Mr. A Day!

Steve Ditko was born on this date in 1927. Ditko was one of the great original artists in the history of comics, a man dedicated to his philosophy and worldview. He created some of the most iconic images in the history of the form in the pages of The Amazing Spider-Man and Strange Tales starring Dr. Strange. He created The Creeper for DC. He was long associated with Charlton Comics, a place where he was left alone to create his comic pages as he chose. He created many characters, but none speak more directly to his belief than the enigmatic Mr. A. 

One would be hard-pressed to find a more obnoxious hero than Steve Ditko's Mr. A. Created at just about the same time as Charlton's The Question, most folks see Mr. A as Ditko's Comics Code-approved Question unleashed into the wild of Indy publishing where he can really cut loose and express his opinions about justice and merit and who should live and who should die. Let me just say, that if you're a criminal and you're hanging by your fingertips over a deadly precipice don't think the "heroic" Mr. A is going to give you a hand. That's not his style. If your misdeeds brought you to this dangerous point, then you will just have to solve it on your own...or die. 

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. 

You see the thing is that in Mr. A's universe that is no gray...literally and figuratively. In these stark black and white comic book yarns we are presented with crimes and actions which some, in a charitable nature, might deem mistakes rather than crimes. They might consider the perpetrators to be confused by upbringing or environment which send mixed messages about what is right and what is wrong and the limits of civilized behavior in regard to these concepts. Mr. A is not having any of that. There is "Good" represented by the white half of his business card and there is "Evil" represented by the black portion. There's gray, no blending or smudging, there are only absolutes determined by rigorous adherence to reason. Emotions and the charity they elicit are for weaklings and milksops. 

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. 

Look for much more Ditko at the Dojo in 2026. 

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The Man Without Fear!

(The dates for 1975 and 2025 are identical.)

 

Daredevil was the comic without fear. Marvel was on a dandy run, creating new heroes every month and growing in response to fan demand. Stan Lee had found a formula for success which leaned heavily on artists Jack Kirby and Steve Ditko for the hits which changed the face of comics and made the Silver Age profoundly different and profoundly modern. 

Taking the approach which had worked on Fantastic Four and Spider-Man, Lee turned to Bill Everett, the Golden Age creator of the Sub-Mariner. That lasted exactly one issue. Everett was a master in his time but his Daredevil look positively antique, well-crafted but of a different era.

Lee turned to EC veteran Joe Orlando to take up the slack and inked by Vince Colletta the comics looked more like what Marvel was doing elsewhere. 

Despite battling the borrowed Spidey villain Electro and running up against new foes like The Owl and The Purple Man, Daredevil seemed to be a comic which was sputtering. 

Even the soon-to-be-obligatory crossover with Spider-Man himself under the penciling hand of Steve Ditko himself only showed what might be missing from the Daredevil comic itself. The stories were good, but felt like stories which might've been produced a decade before. 

And then Joe Orlando's old partner Wally Wood took the helm of the book and brought a true-blue big name feel to a book which in truth had been put together by many qualified veterans. Wood brought something which had been missing despite all the good intentions -- excitement. Admittedly the Matador was an opponent inspired by Daredevil's little horns, but he did look good. Mr. Fear and his partners the Ox and the Eel were a blend of old and new but looked fresh nonetheless. 

But most importantly Wally Wood identified the problem with Daredevil pretty quickly -- the costume. The yellow and black and red fighting togs which DD had put together were right out of the Golden Age of comics, something you'd see someone on the Justice Society of America wear maybe. Quickly  Wood added a bit of dash with another "D" to the chest symbol. Now Daredevil was "DD" formally for all the world to see. But Wally Wood wasn't done yet. More later today when a second helping of DD is served. 

As important as fine talents the likes of Gene Colan and Frank Miller have been to the development of the Daredevil comic book, it's easily arguable to me that the single most important artist in the history of the was Wally Wood. What Wood did was simply transform Daredevil from a musty looking superhero who might've dropped in out of the Golden Age into a sleek modern hero literally suited for the Silver Age. He did it with a single color -- red.

From his inception the design of Daredevil had played off his name by adorning his cowl with little horns. What Wally Wood did was to take that notion and give the character named "Devil" a deep rich color which evoked his name in all its glory. Soon after taking the helm Wood started diddling with the look and along with Stan Lee even made sure the hero got some high profile exposure in the Fantastic Four of all places and by fighting one of the greatest of all Marvel battles ever against the indomitable Prince Namor, the Sub-Mariner. "The Man Without Fear" earned his nickname when he put it all on the line against the Sea King and there was no going back.

