal Men as vocal participants for “Robot’s Lib” led by John Doe, a traitorous US military robot, could have easily been a parody of the relevancy era had only writer Bob Haney not played the plot absolutely straight. The Metal Men also shed their human identities and returned to their colorful metal selves. That tale was penciled by Bob Brown and inked by Nick Cardy. Haney, artist Jim Aparo, and editor Murray Boltinoff then kept the Metal Men alive for the next two years, if only on two occasions. The metal band teamed with Batman in The Brave and the Bold (B&B) #113 (July–Aug. 1974) and #121 (June–July 1975). Haney’s interpretation of Batman in B&B (and with Superman in World’s Finest Comics) was criticized by many fans during its time [see the “Batman of Earth-B” in BI #66— ed.]. However, the writer’s B&B stories during this period have held up well over the years because Haney knew how to tightly plot and deliver twists at a relentless pace per story; during his heyday, his B&B with Aparo was DC’s bestselling Batman title.

Robots Issue

Lean Times (left) The Metal Men’s long-overdue return occurred in The Brave and the Bold #103 (Sept.–Oct. 1972). Original cover art by the late, great Nick Cardy, courtesy of Heritage Comics Auctions (www.ha.com). (right) The first of the three-issue reprint run of Metal Men, issue #42 (Feb.–Mar. 1973), with a recycled cover image by Andru and Esposito. TM & © DC Comics.

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Missed Popportunity If you don’t think Michael Allred is perfect for the Metal Men, then your responsometer is faulty! This pinup hails from Allred’s spotlight in DC Comics’ Solo #7 (Dec. 2005). TM & © DC Comics.

with the Caped Crusader and Green Arrow in B&B #136 (Sept. 1977). Par for their previous canceled courses, the Metal Men were once again poised to enter comics limbo, but there was a lingering phase for the team this time around. The robot band appeared in the 100th issue of Showcase (May 1978) and teamed with Superman later that year in DC Comics Presents #4 (Dec. 1974), battling Chemo. Then comics limbo practically claimed them. They next appeared with Batman in The Brave and the Bold #187 (June 1982) and again with Superman in DC Comics Presents #70 (June 1984). A few of their early 1960s adventures would be reprinted in the digest-sized The Best of DC #34 (Mar. 1983). The team made an obligatory appearance in Crisis on Infinite Earth (although you have to look really hard to find them). Of these fine, late-Bronze Age Metal Men tales, one deserves special attention. Writer Charlie Boatner and artist Jim Aparo’s “Whatever Happened to

What’s’ername?” in The Brave and the Bold #187 leap-frogs into the past to find its inspiration, choosing to ignore the era of the hunted Metal Men, the human Metal Men, and the revived Metal Men of the 1970s. Set in the early 1980s, it was revealed that Nameless, Tin’s girlfriend that he lovingly called “Beautiful,” had been missing and forgotten by the Metal Men for years (the flashbacks circle around events in Metal Men #32, published in early 1968). Batman remembered, however, and set out to solve the mystery. The ending was tragic and wholly fitting but did nothing to garner enough support for another Metal Men series. [Editor’s note: See this issue’s exclusive interview with Charlie Boatner to learn more about this story.] I can’t admit to having mined all the appearances of the Metal Men in the post-Crisis DC Universe, more universally known as the Modern Age of Comics, but what I do know covers a wide range of titles since 1986, worthy of an article in itself. They teamed with John Byrne’s Superman in Action Comics #590 (July 1987) and #599 (Apr. 1988); endured some shocking changes in their own four-issue miniseries published in 1993; were featured in Legends of the DC Universe 80-Page Giant (Jan. 2000); made the climactic scene of Enginehead #6 (Nov. 2004), hereby convincing this fanboy that writer/artist Ted McKeever should be given a crack at revitalizing the group; were awarded an Archives edition in 2006 and a second volume in 2013; played a part in 52 (though not as large a role as the one granted Doc Magnus), spinning off from that title into an eight-issue series in 2007; emerged in a more traditional look for Wednesday Comics in 2009; and enjoyed their own backup feature in Doom Patrol #1–7 (Oct. 2009–Apr. 2010). [Editor’s note: A Metal Men series written by Evan Dorkin and illustrated by Michael Allred was also in the works but shelved; Allred’s cover for this issue was originally a promotional illo produced for that project.] I truly appreciate the concepts and characterconsistency comprising the Metal Men, and in those respects I can see why they’ve endured for 50 years. Yet over the last 40 years, no particular class of storytelling has allowed their publication history to be anything but checkered. There has been espionage, relevancy, drama, adventure, tragedy, satire, and humor; often separate doses, sometimes blended (this blending of style and form didn’t go over well with many readers of the ’70s series, and their thoughtful reactions made for a spirited letters column). In my opinion, there has been nothing but terrific Metal Men tales throughout out the Bronze and Modern Ages, but with never a large enough audience to sustain the robot band for long, what can a true Metalmaniac do? What I’ve done for decades. For over 40 years to this day, the Metal Men, whether heady or charming, can’t seem to rekindle the popularity they enjoyed during the heart of the Silver Age. Despite that, they obviously remain built to matter. So once again I enjoy what has gone before while again— always one time too many— await their imminent return. JIM KINGMAN purchased his first comic book, DC’s World’s Finest Comics #211, on a family road trip in March of 1972, and has been reading and collecting comic books ever since (with no end in sight).

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When The Brave and the Bold #187 (June 1982) hit the stands, teaming Batman and the Metal Men, it had been a while since readers had seen DC’s robot team … and even longer since Tin’s girlfriend, Nameless (a.k.a. “Beautiful”), had made an appearance. Writer Charlie Boatner posed the question “Whatever Happened to What’sername?” in this clever whodunit remembered by many as one of the most poignant B&B tales ever—and BACK ISSUE poses to the scribe some questions about his story. This interview was conducted via email in October 2013. – Michael Eury MICHAEL EURY: B&B #187 displays your acute knowledge of Metal Men lore. When did you first discover the Metal Men? CHARLIE BOATNER: I was at my local drugstore, looking for the latest Top Cat or Snooper and Blabber, or some other Gold Key title, and stumbled across

Michael Eury

Metal Men #4 (Oct.–Nov. 1963). Tin’s giant face took up much of the cover and reminded me of W. W. Denslow’s illustrations of the Tin Woodsman in The Wonderful Wizard of Oz. Murray Ward wrote an article for Comic Book Marketplace where he perceptively describes Metal Men as his bridge between funny animals and superheroes. EURY: What about the group appealed to you as a reader? BOATNER: Wow, I have many answers to that! Many boys like robots because they can’t be hurt. Mercury was appealing because he was constantly losing his temper, yet his friends stuck by him. I saw Doc Magnus, the brilliant scientist, as an idealized version of my father, who was an engineer at a subatomic research project. Every issue had strange creatures or weird transformations: a half-pterodactyl, half-biplane, an oozy brain

Robots Issue

Metal Rain?? Courtesy of writer Charlie Boatner, his layouts/script to page 4 of B&B #187 (June 1982) and Jim Aparo’s finished art for same. TM & © DC Comics.

