Comic Book Review: Suicide Squad Most Wanted: El Diablo story by Jai Nitz, art by Cliff Richards
Chato Santana used to be a drug dealer and gang leader in East Los Angeles. At some point he became linked to a vengeful demon and gained pyrokinetic abilities. El Diablo used those powers to rule his neighborhood, until the day he burned down a rival gang’s crack house only to discover he’d also killed the enemy’s women and children as well.
As penance for his actions, Chato chose to turn himself in to the law, and serve his time, never again to kill. While in Belle Reve prison, El Diablo was drafted into the Suicide Squad, a covert ops team which uses criminals on missions they are unlikely to survive in exchange for reduced sentences. He’s survived enough missions that he could leave prison any time he feels like it.
And now Chato wants to go home. But Squad leader Amanda Waller doesn’t like that idea. The ruthless political operative is putting together a new iteration of the Suicide Squad for “scorched earth” operations and wants El Diablo as the leader. He turns down the assignment, and Waller punishes him, only to be interrupted by Uncle Sam.
Yes, that’s right, the living symbol of America. It seems he’s working for another government agency, Checkmate, which is slightly more aboveboard. They’ve got a problem with a superpowered being slowly crossing the Sonoran Desert and need El Diablo’s help. Chato turns down the job, but this does give him enough leverage to return home.
Home isn’t a healthy place to be, as new metahuman gangster Bloodletter has taken over the neighborhood. His house destroyed, El Diablo joins up with Checkmate. This sends Chato on a journey through the underbelly of the DC Universe.
“El Diablo” is kind of a generic name–this is the third DC Comics character to bear the moniker. He was created by Jai Nitz in 2008 for a limited series meant to showcase a Latino character created by a Latino writer. Sadly, the time just wasn’t right, and sales were dismal. The character disappeared until the New 52 reboot of Suicide Squad, when a revised version was written into that series by Adam Glass.
Interest in the Squad was heightened by the recent movie directed by David Ayer, and El Diablo was one of the more successful parts of the film. Thus he got his own miniseries written by his creator.
Mr. Nitz digs deep into the obscure character barrel for interesting opponents and allies for El Diablo. Most notably, El Dorado, who was created for the Super Friends cartoon and never appeared in a comic book, finally gets to be on-page, along with every other Mexican superhero DC Comics has. ¡Justicia!
The art is decent, but I want to shout out colorist Hi-Fi and letterer Josh Reed for some excellent work.
The story is mostly an excuse to run Chato all over the map to meet interesting people, but returning to the status quo at the end. It remains to be seen if any of the events here will ever be referenced again.
There’s quite a lot of violence, some gory, as well as ethnic prejudice.
If you liked the El Diablo parts of the Suicide Squad movie, or want to support Latino comics creators, this is a pretty good volume.
Superheroes as we know them more or less started in the comic books of the late 1930s, with the most obvious first “true” superhero being Superman. And comic books have largely shaped our perceptions of costumed superheroes ever since. But sometimes prose is a perfectly acceptable way of writing about people with unusual powers and distinctive appearances who fight crime and injustice. There have been quite a few anthologies of short stories in the field, and this is one of them.
The sixteen stories cover various aspects of the superhero genre, from the superheroes themselves, through supervillains, and to the civilians who have to try to survive in these larger than life worlds. The lead story is “Sunlight Society” by Margaret Ronald. A nethead (a cyborg able to interface with computers) is called in to deal with a virus in a superhero base’s computer. But that’s not all he’s there for, and the information he seeks will cost him dearly.
“Wonjjiang and the Madman of Pyongyang” by Gord Sellar is the story of a South Korean superhero who’s been forced into the role of leader for a multi-national team operating in his homeland and sometimes in neighboring countries. Unfortunately, politics has freed his North Korean nemesis, budget cuts have gotten Wonjjiang laid off, and our hero’s overbearing mother is pushing him to get married. (Sadly, the one woman he’s interested in already has a boyfriend.) One of the more “traditional” superhero stories in the book.
