Posts Tagged ‘DC’

Rick Stone

Wednesday, March 31st, 2010

Art by John Paul Leon

Rick Stone is one of Virgil Hawkins’ (Static) close friends. We see him throughout the series, usually briefly in his role as a supporting cast member. In other issues which will be highlighted here, he figures more prominently. In issue one, he’s on the receiving end of a gay taunt from a “friend” about his performance at a school assembly the day before. He replies with: “I don’t have to listen to your limp dick gags.” Another student tells Rick to lighten up; it was just a joke.

Skip ahead to issue #5 when Rick, Virgil, and friends Chuck, and Felix are playing an intense superhero roleplaying game. Virgil gets a lucky role and an exasperated Rick says, “I wish I could get rolls like that with Airburst.” Chuck jumps in and exclaims Airburst is “so gay.” The tension escalates a little before Rick diffuses it by throwing an empty plastic soda bottle at Chuck.

Another gay taunt happens at school (issue #11). Chuck has insulted Rick by calling his shirt “fruit-flavored.” Once again, Chuck excuses himself by labeling his rude comment as a joke. Rick’s patience is reaching a limit though, and Virgil and best friend Frieda have to keep the two boys separate.

The boys are hanging out at one of their houses, talking about action movie heroes (issue #15). Virgil brings up “Captain Thunder.” Chuck proclaims, “He’s so gay, man!” Virgil questions Chuck because Thunder is strong enough to punch through mountains, and tries to enlist Rick in his argument. Instead of getting involved, this time Rick states, “he is kind of a Boy Scout” and walks away. Rick apologizes to Virgil for not sticking up with him the next day at school.

Yet again the boys are together when for no apparent reason Chuck calls Rick “Richard the Pink, Knight of the Tutu.” Again, Rick blows up, but his point is completely diffused when Chuck makes another joke, and he, Felix, Larry, and Virgil laugh.

Virgil has remained silent and non-supportive of Rick. Later, Static is on patrol when he comes across some skinheads attacking others on the street. They start to run off with Static in pursuit when one of the figures calls out for help.

It’s Rick, who’s kneeling next to an unconscious boy. Static is shocked that the boy who shouted out is Rick (he’s unaware that Static is his friend Virgil). Static asks what prompted the attack and Rick confesses it was a gay bashing (issue #16). Static flies the boys to a hospital. In transit Rick says he’s gone to a gay teen support group, and implies that he was attracted to the other boy. The skinheads attacked them when they left the meeting. Meanwhile, Static is secretly freaking out over the news is friend really is gay. The two boys are admitted, and Static flies away. Virgil is shocked to learn that Frieda is aware of Rick’s sexuality when he brings the incident up to her. Virgil decides to act as if nothing has changed (for now). At the end of the chapter, Rick, face bruised and bandaged returns to school. When questioned by his friends, Rick confesses he was gay bashed, and for the first time, puts Chuck in his place. Rick talks about a plan to organize a teen group for the school and asks his friends for support. (Issue #17)

The scene continues with the next issue with Rick angrily walking away from Chuck who’s still trying to turn it all into a joke. Later, Rick is sorely disappointed with Virgil when he protests that everyone is looking at the two of them, and telling Rick he should’ve kept the secret to himself. Virgil finds out that Frieda is angry at him for this when he calls her and a recorded answering machine greeting instructs him to see his “phony, homophobic buddies.” (Issue #18)