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One of the most endearing and enduring members of Marvel’s Earth’s Mightiest Heroes is the android, the Vision. Whether assembled or disassembled, the Vision has remained one of the more popular members of the team. He served as the corner-box icon for the Avengers title for almost eight years (1971–1979). How did this non-founding member, this non-human, this solar-powered creation, rise to such prominence? And what is the essence of his being? To find the answers to these questions, this article will rely on information from some of the prominent individuals that have written the character over the years.

MARVEL’S VISIONARIES

Lex Suite

Legendary comics icon, writer/editor Roy Thomas, is the creator of the Vision. Most of the information about the Vision’s origin, with multiple reflections from Roy, have been given extensive views in Alter Ego and Marvel Masterworks. It is important to mention that rather than create a new character, Thomas originally wanted to bring back the Golden Age Vision to his team of Avengers. Of course, the Golden Age Vision, the alien known as Aarkus, has nothing in common with the Silver Age version that Thomas created—other than the name. They both appear to have a green uniform motif, but the similarities end there. Aarkus was created Jack Kirby and Joe Simon in 1940 (Marvel Mystery Comics #13, Nov. 1940). The original Vision was an alien from another planet who could teleport via smoky conducts. He had been sent to Earth to serve humanity and fight evildoers. Thomas’ later android Vision is, of course, a cerebral, solar-powered, red-skinned entity who can control his density. In 1968, Thomas approached his editor, Stan Lee, about adding Aarkus to the Avengers team. Thomas recalls, “I, for one, wasn’t happy with not being able to use Cap, Thor, and Iron Man every issue. I suggested we bring Aarkus Vision in. Stan said no. He wanted the new Avenger to be an android, though he never said why. I guess he reasoned that I’d figure out what to do with him or it. So, left to my own devices, I split the difference and called the android the Vision and adapted the old costume, but little else, for the new character.” Astute readers and comics historians recall that DC Comics’ android the Red Tornado also debuted the very same summer the Vision did. Similarly, the Tornado was a big part of DC’s super-team, the Justice League of America. Writer Steve Englehart muses, “I dunno how that happened, but it’s interesting.” [Editor’s note: The Red Tornado’s “stormy return” occurred in Justice League of America #64, cover-dated Aug. 1968, going on sale on June 13, 1968. Readers’ first chance to “behold” the Vision was in The Avengers #57, cover-dated Oct. 1968, with an on-sale date of August 6, 1968. Excuse the plug, but for those wishing

Not Quite Human We borrow from the Silver Age for our opener: detail from John Buscema’s iconic cover to The Avengers #57 (Oct. 1968). TM & © Marvel Characters, Inc.

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Vision 1 (left) Jack Kirby and Joe Simon introduced Aarkus, the Golden Age Vision, in Marvel Mystery Comics #13 (Nov. 1940). Roy Thomas’ desire to revive this character led to the creation of the new Vision in the pages of Avengers. (right) Roy brought back the first Vision—along with other Golden Age Marvel heroes—in Avengers #97 (Mar. 1972). MMC cover by Alex Schomburg; Avengers cover by Gil Kane and Bill Everett. TM & © Marvel Characters, Inc.

to explore this further, Roy Thomas is much. I seem to recall his saying interviewed at length about this as much once.” Lee’s reservations topic in my 2005 book, Justice League aside, Thomas also recalls, “the Companion, from TwoMorrows.] Vision instantly became the most It is also interesting to note that interesting and popular of the despite Stan Lee’s rejection of Aarkus’ Avengers besides Cap, Iron Man, return, the Golden Age Vision was and Thor … whom we didn’t want able to eventually join the modern to use because they were in other Marvel Universe. Aarkus originally magazines.” The Vision also became Roy thomas debuted as a mental construct of Rick an increased focus with the team’s Photo by Luigi Novi. Jones and the Supreme Intelligence storylines as the writer “used the in Roy Thomas’ Avengers #97 (Mar. 1972). However, character to pursue what it means to be human.” decades later, in 1993, Roy Thomas was able to return the actual alien crimefighter to comics in another of his INSIDE THE VISION creations for Marvel: the Greatest Superheroes of World This journey took a sharper focus when Thomas War II, the Invaders. In Invaders #3 (July 1993), the teamed with noted artist Neal Adams in Avengers #93 Golden Age Vision reappears to help this team, and has (Nov. 1971). This issue is also visually groundbreaking remained on friendly terms with Captain America, the as an “Avengers” team logo designed by Neal Adams Sub-Mariner, and the original Human Torch ever since. debuts in this issue. Its distinctive style is still used This time, Thomas met no resistance to bringing back today. This is also the first issue that a stoic image of the Golden Age character. He recalls, “All I can say about the Vision becomes a character logo for the title. What the ’90s version was that the editor asked me to do the caused the Vision to become the new face of the series, and I was delighted. Mike Rockwitz was the editor Avengers? Adams notes, “I had nothing to do with who assigned me that four-issue Invaders series. I had putting the Vision on the cover in the logo area. to generally okay the plotlines with Mike, but that was And to make the question even more confusing to me, about it.” Today, Aarkus continues to appear in the that is a John Buscema drawing.” John Buscema was Marvel Universe, sometimes flashing back to retcons of the longtime artist on Avengers prior to Neal Adams’ his World War II-era adventures or assisting his still-active brief tenure. Adams continues, “I had no idea it would be there. My suspicion is that Roy took a cue from Golden Age Avengers allies in today’s world. Back in 1968, what did Stan Lee initially think of what I was doing with the evolving story, with, in fact, his company’s new Vision creation? Roy Thomas an emphasis on the Vision, and made the decision to remembers, “I don’t think Stan liked the name ‘Vision’ put the Vision there.”

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This emphasis on the Vision began with a new romance. The Vision had met his Avengers teammate, Wanda Maximoff, a.k.a. the Scarlet Witch, months earlier in Avengers #76 (May 1970). Sparks soon flew between the sorceress and the solar-powered synthezoid. When asked if this paring was always his intention, Roy Thomas adds, “Yes, although I’d never thought about going so far as marriage. It’s not that I might not have. I just didn’t bother to think that far ahead. I’d let things develop.” This developing situation continued as Thomas and Adams looked more closely at the Vision’s origin. Neal Adams wanted to explore the idea that the Vision was a recreated version of the original Golden Age Human Torch’s android body. Thomas recalls the beginning of this concept: “Yes, it was a notion Neal told me about when we were doing his first Avengers issue. I liked the idea, though I never saw the Vision as being as mechanical inside as Neal made him.” In the previously mentioned Avengers #93, Henry Pym, as Ant-Man, voyages through the body of the unconscious Vision in an attempt to revive him. During the experience, the tiny Avenger made a discovery inside the Vision’s body. Thomas notes, “I simply followed Neal’s lead in saying Ant-Man saw ‘something’ inside the Vision, in one panel … and I left the series a few issues later before I did any more.” The idea that the Vision was actually the neal adams original Human Torch was not fully revealed until years later in Avengers #135 (May 1975). Photo by Luigi Novi. Ironically, a letter published in Avengers #115 (Sept. 1973) by a future Marvel inker and editor, the late Duffy Vohland, appeared to spoil the suspense. Vohland claimed to have read this information in a fanzine. Several of his friends have noted he was heavily involved with this genre at this time. Through whatever medium, Vohland had been privy to future developments about the Vision’s origin. It is also interesting to note that Vohland would go on to be an editor on Marvel’s fanzine FOOM (Friends of Ol’ Marvel) in the not-too-distant future. Nevertheless, this letter was inadvertently printed, but ignored by the editor, Roy Thomas, and writer Steve Englehart. Today, neither Thomas nor Englehart recall the letter being printed.

