Oh, this is where "Too dangerous for a girl" is from! Someone from the GLA named his blog that.
I'm not surprised Night Girl had x-ray vision. The kryptonian power-set seemed to be the default setting for having "super-powers" though it's a little surprising for it to happen in Legion since it's based on single-power heroes for the most part. I suppose Kathoonian might have developed additional visions as a matter of evolution in so much darkness.
If they're going to go so far as showing actually having space-helmets, I'd rather they didn't show someone taking it off without dying. Fire Lad should have had a special valve on his helmet through which he could blow his flame. Reasonably believable and also interesting as a bonus.
In addition to Night Girl's x-ray vision, notice that Fire Lad has the ability to shoot flames from his hands (Part 2, Page 7, last panel).
This is another instance where I wish the creators had trusted the readers. Would it have hurt to draw Fire Lad throwing off his space helmet so he could *breathe* fire? Couldn't readers have put two and two together without a long-winded explanation that he was taking off his space helmet so he could use his fire breath? Why take a short cut by depicting a power he's never had before (or probably since)? Was it to accommodate new readers who might be confused by Staq using his established power? Or was it that hard to keep everyone's power straight?
Sounds to me like a deliberate attempt to change his power.
There was a similar problem in the Zyzan story when they were on the moon where Fire Lad basically could do nothing for half an issue while he was wearing his space suit.
So the thought may have been that as long as we've been messing with the Legionnaires' powers in recent issue, why not change the Subs around as well?
If they're going to go so far as showing actually having space-helmets, I'd rather they didn't show someone taking it off without dying. Fire Lad should have had a special valve on his helmet through which he could blow his flame. Reasonably believable and also interesting as a bonus.
Well, they were on the planetoid at this point, so Fire Lad didn't need his helmet.
The only real justification for him continuing to wear it was so he could hear Polar Boy over the "helmet-radio." But even that was unnecessary.
A special valve would have been a good idea, though it might have required a word-balloon or thought-balloon explanation.
That's another thing that comics seem to have lost ages ago, the omnipotent narrator and/or editors' notes that could explain things without a character having to mentally review the justification of his powers or equipment to himself. Or worse, aloud. Which I don't normally mind if there's someone there to hear it who might need the explanation.
The ol' Proty explanation. A better one would be that once Imra said to Brainy "go eat a space dick" and jumped back on the team, she took Lyle's spot, who then stayed behind to join the second team.
Last edited by jimgallagher; 06/04/1309:15 PM. Reason: *Redacted by the Comics Code Authority.
Elements like the Planetary Chance Machine just emphasize to me how the classic Legion stories were written for children. I find it hard to believe, even in this more innocent time, that Hamilton thought this was anything other than a silly device to entertain the kids who were reading. I'm not sure how many older readers read this stuff, certainly the audience is much older--and smaller--now than it was. But if someone in the military (probably the most likely 'adult' audience at the time) read this, I'd have to believe they'd find this incredibly hokey.
But I love this stuff! It's fun to see sillier elements like that pop up and just reinforce the legend of the Legion. I'm curious as to whether the PCM was a one-shot thing or if it ever appeared again. (I know some of you already know the answer, of course!)
A real problem I have with the story is that it's so obviously writer-driven. What I mean is, the Legion fails because Hamilton wants them to, not because the threat is so dire. It's one of those situations where the villain apparently has planned for all scenarios (like with Mon-El and Superboy) and the background Legionnaires are just defeated with virtually no explanation.
For example, Reep, Lyle and especially Tinya should have been able to get inside the citadel with their abilities tailored for this sort of thing, but they just...don't. Tinya should have been shown trying to enter. Yes, Hamilton probably would have put a made-up weapon that could affect her in her intangible form, but it seems remiss for her power not to be addressed here. I'd rather have had a scene with her about to enter when one of her fellows is endangered. She has to turn tangible to save them and in turn falls victim to an attack. Instead, she flying, apparently tangible, and blasted with the rest of them. Say....WHAT?!?!
So because Hamilton wants the Subs to save the day, they DO! Even worse, they don't even appear until the last 3 pages! Maybe a quick panel earlier in the story to show their concern would've made it seem less random, but Hamilton doesn't take the time to set this up. I'd say, for story structure, this is one of Hamilton's poorer efforts. "Mutiny of the Legionnaires" was much better constructed.
I love the Subs, but Hamilton does a disservice to them, not making this one seem terribly earned with the Legion falling like a house of cards only to serve the plot. This story is notable only for the absurdity of the PCM...and for Imra sticking up for womanity! Otherwise, it sucked space-dick!