Rick discovers some students don’t think he’s a pariah when Frieda, Daisy (a girl that is dating Virgil) , and a new boy have lunch with him the next day (issue #19). They make plans to go to a gay rally after school that afternoon. Daisy confesses her mother is a lesbian and will go with the kids. The tension at the rally is already high between gay activists and homophobes when the kids arrive. Violence erupts when members of the Sons of Odin, apparently led by a mutant named Hotstreak, initiates intimidating actions against the gay protesters. Static appears just as things get out of control. The requisite fight involving Static and Hotstreak follows. The police take care of the other Sons of Odin and Static stops Hotstreak. With the mutant handcuffed in a police wagon, Static leaves the scene, assuming everything will be fine. However, a Son of Odin member has infiltrated the police force and creates an accident scenario that frees Hotstreak. The mutant grabs Frieda out of the crowd, and from atop a light pole threatens to harm her unless Static returns. He has unintentionally made himself a good target. It isn’t the police who shoot him though; it’s Rick from the sidelines. It isn’t elaborated where the gun comes from, but the implication is it came from Ducky, the new student. (Issue #20)

Rick is feeling guilt and remorse over the shooting as he and the rest of the gang take a subway trip to see a movie playing at a theater on the somewhat seedy Paris Island. (Issue #21) The feelings worsen after he’s realized someone will figure out he’s responsible for the shooting, and as these things work out, two police officers visit his home as he returns from walking the dog. One officer instructs the other to help kindly Mrs. Stone bring some more cookies from kitchen as a diversion to speak with Rick alone. He has a talk with Rick, and reveals that he’s figured out Rick shot Hotstreak. But he’s a compassionate, if not completely by the book, officer because he’s devised a story that will satisfy the investigation and end any attention to Rick, who quietly agrees to comply. Later in the story, Virgil comes to visit Rick. The two boys go for a walk, and Virgil awkwardly apologizes for his homophobic behavior, ending by saying: “Good. Then we could, like, be like it never happened, right? Still friends?” Rick doesn’t want to let him off so easily and replies, “As long as you remember that it did happen, sure…why not?” (Issue #22)

It’s interesting to note that Rick’s gay-bashing and coming out story happened eight years before Terry Berg’s gay bashing story written by Judd Winick in Green Lantern. Winick’s story caused a media controversy whereas as far as I know, this earlier story caused barely a ripple outside of its readership as noted by letter writers. In 1994 Bill Clinton has been in the White House since January of 1993 and with the later story, Bush has been in office for approximately the same length of time. In those eight years the Internet became pervasive and conservative/ evangelical elements in this country came to the forefront.

The last development of any kind with Rick happens in issue #27 when he gets a part time job working a hot dog cart. Rick and Virgil remain friends through the series (it ended with #44) and has a cameo appearance in #1 of the Static Shock mini series of 2001. An adult Rick appeared with Virgil at the end of the two part Milestone Forever mini (2010) though there is no relevant information to add.

Rick first appeared in Static #1 and is confirmed gay in Static #16. The character transitioned to the Static Shock animated series. Read the Wikipedia entry.  Thanks to Xrstoryteller for the reminder about this character. Both Dwayne McDuffie and Robert L. Washington III wrote Static and each presumably had a hand in crafting Rick.

© and ® Milestone Media. Used without permission.

Justice League – Cry For Justice #7

Thursday, March 4th, 2010

Martin Gray

This review appears by the graciousness of Martin Gray. When not being a missive maven on GLA’s email list, Martin frequently pens comics reviews on his blog, Too Dangerous For A Girl, where this piece first appears. Please stop by to visit him there.

I like a big stupid blockbuster as much as the next person. Massive disasters, bombastic dialogue, it’s all good . . . except when the story can’t get from point A to point B without characters who are Too Stupid Too Live.

And that sums up every hero in this book. Green Lantern, the Atom, Green Arrow, all these and more are here unable to use their skills and powers, their brains and experience, to foil the schemes of one man. Yes, the destruction of Star City is well underway as this finale issue begins, but the perpetrator, Prometheus, is in League custody. Available to end the destruction are heroes with magic rings, super strength, ultra-speed, and yet not a single building is seen to be saved. Green Lantern doesn’t so much as throw up a few supports. Firestorm carries people on lumps of pavement rather than throwing his incredible power set at the big picture. That sort of thing.