Up Close and Personal During the epic Kree/Skrull War, Thomas—with artists Neal Adams and Tom Palmer— took Ant-Man on a fantastic voyage inside the Vision! Cover (above) and interior spread (left) from Avengers #93 (Nov. 1971). TM & © Marvel Characters, Inc.

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Voyeuristic Visions (left) From the collection of Nick Katradis, original cover art to Avengers #367 (Oct. 1993), featuring a brooding Vision as rendered by Steve Epting and Tom Palmer. (right) FOOM #12’s cover art was recycled for Marvel UK’s Marvel Comic #336 (Apr. 4, 1979). TM & © Marvel Characters, Inc.

Avengers #7 (Apr. 1986), Englehart created an Ultron with a human conscience. The uncharacteristically emphatic Ultron tried to establish a paternal relationship with the Vision. Englehart notes, “I do think I was able to run with it pretty well in WCA. The whole Ultron Mark VI bit was a fun storyline.” For some time, the Grim Reaper was bent on placing the Vision’s brain into Wonder Man’s believed-dead body. He proposed to the Vision that this would make him “human” and might help him pursue more human relationships, particularly with Wanda. However, since Wonder Man has returned, Eric Williams has come to consider the Vision as an abomination and would like to completely destroy him. The most commonly explored family relationship is the one between the Vision and Wonder Man. The “brothers” normally have a strong bond and they share numerous characteristics. Unfortunately, this also includes a common affection for the Scarlet Witch, which has naturally led to tension between the two. For a few Avengers issues, initially, Gerry Conway and later Jim Shooter more extensively explored this dynamic.

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Englehart and Kurt Busiek both also spent time exploring the Vision and Wonder Man’s relationship. “Steve Englehart later did more work on the Vision and Wonder Man, establishing that as a youngster, Simon was bookish and introverted, essentially what the Vision’s personality draws on,” Busiek says. “That helped me see the two of them as brothers. They started out from the same mold, but Wonder Man’s personality has been developed by his reaction to his father’s emotional abuse and his own mistakes, while the Vision, without these memories, is closer to what Simon was as a child, adding his own experiences and an inferiority complex brought about by being, in his eyes, artificial and not a real person. “I wanted to build on that,” Busiek continues, “force him out of his comfort zone with the Avengers and Wanda, and push him to explore life as an individual. That’s why I resurrected the Victor Shade ID, which had been established by Len Kamiski in an issue of Avengers Spotlight [Avengers Spotlight #40, Jan. 1991]. I didn’t want to turn him into someone else—just to see the core personality react to different situations, as he discovered he’d have to reach out to experience the world more fully.” Kurt Busiek also gives this compelling statement: “The way I see the Vision may not be the way everyone does, but what’s more important is that people write and draw good stories about the guy, not that they agree with me.” Through his adventures with the Avengers and the Marvel Universe, the Vision continues to grow and react to the ever-changing landscape. Thanks to the paradigms of many of Marvel’s greatest creators, the Vision has developed into one of the company’s most endearing characters. LEX CARSON is a Marvel Comics Silver and Bronze Age collector and historian as well as an occasional contributor to BACK ISSUE. He is also an active editor on the Wikia Marvel Database Project.

Androids have a tough time in comics. Often as not, they are introduced into stories to serve as a contrast to their human creators; to make a grander point about how when mortal man plays God, it can go so horribly wrong. If things go really badly, the android is destroyed, reduced to a pile of crumpled metal and burnt-out circuitry, its very existence having taught us all a Lesson About Life. And no android has had it tougher than the Red Tornado.

“THE JUSTICE SOCIETY’S PET ANDROID”

Rob Kelly

Created by legendary writer Gardner Fox for his last story in the pages of Justice League of America, #64 (Aug. 1968), a being calling itself “Red Tornado” shows up unannounced in the headquarters of the Justice Society of America, claiming to be a longtime member. Despite having no memory of this, the JSAers take him along on a mission to stop some faceless crooks from robbing a museum. Red Tornado’s troubles start here, just a few pages into his existence: In a desperate attempt to prove himself, he tries to use his tornado powers to stop the bad guys, only to get in the way and inadvertently put his erstwhile teammates in harm’s way. After taking off in shame, he finds himself drawn to a remote hideaway, the home of his creator, T. O. Morrow! Morrow, your prototypical comic-book mad scientist, created Red Tornado upon the instructions of his super-computer, which predicted that the only way to stop the JSA from defeating him was to add a new member to bring down the team from within. Turning on his creator like a Frankenstein Monster, Red Tornado attacks Morrow, just in time for the JSA to show up and forgive him for his earlier screw-up. The battle eventually spreads to Earth-One and includes (of course) the Justice League of America. By the end of Justice League of America #65, Red Tornado has helped the JLA stop Morrow once and for all, and is accepted as the JSA’s newest member. While he is pleased with the turn of events, he professes he wants more than that, much more: “I want to be somebody! I want a face … a identity I can call my own!” A few issues later, Red Tornado shows up at the JLA’s Secret Sanctuary. Trying too hard to sound confident, he ends up bursting through the floor, destroying the team’s newly built statue to the recently departed Martian Manhunter. The JLAers mock poor Reddy to his still-featureless face, telling him to stay behind while they respond to an alarm signal from Hawkgirl. In fact, Reddy ends up being sidelined for over two weeks, sitting on his hands and waiting for the JLA to hear him out. When they finally deign to listen, the JLA learns that Earth-Two is under attack from a cosmic baddie named Aquarius, and that his plan has been advancing all this time. “I—I tried to make you listen!” Reddy pleads.

Reddy for Teamwork Detail from Nick Cardy’s cover to Justice League of America #106 (July–Aug. 1973), where writer Len Wein welcomes Red Tornado into the JLA—whether they want him there or not. TM & © DC Comics.

