Tagged: Dynamite Comics

The Law Is A Ass #415: The Green Hornet Throws A Tamper Tantrum

I think the Green Hornet is starting to believe his own press clippings.

The Green Hornet is a hero who pretends to be a villain. By day he’s Britt Reid, publisher of Chicago’s The Daily Sentinel newspaper. At night, Britt dresses up as the Green Hornet and pretends to be the secret crime boss of Chicago. He uses his guise as a villain to infiltrate criminal organizations and thwart them. And get the bad guys arrested. So sometimes he does some bad things but for the right reasons. Only now I think he’s starting to believe he is a criminal, because in The Green Hornet: Reign of the Demon #1, he started doing bad things for the wrong reasons.

According to the back story of Reign of the Demon, several months ago the Green Hornet took down crime lord Vito Cerelli. Apparently, the Hornet indicated that he was going to retire and some people believed that nonsense. I called it nonsense because, like nature, organized crime in comic books abhors a vacuum. As soon as one crime boss is overthrown, another comes in to take over. Making the Green Hornet needed all over again. Let’s face it, The Green Hornet had about as much chance of retiring as all 5’7” of me has of slam dunking on Dikembe Mutombo. Britt Reid’s former secretary, Lenore Case, was one of those people who believed he was going to retire the Green Hornet and she didn’t think that was a good idea. So she set out to change his mind. By robbing a bank as the Green Hornet.

Yes, you read that right. Lenore Case took her boss’s Green Hornet costume and equipment and used it to rob a bank. Then she allowed herself to get arrested with the Green Hornet costume. All this to “make [Britt] see that giving up being the Green Hornet was a bad idea.” How Lenore expected that to convince Britt not to retire the Green Hornet, I’m not sure and that’s a problem. Green Hornet’s chauffeur, Kato, is the Asian member of the group. He’s the one who’s supposed to be inscrutable.

Britt didn’t want Lenore to “rot in prison” so he devised a plan to spring her. The Green Hornet and Kato broke into police headquarters. They stole the Green Hornet costume Lenore used from its box in the Evidence Room and replaced it. When the district attorney took what he thought was a Green Hornet costume out of the box to show the jury, he pulled out a clown costume instead.

The trial judge gave the prosecutor a one-hour continuance to try to find the physical evidence, which, obviously, the prosecutor couldn’t do. So one hour later, because, “the state has evidently misplaced all of its supposed evidence against Miss Case,” the judge dismissed all the charges against her. Moreover, given that the trial had started when the judge dismissed the case, Lenore couldn’t be tried again. Once a trial has started, jeopardy has attached for double jeopardy purposes and if the case is dismissed, the defendant can’t be tried again. So Lenore walked on the bank robbing charges, not just then but for all time.

Usually when the Green Hornet does something bad, it’s to stop a criminal operation and bring the criminals to justice. Here the Green Hornet tampered with evidence and obstructed justice – both felonies so I’d call them bad things – to keep a bank robber from being convicted and punished. That’s not a good thing, that’s another bad thing.

If it’s not bad enough that the Green Hornet let a bank robber escape justice, he also hurt other people in the process. Remember, Lenore did rob the bank. So the prosecutor wasn’t doing anything wrong when he prosecuted her. And the police officer in charge of the evidence room was doing what he was supposed to do by storing Lenore’s Green Hornet costume as evidence to be used against her in trial. But the Green Hornet made these two innocent officers of the law look incompetent and have probably ruined their careers in the process. And all to help a guilty bank robber. So, yay!

Of course, the Green Hornet had help in obstructing justice in Lenore’s case from the least likely source. The judge presiding over the trial.

The judge felt that because the state had misplaced all of its evidence against Lenore, he had “no choice but to dismiss all charges.” Which was a bit precipitous on his part. A bit? It was a whole monsoon of precipitous. The judge shouldn’t have dismissed the charges, because there is no way that box contained all the evidence the state had against Lenore.