With the threat of similar destruction across the world via cunningly planted bombs, the heroes have no choice but to let Prometheus go free in exchange for deactivation codes. Because he can counter any attempt to force him to give up the information – knock out a mental maven via psychic feedback, stop magical attacks – anything. So what if Prometheus is neither magical nor telepathic, he’s The Man With the Plan and in the DC Universe (see Batman, Deathstroke etc) a bit of forward thinking always wins the day.

Burying a bomb under a river but want to keep speedsters at bay? No problem, simply arrange it so that unless the ‘exact cubic tonnage’ of water surrounds the explosive, it goes off. And so on. It’s silly, and not in a good way. Prometheus is so brilliant, and the heroes so rubbish, that when it comes down to ‘free the guy and get the codes, or let millions die’, the good guys are utterly paralysed with indecision in a laughable two-page spread. A decision has to be made and the JLA and chums decide to have a conference call. ‘What do we do?’ ‘No! No way he walks!’ ‘We’re loosing (sic)’ ‘I don’t know what to say.’

This really is excruciating stuff from writer James Robinson; it might work on TV, with quick cuts and split second flashes of dialogue, but laid out on the page it’s corny and unconvincing. And the internal monologue given to the blue Starman as he’s meant to be helping people would disgrace an afternoon soap: ‘Tony . . . can you believe it? It all came down to this? You died because of this. I feel so alone.’

Which is weird, because sometimes you can read a James Robinson comic – such as the recent Starman: Blackest Night – and be thrilled by the subtlety and smarts of the script.

Not here, where you’re more likely to laugh at the words given to poor Freddy Freeman, his lips sewn together to prevent him summoning his Marvel-powered form: ‘Yeath. Juth get m’to the dewiseth! Matgic of Shaztham!’ After a few lines of this I was expecting two magic words: ‘Thufferin thuccotash!’

The big emotional moment is the death of Lian, Roy Harper’s cute little daughter, crushed by a building. Allegedly 90,000 people perish as Star City falls but poor old Lian – whose demise was cleverly hinted at in the set-after-this Titans #21 a couple of months back – is the only corpse in the book. It sucks to be a superhero’s kid, but the tragedies are necessary for the upcoming adventures of Grim Arrow and Stumpy. Super.

The close of this story sees said Ollie Queen finally finds a target – Prometheus’ stupid helmet and the brain matter behind. As it’s the end of the mini, suddenly there is something Prometheus hasn’t planned for, while a hero is allowed to remember his skill set. The contrivances are a bit rich but nevertheless the death of Prometheus provides the most satisfactory moment of the series.

Mauro Cascioli, Scott Clark and Ibraim Roberson handle the pencils and, backed by a veritable league of inkers and colourists, produce mostly attractive, effective work. While some of the emotional beats called for by the script are a tad OTT, the artists capture them just fine. And someone had a very good time drawing Starfire’s cosmic bottom trying to escape her hips – an honourable DC tradition.

So it’s over. Seven issues, most of them annoying, and yet I bought the things so more fool me. I nearly dropped the book once or twice but my faith in James Robinson, along with the saddo aspect of having to know how the story ends, kept bringing me back. Of course, the story isn’t ending, as the plights of Ollie Queen and Roy Harper lead into a JLA special, Arsenal mini and an arc in Green Arrow’s book. We’re promised falls, rises . . . maybe some people will eat this up, but it’s not for me. I’ll stick with James’ current run on the regular JLA book, which is already proving more to my taste than Cry For Justice. I should have cried off after the first issue.