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TWISTS AND TURNS

Scrap Heap Hero (left) Reddy’s in bad shape on this page from Red Tornado #4 (Oct. 1985), from the Busiek/Infantino team. Inks by Frank McLaughlin, colors by Tom Ziuko. (right) Our hero’s twistin’ action figure. TM & © DC Comics.

His former friends think he has gone mad, but Red Tornado claims he has merely been “enlightened.” He offers Kathy a place at his side as he presides over the new, “cleansed” world. Appealing to the last shreds of humanity left in him, Kathy manages to talk Red Tornado out of his megalomania. Having reclaimed the bits and pieces of his former body, he returns to his Red Tornado form, ready to stand down from his apocalyptic plan. Unfortunately, before he can announce this, the Man of Steel Act-First-Think-Later blasts Reddy with his freezebreath, followed by Firestorm transmuting the slab of ice into a metal block. This barely stops Red Tornado, who breaks free, now more out of control than ever. Accusing his former teammates—and Kathy—of betrayal, Red Tornado resumes his purest form and disappears into another dimension, promising that one day “there will be a reckoning.” All that is left behind are some storm clouds pierced by a rainbow, and with that, the quarter-century career of the Red Tornado came to a close. Bizarrely, this Annual was published between issues #2 and 3 of the Red Tornado miniseries, essentially negating everything that followed, including Kurt Busiek’s upbeat finale.

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Other than a brief, Crisis-related cameo in All-Star Squadron #53, the Red Tornado as the world knew him was gone forever after the JLA Annual. Of course, “forever” is a relative term in superhero comics—he soon returned in post–Crisis form in Captain Atom, eventually reclaiming his classic, heroic identity and membership in the JLA. In 2009, he headlined a second miniseries, a six-issue story called “Family Reunion” by Kevin Vanhook and José Luis García-López, and later played a major role in the Young Justice animated series. Along with the rest of the former DCU, Red Tornado was erased with the advent of the New 52 in 2011. But it seems another rise from the ashes is just around the corner: In Justice League #16 (Oct. 2012, written by Geoff Johns), T. O. Morrow appeared, talking about the “android weather machine” he has just created. Red Tornado has not had it easy in the DCU: After years of insecurity and self-doubt, multiple personal explosions, and sneering derision, the android with a soul managed to finally carve out a happy, stable existence for himself, only to have it taken away by the Crisis. He fought his way back in the post–Crisis DCU, having it taken away all over again by the debut of the New 52. Thankfully, it seems that cooler heads have prevailed and it’s clear that Red Tornado will be allowed to resume the heroic mantle that he’s tried so hard to earn. Let’s hope that Kathy and Traya aren’t far behind! ROB KELLY is a writer, illustrator, and comics historian. He is the creator/ EIC of The Aquaman Shrine blog, the co-creator/writer of the awardwinning webcomic Ace Kilroy, and the creator/editor of Hey, Kids, Comics!: True-Life Tales from the Spinner Rack, by Crazy 8 Press.

LIVE BY THE ATOM, DIE BY THE ATOM

P. C . H a m e r l i n c k

You can’t keep an atomic power-driven robot that wants to rule the world down; sooner or later, as DC Comics did, you rebuild yourself a new one. Made by man but far from content to be a slave to man, the spark of radioactive energy that gave life to Mr. Atom in turn ended the existence of his inventor (Dr. Charles Langley) as the nuclear reactor-charged megalomaniac robot trounced onward through a trilogy of timely terror-filled tales within Captain Marvel Adventures #78, 81, and 90 (Fawcett Publications, 1947–1948), commencing less than two years after the game-changing Hiroshima and Nagasaki bombings. As evident through occasional “cautionary” story subject matter, Fawcett’s editorial staff were open advocates of pacifism who were ready and willing to address weighty postwar worries over the dawning of the atomic age within the entertaining four-color pages of their ordinarily upbeat Captain Marvel stories … but contemporary real-world realities of atomic power’s calamitous capabilities was something that even the mightiest of superheroes had difficulty containing. In the trilogy’s closing moments, the atomic energy that gave birth to Mr. Atom also poetically did him in. The robotic rogue was quickly forgotten as American hope and optimism rolled its way into the Fabulous Fifties. Mr. Atom was shaped and bent by versatile writer William Woolfolk and Captain Marvel co-creator/chief artist, C. C. Beck. Throughout the Fawcett era, Woolfolk had added his fair share to the Marvel mythos (including the launch of another fierce foe, Captain Nazi); Beck’s masterful economy-of-line, smooth-contour illustrating capability lent itself well to Mr. Atom’s sharp, sleek, metallic aesthetics. Both of these exceptionally talented individuals from the Golden Age of Comics divulged to this author in their later years that they had generally favored working on the World’s Mightiest Mortal’s more lighthearted, whimsical escapades rather than grave-natured sagas analogous to their iniquitous robot creation.

CHARACTERIZATION CRISIS Flash-forward 28 years later, and our changed world played out like its own alternate-Earth: No one was building bomb shelters in their backyard anymore … Bing Crosby was gone and disco dominated the airwaves … and Fawcett-owned properties were being published by their former courtroom adversaries, DC Comics. Captain Marvel’s brutal, bull-horned antagonist, King Kull, was responsible for bringing Mr. Atom back to the 20th Century in order to lend a hand in his battle against Shazam’s Squadron of Justice and heroes from two other worlds in “Crisis in Tomorrow”

Atomic Rage The Big Red Cheese and that disreputable robot rogue are at it again in this specialty piece by artist Jay Piscopo. TM & © DC Comics.

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Finest and Funnest (top) Battle sequence from World’s Finest Comics #267 (Feb.–Mar. 1981). (bottom) Panel from 2000’s World’s Funnest, featuring Shazam! foes including Mr. Atom. TM & © DC Comics.

for the character into his artwork. One of Newton’s Shazam! inkers, Dave Hunt, recalled in Alter Ego vol. 3 #3 (Winter 2000) that “Don’s pencils were done a very smooth, plate finish paper, and were highly finished. All blacks, and even things like textures and folds in clothing, were completely thought out. He was a pencil wizard.”

