Tuesday, October 30, 2007

Salireta: City of Heroes

[Written for, but never submitted to, Kenzer & Co. for the Kingdoms of Kalamar -- and before the City of Heroes video game]
SALIRETA: CITY OF HEROES

A Sourcebook for the Kingdom of Kalamar

by Scott Casper

Welcome to Salireta! One hundred and fifty miles upstream of the capital, Bet Kalamar, Salireta is a small but important port city along the Badato River. It has a rich history, almost as old as the kingdom itself. The appellation, City of Heroes, dates back only 200 hundred years, when the first of several Kalamaran heroes called Salireta home. Today, it is a thriving city, built on river travel commerce, logging, and agriculture.

Bet Kalamar and Salireta

To understand Salireta, one must look at its relationship to its considerably larger neighbor. Bet Kalamar eclipses all other cities in the Kingdom of Kalamar, if not the known world. Bet Kalamar is the largest of cities -- grand in its excesses. Not counting lands handled by lieges, the king directly controls a roughly 300-mile radius of land around the sprawled metropolis, because Bet Kalamar and its suburbs need that much farmland to support them. There are cities the size of Salireta and larger within five miles of the capital, few of which delude themselves into thinking they have any autonomy. Smaller towns fan out from the capital in a fifteen mile radius. Everywhere else there are much smaller farming villages and thorps. Between all of these locations is a vast network, a web, of commerce that connects them. Salireta is very much a part of that web, yet it still retains much character from its frontier days when this was not yet so.

History & Background

Salireta in 30 IR

It was only 29 years since King Ali Inakas established the Kingdom of Kalamar, and nine years since Rulakan and Fulakar seized the throne. To the northeast of Bet Kalamar, the Paliba Woods remained unexplored, and considered beyond the frontier of Kalamar's immediate holdings. The carpenters of Bet Kalamar must have salivated, thinking of all that unused timber, but instead they fought over scraps from lesser, closer copses that have since all been decimated. In fact, Rulakan did indeed have plans for a great logging enterprise situated where the Badato River met the Paliba Woods -- the modern site of Salireta. But he was swayed by advisors who warned that the Paliba was reportedly full of goblins, and would have been too costly to clear out.

The reports of goblins in the woods, as it turned out, were greatly exaggerated. Oh, there were goblins there all right, but they were not great in number, and they had no wish to draw the ire of the First Legion stationed in the capitol. Aside from their wastes found floating down the Badato, and the occassional raid on a village, the goblin threat existed only in rumor and fairy tale.

Now, at this time there was already a small thorp of farmers and herders living in present-day Salireta. It is thought that there might have been only four large families of initial settlers, which made them brave people indeed. Yet for their bravery they were rewarded with ample wood for building, water for drinking, and land for farming and grazing. Life must have been difficult, for it was a ten mile hike to a village downstream that had a mill. This tiny community had attracted a blacksmith before attracting its own miller.

Almost nothing is known of The Smith, except that he was responsible for organizing the first militia in the area in response to a goblin raid. The Smith's name remains unknown, and there are no written records of his existence, which has lent an appealing air of mystery to the countless retellings of the goblin attack. A mythology of sorts has arisen around The Smith, and the more glib-tongued bards present him as Salireta's first hero -- almost single-handedly fighting a horde of goblins. It is unlikely, of course, yet goblins are the first boogey-men most children here learn to fear, and The Smith is the fairy tale hero who drives them off in each night's bedtime story.

Moving back into the province of facts, it was in the spring of 30 IR that The Smith's thorp is mentioned in any documentation. Prince Fulakar himself was leading the First Legion north along the Badato River, to engage in some violence far afield. By some chance, they continued past the Wooded Road (it might have been washed out, which has always been a problem) and Fulakar first eyed the site of Salireta. He remarked it was a promising location and went to investigate. The settlers, he learned, were illegally free serfs, yet he uncharacteristically spared them from execution. Instead he ordered that enough men be left behind to construct a watchtower on the spot. It was a long overdue precaution against goblin attacks from the Paliba Woods, and the tower's garrison would need food. The settlers would provide it -- in addition to other heavy taxes -- to make them pay for their arrogance in wishing to be free. Whether or not The Smith actually spoke to the prince and convinced him to be so lenient is questionable, but it is usually a glib-tongued bard who raises such questions.