Achilles

Monday, December 28th, 2009
Art by Aaron Lopresti

Art by Aaron Lopresti

Upon the return of the Olympian pantheon following the incidents of Infinite Crisis, Zeus promises a dying Athena to care for and aid her Amazons (see Wonder Woman #26 and 27). As a consequence of their culpability in Amazons Attack, the tribe was enchanted to forget their identities and scattered among the people of the world in mundane lives till Zeus awakens them from the spell and calls them back to Themyscira. Zeus devises a circuitous plan to keep his promise to Athena by creating a new island named Thalarion upon which he resurrects the warrior Jason and his fellow soldiers, naming them Gargareans. In Greek mythology, the legendary Gargareans were an all male tribe that mated with the Amazons annually to ensure their mutual vitality. Female infants were raised by Amazons, males by Gargareans. Zeus charges this new tribe to create Paradise on earth, to “slaughter the dictators and dismember the warmongers” and promises to create a son for Jason.

While the Olympians were imprisoned by Darkseid and the evil gods, Diana made the weighty decision to call upon and give her allegiance to the Hawaiian god Kane Milohai. The elder Zeus visits Kane to request he renounce Diana’s pledge. Quick to anger, Zeus attacks when met with refusal. The fight that follows is swift and brutal, ending with Kane’s death at the hands of Zeus. A triumphant Zeus proclaims the promised son will have the heart of a god.

Returning to Thalarion, Zeus accepts tribute from the Gargareans as he tends a fire. The flames are the means by which Jason’s promised child will be created. Calling upon his powers, Zeus resurrects the skeletal remains of a warrior. Kane’s heart completes the fiery reincarnation of the long dead champion Achilles, now proclaimed by Zeus to be King of the Gargareans. Now charged with the mission orginally given to Diana, Achilles leads his men into action by shutting down military stockpiles across the globe. He leads a contingent of men to New York where he confronts the United Nations and later fights Diana one on one at an abandoned former Soviet military base. Achilles surprises Diana with his agility, but in the end she vanquishes the blond warrior.

Circumstances become vastly more complicated when Euphemus, one of Achilles’ commanders, is revealed to be complicit with Ares who is now angered by the death of Diana’s concurrent foe Genocide whom he intended to make his queen. As a son of Poseidon, Euphemus summons sea monsters to attack both Thalarion and Themyscira. In doing so, the Amazons and Gargareans become uneasy allies. While gaining victory, there is no joy or relief. Diana strikes a seemingly killing blow to Ares, and Achilles confronts the traitor Euphemus. Zeus appears and reveals to Diana that he slew Kane and put his heart inside Achilles. The Amazon retaliates in anger with a striking blow to her god. The consequence of this action is quick and shocking. The elder Olympian coldly states that Hippolyta is to be immediately replaced as ruler by Achilles and Diana tearfully renounces her heritage as the depths of captain of the queen’s guard Alkyone’s bitterness toward Diana becomes more apparent.

Determined to honor Zeus’ plan, newly installed as Amazonian King Achilles is met with animosity when he orders the women to turn over their weapons. Sensing the level of distrust, he propositions Alkyone to become his advisor and queen. Initially shocked, Alkyone contemplates the offer, undoubtedly thinking how to take advantage, and agrees to the betrothal when Achilles performs the appropriate ritual. Now bound, Alkyone exclaims their union to be a sexless marriage of state only. Achilles replies: “Of course not! I would never…I don’t even…No. Let no shadow, no unwelcome worry enter your…your heart…We will find lovers elsewhere.” His decision will prove dangerous in the following days as Alkyone presses her newly gained position to her vile agenda.

Achilles proves his steel and narrow minded resolve to carry out Zeus’ commands in a second confrontation with Wonder Woman. As the Thalarions and Diana’s unlikely ally Giganta watch on, Achilles and Diana trade blows. He boasts of once being considered the greatest warrior before his resurrection and without Athena’s spear as his weapon moments before Diana takes him by surprise proving Achilles can bleed. Rejecting Diana’s creed, Achilles seeks to remove Diana’s interference with the announcement that Hippolyta will hang if she intercedes again.

