Peacemaker The Mini-Series

Peacemaker only ever got one mini-series in the 80's and that was a four-issue extended story which pitted him against a "Yellow Peril" villain named Tzin who commanded an army of super soldiers. In this series by Paul Kupperberg and artists Tod Smith and Pablo Marcos Christopher Smith is given a more solid footing as an anti-hero, and not just a psycho. 

We are treated to some elaborate text items in each issue which reveal Peacemaker's origins which differ from the Charlton version. He's the son of a Nazi officer and as such had quite the troubled upbringing. He was part of a prison experiment along with others and was only one of two people to survive. This treatment gave him enhanced physical skills but also a madness which presented as the ghost of his demanding and quite evil father. 

As Peacemaker makes use of his vast military arsenal to combat a small but deadly army of villains, he's given a more charitable presentation and even something of a potential love interest. His chateau doubles as his base of operations and is filled with support staff including a grumpy blind mechanic of impressive talent. 

 All in all this was a much better take on the character. He's still presented as unhinged, but still heroic. He's a man who is forced to battle demons both from without and from within. Something we can all identify with. 

Rip Off

Barbaric Adventures Of Ironjaw!

Michael Fleisher wrote a truckload of comics for DC and Marvel in the 70's and 80's. He also was a key writer in the brief burst of activity which erupted under the name of "Atlas-Seaboard Comics" in the middle of the 70's. How he came to be a mainstay of that momentary company is a curious tale. Another reliable and exceedingly visible talent from that era was Pablo Marcos.

I found some of the story here in an interview from The Amazing World of DC Comics with Joe Orlando. Orlando confirms what I already knew, that Iron Jaw began as a pitch to then editor Orlando from Fleisher.

What I didn't quite realize, was that Fleisher got the chance to pitch the idea of a sword and sorcery Jonah Hex/Conan the Barbarian to DC because of his tenure on Sandman. This version of Sandman was the final pairing of the team of Joe Simon and Jack Kirby. After the first issue, Simon and Kirby went their separate ways, but sales reports suggested there might be life in the Sandman concept. But the classic team was no longer available and so Michael Fleisher and Ernie Chan were pressed into duty. 

 

Anyway, after the relative success of this effort, Fleisher was given a chance to pitch, but was told first to check out the Ironwolf comic in Weird Worlds. What that contributed to the final product aside possibly part of the name is speculative at best. But for whatever reasons, after all that Orlando rejected the Iron Jaw concept and gave Fleisher the freedom to shop it around. He did, sold it to Atlas-Seaboard where it became a bit of a flagship book for that company.

Meanwhile at DC, Orlando green lighted another sword and sorcery project, Claw the Unconquered by David Michelinie and the aforementioned Ernie Chan. By the time though that book hit the stands, the Iron Jaw run was nearly over at Atlas-Seaboard. What took so long I wonder? So, in the elaborate tapestry of history, we find that Joe Simon and Jack Kirby indirectly gave rise to a project at the heart of yet another publishing effort (however brief) by former Timely and Marvel comics publisher Martin Goodman. How utterly strange.

 

Below you'll find the entire story from Atlas-Seaboard's IronJaw #2. It features a fantastic Neal Adams cover (his second after a stunning effort on the debut issue), of which there are two versions, and some incredible Pablo Marcos artwork, here in its original raw, lush form. IronJaw was as close to a flagship title as Atlas-Seaboard had and this is the best issue of the brief run. (I think Marcos looks best in black and white.) The blood and thunder of Michael Fleisher's brutal and blunt barbarian rings through over and over this violent tale. I can almost smell IronJaw in this epic -- and believe me that's not a good thing. 

But before you dive into this feast, take a moment if you need to read the set up for this story, continued from the debut issue. "The World of Ironjaw" (from issue #1) sets it up very nicely.

Pablo Marcos was an artist who was able to communicate great power in his work, and these pages showcase that wonderfully. 

IronJaw went on to star in two more issues in his brief four-issue run. Though those four issues were epic in terms of the Atlas-Seaboard line. He also was the only character in the Atlas-Seaboard line-up that I can think of who headlined a second comic, this titled Barbarians featuring IronJaw. He seems clearly to be one of the tentpoles the company wanted to build around if they had remained solvent. 