ATOMIC-POWER HOUR After his suitable handling in World’s Finest Comics, Mr. Atom continued to enjoy a booming year in 1981 as the metal machine man appeared in an animated Shazam! episode on NBC-TV’s short-lived Saturday morning program, The Kid Super Power Hour with Shazam! Produced by Filmation—the same studio that created the Shazam! live-action show years earlier—”Mr. Atom, the Smasher” (written by Fred Ladd) began with Uncle Dudley inventing a special remote control to use around the house, but it required particular vacuum tubes to power it up. Sure enough, every vacuum tube in the city is in the possession of Mr. Atom, who has formed a troop

of atomic robo-cops. The Marvel Family prevent two acts of sabotage, followed by Mr. Atom notifying the United Nations that his army of robots will demolish national landmarks unless he’s declared the world’s master. Later, all electronic transmissions within the city are jammed, but these high-tech hitches weren’t further transgressions performed by Mr. Atom, but instead were being caused by Dudley’s remote control. After the UN rejected Mr. Atom’s outlandish request, Captain Marvel grabbed Dudley’s remote control and fastened it to an orbiting satellite and its emitting electronic waves eradicated the entire robot militia. When the Marvel Family corner Mr. Atom, the robot threatened to annihilate the entire city, but Mary Marvel and Captain Marvel, Jr. made good use of an oversized electromagnet to clean up Mr. Atom’s latest scheme. The ephemeral Shazam! cartoons wisely used the Golden Age comics as a template to moderately follow. Filmation didn’t always hit the mark with their productions, but the Shazam! episodes were all inspired efforts … and Mr. Atom’s original design was essentially made to order for animation. While Mr. Atom’s characterization was off to some extent—and he was given an annoying, high-pitched, squealing voice—the studio’s team of artists did an outstanding job in bringing the character to life. It’s interesting to note that during the episode’s early stages of production, Filmation storyboard artists Victor Dal Chele and George Turner had no clue as to how to depict Mr. Atom, so they drew a tin man looking similar to Otto Binder’s “Shazam Robot” (from Marvel Family #5, Oct. 1946) in their story layouts; fortunately, all was made right with the episode aired, and the rascally robot never looked better. (Tenny Henson— the artist on the Mr. Atom tale in Shazam! #33—was also a layout artist for the Shazam! cartoon, but he did not work on the Mr. Atom episode.)

I’M STILL STANDING As Bronze faded to the next Age, Mr. Atom sightings remained patchy. Remarkably, the character was bequeathed with his own vital statistics page in Who’s Who: The Definitive Directory of the DC Universe #15 (May 1986) before disappearing for almost a decade until he showed up in some issues of The Power of Shazam! (1997–1998), where artist Peter Krause redesigned Mr. Atom’s look based on his son’s Transformer toys. Mr. Atom continued to still be depicted as a gigantic robot in two issues of Justice League Unlimited (2006), as well as cameos within “event” books Infinite Crisis (2006) and 52 (2007) … and still as a cunning colossus for several issues of Billy Batson and the Magic of Shazam! (2009–2010). Perhaps the most preeminent modern-day Mr. Atom pop-ups were found inside Superman and Batman: World’s Funnest (2000), in a brilliantly rendered short by Jaime Hernandez … and on 2011’s Batman: The Brave and the Bold Season Two episode, “The Malicious Mr. Mind!” No matter what the future holds for one of comics’ most formidable and dangerous opponents, Mr. Atom will undoubtedly keep the power surging. Captain Marvel historian P.C. HAMERLINCK is the editor of FCA (Fawcett Collectors of America), appearing in the pages of our sister publication, Roy Thomas’ Alter Ego magazine.

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Among the Avengers’ greatest foes, Ultron has always held a prominent position. He’s powerful, he’s evil, and he’s family. He also has no qualms about extending that family. As recounted in BACK ISSUE #38 (Feb. 2010), Ultron-5 made his first appearance in Avengers #54 (July 1968). In a flashback in Avengers #58 (Nov. 1968), we—and Hank Pym—learn that Pym himself created Ultron. The robot immediately turned upon its “father,” trying to kill Pym, who screams, “It’s like a living, mechanized Oedipus Complex!” In Greek Mythology, Oedipus killed Laius and married Jocasta—unaware that they were his natural parents. Crudely put, an Oedipus Complex can be described as an urge to “kill your father and marry your mother.” by

Jarrod Buttery

THE BRIDE OF ULTRON Unlike today, Ultron appeared rarely in the ’60s and ’70s. After a rollercoaster three-parter in Avengers #66–68 (July–Sept. 1969), where he first appropriated his adamantium body, Ultron disappeared until Fantastic Four #150 (Sept. 1974). His reappearance in Avengers #161 (July 1977) may be one of the most shocking Marvel comics of the late ’70s. Therein, Ultron seemingly kills half the team and kidnaps the Wasp. He brainwashes Hank Pym into helping him transfer Janet Pym’s life-energy into a cybernetic woman, insisting it’s to save Jan’s life. In reality, the process will animate Ultron’s “bride” by stealing the lifeforce of the Wasp—Hank’s wife, Ultron’s “mother.” Ultron then relishes the thought of killing Hank—his father. However, sympathetic to Jan’s plight, the cybernetic woman summons the Avengers. It’s an extraordinarily entertaining story, written by Jim Shooter at the peak of his game, and gorgeously illustrated by George Pérez. Ultron’s creation doesn’t even receive a name in this debut appearance, but she earns our sympathies due to her selfless sacrifice: By saving Jan she relinquishes her own chance at life. For now.

JOCASTA The cover of Avengers #170 (Apr. 1978) proclaims: “Because You Demanded It! The Return of the Bride of Ultron!” Ultron’s creation is transported to Avengers Mansion for safekeeping and study. However, she is activated by remote control; her first words: “He has awakened me! He calls!” There’s little doubt to whom she refers, but when the Wasp hears her speak … “Hank! That’s m-my voice!” Indeed, the voice is cold and metallic, but it belongs to Jan. It is in this issue that we discover the robot’s capabilities. She’s strong and fast, and can generate a force-field and impressive energy blasts from her eyes. It’s likely that the Avengers would have subdued her, but Iron Man insists that she be allowed to escape:

A House Divided Earth’s Mightiest Heroes disagree over their newest member on the cover of Avengers #170 (Apr. 1978). Cover art by George Pérez and Terry Austin. TM & © Marvel Characters, Inc.

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It’s not easy being brought back to life. You have to get your memory back up to speed, people keep asking you where you’ve been, and then there’s the whole change thing … you spend a couple years lying on the bottom of the ocean, and suddenly there’s a bunch of strangers living in your house. Paul Kupperberg, however, was not intimidated. He had been given the assignment to do a new version of the Doom Patrol for DC’s newly revived title, Showcase, and the character of Cliff Steele—Robotman—was essential to that story. In fact, the entire history of the team was a key part of the equation. “The Doom Patrol was one of the books during the 1960s that I loved and collected,” says Kupperberg. “I don’t think I discovered the group until around the time it was canceled, around 1968 or so, but I collected the back issues and I loved the series. Looking back now, I think it was the closest thing DC had to a Marvel book. I was always a diehard DC fan and remain so to this day, but I was getting a little older and I was looking for a little more sophistication than the DC characters were giving me at that time. You could find that in The Doom Patrol. I loved Arnold Drake’s writing, and Bruno Premiani’s paul kupperberg art was so different than anything else being done out there.” That 1960s series was not the first time that a character named Robotman premiered in a comic book, of course. More than 20 years before the debut of The Doom Patrol, a Robotman appeared in Star Spangled Comics #7 (Apr. 1942). Created by Jerry Siegel, the character went on to appear in various issues of Star Spangled and Detective Comics before being shelved by DC during the 1950s. Some 30 years later, writer Roy Thomas brought the character into the book All-Star Squadron, going as far as retelling the character’s origin in issue #63. In a 1998 interview conducted by this author, Doom Patrol creator Arnold Drake said that the 1940s Robotman and his Cliff Steele were two separate characters. “I wasn’t familiar with that earlier Robotman until [DC editor] Julie Schwartz brought it to my attention,” Drake stated, “and that was after the Doom Patrol had begun publication.” But now it was 1977, and DC editor Paul Levitz had tapped Kupperberg to bring back the Doom Patrol because he knew of Kupperberg’s history with the characters. “He knew what a fan I was, because Paul and I had known each other since middle school,” says Kupperberg. The Showcase story arc encompassed three issues, #94, 95, and 96 (Sept. 1977, Nov. 1977, and Jan.