Alkyone persuades Achilles that to prove his strength as king to Diana he must follow through on his threat to kill Hippolyta. And so he orders the former queen to be chained. When Diana comes to remove her mother from Themyscira she is horrified to see her in manacles and the admission she’ll willingly give up her life if it ensures peace for the Amazons. Pressing her position, Alkyone takes Diana’s  tiara to wear, orders the Amazon to forfeit her bracers and girdles, and then imprisons her. Her aim is shortly revealed when Achilles confronts her over the news that the princess will be executed. Despite her obviously treacherous bent, Achilles appears persuaded to allow Diana’s execution until he opens the box containing Alkyone’s wedding gift of armor and Diana’s bracelets. Realizing the depths of his foolishness, Achilles visits Diana in her cell, asking her forgiveness and her help in ending Alkyone’s threat and terror.

Tensions escalate as events quickly unfold. Amazons attack Achilles, piercing his body with arrows and a spear thrust through his heart. The wounds don’t prove fatal though, an unforeseen benefit of having a god’s heart. The king and queen engage in a fierce, final battle, and it appears Achilles is mortally wounded by a cut from Alkyone’s sword forged from the poisonous tears of the Medusa. A freed Hippolyta ends the civil war with an arrow shot through the traitor’s heart. Zeus appears to the crowd. Diana shoulders the wounded Achilles; perhaps saved by Zeus or Kane’s heart. In light of everything, Achilles and his Thalarions and Diana and the Amazons stand united in defiance of Zeus. As a final surprise, Zeus confesses his misdeeds and frailty before disappearing.

What developments Gail Simone has in store for Achilles remains to be seen.

Achilles’ first appearance is Wonder Woman #30. Confirmation of Achilles’ sexuality came from Simone in a DC Comics message board thread. This version of Achilles created by Gail Simone.

© and ® DC Comics. Used without permission.

Mary Loo

Monday, December 28th, 2009

Contributed by Sidney Osinga

Art by Greg LaRocque

Art by Greg LaRocque

Mary Loo was the producer for the talk show “Flagg Waving”. It’s host, Johnny Flagg, was secretly the hero Fighting American, and also Johnny’s brother Nelson’s brain in Johnny’s body. Johnny/ Nelson was attracted to Mary, but something always interrupted when she tried to explain why she couldn’t return his feelings. She was outed in issue #4 when it showed her joining her girlfriend, Denise, in bed.

Mary helped Fighting American and his unnamed sidekick against the Free Association and their minions, the Media Circus, Gross National Product and his sidekick Def Izzit, and Phoroptor. She also discovered that Congressman Dorkin, the man in charge of the Fighting American project, was in league with the Free Association. They tracked Dorkin to Ireland where they found that an unnamed alien was in charge of the Free Association.

It captured them, and what followed is one of the funniest exchanges in comics that I ever read:

Fighting American: Mary, I’m sorry I dragged you into this. If things had gone differently, we might have been married… Lived in a house with a white picket fence…

Mary Loo: Johnny, can’t you get it through your sweet, thick head? I’m gay!

F.A. : That’s what I love about you, Mary! Even at a time like this, you’re so upbeat, so happy…

M.L. : Not Happy… Gay! GAY! I’m oriented toward my own sex!

F.A. : … oh. F.A.: Sheesh! Why didn’t she say so in the first place?

They were freed with the inadvertent help of a family named the Nielsens. Fighting American forced the alien to flee and congressman Dorkin was captured, although the Free Association remained active.

This was a really good series that sadly lasted only six issues. It’s too bad that this series wasn’t continued, since it was, in my humble opinion, a lot better than Rob Liefeld’s version of “Fighting American.

Mary Loo’s first appearance is in Fighting American #2 and her sexuality is confirmed in #4. Fighting American was based on concepts created and © by Joe Simon and Jack Kirby.

© and ® DC Comics. Used without permission.

Damon Matthews

Saturday, November 28th, 2009
Art by Jesus Saiz

Art by Jesus Saiz

Damon Mathews is federal prosecutor Kate Spencer’s assistant. We first see Damon during Spencer’s closing argument in the trial to prosecute Copperhead. In a brief scene he tires to cheer up Kate while the jury deliberates. Unfortunately, the
jury acquits Copperhead.