Saturn Queen used the PCM to toss her bouquet when she married Matter Eater Lad. I believe it took out a bridesmaid.
I'm not surprised it turned up in 5YL with some of the other silver age things that were parodied, such as MEL himself. Mostly, I wondered if it even turned up again in Hamilton's stories.
There's several 5YL references as I recall. I believe there's a flashback of them ordering it and the medallion-making machine when the Legion is first formed, and I think Tenzil turns it on and shorts out the power in the clubhouse in either Legionnaires #1 or the prequel to the Legionnaires series.
A real problem I have with the story is that it's so obviously writer-driven. What I mean is, the Legion fails because Hamilton wants them to, not because the threat is so dire.
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I guess you mean in this case the writer was simply less successful at concealing his hand?
This is an interesting distinction for me because as a roleplaying gamemaster, I'm writing a situation, but the player characters are not under my control, literally.
This is an interesting distinction for me because as a roleplaying gamemaster, I'm writing a situation, but the player characters are not under my control, literally.
Something else else I've learned from RPGs, and particularly super-hero RPGs, is that there's such a huge difference between a one-man narrative, where Ian Fleming decides that James Bond is going to beat Hans Blofeld, and then crafts a story around that foregone conclusion, and a game where a gamemaster hands down a scenario, and then the players do what they do, which may end up being nothing at all like the GM intended.
Even then, it's not as 'realistic' as it could be, as the GM is still mandating the events of the story and the behavior of all of the 'NPCs,' so that, while the players are running around each doing their own, occasionally unpredictable, things, the 'bad-guys' are more likely to behave in a more scripted and monolithic fashion and not do something unexpected or 'sub-optimal.'
In a movie, with more time to devote to bad-guy characterization, it might be completely 'in-character' for one of the bad-guys to turn around and betray another during a climactic moment, and end up unintentionally shifting the balance of power and making his side lose, because he was too busy trying to eliminate a rival in the confusion. In a game, that sort of thing might come across as the GM fudging an encounter by trimming down on some bad-guys when he realizes that the party is just flat-out outgunned and about to lose badly...
Serial fiction being what it is, we pick up a comic or tune into a show generally knowing that Batman is going to win, or that the NCIS crew are going to catch the bad-guy.
Elseworlds or What If? or 'imaginary stories' end up removing that safety net, in a way, since there's nothing restricting the writer of Superboy's Legion or the Exiles from killing off characters, or enacting some dramatic change that won't just be reversed by editorial fiat or when the next creative team comes along. The fans of character X get to see character X again next month in the mainstream continuity, and yet they got to also read a shocking story in which character X died, with all the drama that entails. Best of both worlds, really.
Another difference between a one-man narrative (comic, novel, TV show, etc.) and a game experience is that the 'author' isn't necessarily there to provide plot armor for characters who aren't particularly well-suited to their chosen profession.
In a superhero RPG, invisible characters run the risk of being blown up by their own allies, particularly allies who use explosive attacks, area effecting attacks, etc. Characters with a powerful offense and absolutely no defense (like Cyclops or Lightning Lad) are going to be the first to fall in any fight, as any enemy with an ounce of sense is going to concentrate fire on taking out these enormous threats, instead of doing what happens in the comics, where everyone decides to shoot at Colossus (who even the dimmest bulb should recognize isn't going to be hurt by that...), and totally ignore Cyclops.
'Plot armor,' or 'authorial saving throw,' as it's sometimes called seems to be the only way that characters like Wolverine can function. In an RPG setting, someone unable to *reach* fifty percent of super-foes, and unable to harm a significant number of them (and with no real defensive abilities whatsoever, nor any transport function more advanced than 'ride a motorcycle' or 'get the strong guy to throw me') generally proves to be insanely frustrating (something I've seen multiple times, when fans attempted to play Wolverine in RPGs, only to *hate* the experience). I kind of had the same experience attempting to play Gambit once, in a superhero RPG. Our first scenario was across town, and while others could fly or teleport, none had the ability to carry others with them, so my character had to ride his motorcycle across town, and show up long after much of the action was over. His first combat encounter, his 'agility' proved to be a useless defense against a grenade a fleeing anti-mutant terrorist threw at him, and I spend the next few sessions wishing I was playing a character with A) transportation powers, B) a defensive power and C) some capacity for accelerated healing.
Quite a few superheroes seem to get by on poor choices by enemies, or 'authorial saving throws' and I think that's a disservice to the characters and to the readers. I don't see it as a favor to the character if they have a win handed to them by editorial fiat, instead of through clever application of their powers, or brilliant tactics or just chutzpah and a never-say-die attitude.