A couple of the stories are of special interest. “Wild Card” by Leah Bobet is set in the Shadow Unit continuity, about a secret group of government agents that normally battle serial killers who’ve developed super-powers. Except that this time, the “anomaly” has picked on someone whose personal mythology comes from comic books, and he’s decided to become a full-fledged super-villain. Somewhat lighter than the usual Shadow Unit story.
Peter S. Beagle (The Last Unicorn) contributes “Dirae.” Suddenly in the city there’s a woman who appears out of nowhere to save lives like a real-life superhero, then vanishes again until the next rescue. It’s told from the perspective of that woman as she slowly comes to realize she literally does disappear between those incidents, with no clue where she’s spending the rest of her time, if any. She tries to work out who she really is and what’s happening to her. Mr. Beagle is an excellent fantasy writer, and this is one of the best stories in the book.
The weakest story for me was “Secret Identity” by Kelly Link. A young woman comes to a hotel to meet a man she got to know on the internet; by coincidence (or is it?) there’s a superhero convention going on at the same time. The secrets she’s been keeping from her prospective lover are compared to a hero’s secret identity. I didn’t like the main character and found most of the people she interacted with boring. Overall, a decent collection of 21st Century superhero themed writing.
There’s some vulgar language and sexual situations in the stories, and a couple of them deal with euthanasia. I’d recommend this to senior high students and up.
Magazine Review: Gamma 3 edited by Charles E. Fritch
Gamma was a short-lived science fiction magazine (five issues in 1963-64), known for high-quality cover art and snagging stories from authors connected with the film industry. (Indeed, I picked up this issue because of the sweet Morris Scott Dollens art.) It was digest-sized and relatively thin. Let’s look at the contents!
“The Girl of Paradise Planet” by Robert Turner concerns retired millionaire George Prentiss. He and his third wife Evvie have come to the title planet on a long vacation (her idea.) Bored, Robert has taken up underwater swimming with future SCUBA gear. This world is not supposed to have any native intelligent life, but then where did that water-breathing naked girl come from? Is George having hallucinations from the water pressure, or is he just going insane?
Over the course of the story, we learn that George is a self-made man who spent his youth starting a business, growing that business and getting rich, so he didn’t look for romance until middle age, and three times went for trophy wives, none of whom have worked out. Which is okay…except that the possibly imaginary Irlana comes across as a Manic Pixie Dream Girl whose function is to rekindle his love of life (and is younger and prettier than Evvie.)
Mr. Turner was an experienced author, but this was his first time writing science fiction, and I can tell. He’s certainly no climatologist, and the ending twist relies on most of the characters forgetting a perfectly logical explanation for events that would be common knowledge to them, even if the reader wouldn’t know it.
“The Feather Bed” by Shelley Lowenkopf presents a bizarre future in which the economy runs on make-work. For example, three years after a building is built, all the piping is torn out and replaced just to give the plumbing crews something to do. This extends to writing as well. Every 37 years, all extant editions of Shakespeare are destroyed, and replaced with “newly written” versions by living authors. Except that it’s just retyping the whole thing verbatim. And the same goes for all other works of fiction by dead writers.
Lew has had it with the system–he doesn’t want to “rewrite” King Lear again, and on the union points system, it will be years before he’s allowed to write more of the original fiction that made him a successful author in the first place. Unfortunately, he’s just one man against the system, and winds up causing even the FBI to intervene. If Lew sticks to his principles, he could lose everything, including the writing he really wants to do.
“Angel Levine” by Bernard Malamud stars Jewish tailor Manischevitz, who is going through hard times. His shop burned down, and the insurance money was eaten by customer lawsuits. His son died in the war, and his daughter ran off with a man and never communicates. He’s got chronic pain, and his wife Rosie is dying. Manischevitz asks God for assistance, but when an “angel” named Levine shows up, there are reasons the tailor is unconvinced. It’s ultimately a story about belief in the face of your assumptions about people. There is racism and anti-Semitism in the story. (This one was reprinted from one of the author’s collections.)