This Post is a Revised Dojo Classic. 

Rip Off

Atlas-Seaboard Comics - June 1975!

June was a pivotal month for the fledgling comics company known as Atlas. The change made in the editorial direction of the company was seen in the color comics, as Larry Lieber stepped forward and took control of the whole line following the departure of Jeff Rovin. Before this, the two men had split the color books with Leiber focusing on the genre books. Now all the books got some new talent and new directions. The fragmentation of the line is becoming evident.

PHOENIX #3 offers the latest episode in the life of astronaut-turned-messiah/superhero Ed Tyler as he attempts to solve the dilemma of a distant village overcome by Abominable Snowmen. He finds a destroyed village with a single survivor, an old man, and proceeds to find the rest of the missing folks. That brings him into conflict with the Snowmen and their creator and master Lucifer. Lucifer it turns out is something of a rogue Deiei, who resembles the classic image of Satan quite closely, and who is now free to pursue his inclinations since Phoenix has largely destroyed the Deiei bases on Earth. Needless to say, after much hoopla, and one sacrifice, the village is saved, and Lucifer is frustrated. The story is by Gabe Levy with more worthy artwork by Sal Amendola. Frank Thorne does the cover.

The second feature of the book is DARK AVENGER and it's a reasonably well-crafted tale of urban crimefighting and offers splendid Pat Broderick artwork. A young man finds a mysterious metal, is able to transform it into a suit and so finds himself with a wonderful superhero gimmick. That such a fellow with so vivid an imagination and so specific a set of skills is still living with his mother and brother is arguably the strangest thing about this little one-off story. It's a bit like Spider-Man meets The Katzenjammer Kids, but lots of folks really like this story.

DESTRUCTOR #3 gives us another installment in this ongoing Archie Goodwin - Steve Ditko epic saga. Gone this issue is Wally Wood, and the artwork seems to have been inked by Ditko. I don't know about that. The story continues with the Destructor still battling thugs from the Combine, but this time under the direction of Dr. Shroud. He sends the Huntress and her attentive sidekick Lobo to take on the Destructor, and they trap him in an elaborate casino/canyon (you've really got to see this one to understand that). Because the thugs fight among themselves, the Destructor lives to fight another day. One thing about our hero, he's certainly presented as a cool character who is willing to sacrifice others to achieve his goals. The anti-hero is popular with Atlas, but in many respects Jay Hunter is the purest example of the disaffected modern protagonist.

TIGER-MAN #2 is a real change of pace issue. Steve Ditko takes on the hero and gives him a really dynamic energy he was missing in the earlier chapters. Gerry Conway takes the writing helm, and Tiger-Man seems to become a more conflicted hero, more concerned with the lives of his enemies. He encounters the Blue Leopard, a man empowered with the same talents as himself yet set on a revenge mission against Dr.Hill, the Tiger-Man. There's more than a few clues to suggest the Blue Leopard is a Black Panther clone, with several origin details in common with Marvel's kingly hero. Lots of good fight scenes in this one, and a grand Frank Thorne cover.

TARGITT #2 gives us another story in John Targitt's ongoing war on crime. This issue gives more Howard Nostrand artwork, but the story told in flashback, relates how Targitt is transformed into an undercover FBI secret agent and gives him a uniform to perform his missions against the mob. There's lots of action and mayhem, and the story is reasonably diverting if not particular inspiring. Like the Dirty Harry movies that inspired this comic, there's an ongoing fascination with guns that seems to actually drag the storytelling down a bit.

POLICE ACTION #3 gives us two more crime dramas. LOMAX battles a hotdog vendor turned hitman, and eventually gets his man. Mike Sekowsky does another fine job with more McWilliams inks. LUKE MALONE finds himself drawn into a rock star's murder scam and eventually he uncovers the plot of this thinly veiled swipe of Alice Cooper. Despite an energetic Frank Thorne cover (Noticing a trend on cover art?), the comic seems to be losing its steam a bit, and just in time, because this is the last issue.

And now the new stuff...