Holy (or Holey?) Robot! Tough day on the job for Cliff Steele on Bob Brown’s cover for Doom Patrol #94 (Mar. 1965). In the foreground is Robotman in Bronze and Silver (Age forms, that is), from Jim Aparo’s Showcase #94 cover. TM & © DC Comics.

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Douglas R. Kelly

Golden Age Robotman DC’s first character to use the name “Robotman,” as seen on this Jimmy Thompson-drawn splash to the hero’s adventure in Star Spangled Comics #40 (Jan. 1945). TM & © DC Comics.

1978, respectively). Kupperberg built the new team around Robotman, which meant coming up with a credible explanation for how Steele had survived the explosion that killed the original Doom Patrol back in 1968. Robotman, not surprisingly, is made of metal. This includes his head, which houses his human brain. This was due to lifesaving “surgery” performed on Steele by Niles Caulder (also known as the Chief), founder of the Doom Patrol, following Steele’s devastating racing accident. The crash had left only Steele’s brain undamaged, so the Chief transplanted that brain into a metal body, thus creating a being possessing superhuman strength, along with abilities such as scaling metallic surfaces due to magnetic plates in his new body. Known now as Robotman (originally, Automaton), Steele and his teammates— Rita Farr, known as Elasti-Girl, and Larry Trainor, known as Negative Man—banded together as the Doom Patrol, a team seen by the rest of the world as a group of outcasts. Following numerous missions as a part of the team, Robotman was with his teammates on the island that was blown up by Captain Zahl in the final issue of the original series (The Doom Patrol #121, Sept.–Oct.1968). Assumed to be dead along with the rest of the Doom Patrol, Cliff Steele wasn’t heard from again until Showcase #94 hit the stands in 1977.

HITTING THE BEACH That issue’s story is entitled “The Doom Patrol Lives Forever!,” and in it we learn that Robotman’s body was heavily damaged, but not completely destroyed, when Captain Zahl murdered the other team members. Robotman—or rather, what was left of him—washed up on a beach at the feet of Dr. Will Magnus, the creator of the Metal Men. We later learn that Magnus rebuilt Robotman, giving what John was doing. I probably should have given him a new metal body. It’s in this new guise that it more serious consideration, but that’s what I did.” Steele travels to Midway City, back to the old Doom Robotman’s new body was more streamlined Patrol headquarters, to regroup and consider what and less blocky-looking than the one he sported he wants to do next. in the 1960s series. “I wanted to make him look joe staton Anyone familiar with the 1960s version of really flexible,” says Staton, “and kind of loose. Robotman would likely recognize this new MagnusIn the original series, they kind of emphasized the designed body, but it was very much updated for the mechanical nature of the machinery. I was trying to make him look 1970s. That was due, in large part, to the talents of artist Joe Staton. metallic, but more fluid.” Like Kupperberg, Staton was a great fan of the original Showcase: After bringing the reader up to speed on Steele’s new lease on “Oh, yeah, I go all the way back with Showcase. I bought Fireman life, Showcase #94 shows him indulging in a bit of a pity party in the Farrell [in Showcase #1] off the stands, so I had followed it since the team’s old headquarters. He thinks to himself, “It’s not as if I got beginning. I was totally thrilled to be working on the new version.” anybody waiting for me … or anyplace to go! Face it, Smiley … there Although the covers of the three Doom Patrol Showcase issues just ain’t nothing left for you! The Chief … Larry … Rita … all gone! were drawn by Jim Aparo, it was Staton’s interior art on the series that Everybody in the world who ever meant anything to me … murdered!” came to define Robotman’s new look. “The original Doom Patrol was This kind of negative thinking would be a part of Robotman’s mental in the 1960s,” offers Staton. “The imagery still had a 1950s look and emotional makeup going forward, but Kupperberg often tempered about it, which is what you would expect a robot to look like from it by showing Steele’s pragmatic “I have to face reality no matter those days. By the 1970s, there was more flexibility in how you what it brings” side, which enabled the character to be a functional would think of robots.” and productive member of a team. Staton’s work up to that point included a stint drawing another DC It is, in fact, this practical side to his personality that drives Steele team, which had an impact on the way he approached the character to decide to seek out those who killed his teammates, a task that is of Robotman. “The only real direction I remember is that Paul Levitz interrupted when he unexpectedly runs straight into the new Doom told me that I had done the Metal Men recently, and robots are Patrol. The three new members are Arani Caulder, known as Celsius; robots, so I should be able to draw [Robotman].” Joshua Clay, known as Tempest; and Valentina Vostok, known as It’s also not hard to see the new Robotman’s resemblance to another Negative Woman. They have taken up residence in the old headquarters, metal fellow. As Staton explains it, “If you [notice with the way] I drew believing Robotman to be dead along with the rest of the original team. Robotman, it was a straight ripoff of John Byrne’s character, Rog-2000. Following misunderstandings and arguments all around, the new It was pretty much of an in-joke—John and I would stick things into members convince Steele to help them take on General Immortus, different titles at different times—and this was basically a takeoff on who is after an immortality serum developed by the Chief before he died. Robots Issue