“The (In)visible Man” by Edward W. Ludwig is a fantasy about James Smith, who has become socially invisible. He’s finally decided to exploit that fact, but one person has finally become able to see him, and that is both Mr. Smith’s weakness and best hope. It’s a fairly sweet story, helped along by James Smith, even when he turns criminal, sticking to a “least harm” principle. There is an attempted suicide in the story.
“Inside Story” by Miriam Allen deFord takes place in a far future when the Galactic Federation sends scouts to find new worlds that one of their myriad species can live on and isn’t already inhabited by intelligent life. These planets are exceedingly rare. It looks, however, like this one might be ideal. Presuming the scout party doesn’t find any surprises like rapid inexplicable temperature variations….
In this future, scout ships have mixed-sex crews, but this is because every member of that crew is a different non-compatible species. The twist ending is suitably bizarre.
“The Birth” by George Clayton Johnson is a retelling of a classic story from a different perspective. See how long it takes you to figure out which one!
“Buttons” by Raymond E. Banks concerns John Burke, a starship officer who is forced by disaster to upload his mind to a computer memory storage system. Supposedly, he will have his mind reinserted into his human body once that’s fixed. But that procedure has a high failure rate, and Burke is rapidly discovering the advantages of being a disembodied intelligence. There’s some relatively early thought about the benefits versus possible hazards of transhumanism.
“Society for the Prevention” by Ron Goulart is a humorous piece about the travails of a interplanetary surplus store manager. He’s just gotten a large shipment of extremely ugly wicker urns, the natives of the planet have organized a violent “Shop Local” campaign, and the newly arrived Young Girls Space Police and Welfare Committee officer suspects him of being in cahoots with the inventor of a death ray. Everything more or less works out in the end, but now the store manager has to try to explain to his boss why the urns didn’t get sold. The female Space Police officer is treated as a joke–admittedly so is everyone else, but it may not sit well with some readers, as part of the joke is that women are completely unsuited for the work.
The final story is “The Snail Watcher” by Patricia Highsmith. This creepy tale is about a man who gets a little too fascinated with the reproductive habits of snails, not noticing that these particular snails are reproducing much more rapidly than is anywhere near normal.
Interior art is by Luan Metheringham, who sadly seems to have completely dropped out of sight with only her Gamma appearances known.
There is also an interview with “Ivan Kirov” about the state of Soviet science fiction in the early 1960s. He declined to have his real name published for security reasons. Per the interview, SF in the USSR was beginning to blossom after being suppressed during the Stalinist years. Noted was a tendency for “nuts and bolts” stories of adventure, with little of the social or psychological exploration that had become common in Western nations’ science fiction. (At the time, the government censors were big on Soviet Communism going worldwide being the only possible future, and writers were expected to get on board with that.)
The Banks story is the one that I liked best, though the Highsmith story was also effective. Worth seeking out if you’re a fan of either author or the cover artist.
Magazine Review: High Adventure #143: Planet Stories Issue edited by John P. Gunnison
Planet Stories was a science-fiction pulp magazine published between 1939 and 1955; it specialized in interplanetary action and daring-do. (See my review of Planet Comics, its sister magazine that started publishing about the same time. Covers tended to the formula of busty, scantily-clad (by the standards of the time) woman, handsome hero and bug-eyed monster.
The stories in this reprint are from 1951 & 1952, by which time the general quality of the stories had improved and science fiction itself was trending towards more mature writing. Most of the SF pulps that survived did so by switching to a digest format on somewhat better paper; Planet Stories was unable to make that transition.
“Zero Data” by Charles Saphro is a bit different from the usual for the magazine in that while interplanetary travel exists, it takes place on Earth. Police officer Jason has been trying to get the goods on crimelord Lonnie Raichi for years. But no matter what new crime-fighting equipment the police labs produce, Lonnie always escapes detection. By 2009, he’s become THE Launcelot Raichi and the higher-ups of Government City are putting heavy pressure on Captain Jason to simply stop investigating.
Lonnie ascribes his success to his “Triple Ethic”, one of the tenets of which is paying the right people to produce solutions to his problems. For example, the head inventor of the police labs was on his payroll, creating ways to beat the latest anti-crime technology before delivering that technology to the police.