THE BARBARIANS #1 gives us a new IRONJAW story, and its an okay effort with Pablo Marcos art and Gary Friedrich story. Under Mike Fleisher Ironjaw was a grim realist, but now there seems to be a desire to make him more heroic and sympathetic. It's poorly considered. In this story Ironjaw fights some barbaric mutants, and to my surprise befriends them. Sheesh! The second feature is a real strange one called ANDRAX. This story seems to be an import and offers the beginning of an epic saga of a young Olympic athelete captured by the obligatory mad scientist and sent (by unexplained means) into the future where the scientist is sure the man's will and stamina will make him a king among the weak future-men. All the newly dubbed "Andrax" finds is a wasteland and soon he's fighting for his life. It ends with him seeking other people. It's a well-drawn story, but has a distinct European feel to it.

FRIGHT #1 gives us the beginning of the SON OF DRACULA story by Frank Thorne on art. It's a rambling story, and involves mild incest and more than a bit of coincidence to concoct a complicated situation that finds a young college professor possessed of the curse and the power of Dracula himself. It's not a bad story, just a confusing one as origins can tend to be. The story sets up a man who seems to be both the hero and the villain of the story, despite his better intentions. This book is the only issue of Fright, and the only story about the Son of Dracula I'm familiar with.

HANDS OF THE DRAGON #1 might just be the strangest new addition to the Atlas-Seaboard lineup. This story with Jim Craig artwork gives us a no-holds origin story which has elements of vintage Silver Age Marvel, along with more recent Bronze Age Marvel and a whisper of old Charlton. The book appears to be (and is) a rip-off of Master of Kung-Fu. But the story is really more a clone of the Iron Fist saga with some exploding atomic bombs thrown in to give several folks some superpowers. Two twins survive the blast to be raised by their grandfather in a monastery where one brother grows to become evil (he also was scarred by the blast though he never really looks like it) and the other becomes our hero "Dragon". There's also a villain called Dr.Nhu who corrupts the brother who eventually gets the name Ling the Cobra. It's a complicated story with a few too many elements thrown in. One gets the feeling the script and the art aren't a perfect match, and that the book was drawn with a somewhat different plot. Another detail is that perhaps the Dragon's outfit was originally to have been green. Despite his very MOKF look, one caption describes him as a green figure. I figure that change was made both to take advantage of Shang-Chi's success and avoid too obvious a comparison to Iron Fist. The story ends with an assassination plot foiled and the Dragon vowing to stop his brother. We never find out what happens as this book too ends with its first issue.

And then there's always VICKI #3. 

The wheels are coming off the Atlas-Seaboard machine. The changes are clear attempts to gather market, and much of the line's early character is disappearing to be replaced by less compelling material.

July will see lots of final issues, and even a debut or two. More next month.

Rip Off

Atlas-Seaboard Comics - May 1975

May is a tiny production month for Atlas-Seaboard with only two, color comics wear a May date. IRONJAW #3 offers a tremendous tale by Fleisher and Marcos. Ironjaw, who in the previous issue rejected a kingship, finds his way back home to find his adopted father Tar-Lok. Tar-Lok is a grand character and his exchanges with Ironjaw are very entertaining. The two clearly have an affection for each other, but they won't lift a hand to assist each other before a price has been bartered. There are robbers, sheriffs, and serpent-headed cannibals in this wildly imaginative tale that introduces us to the Great Machine, the god that Ironjaw worships and has invoked repeatedly in the first two issues. Well  let's just say the "Great Machine" is a relic from our time and is actually a humble humbug managed by a corrupt cleric more interested in the collection plate than his flock. Ironjaw is shown to be a naive yet devout individual who ignores his father's advice to quit throwing money at his "god". This a well-paced self-contained story with energetic artwork and a very entertaining and funny script.

SCORPION #2 gives us another Moro Frost adventure by Howard Chaykin. This time there is voodoo and curses galore. The Ernie Colon cover isn't all that accurate of what goes on inside the book so beware. The story is another period piece, a bit confusing in places but filled with vivid characters and situations. The artwork is another group-project with diverse hands throughout. This is another indication that Atlas is fragmenting, and Chaykin has clearly pulled away from the project.

Aside from the second installment of the black and white DEVILINA magazine (more on the black and white publications later this year), this is the whole of the Atlas-Seaboard May offerings. One more month and the train comes off the rails for good.

More Atlas-Seaboard to come in June.

Rip Off