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“Today, a warrior spawned in the dim past, created by science of the far future, shall fight his first battle, finding triumph in failure. Today is the day marked for the first of the mighty Shogun Warriors, he who is called … Raydeen!” The hero, standing several stories tall, is posed in defiance against a terrible beast of a similar, towering stature. Frightened city dwellers bolt from the conflict, with the monster’s spiked appendage digging deep into the earth. The scene is set in Tokyo, Japan, a familiar territory for a battle of titans. In one page, readers were given everything they needed to know to get hooked on the so-called “Shogun Warriors.” Giant robots were here to protect us from the forces of evil. But it wasn’t the mechanized protagonist itself that convinced scribe Doug Moench to tackle the Shogun Warriors comic book and write those opening words to the 20-issue series. It was a much smaller incarnation of Raydeen—as far as toys go, however, it was a monster. “I was familiar with Japanese robots,” Moench says, relating his time on the book to BACK ISSUE. “I wasn’t aware of [the Shogun Warriors’] names at time. I think actually Stan [Lee] asked me. He said, ‘Hey, how would you like to do Shogun Warriors?’ I was taken aback a little bit. A guy had come from Japan with a bunch of toys—I guess they were trying to seal the deal with Marvel. I thought, ‘Wow, I could be real star with my kid.’ One of them was a threefoot-tall Raydeen, a really tall thing, and I got to take them home! I was right; my kid was thrilled. All of his friends couldn’t believe it.” Moench is partly known for his adult-themed material, from his famed Batman runs to Moon Knight, Conan the Barbarian, and several horror books for Marvel. The writer dreamed up some of the darker figures seen in mainstream books, with the likes doug moench of Bane, Deathlok, Black Mask, and Moon Knight among his co-creations. With a project like Shogun Warriors, Moench welcomed a change: “I think they even said, ‘Look, I know you’re not known for this kinda stuff, but maybe that’s what we need—a more adult take.’ I said, ‘I want to do the opposite. A real free-wheeling, fun thing specifically aimed at much younger readers, but I’ll try to do it in a way older readers will enjoy it. This will help me keep up the workflow. As long as there’s variety, it won’t feel like there’s just more work.’ It was like a breath of fresh air to me.” It was 1979, and Mattel’s Shogun Warriors toys, with their springloaded launchers and bright-colored armor, were a hit with the Saturday morning cartoon demographic. The toys were imported from popular anime programs in Japan, and the figures were available in varying sizes and detail, from about three inches to two feet in height. Though there were over ten Shogun Warriors featured in the US toy line, Moench was only given the keys to three for his series: Raydeen, Combatra, and Dangard Ace. The toys and cartoon series featuring the robots may have had their own narratives, but the scribe built an entirely new backdrop behind the robots and their purpose on Earth. “I remember I was told, ‘Don’t worry. Don’t worry about it. It’s okay if it’s different,’ ” says Moench. Even maintaining the same spelling of the robots’ names between the toys and the comics didn’t seem to be a top priority. Fans will

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Andy Smith

find multiple versions of the word “Combatra,” sometimes as “Combattra,” and “Raydeen,” at times as “Raideen,” adorning the boxes of some of the figures. “The toys’ packaging had the Japanese alphabet, so they’d say, ‘Oh, that’s so and so.’ I had no idea,” Moench says, laughing.

WORKING OUT THE MECHANICS The solicitations for the series were decidedly robot-centric, despite the fact that that human characters would become the focal point of the series. An advertisement told readers that “there should come a day when titans walk the Earth! Titans dedicated to protecting our world from the dark forces of evil! There shall come … the SHOGUN WARRIORS,” with Raydeen’s Breaker Blade shown prominently as the trio of giant robots strike a pose above a nighttime cityscape. With the first issue, Moench introduced three, never-before-seen human protagonists to control the colossal machines—and their origins spanned the globe. Genji Odashu, 22, was a Japanese pilot; Ilongo Savage, 24, was an African marine biologist; and Richard Carson, 22, was an American stunt driver. The three were summoned by the Followers of Light, a group continuing to protect the Earth after it was first claimed for evil during the age of dinosaurs. The villainous ancestors of Maur-Kon, as well as the villain himself, were known as the Followers of the Dark. They battled the Followers of Light in the Chaos Wars, before being placed in suspended animation below a volcano. Dr. Tambura, now leader of the Followers of Light, relates the three 20-somethings’ destinies as Earth’s new protectors in the Shogun Sanctuary after the volcano erupts, releasing Maur-Kon herb trimpe and his evildoers. With a nonlinear approach for Shogun Warriors #1 (Feb. 1979), classically dubbed a “collector’s item” on its cover, Moench depicted our Homo sapiens heroes transported out of their ordinary lives, learning to control the towering Raydeen, battling the beast Rok-Korr (appropriately pronounced “Rock-Core”), and eventually, meeting two more robots provided by the Followers of Light so that RAYDEEN (top) each pilot had his or her own Warrior. Moench had free reign over Pilot: Richard Carson, 22 the story of the Shogun Warriors. But that wasn’t the only reason the Notable weapons: series was a joy for him: “Plus, I got to work with Herb.” Screamer-Hawks, Breaker Blade Herb Trimpe tackled penciling duties for the series, and Moench Transformation: Firehawk was thrilled to work once again with the legendary Marvel artist on a new project. Both fondly recall their working relationship, which COMBATRA (center) included yet another popular series featuring giant monsters: Godzilla Pilot: Genji Odashu, 22 [see BACK ISSUE #18—ed.]. Mattel also had the license to produce toy Notable weapons: versions of Godzilla at the time, and advertisements for toys drawn Laser cannon in chest by Trimpe sometimes depicted the monster alongside Raydeen. Transformation: Separation and “I always enjoyed working with Herb Trimpe,” says Moench. “I love Attack Mode—Delta-V One (head), his storytelling. You know, it’s a different experience with every artist. Skyskater Two (chest and thorax), Some of them, [they’re] hard to write for, because the art isn’t exactly Earthmover Three (abdomen and what you thought of or it isn’t a match for your writing style. With Herb, lower torso), Turbostreaker Four it already flows from image to image. So you don’t have to put in (legs and pelvis), and Groundrover exposition or dialogue or a caption so people can make sense with Five (feet) what they’re trying to read, saying, ‘Hey, I know the art doesn’t show this, but…’ I never had to worry about that with Trimpe.” DANGARD ACE (bottom) Trimpe recalls a close working relationship with Moench, as well. Pilot: Illongo Savage, 24 “Doug and I got along great,” he says. “Doug was fantastic. We had a Notable weapons: whole lot of fun on it.” Both recall Trimpe flying his biplane from his Photon-Spheres, Rocket-Fist home in New York to Moench’s home state of Pennsylvania for a visit. Transformation: Dreadnought-Titan Trimpe even offered the writer a ride in the sky for himself. Trimpe is All three could work together to use the Power Triangle Fist function, a known airplane enthusiast, and is particularly noted for his work which would emit a powerful energy blast at a given target. with aircrafts in the comic-book form. Moench reportedly declined,

SHOGUN WARRIORS: ASSEMBLE!

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“The World’s Greatest Giant Robots Magazine” The Shogun Warriors and a misspelled word make guest-appearances on this Bill Sienkiewicz/Bob McLeod cover for Fantastic Four #226 (Jan. 1981). Fantastic Four TM & © Marvel Characters, Inc. Shogun Warriors TM & © 2014 Toynami Inc.

were enlisted for help. The pilot of the Destroyer was revealed to be a man named William McLaughlin, and after multiple battles, he was defeated. The human trio then had to return to their simple, quaint lives as a pilot, stunt driver, and oceanographer. Many presume the destruction of the robots was over the loss of the licenses for the characters. As Carson reflects on the return to their former occupations with a somber tone, Sienkiewicz depicts downcast heroes through shadows and pained expressions. “You can’t be heroic on your own—without a giant robot?” Carson says. “Heroism is a relative thing—and it can be done in little ways on a small scale … and a human scale. And even if we never get a chance to prove our heroism again … well, what’s so bad about being normal?” Reed Richards does his best to comfort Carson.