The Legionnaires, disgruntled at having to miss out on the spoils of war, were vindictive towards the settlers. Much of the labor of constructing the watchtower was done by local hands -- after a full day of their regular chores. It would take until the following summer for the watchtower to be completed. It remained for 42 years -- longer than The Smith ever did.

Salireta in 100 IR

The thorp struggled hard over 70 years to grow into a village. It had its biggest setback nearly three decades ago (72 IR) when orcs and hobgoblins marched over the P'Sapas Hills and charged down into Kalamar. The watchtower was razed, and most of the people were killed or taken for slaves. That might have been the end of the village, had it not been for Baron Balamir Aroposi. Baron Aroposi was overseeing the defense of the region, and was determined to keep the humanoid invaders from getting any closer to the capitol. He was also an ambitious man with eyes on the throne in Bet Kalamar, which had been disputed since the death of King Kolokar in 89 IR.

To secure the Badato River, the baron dubbed one of his knights Baronet Pilamel Salireti and dispatched him to construct a new keep where the village had been. There were low expectations for the young baronet, but this suited the baron who feared granting power to competent vassals who might turn against him.

In the previous decades, Salireta had been a frequent stopping point for the Badatarans. These nomadic anglers had been moving up and down the Badato for years without making any permanent homes, choosing instead to follow the spawning habits of the trout that populated the river. When Pilamel neared the ruins of the village, he found the Fishermen waiting for him with a proposition. The village needed new people, and the Fishermen wanted to settle down.

New Monster: Berlodaemon

[From the aborted project with Rob Kuntz, The Waystation of Water.]
BERLODAEMON
FREQUENCY: Uncommon
NO. APPEARING: 4-24
ARMOR CLASS: 6
MOVE: 6"
HIT DICE: 2+2
% IN LAIR: 10%
TREASURE TYPE: O
NO. OF ATTACKS: 2
DAMAGE/ATTACKS: 1-3/1-4
SPECIAL ATTACKS: See below
SPECIAL DEFENSES: See below
MAGIC RESISTANCE: 15% to 1st level spells
INTELLIGENCE: Semi- to low
ALIGNMENT: Neutral Evil
SIZE: S-M (4-5' long)
PSIONIC ABILITY: Nil
Attack/Defense Modes: Nil/Nil
LEVEL/X.P. VALUE: IV/120 + 3/hp

The berlodaemon appears as a giant lamprey that pulls itself forward on two strong but stubby legs, dragging its body behind it. A third limb, like a deformed arm ending in claws, grows out of the top of its head. It is amphibious -- more like a frog physiologically -- and inhabits the stagnant mires and stinking cesspools of Hades. They are the bottom of the food chain amongst daemonkind, normally feeding only on what wayward souls fall their way. As such, they are seldom summoned to the Prime Material Plane on purpose.

The arm of a berlodaemon is capable of grasping and using simple tools, but is more often used for clawing at its prey. Much worse than its claw attack is its bite, for the berlodaemon's mouth functions much like a real lamprey's mouth. Once attached, the daemon can suck blood almost indefinitely (its lower body can swell up like a balloon). Blood loss amounts to an automatic 1-4 points of damage per round, and it cannot be dislodged unless it takes at least half its full hit points in damage.

The lowly berlodaemon enjoys few of the special abilities common to most higher daemons. Of the spell-like abilities, they only retain detect invisibility at will. They have 60' infravision and 90' ultravision. They still take only half-damage from acid, cold, and fire, and are immune to poison and paralysis. They can be harmed by normal weapons, though nomagical weapons that are not iron or silver do -2 points of damage.

As an amphibious creature, the berlodaemon can breathe both air and water, and can swim in water as fast as it can crawl on land.

Monday, October 29, 2007

Favorite Marvel Comics Character by Month in the Silver Age

I had the idea for this mini-project while browsing The Silver Age Marvel Comics Cover Index (http://www.samcci.comics.org/) for the umpteenth time.