Despite small-ball but visually spectacular villains like the Stilt-Man, the comic was secure because watching DD in battle was exciting in itself.

Not all the stories made sense, but getting there was nearly all the fun. Daredevil was establishing himself as a hero who took on all comers and looked good doing it.

Wally Wood's tenure was brief though and ended when Bob Powell was brought aboard to finish Wood's layouts in the terrific two-parter featuring the debut of the villains who would be called the Ani-Men. These guys are all Wood, who wrote the first half of the two-part adventure. With that Wood left the book and a fellow named John Romita took the helm, no slouch himself.

Wally Wood stepped aboard the Daredevil comic book one more time, inking Frank Miller in a story from his epic run. It was a hearty reminder of the early days when Wally Wood had saved the comic from the dustbin of history.

It was then that Daredevil was established as the comic without fear.

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Halloween - Will Eisner's Casebook Of True Haunted Houses And Ghosts!

Will Eisner's Spirit Casebook of True Haunted Houses and Ghosts was an oddball project by Eisner from 1976. It came out with two covers, both seen above. Clearly the cover by Eisner is of greater interest to fanboys like me. 

Eisner took advantage of the Spirit's mysterious background to use him as a narrator here, in the manner of Uncle Creepy or Cousin Eerie or any of the many, many ghost hosts around in comics over the decades. Here's a link with a sample story. I only recently picked up a copy of this. I'm not aware that this has ever been reprinted. It sure deserves that honor. 

Happy Halloween to One and All! 

 

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The Phantom Stranger!

The Phantom Stranger has always fascinated me. He was a true enigma, a "hero" who existed in that strange nexus between DC's superhero books and its burgeoning horror comics line-up. Often teamed with others such as Dr. Thirteen in his own title and later Deadman in that same title, he also joined forces with Batman, Superman and the entire Justice League of America. But in all his appearances, the white-haired mystery man never revealed his truest nature. He just showed up where needed and stood up for the innocent who were confronted with supernatural menaces. The Phantom Stranger Omnibus offers up over three decades of adventures. 

The Phantom Stranger first debuted in the 1950's in stories written by John Broome and drawn for the most part by Carmine Infantino and Frank Giacoia. The Stranger here is a somberly dressed mysterious figure who suddenly appears to those needing help and giving them that help. 

The character was revived under the editorial control of Joe Orlando during DC's horror boom in the pages of Showcase. This is a vintage 50's tale with a frame by writer Mike Friedrich and artists Jerry Grandenetti and Bill Draut under a provocative Neal Adams cover. Kids being under threat was a thing on these early DC horror covers. 

The Phantom Stranger quickly gets his own title again, and again we have more unpublished 50's material with new stuff by the Friedrich and Draut team. Draut offers up a tasty cover. 

The next few issues keep up this format with more great Bill Draut art under some Neal Adams covers. Otto Binder writes the frame stories. 

The fourth issue shakes up the format as apparently DC has run through their cache of vintage Broome-Infantino stories and give us a completely new comic with fab interior art by Neal Adams. Robert Kanigher becomes the writer for a time. This issue also sees the addition of Dr. Thirteen to the story mix and he will stay around in the book in some way for much of its run. A new nemesis named Tala is introduced and she too will be a common enemy for Phantom Stranger to battle. The book gets downright crowded as four teenagers are also added to the cast. Their names are Spartacus, Attila, Wild Rose and Mister Square. The stories for a time are the teens find a menace, Phantom Stranger shows up to save them and Thirteen is on hand to debunk the whole affair. 

Mike Sekowsky joins Kanigher on the book for a few issues, while Adams stays to offer up fantastic covers. 

Bob Haney and the Ross Andru / Mike Esposito team hook up to give Phantom Stranger some higher profile when he teams up with Batman in the pages of The Brave and the Bold. 

The big breakthrough for the series is in issue seven when Jim Aparo becomes the regular artist on the series. He will help define the character for DC and give the mysterious figure a more heroic aspect. Adams will keep on making some amazing covers for the book. Gerry Conway will step in with Kanigher to write a few stories as well.  

The four teenagers are eventually faded out and Dr. Thirteen becomes a back-up feature in the book, allowing more room for The Phantom Stranger to build his own world fighting Tala and her agents as well as an alchemist named Tannarak. The great cover for issue fourteen is actually a reference to the Thirteen back-up story. 

It works out great for Phantom Stranger when he next guest-stars in The Brave and the Bold because Aparo is the regular artist on that series as well under a creamy Nick Cardy cover. 