Captain Jason has the last laugh, however, figuring out what Lonnie is after, and using the low-tech approach of being there in person with his human eyes. He’s realized that Lonnie has never bothered learning the scientific principles his crime suit operates on.
“Thompson’s Cat” by Robert Moore Williams demonstrates the wisdom of bringing a housecat on your rocketship. An exploration crew finds a planet devoid of life, looking like everyone died in a sudden attack by unknown enemies, but with no radioactivity or battle damage to the buildings. On the way back to Earth, crew members start dying of something that turns their skin green. The captain locks the ship into a course for the sun–if they can’t figure out the cause before they fry, at least Earth won’t be contaminated. A fairly simple puzzle story, though raising some questions about the alien life cycles.
“The Slaves of Venus” by Edwin James is closer to the traditional “planetary romance” formula Planet Stories was known for. A political figure exiled from Earth and Mars arrives on Venus to free it from the tyrannical interplanetary government. Except that he himself is one of the former dictators who has been overthrown. The actual hero unites Venus’ barbarian tribes to stop the slave trade and has a romance with the dictator’s naive daughter who bought into her father’s narrative.
“Evil Out of Onzar” by Mark Ganes has a shapeshifting intelligence officer assigned to bodyguard a scientist who has developed a new wrinkle on hyperspace travel that would make it easier for one side of the galactic war to win. He fails, but manages to hook up with the scientist’s lovely daughter, herself a brilliant scientist (Planet tended to have pretty competent heroines who were of actual use to the hero once he saved them.) Onzar turns out to be an important choke point in the hyperspace system, and an ideal place for an ambush. Unfortunately, it’s run by a dictator who is himself bent on conquest.
The best character in the story is Pyuf, an amiable and hard-drinking fellow who has many jobs, not all of them legitimate. Sadly, he leaves the tale about halfway through. There’s also an interesting social divide between gold-obsessed males and religious females on Onzar.
“The Virgin of Valkarion” by Poul Anderson is in the “Barbarian Worlds” setting. Humanity went to the stars, but the planets became cut off from each other and fell into more primitive societies. Eons have passed since then. Alfric, an outlander, comes to Valkarion, last vestige of an empire that once ruled the planet back when it had oceans. He’s directed to a particular tavern, and the girl that comes with his room is of far too high quality to be an ordinary prostitute.
Turns out she’s Hildaborg, queen of Valkarion, whose husband just died–there’s a prophecy that Alfric fits to an uncomfortable degree, and she wants in on the ground floor. The priest Therokos, on the other hand, wants to break the prophecy and rule himself. (The title is a lie. There is no virgin in the story.)
This could easily be fantasy; the only hints of SF are the alien planet thing and hints that Alfric’s sword is technological in nature.
“The Big Pill” by Raymond Z. Gallun finishes the issue with a colony on Titan. It’s just suffered a tragedy due to defective equipment shipped in by Space Colonists’ Supply, Inc. The current owner values profit over safety, and has blocked more modern equipment from being imported thanks to his monopoly. Some of the colonists have a plan to make conditions on Titan better…using a descendant of the hydrogen bomb. They must work against the clock as the corporate jerk is determined to see them all under his thumb instead.
Overall, this is a fun issue for pulp SF fans, which is better on the sexism front than much of the contemporary material. (There’s some Mighty Whitey moments in “The Slaves of Venus” that may be off-putting.)
Comic Book Review: The Golden Age Starman Archives Volume 1 Written by Gardner Fox; Art by Jack Burnley
Wealthy playboy Ted Knight has somehow harnessed the cosmic energy of the stars in his Gravity Rod. As the world moves to war, he decides that the best use of this technology is to become a costumed superhero, taking the name Starman.
Like many characters created during the Golden Age, Starman did not have an origin story as such, (Roy Thomas gave him one decades later); in the first story Ted Knight has already been operating as Starman long enough to have convinced FBI chief agent Woodley Allen to trust him and for his fiancee Doris Lee to be used to his excuses for slipping away. According to Jack Burnley’s introduction to this volume, this first story was not written by Gardner Fox, and is the only one he substantially revised, inserting a villain he named Dr. Doom (and editorial changed for unknown reasons to Dr. Doog.)