Bloody Liberty! My review of Revenge of the Knave of Krypton is on my iPad at work! I can't post it until tomorrow! Or perhaps Eryk's space plague is attacking me too?!!
Touching upon what Set said above, this story is full of "plot armor." Worse, Hamilton couldn't seem to make up his mind what to do with the story.
And the sad part is, "The Revenge of the Knave from Krypton" started off with a great idea. Any kid who's ever faced a bully should be able to identify with Superboy on the cover and first few pages. This is a Kal-El who has to admit that a bully got the best of him, and, even though Dev is "captured," seeing him again should bring out all sorts of feelings in Kal: Will Dev beat me again? Should I tell my Legion buddies what happened or will they think less of me? How do I make sure Dev-Em doesn't win again? If Hamilton had developed these ideas, this could have been an outstanding story.
Instead, we're treated to an overlong five-page flashback of Dev-Em's misdeeds only to learn he has--voila!--reformed! He's now working with the ICC (the 31st century CIA, I suppose) to infiltrate a ring of criminals. Okay, this twist was nice, and Kal worries, momentarily, if Dev can be trusted. But, once again, nothing is done with such a tense setup.
At this point, "Revenge" becomes a Superboy solo story. Kal takes Dev's place as the infiltrator and then is saved from losing his powers by deus ex machina Proty II. And we learn that Dev has, in fact, reformed since it was he who tipped Proty off to the gold kryptonite.
Missed opportunities abound. All tension regarding Dev-Em's purpose is deflated once Kal takes his place. Dev could have remained a threatening presence throughout--what if Kal were asked to accompany him on the mission rather than take his place? Could Kal trust him in such close proximity?
Furthermore, the Legionnaires do nothing in this story except serve as Kal's cheerleaders. Where are the scenes of them keeping an eye on Dev, watching his every move to see if he tips off the criminals? Where's the powder keg situation of the Legionnaires getting ready to trounce Dev for "double-crossing" them once they see the gold k? (Don't tell me the Legionnaires couldn't have found a way to observe what was going on in Molock's hideaway.)
Another problem is that the story contains too many scenes which do not advance the plot. Most of Hamilton's stories contain such scenes, and some are fun to read or give us glimpses into life in the 30th century. The introduction of Radiation Roy is one such scene. But why do we need to start out the story with two jocks calling Clark Kent a worm? Why do we need to start in Smallville at all? Why not start with the first interesting thing that happens--the Legionnaires catch Dev-Em in the act of invading their headquarters? Why do we need a five-page "origin" for Dev, who, when all is said and done, has little to do in the story?
In short, this story has a paper thin plot with a lot of fancy decorations. While it introduces a compelling character in Dev, little is done with him. We're never even given an explanation for why he reformed or why he ended up in the 30th century when he could have gone anywhere in time and space. We don't even know if his parents were ever revived.
By the way, notice how Dev's appearance changes from George Papp's pages to John Forte's. On Page 9, Dev looks like a stereotypical scoundrel with big nose, arched eyebrows, and an impossibly large hair swoop. One page later, he's suddenly turned conventionally handsome. Maybe Proty was at work here, too.
By the way, notice how Dev's appearance changes from George Papp's pages to John Forte's. On Page 9, Dev looks like a stereotypical scoundrel with big nose, arched eyebrows, and an impossibly large hair swoop. One page later, he's suddenly turned conventionally handsome. Maybe Proty was at work here, too.
I've never been a fan of certain comic tropes, such as that fat people have to be bad-guys, and if someone is ugly or has a big nose or forehead (or otherwise has 'thick' features) they pretty much have to be evil.
Various comic characters have changed appearance, depending on how much of 'bad-guys' they were meant to be. Early appearances of the Punisher he was a scrawny guy with a widow's peak and perpetual crazyface, and then he turned into a sort of Rock Hudson looking manly man, once he was, if not a 'hero,' at least a protagonist with his own comic book (and no longer so crazy as to be firing machine guns at people for *littering*). Screaming Mimi changed drastically when she became Songbird, as did Heather Hudson when she changed from 'NPC' to 'superhero.' Most of the Thunderbolts changed, actually, and there was even a built in rationale for that (the Fixer having changed their faces so that they didn't look the same), but in other cases, such as the appearance upgrades that Wild Child, 'Creepy' Diamond Lil Crawly and Madison Jeffries got along with their 'main character' status, there was never any real explanation.
It was particularly off-putting in older comics, where a bad-guy might be easily recognized by his thicker features, which looked like contemporary caricatures of Irish folk or Italians as ape-like or subhuman. (Or whomever the 'hooligans' were, that generation.)