Damon is next seen in issue #5 when JLA members arrive at the Los Angeles Federal Building. They’ve come to talk with Spencer about the murder of Firestorm (Ronny Raymond) by the Shadow Thief. Damon does his best to make an impression on the Leaguers, especially Hawkman, with whom he flirts and tries to ask out for sushi. Issues #6, 7, and 9 have brief appearances related to work matters with Kate.

Some friendly banter between the pair in issue #11 reveals that Damon is going out on a date with a man. Cameron Chase of the DEO becomes a recurring character with the next issue. She compliments Damon on his “super-heroic physique” as he dashes off to the gym, but not before lamenting that Hawkman wasn’t impressed. He and Kate have a brief conversation in the Federal Building in which she tells him to take charge in a case, but he’s also left wondering how straight men date women because of her secretiveness (issue #16).

A big development comes in a scene in issue #18. Todd Rice (AKA Obsidian) arrives at the front desk asking to speak with Damon, which is quite a surprise for Damon. Todd had hoped to persuade Damon to play hooky with him for the afternoon. Damon begs off though because of heavy caseload and then asks if their date for that night at a sushi place is still on. It seems Damon really does like sushi. They kiss goodbye at the elevator while the on-looking secretary smiles.

obsidian02

Issue #19 has a two-page scene. It opens in Todd’s apartment with Damon and Todd snuggling under the sheets after sex as they try to make plans for the rest of the night. Todd decides to take a shower that is cut short when Damon calls out he has a visitor. Damon is shocked to see projected image of Green Lantern (Alan Scott), and even more surprised when Todd calls him “Dad.”

It’s “One Year Later” in issue #20, and we learn through an “on the super-hero job” conversation between Kate (Manhunter) and Todd (Obsidian) that he and Damon are still dating. In fact, Todd’s returned to surprise Damon for his birthday. Check back for details to be added!

Damon first appears in Manhunter #1 (vol 4) and is outed in Manhunter #5. See the bio for Obsidian and Ramsey Robinson.

© and ® DC Comics. Used without permission.

Lance Gardner

Monday, November 23rd, 2009

lancegardnerWriter Gerry Conway had given Diana Prince an apartment in the Greenwich Village neighborhood of New York City. After rescuing an airliner and sky divers, Wonder Woman returns to the rooftop of her apartment building, and with her magic lasso transforms into Prince. Diana almost makes into her apartment when she’s stopped by her neighbor Lance. Lance and his roommate Tod are throwing a party to which he invites Diana. Lance promises there will be interesting and creative people from the building (3 artists, 2 actors, a musician, and a professor) at his party. He follows Diana into her apartment, complimenting her on the decor, and mentioning that he’s a dancer, and he “almost had a part in ‘A Chorus Line’ Bob Fosse promised he’d use me in his new musical, after ‘Dancin’–”

In #260 Lance stops Diana in the hallway again, pestering her with some photos from his modeling portfolio. He refers to his roommate as Tom now, probably a simple lettering error. Either Conway wasn’t paying attention or was trying to make a comment. Diana is still suffering from a Berserker’s rage brought on her in some plot. Not in a humorous mood, she picks him up and tosses him away from her door. The big party takes place on the roof top in issue #262. Lance is drawn somewhat nerdishly with an overbite. This may be due to a change in artists from Jose Delbo and Vince Colletta to Ric Estrada & Jose Delbo. Lance appears in only a few panels and is consigned to supporting character limbo.

Tod also shows up at the party and he makes a play for Diana. They share a quiet conversation and a kiss. Diana backs off though. Alas, Diana is still mourning Steve Trevor’s second death. The last we see of Tod is in #269. Tod charms his way into Diana’s apartment by offering to cook her a romantic candle-lit dinner. Tod then proceeds to profess, “I think I could love you, Diana” and kisses her. Of course, Diana is still devastated over Trevor’s death and she tells Tod to leave.