The story itself opens with America in a panic as electrical components suddenly heat up, causing electrical outages, fires and explosions. The FBI is called in on the case and Agent Allen decides this is a job for the Starman. Bored playboy Ted Knight is having dinner with his fiancee Doris Lee in Gotham, one of the unaffected areas when the rod in his pocket starts vibrating. He claims not to be feeling well, but Doris opts to stay for the food she ordered while Ted leaves. A blackout happens, which makes it even easier for Mr. Knight to switch to his Starman outfit.
Conferring with Agent Allen in a cabin outside the city, Starman is informed that the Secret Brotherhood of the Electron is behind the attacks. The FBI can’t locate them, however, as their communications and transportation have been wrecked by the Brotherhood’s electrical control device. Starman’s Gravity Rod is immune to outside control, and can trace the energy to its source in a mountain stronghold.
Inside the stronghold, most of the Brotherhood is ordinary criminals, but Dr. Doog has stolen the Ultra-Dynamo from a Dr. Davis by means of his hypnotic powers. Starman’s rod protects him from hypnosis, and Doog apparently perishes in one of his own death traps. Starman seals the mountain just to make sure.
The stories tended to be formulaic, but reasonably entertaining individually. Starman’s most frequent foe was The Light, a mad scientist who had been laughed out of the scientific community, and developed a shrinking ray (which gives off a hot bright light) to get his revenge. He returned twice, each time with a different scheme. The most iconic villain, however, was the Mist, an elderly man whose head appeared to be floating on a moving cloud. He’d developed an invisibility formula for use in World War One, but been turned down by the government for unknown reasons. Having perfected it, he turned to crime.
The most out-there villain was Cuthbert Cain, a sallow, puny-looking fellow who had combined an advanced knowledge of photo-electric energy and black magic; he could capture the will of anyone he photographed. The story also had one of the best covers of the series on Adventure Comics #66.
Jack Burnley had been a sports cartoonist before going into comic books, and had a style well-suited to the superhero genre, with dynamic poses and framing. But Starman never broke out as a major character. Part of this, I think, is that Ted Knight wasn’t a very compelling character. This hypochondriac made Clark Kent look like a dynamic man of action, and was so dismissive of Doris Lee that at one point the writer makes her explain that he’s much more likable off camera, thus her continuing to put up with him.
As Starman, Ted is fairly generic–his inability to use his powers during the daytime did add some suspense, but the combination of square-jawed virtue and battle wisecracks was shared with over half of the other costumed characters being published at the time.
There’s some period ethnic stereotyping. This may have been the inspiration for Roy Thomas making Starman particularly anti-Japanese in his All-Star Squadron series.
At the time this compilation was published, a modern Starman series featuring Ted’s son Jack Knight was being run with creator James Robinson. I highly recommend it.
As for this book, the art is good, the writing is decent, and it has rare stories. Recommended to Golden Age fans, those who enjoyed the Robinson series, and people who have a good library near them.
Note: This review will have SPOILERS for the manga, so if you’re wanting to take the manga slow, check out my review of that instead.
Delinquent high school student Ryu Yamada and honor student Urara Shiraishi accidentally discover that they can switch bodies by kissing. Then it turns out that Yamada can also switch bodies with anyone else he kisses! Hilarity ensues, and then it’s learned that there are other “witches” with kissing-related powers. Can Yamada catch them all?
This twelve-episode comedy with romantic elements has many good points. It’s funny, has a bit of fanservice, and the voice actors clearly had a ball imitating each other’s vocal inflections to indicate when bodies have been swapped.
Kissing is something of a metaphor for connecting with other people. The initially isolated Yamada and Shiraishi must reach out to each other and their schoolmates to advance. This is made manifest when things get more serious towards the end of the series–connections are broken, and Yamada must mend them to bring about a happy ending.