With the twentieth issue Aparo takes over the cover art chores from Adams, and the series had even progressed to the point where the enigmatic Stranger could even have a romantic interest as well in the form of the gorgeous Cassandra Cross, though it would be a few issues before that became a regular thing. 

The Phantom Stranger becomes a member (of sorts) of The Justice League of America in a great story by Len Wein, Dick Dillin, Dick Giordano and cover artist Nick Cardy which put the characters as well as creators in the thick of things in Rutland, Vermont. This was my first introduction to the character, and I loved him from the get-go. Wein was the regular writer of The Stranger's own book by this time as well. 

The Dr. Thirteen back-up stories were phased out and The Spawn of Frankenstein took over in the back pages of the book with great stories stuff by Marv Wolfman and Mike Kaluta. 

The Spawn of Frankenstein met The Phantom Stranger in a wild full-issue yarn that brought both series to turning points. This was my very first Phantom Stranger issue. Dr. Thirteen returns in this story as well and his wife plays a key role. 

The Phantom Stranger series gets a jolt when writer Arnold Drake joins artist Gerry Talaoc as the regular team under Nick Cardy covers. The Spawn of Frankenstein is taken over by different talents as well. 

I like the Drake-Talaoc material fine, but it lacks the verve of the stuff that Aparo was producing. Aparo for his part does become the regular cover artist on the series. The Black Orchid becomes the new back-up feature. 

Bill Draut returns for a single issue on the interior artwork. I really like his clean lines. 

Mike Grell joins Drake on a story which co-stars Deadman, a character DC was desperately trying to find a place for. 

Drake and Talaoc wrap up their run with this mummy story. The series is still quite good but has seen its best days behind it. 

Paul Levitz writes and Fred Carrillo takes on the art as Phantom Stranger battles a new villain named Dr. Seine, a chap who hates the Stranger from a previous encounter. 

Deadman becomes a regular co-star in the series as it reaches its end with issue forty-one. We leave the Phantom Stranger having found some love in Cassandra Cross and the Deadman abandoned as usual with the story's end. 

The two mystical stars hook-up again in an issue of DC Super-Stars battling gargoyles and demons in Rutland Vermont. Terry Thirteen is on hand yet again as well as the creators of this wandering mess of a story which captures more than a smidgeon of its plot from the great TV movie Gargoyles. 

The Phantom Stranger joins Dr. Thirteen and Abel to celebrate the one hundred fiftieth issue of House of Secrets. 

The Stranger then becomes relegated to the back pages of the DCU showing up as a partner in The Brave and the Bold and DC Presents with Batman and Superman respectively. It's good to see Aparo draw him again and I've always liked how Dick Dillin represented the hero as well. 

Though completely unheralded on the covers, The Phantom Stranger becomes the regular back-up feature in the revived The Saga of the Swamp Thing comic book. Bruce Jones writes the first story but Mike Barr becomes the regular writer. Dan Spiegle offers up some lovely artwork for the series as well. Tony DeZuniga and Fred Carrillo will also draw installments of the run. Joey Cavalieri and Nicola Cuti write some for the character as well. 

Eventually the Stranger joins Swamp Thing in the series and gets his only cover appearance in the first of a two-part tale by Dan Mishkin and artists Bo and Scott Hampton. 

The Stranger next is drawn by Jim Aparo again in the pages of Batman and The Outsiders in a Christmas story. 

He joins Superman and the Joker of all people in a story by Paul Kupperberg and artist Alex Saviuk in the pages of DC Comics Presents. 

The final new comic reprinted in this massive twelve hundred and more volume is the issue of Secret Origins featuring the Phantom Stranger. And in a brilliant move to maintain the enigmatic nature of the mysterious hero, he is given four different possible origin stories talents such as Alan Moore, Joe Orlando, Dan Mishkin, Ernie Colon, Paul Levitz, Jose Luis Garcia-Lopez, Mike Barr and Jim Aparo. 

I want to caution everyone who might have actually read down this far that only the Phantom Stranger stories are reprinted in the omnibus edition in all its glorious color. To read the Dr. Thirteen and Spawn of Frankenstein stories, I needed to fish out my two copies of Showcase Presents. The Black Orchid back-ups are not reprinted in those, and I've ever read them. 

The Phantom Stranger is one of my favorite DC characters. His absolute mystery is fascinating and I'm very happy that DC never sought to undermine that core enigma. If they have in the decades since, I've remained blissfully unaware. 

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