Neither Lance nor Tod were officially outed; this story was printed in 1979, eight years before the Comics Code would be revised to openly allow identifying characters as LGBT. The subtext from his appearances in #259 and #260, as well as the necklace, bracelet, and ring in his introductory panel make it clear the character is intended to be gay. Perhaps there was some backpedaling on Conway’s part regarding roommate Tod making a play for Diana.  Or maybe Tod was completely seduced by the idea of Diana.

Thanks to Norman Tipton for bringing the character to my attention and his help.

© and ® DC Comics. Used without permission.

Anonymous Fashion Guys

Saturday, November 21st, 2009

This pair of men appear for all of six panels in the truly strange and fun story in Inferior Five #8 written by E. Nelson Bridwell and published in the spring of 1968. The plot in a nutshell is the streets of Megalopolis are threatened by an ever rising pile of junk. Among the disrupted businesses towering higher and higher into the sky is Herman’s Diner, run by Herman Cramer, the alter ego of the Blimp. Cramer frantically calls the rest of the Inferior Five to enlist their help.

Inexplicable hijinks ensue as the merry misfits climb bounding heap of garbage. They encounter these women’s clothing boutique owners whose fashion show is disrupted because their models haven’t shown, thanks to the pesky situation. Dumb Bunny is totally distracted by the clothing and the desperate pair dress Bunny up in their haute couture version of Mammy Yokum’s clothes.

Art by Win Mortimer

Art by Win Mortimer

I suppose one can argue that these men aren’t gay (just flamboyant) and were just an off hand bit of social commentary on changing trends of the 1960s. They don’t necessarily stand out from the other visual eccentricities of the Inferior Five or the story’s other background characters. Then again, I don’t know of another Silver Age comic with men wearing frilly sleeved shirts, bell bottmed slacks making mincing hand gestures while dancing around and calling each other “crazy cute” after giddily dressing a woman up in a ridiculous outfit.

© and ® DC Comics. Used without permission.

Neptune

Thursday, November 19th, 2009

Contributed by Ronald Byrd

When she is removed from the Olympic swimming team because she “broke training rules,” Leona vows to take vengeance and “plunder the world that I hate.” Inspired by the nickname that the newspapers gave her, “the Mermaid Queen,” she becomes the pirate Neptune, disguising herself as the legendary male ruler of the sea and outfitting her all-female pirate band as mermaids. By 1944 she has sunk twenty-three merchant ships, erasing the crews’s memories with a will-controlling drug, but she is finally apprehended by Wonder Woman, at which point her identity and true gender is revealed. Speculations about deeper reasons for Leona’s choice of nom de guerre, coupled with her decision to surround herself with lovely “mermaids” and the precise circumstances under which she “broke rules,” might be interesting but are ultimately unanswerable at this late date.

As an enemy of Wonder Woman during World War II, Neptune originally, one would assume, existed on Earth-2; following the Crisis on Infinite Earths, history was altered so that Wonder Woman’s golden age adventures never took place, leaving her enemies of that era primarily in oblivion. However, continuity reconsiderations have recently determined that Wonder Woman’s mother, Hippolyte, was active as Wonder Woman during World War II. To date, the only original golden age rogue re-established into current continuity has been Dr. Poison (see Wonder Woman #151 or the entry on Dr. Poison).

Neptune had no superhuman powers but was an excellent swimmer and had access to various resources, including a mind-controlling drug.

Neptune appeared in Comic Cavalcade #9. Do you have an image of Neptune to share?

© and ® DC Comics. Used without permission.