The chief of police didn’t say, “Someone wearing a Green Hornet costume just robbed a bank, round up the usual suspects. Oh, and while you’re at it, better bring all the secretaries in the city for good measure.” No, the police have to have followed some trail of evidence which led them to Lenore. The story didn’t say what that evidence was but it doesn’t matter what it was. What matters is that there had to have been some evidence which led the police to Lenore Case. Evidence other than that Green Hornet costume which disappeared.

The prosecutor could still have tried the case against Lenore. He could have introduced all of the other evidence that led the police to Lenore in the first place. He could then have introduced the testimony of the officers who arrested Lenore and found the Green Hornet costume in her possession. There was enough other evidence that the case could – should – have gone forward.

Sure the defense attorney could have attacked the credibility of the state’s case, because someone misplaced the Green Hornet costume. And maybe the jury would have found her not guilty for that reason. But that was no reason for the judge not to let the trial continue. The state had other evidence and it should have been allowed to make its case as best it could.

Makes me wonder what they taught that judge in judging school. Other than how to be snarky, that is.

Mike Gold: Our Pulp Roots

Justice IncOne would think that because the roots of comic book heroes are deeply planted in the forest of pulp heroes, adapting such characters to the four-color medium should be a snap. Despite the superlative efforts of such talents as Garth Ennis, Frank Robbins, Eduardo Barreto, ComicMix’s own Denny O’Neil and a handful of others, this is not the case.

Let us politely say that, overall, pulp heroes have enjoyed a mixed reception. Some good, some bad, some wonderful, some insipid. Sturgeon’s Revelation remains in complete control.

In making the transition, some people resort to measures that put these characters in modern times. Usually, that trick doesn’t work: The Shadow, The Spider et al are creatures of their own times. Sometimes they become something different – in the 1960s Archie Comics turned The Shadow into a routine, and boring, costumed superhero. At least the guy who wrote most of it, Jerry Siegel, knew something about capes.

These days most of the pulp hero resurrections are being handled by Dynamite Comics, and by and large they’re doing a fine job. I didn’t care for their approach to The Spider, but I was surprised that their putting Doc Savage in the modern era while maintaining his past actually works. Their Shadow is mostly terrific; there’s a lot of it so some is better than others.

It’s hard to go wrong with Gail Simone, and she fits Red Sonja like it’s her second skin. Probably has something to do with the red hair. Zorro has been in fine hands, particularly the stories by Matt Wagner and then even more particularly those stories drawn by John K. Snyder III. The idea of team-up up Zorro with Django is nothing short of brilliant, and Quentin Tarantino teamed up with Wagner to provide the story.

Because The Shadow, Doc Savage, and The Avenger are all owned and licensed by Advance Publications (better known as Condé Nast, which is one of their divisions), it was inevitable that these three would share their own mini-series. Any fan with an appreciation for history felt his spider-sense a-tingling when Dynamite announced they had all three licenses. The concept is akin to skating on thin ice.

Not to worry. This just-completed mini-series, Justice Inc., was written by Michael Uslan, and Michael knows his stuff.

Now, you might be asking “Geez, Mike, what the hell are you talking about?” In fact, you might have been asking this question for several years now, but I’ll just assume you’re referring to Mr. Uslan’s far greater notoriety as a Hollywood producer who specializes in bringing comic book characters to the screen. You know, like all those Batman movies. And the forthcoming Doc Savage movie, the one IMDB says is starring Chris Hemsworth (maybe) and is to be directed by Shane Black. Yep, that’s the guy.

However, he’s also written quite a few comic books. In fact, I regard him as one of our best writers – I will read any comic book with his name on it, and I just might even pay for it. (I heard the phrase “hey, kid, this ain’t a library” so often I salivate at each utterance). And he’s done some truly innovative stuff: he’s the guy who married Archie Andrews off to both Betty and Veronica – sadly, separately – and now he’s got Betty and Veronica out of Riverdale for a year in Europe. He’s written Batman, THUNDER Agents, The Spirit, The Shadow / Green Hornet crossover “Dark Nights,” the revived Terry and the Pirates newspaper strip, Beowulf, and an issue of DC’s original Shadow run. And other stuff.

