Vic espouses the philosophy of Objectivism and demands that he be treated by its tenets as well. He doesn't expect his employer to keep him out of loyalty but because it's in his ultimate best interests to get the truth out. Likewise his staff are not there because of him, but because they too like all "good" citizens need a world in which the rules are applied fairly. It's a bit much really to swallow and offers up a slender view of mankind. Emotions are seen as needless in the running a just society and in fact compassion and charity are deemed actual detriments as it undermines the clarity with which all folks should shoulder their burden and produce for themselves.
Aside from philosophy what sets The Question apart from other heroes is his face, or specially the lack of one. Vic Sage gets his Question identity thanks to the work of Professor Rodor who designed a mask which covers the face but doesn't appear to offer up any openings and a handy gas that when released will changed the colors of suits so as to make The Question a hero who can leap into action on a moment's notice. (Much easier than the endless costume woes confronted by Spider-Man.) The Question punches out villains with a fighting style reminiscent of Will Eisner's The Spirit though he doesn't seem to get beat up and pummeled as much.
Some years later DC bought the "Action Heroes" after the collapse of Charlton and tried a number of ways to fit them into the DCU. There was success with Blue Beetle, failure with Captain Atom, and The Question as revised by Denny O'Neil was Ditko's character much at all, save they looked sort of the same.
To get all of the Dikto Charlton Question stories seek out the second volume of Action Heroes from DC's
How do I know this? Well that's exactly the dilemma Mr. A was confronted with in his debut adventure in the pages of Wally Wood's Witzend first issue. A juvenile delinquent named "Angel" is tearing it up with all sorts of ill-mannered and criminal behavior resulting ultimately in kidnapping and attempted murder. Mr. A stops that but when Angel needs a hand to save his life after their fight, Mr. A specifically says he would not be doing that. Through his inaction he allows the criminal to fall to his death. Is that justice? Is that heroism? It's sure cold blooded, that's for certain and sounds more like warfare.
At first glance this hard-edged support of the good and condemnation of the evil seems worthy and even heroic. But for all the conversation, the question never even much asked in Mr. A's adventures is what is "Good" and what is "Evil". It's sort of assumed we all know that. A lot of it has to do with property rights as far as I can tell, with the stuff owned by those who produce being held sacrosanct and protected from the evil moochers and takers. Little suggestion of a deeper understanding of why those have what they have and those who haven't don't. Like the mythological "American Dream" it's suggested that work will inevitably lead to good outcomes and doing otherwise is just inviting disaster. Suggestion that society might stack the deck is not really confronted or is just dismissed. Like the amateur social engineers who have taken a tiny bit if Any Rand's philosophy to justify unlimited avarice, in Mr. A the distinctions are just assumed to be obvious, detectible with only a little bit of "common sense" as is all too often evoked.
Mr. A lives in an Old Testament universe in which an eye for an eye is the bedrock premise of justice. I suspect that Mr. A would find Jesus Christ's attitudes about poverty and charity and mercy just mewling nonsense having little to do with the rockem' sockem' real world we all live in. Mr. A never smiles, in fact he's incapable of smiling as his face is literally a solid mask evoking classical caucasian handsomeness. He looks through the eyeholes of his perfect mug onto a landscape less perfected and in sore need of transformation. He's all too ready to pitch in.
Mr. A is actually hard-hitting investigative reporter Rex Graine, but unlike his Charlton counterpart Vic Sage, there's no suggestive of fancy gimmicks to change identities. Graine goes to his closet and puts on the stark white gear that announces Mr. A is back in town. His face actually a helmet of sorts to hide his human identity during these times when mere humanity will not do the job. He doesn't have superpowers, merely a dominating will and a creator who sees to it that his unblinking philosophy will win the day each and every time. There's no gray in Mr. A's universe and there's no doubt nor growth. He is not a human, he is a concept given human form. Reading Mr. A's adventures becomes increasingly difficult over the years as the prose dominates the story, slowing any hint of suspense or narrative momentum. It's rather like forcing everyone t read all the plaques as they journey through the museum. It's enlightening perhaps, but it takes a long time and can wear you out.
The Mr. A stories have been collected (many of them but not all) in a handsome tome titled Avenging World. There is other wild stuff from the mind and hand of Steve Ditko in this book, but together are almost all of the earliest Mr. A tales, in which he seeks absolute justice.
This post is to celebrate the anniversary of Steve Ditko's birth. He was a great talent with a lasting imprint on the world of comics.
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He was also a bit loopy if The Question and Mr. A represented his own view of things. I find almost everything he ever did (that he wrote himself) after his time at Marvel relentlessly dry and tedious.
ReplyDeleteMr. A rises above the pile for a time, but eventually even those stories seem to lose focus and become diatribes and not real narratives. His early 70's stuff though features some of his strongest art in my opinion.
DeleteWith all the social and political themes shoved down comic readers' throats these days, I see Ditko as just an earlier version of that, albeit in your face. Perhaps over-influenced by Ayn Rand, he was nevertheless a brave soul to create Mr. A and The Avenging World after being so revered for his mainstream comics work. Palatable or not, I applaud him.
ReplyDeleteHe was a man of conviction and surrendered quite a bit of cash over the decades buy sticking to his guns. These ideas are evident in the later issues of Spider-Man too I've noticed, though moderated by Stan's scripting.
DeleteI have the issue of Blue Beetle shown here ( my earliest Ditko Charlton comic) and its a brilliant book. I really enjoyed both stories and the art on both was up there with Ditko's Marvel work . The Blue Beetle based on this issue was really fun and I did like the Question as well. Mr A wasnt my cuppa tea though, although to be fair I only have seen a couple of his strips.
ReplyDeleteI concur. That particular issue of Blue Beetle is an iconic one. One of the best comics Charlton ever published.
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