Houston

Wednesday, November 18th, 2009

houston1Contributed by Ronald Byrd

The son of Oren and Deborah Weinberg, high school student Joel (middle name Aaron) is an ordinary fifteen-year-old boy with unusual relatives and friends; his eleven-year-old sister Aviva has electrical powers, his adopted brother sixteen-year-old Tyler Gilford can become invisible, Aviva’s sixteen-year-old baby-sitter Damara Sinclaire can project mystic pheremones which influence others, [etc.]…

When Oren and Deborah die in an automobile accident, Joel represses his grief by deciding that he and the others should become super-heroes, and he convinces them to join him on a trip from their home in Berkely, CA to Metropolis to meet Superman; Aviva, Tyler, Damara, and Cameron use the code-names Temper, Blindside, Allure, and Omni, respectively, while Joel calls himself Houston, apparentlyas a reference to the phrase, “Houston, we have a problem.” Among their adventures along the way, the group stops at a diner in Bludhaven (formerly the home territory of Nightwing), where a mysterious teenage boy named Rive flirts with Houston. Rive apparently follows the Weinbergs to Metropolis and is present when Allure mesmerizes several bystanders into helping the group enter a government base to rescue Omni from the aliens who have come to claim him and Chloe; Rive is immune to Allure’s power since he is gay, but he assists as part of the crowd, anyway. During a confrontation with Omni’s alien race, Houston’s grief about his parents finally breaks through his reserve, and he, Omni, and the other Weinbergs abandon the super-team concept and return to California. Following his parents’ funeral, there are rumors of Joel and Rive dating, but nothing else is known of their relationship.

Houston is a reasonably skilled leader and, as owner of a large comic book collection, possesses a great deal of knowledge about super-heroes; according to his own self-analysis, his skills include “computers, basic stealth, automotive, swimming and politics.”

Joel first appears in Relative Heroes #1 and is confirmed gay in issues #4 and 6. Thanks to Knickalen for a clarification about Rive.

© and ® DC Comics. Used without permission. Relative Heroes created by Devin Grayson and Yvel Guichet.

Madam Fatal

Wednesday, November 18th, 2009
Art by Steve Sadowski

Art by Steve Sadowski

Contributed by Ronald Byrd

In 1940, the daughter of retired actor Richard Stanton is kidnapped. In order to track down the criminals without attracting attention and endangering his daughter, Stanton dresses up as a “simple old lady” and successfully rescues her. Inspired by his victory, Stanton, who lives alone (presumably in New York City) save for the company of his parrot Hamlet, elects to retain the old woman identity as Madame Fatal, one of the many heroes of that era who fought crime with no more than “her” native wits and skill. “She” appeared in the first twenty-two issues of Crack Comics.

As one of Quality Comics’s stable of characters, Madame Fatal came into DC Comics’s possession along with Blackhawk, Plastic Man, and other heroes, notable and not, many of whom have been depicted fighting crime alongside DC’s own more famous golden age super-heroes. Madame Fatal does not seem to have appeared in any modern DC story, but “she” is known to be dead and largely forgotten by modern times; in JSA #1, at the Sandman’s funeral, it is noted that “they buried Madame Fatal here and no one turned up for the funeral but the touring cast of La Cage Aux Folles.” The significance of these funeral attendees is open to debate.

The reader may note that, perhaps not accidentally, Stanton has some traits that can be linked to stereotypical images of gay men during the 1940s; he lives alone, has a history in the theater, and is a cross-dresser. He is probably the closest to an openly gay character that one can find among the super-heroes of the 1940s. [I do not think there was ever a mention of Stanton's daughter's mother, whether she and Richard were married, and why she was not around or if she had died. Gay men of this and previous generations often chose to marry and raise families in order to avoid suspicion while living on the down low. - Joe Palmer]

madamfatal02AMadame Fatal had no superhuman powers but was a highly skilled actor, a master of disguise, and an effective fighter. “She” carried a walking stick that could be used as an offensive weapon.

Madame Fatal first appears in Crack Comics #1. This character profile was compiled from information from The Encyclopedia of Super-Heroes, by Jeff Rovin.

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