Joining Uslan on Justice Inc. is artist Giovanni Timpano, who is quite up for the challenge of drawing such a character-heavy story in period. Covers – well, there are a lot of them by a lot of good people. Dynamite tends to approach variant covers the way a 16-year old boy approaches an orgy. But, yes, Alex Ross has one over ever of the six issues.

Since we’ve got at least three heroes and sometimes their associates, I should note the villains are two of the pulp classics: Doc Savage’s arch enemy John Sunshine and The Shadow’s persistent creep Dr. Rodil Mocquino, a/k/a The Voodoo Master. These are choices that might be obvious to the hard-core, but they are so for a good reason: they are solid villains right out of the best pulp traditions.

Even though Michael and I have yet to work together, he avoids violating one of my great many cardinal rules: he keeps the in-jokes accessible to the knowing without getting in the way of those that don’t know. Indeed, in-jokes abound in Justice Inc, ranging from very cute to quite clever. He takes some extremely minor liberties with the characters: Doc Savage is a bit more sarcastic than in the pulps, The Shadow seems a bit more OCD given the fact that he’s hardly a team player (unless it’s his team), and The Avenger’s origin story is bent slightly to accommodate this being set at the very beginning of his career.

You might ask why I’m plugging this mini-series after its conclusion last week. Outside of the fact that I’m absurd, it is possible that your friendly neighborhood comics store has a run left, and you should always support your local friendly neighborhood comics store. Aside from that, the trade paperback collection comes out in mid-May and is available for advance order from Amazon.

I doubt Uslan is going to give up his day job in order to churn out more great comics. That’s just a guess, but, damn, I can hope.

 

Mike Gold: Everything Old Is New Again

Justice IncWhen was the last time a major comics publisher launched a new series of superhero comics? Of course, by new I mean “totally original characters.”

For example, both Dynamite and Dark Horse are doing quite nicely with their somewhat integrated lines of heroic fantasy. Dynamite based theirs upon well-known pulp heroes such as The Shadow, Doc Savage, The Avenger and Zorro. Dark Horse has resurrected golden age licensed characters such as Captain Midnight and Skyman and has been integrating them with their own Comics Greatest World (X and Ghost), brought back from wandering around the1990s. Nice stuff – some of it great stuff – but these are not new characters.

The same thing is true over at Valiant. They’ve resurrected their characters and did what amounts to the fourth or fifth relaunch of their universe, sans those licensed from Western Publishing (which are now over at Dynamite Comics after Dark Horse took their shot). This time the effort seems to be well-received and its worthy of that but, again, these are not “new” characters or original characters.

DC and Marvel keep on altering their atlases as though somebody dared them to confuse M.C. Escher. Nothing new here outside of the occasional new-person-with-old-code-name gambit, sometimes followed by the old-person-returning-to-the-old-code-name variant.

So where’s the new stuff? Where are our totally new and original superheroes? I remember the thrill I felt when I fell across T.H.U.N.D.E.R. Agents #1 – the real one, done by Wally Wood and Reed Crandall and Steve Ditko and Gil Kane. Totally original stuff created by some of the greatest talent the medium has seen. They made such an impact upon baby boomer comics fans that they’ve been resurrected by such well-financed publishers as Archie Comics, Penthouse, DC Comics and, most recently, IDW. Even Marvel had a bid in on at least two occasions. And, as it turned out, the only thing these latter efforts were lacking were the likes of Wally Wood and Reed Crandall and Steve Ditko and Gil Kane… and the 1960s sensibilities that molded the property in the first place.

We’ve got brilliant creators wandering around out there today. Most are all well-employed, and their creator-owned stuff tends to be non-heroic fantasy. That’s completely understandable. If you spend most of your time doing The League of Uncanny Spider-Bats, you’re going to want your own stuff to taste different. Even the brilliant lads at Aw, Yeah Comics (the imprint, not necessarily their home-base comics shop) do that.

Nonetheless, it is 2014. We’ve got a whole different set of concerns. The DC Universe was born out of the depression and World War II. The Marvel Universe was born out of the nuclear arms race. Today we’ve got terrorism, plagues, a completely dysfunctional government, and a planet that has been savagely and perhaps terminally abused.

So. Where are our superheroes?

 

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