The plot structure turns out to be “the seven school mysteries”, a common bit of superstition in Japanese schools. There are seven “mysteries” (urban legends) to learn or discover the truth behind, but if you know all seven, something (usually bad) will happen to you.
There’s a lot of kissing, including same-sex kissing, and some male-oriented fanservice, plus some slapstick violence. It should be okay for junior high viewers on up–younger viewers probably will tune out because of the mushy stuff.
More of an issue for the purist is that in order to fit in all seven witches in twelve episodes, the plot has been streamlined considerably, and some of the relationships feel rushed as a result. The ending has also been changed to make it definite, while the ongoing manga has continued with new plot arcs.
A short, enjoyable series for comedic romance fans.
Decoy is a 1957-58 series about Casey Jones (Beverly Garland), a female police officer in New York City. She often goes undercover, thus the series title. This show is noteworthy as the first TV cop series to star a woman in the lead role. Like Dragnet, the series fictionalized real cases.
As an undercover cop, Officer Jones often deals with the very human side of the suspects–many of them come off as sympathetic, or at least their friends and relatives do. Jones narrates the episodes, and frequently addresses the audience directly at the close of a case.
Many of the episodes are in the public domain, and I watched six on DVD.
“To Trap a Thief” After a robbery suspect is caught and the money recovered, it’s discovered that over half the money in the satchel isn’t there. The arresting officer is one of several suspects, and Officer Jones goes undercover as a blackmailer to see which one has a guilty conscience. The ending is happier than expected.
“High Swing” A mysterious series of muggings takes a lethal twist when one of the criminals dies of a drug overdose. Officer Jones attempts to take her place in the small gang. Notable for its portrayal of a marriage that is both loving and extremely bitter.
“The Sound of Tears” The only episode where we learn something about Casey’s personal life. A man is shot six times by an unidentified woman, and Officer Jones must work through the reminder of her own slain beloved. It’s suggested that the remaining pain from this is why she never shows interest in any of the men who hit on her during the series.
“Night Light” A ruby necklace is stolen, and Officer Jones poses as a representative of the insurance company trying to buy it back. But the real story is that one of the criminals has a young son who he is putting on the path to crime, whether he means to or not.
“Fiesta at Midnight” A recent arrival from Puerto Rico is mistakenly identified as a robber and murderer. His only alibi is a young woman he talked to at midnight, who said she was getting married on Sunday. Too bad she seems to have disappeared! The solution to the mystery was fairly obvious to me, but it takes Officer Jones longer to catch on, in large part because one of the witnesses is outright lying to protect the real killer.
“The Come Back” Counterfeit winning tickets are being passed at the racetrack, so Officer Jones poses as a crooked cop muscling in on the racket. The criminal operation turns out to be bigger than suspected. This episode is most notable for its guest star, Peter Falk, as a crooked racetrack cashier.
This is an interesting little series, and I especially recommend “The Sound of Tears” and “The Come Back.”
The long-running Shadow radio show and pulp magazine inspired an attempt at a television show as well, but only a pilot for The Shadow was made, “The Case of the Cotton Kimono.”
Lamont Cranston (Tom Helmore) is a criminal psychologist who is an on-call adjunct to the police. He’s kept very busy, much to the chagrin of his girlfriend, Margot Lane (Paula Raymond.) In this instance, Commission Weston is calling Cranston in on the murder of a woman who was dressed in a cotton kimono at the time.
The police have gotten nowhere, even having an officer from the woman’s home town come in to assist them. Cranston is able to locate two likely suspects, the boyfriend and the woman’s music teacher, but not enough to positively link either of them to the crime. So he calls on “our old friend” the Shadow. Interestingly, the story never actually establishes that Lamont Cranston and the Shadow are the same person (though they have similar voices and never “appear” at the same time.)
The Shadow’s arrival is indicated by a flashing light, and those whose minds he clouds not only don’t see him, but become distracted and lose focus. it’s a nice touch.
The leads are good, but the story is kind of plodding. With the state of special effects on television being what they were in 1954, it might have been just as well this never made it into a full series.