^ The classic example of them all of that is the Silver Age JLA cover featuring a "bad" looking version of the JLA. Not the Crime Syndicate but an even more overt "this is the bad version of ___". I forget the issue but the cover is pretty obvious.
For example, Reep, Lyle and especially Tinya should have been able to get inside the citadel with their abilities tailored for this sort of thing, but they just...don't. Tinya should have been shown trying to enter. Yes, Hamilton probably would have put a made-up weapon that could affect her in her intangible form, but it seems remiss for her power not to be addressed here. I'd rather have had a scene with her about to enter when one of her fellows is endangered. She has to turn tangible to save them and in turn falls victim to an attack. Instead, she flying, apparently tangible, and blasted with the rest of them. Say....WHAT?!?!
Good observation.
I think Hamilton sometimes forgot he was writing a story about people with super-powers. This story would have worked better if the heroes had been non-powered astronauts.
It was particularly off-putting in older comics, where a bad-guy might be easily recognized by his thicker features, which looked like contemporary caricatures of Irish folk or Italians as ape-like or subhuman. (Or whomever the 'hooligans' were, that generation.)
This was pretty much across the board in pop culture at the time. The Superman TV series, as I recall, frequently used bad guys who were older, heavier, balder, and with less conventionally "attractive" features.
When people with ethnic appearances weren't villains, they passed for comedy relief, hence the Three Stooges, who were Jewish and short.
Sadly, not much changed in comics in the '70s and '80s, wherein heroes were still depicted as "Hollywood" pretty and villains were often grotesque creatures such as Thanos or the Anti-Monitor. At least actors such as Jack Nicholson and Dustin Hoffman showed that films could be carried on an actor's talents and not just on his looks. Female actors still have a ways to go, unfortunately.
It does irk me sometimes how powers are ignored, for good or ill. Kitty Pryde has to deal with a *plethora* of effects that can target her visual senses (since she obviously still has to see), her ears (since she still can hear) or even her sense of smell / ability to breath (such as poison gas, since she still has to breath, or at least hold her breath, when phased). With Tinya, she is more likely to just 'forget' to use her power and get bonked on the noggin or grazed by a blaster.
That doesn't really do her (or other 'forgetful' Legionnaires, like Invisible-Never-Shuts-Up-Kid blabbing and giving away his position all the time) any favors. It also makes the bad-guys look less threatening, if they don't even bother to do something *clever* or surprising to affect Tinya (like toss a flash grenade that blinds her).
Part of it is a matter of space. Much like the Mask Man story, it's really difficult to feature each member actually getting taken out in a clever and distinctive way with a single issue, but one would think the "Espionage Squad" should have been given a focus in this story (though it would perhaps be a bit of a repeat, since the Alaktor story showed at least Invisible Kid, Cham, and Vi being taken down by the defense on the Lost World).
The writer has an obligation to at least address why the most logical characters to solve the situation don't. Hamilton seemed to think that only Superboy, Mon-El, Gim and Garth posed any kind of threat to the Citadel. The rest are (mostly) cannon fodder. I think Jan's powers could have been used effectively as well, come to think of it. Why feature the entire roster (except for Kara) in a very rare instance if you're not going to at LEAST explore the all the powers that could make a difference?
In hindsight, that's the flaw in the story: it would have worked better with only a smaller LSH strikeforce being available. It's just a joke that the entire roster couldn't overcome the threat as it was presented.
As for "Knave", it's flawed for all the reasons Huey mentions. One thing it DID have going for it is that the Proty II twist was at least slightly foreshadowed by hispresence earlier in the story. This is a step up from the Subs pulling the LSH's hash out of the fire with no prior set-up in the story before those last three pages (except for the Part 2 splsh which gave everything away...ugh!).
The title is also a misnomer. What "revenge" does Dev-Em take? None! The title and the long flashback sequence are entirely misleading as to what to expect from the story. Dev is simply reformed, and we have little or no reason as to why. In fact, Dev serves very little purpose in this story. His backstory is nothing more than filler.
I hadn't realized, however, that Dev had appeared prior to this story. The way Superboy reacted, he made it seem like this was quite a trauma to him the first go-round! Seems like Dev could he grown to be a major continuing antagonist for Superboy and Superman if he'd not been mysteriously reformed and basically relegated to cameos until suddenly becoming a full-on villain in 5YL who destroyed the moon.
Again, not one of Hamilton's finer moments.
Molock looks like he's wearing a variation on Bouncing Boy's costume! Another one-shot villain, I assume?
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