THE SHOGUN LEGACY

alliance was formed and by Shogun Warriors #20 (Sept. 1980), they were able to defeat the Primal One, who actually ended up being Maur-Konn in disguise. The villain was arrested with the help of the Invisible Woman, and the heroes had prevailed. But this would be Shogun Warriors’ last adventure under the Shogun Warriors banner. “I got a call, and the gist of it was, ‘Okay, sales are okay, but not great,’” Moench remembers. “The bottom line is, they’re not good enough to keep it going. We’re just going to have to stop doing it. “I didn’t even know. Back then, they didn’t tell you until the moment it was done. Sometimes you were told you got one more issue. ‘You know the one you’re working on? That’s gonna be the last one.’ You think, ‘Oh, my God, how am I going to end this?’ You gotta do the best you can.” The letters section of issue #20 gave fans a practical reason for the ending of the series, attributing it to “the precarious economics of profit and loss.” The note also added another contributing factor to the end of Shogun Warriors—the company wanted to make way for Moon Knight, Moench’s new project with artist Bill Sienkiewicz, which used a character that had previously appeared in books like Werewolf by Night, Spectacular Spider-Man, and Defenders. Moon Knight #1 debuted with a Nov. 1980 cover date, but was canceled after 38 issues and an attempt to go solely direct-market nearly halfway through its run. But the last issue of Shogun Warriors was not the last appearance of Genji, Richard, and Illongo. One final appearance in Fantastic Four #226 (Jan. 1981), written by Moench and drawn by Sienkiewicz, put the characters to bed. After a mysterious robot aptly named “the Samurai Destroyer” (but misspelled as “the Samaurai Destroyer” on the book’s cover) eviscerated the three Shogun Warrior robots, the Fantastic Four 60 • BACK ISSUE • Robots Issue

Though the popularity of the characters seemed to have dwindled and certain toys of the brand were deemed unsafe, a fan base has been maintained decades after the book ended. As injuries for children were reported, the industry began to crack down on projectiles. US viewers of the cartoon import Force Five would see some of the Shogun Warriors depicted in the program, continuing to battle throughout the universe. However, fans of the show would never see Richard, Illongo, Genji, or any of the Follows of Light depicted on the series. Those characters left with the comics incarnation of the robots. Forums across the Internet lament the end of the line, share tales of the toys’ projectiles and how they were banned from classrooms, and challenge the worthiness of Moon Knight to displace the beloved trio of Warriors. The toyline even returned in 2010, with the company Toynami taking ownership of the robotic figures. Even movie rumors persist in a time in which giant robots are enjoying mainstream success in several films. Though the Shogun Warriors comic-book series is just one part of a genre that has persisted in pop culture since it first stuck its vast, mechanized boot into the ground, its creators have fond memories of dreaming up the involved storylines and arcs together. Fans reflect on seeing their favorite toys hit the pages published by their favorite comic-book imprint and decry the giant robot books that followed. One aspect of the book that still prevails for Trimpe is the autonomy given to the book’s creative team. “We had a lot of freedom then,” Trimpe says. “Nobody stuck their nose in. No one said, ‘Look, Doug; Look, Herb: This has to be changed.’ We never had to deal with that. We just went ahead with it. “Even on G.I. Joe, Larry [Hama] and I never heard from Hasbro,” Trimpe continues. “I never had a problem with the companies on that stuff. Then, there were no summer blockbuster movies. Now, there’s giant money riding on all of this stuff. Suddenly, comics have gotten ‘important.’ Everybody wants a hand in the pie.” The artist says he’d love to draw the characters again, and said the persistent popularity of the characters gives him the chance to do so with commissioned work. Despite an abrupt end to his heroes, Moench’s own lasting memory of Shogun Warriors calls back to that first office meeting and the awkward walk home with an oversized Raydeen figure that followed. “I just remember going home from Manhattan, walking all the way to the Port Authority with that thing, and wrestling it onto the bus,” Moench remembers. “But it was all worth it when my kid saw it. A perfect day, you know?” ANDY SMITH is a freelance writer and editor who has worked for a variety of publications like PopMatters, Weekly World News, Encounter Magazine, and his own Facebook wall. He lives in Charlotte with his wife, Sara, and two beloved canines, Macy and Riggins. He can be found at andysmithlol.com.

Philip Schweier

The concept of blending man and machine is nothing new to comic books, dating as far back as the original Robotman in 1942. But perhaps nowhere was it done more successfully than Victor Stone, a.k.a. Cyborg. TM Yes, he is part machine, but throughout his evolution— or upgrades, if you prefer—the key element that has made Cyborg a mainstay of the DC Universe is his humanity. For without that humanity, he would be merely another piece of hardware, little different from the Batmobile. Cyborg was introduced in a special insert published in DC Comics Presents #26 (Oct.1980). This preview served as an introduction to the New Teen Titans, who debuted their own title a month later in The New Teen Titans #1 (Nov. 1980). Though moderately successful in the past, this new version of the Teen Titans took the comic-book community by storm, soon becoming DC Comics’ bestselling title. This is largely due to one of the most famous collaborations of that era, writer Marv Wolfman and artist George Pérez.

FORGING A HERO To tell the genesis of Cyborg, it helps to know that of the New Teen Titans as well. At a 2006 convention panel, Wolfman and Pérez related how they came to collaborate on the book. According to Wolfman, in the late 1970s, a number of Marvel staff members were unhappy and jumped ship to DC. Having been saddled with such titles as Marvel Two-in-One, featuring the Thing, and Marvel Team-Up, starring Spider-Man, Marv was eager to leave such team-up assignments behind. “When I left Marvel and got to DC, I had only one request, and that was no team-up books. And obviously, the word ‘no’ wasn’t translatable in whatever language corporate was using, because I was put on [the team-up titles] DC Comics Presents and Brave and the Bold.” As a part of his effort to get off those titles, Wolfman, along with editor Len Wein, made the pitch for a new Teen Titans series to publisher Jenette Kahn. Though the most recent version of the Teen Titans (Teen Titans #44–53, Nov. 1976–Feb. 1978) was unsuccessful, Wein and Wolfman promised to “do it better.” Wolfman “recruited” longtime Titans Robin, Kid Flash, and Wonder Girl, as well as Gar Logan, known as Beast Boy during the previous incarnation of the team but now going by the name Changeling. He then began developing additional characters that would lend themselves to a variety of stories: Starfire, Raven, and Cyborg. Each member of the team was intended to be a conduit for stories of a specific nature. Robin was the detective, and Wonder Girl allowed mythological stories, with Raven being the link to horror/

Teen with a Sheen Way back in New Teen Titans #4 (Feb. 1981), George Pérez produced this pinup—with schematic—of Victor Stone, the Titan we know and love as Cyborg. TM & © DC Comics.

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