Jan. 1961-Oct. 1961 No superheroes yet!
Nov. 1961-July 1962 Thing (Fantastic Four #1-5)
The Fantastic Four had no in-house competition for superheroes at first during this formative first year, but no one could match the Thing for unprecedented pathos in a superhero character.
Aug. 1962 Spider-Man (Amazing Adult Fantasy #15)
Until Spider-Man, that is – the ultimate teenage geek wish-fulfillment fantasy. The first story is one of the best origin stories ever.
Sept. 1962-Feb. 1963 Thing (Fantastic Four #6-11)
The jury was still out at this point as to what would happen with Spider-Man. Luckily…
Mar. 1963 Spider-Man (Amazing Spider-Man #1)
The saddest thing is that Marvel was STILL hesitant about Spider-Man, and only launched his new title bi-monthly. So we get this flip-flop between Spider-Man and the Thing for awhile.
Apr. 1963 Thing (Fantastic Four #13)
May 1963 Spider-Man (Amazing Spider-Man #2)
June 1963 Thing (Fantastic Four #15)
July 1963 Spider-Man (Amazing Spider-Man #3)
Aug. 1963 Thing (Fantastic Four #17)
Sept. 1963-June 1964 Spider-Man (Amazing Spider-Man #4-13)
July 1964-Sept. 1964 Thor (Avengers #6-8)
But what’s this? The Avengers was just starting to live up to its potential of being the best superhero group of them all, thanks mainly to its powerhouse Thor, who always stole the show.
Oct. 1964-Jan. 1965 Spider-Man (Amazing Spider-Man #17-20)
Steve Ditko showed he really shines on these multi-issue storylines, so much so that he just seemed to be phoning in the single issue stories here.
Feb. 1964 Captain America (Tales of Suspense #62)
Meanwhile, Jack Kirby was doing great things with Capt. America , making him better than he ever was in the ‘40s.
Mar. 1964 Thor (Journey into Mystery #114)
Oh, and Jack Kirby was transforming Thor from a superhero comic book into a modern Wagnerian opera.
Apr. 1964-Feb. 1966 Spider-Man (Amazing Spider-Man #23-33)
The last, great Ditko issues.
Mar. 1966-Apr. 1967 Thing (Fantastic Four #48-61)
Just in time for Kirby to rebound on the FF and turn this into his truly innovative work.
May 1967 Goliath (Avengers #40)
But I can’t help it, I still really like the Avengers, even though Roy Thomas was comfortable with keeping it a 2nd-tier team. And Goliath was Henry Pym at his best for the next 15 years.
June 1967 Thor (Mighty Thor #141)
The FF was taking a breather from greatness, allowing other stars to shine again.
July 1967 Hulk (Tales to Astonish #93)
Aug. 1967 Mr. Fantastic (Fantastic Four #65)
By now, the Thing’s pathos was wearing thin, and the cosmic storylines made Reed’s brain more important than superpowers.
Sept. 1967 Spider-Man (Amazing Spider-Man #52)
Oct. 1967 Thor (Mighty Thor #145)
Nov. 1967 Goliath (Avengers #46)
Dec. 1967-Feb. 1968 Mr. Fantastic (Fantastic Four #69-71)
Mar. 1968 Hulk (Tales to Astonish #101)
Apr. 1968-May 1968 Spider-Man (Amazing Spider-Man #59)
And in some months, none of the titles were so great anymore. John Romita’s Spider-Man was certainly a let down from Ditko’s greatness.
June 1968-July 1968 Captain America (Captain America #102-103)
Aug. 1968 Silver Surfer (Silver Surfer #1)
Wow, what a comic book this started out as! Why didn’t more readers get it at the time? Thank goodness it was bi-monthly, though, or no one else would have had a month to shine.
Sept. 1968 Captain America (Captain America #105)
Oct. 1968 Silver Surfer (Silver Surfer #2)
Nov. 1968 Spider-Man (Amazing Spider-Man #66)
Dec. 1968 Silver Surfer (Silver Surfer #3)
Jan. 1969 Mr. Fantastic (Fantastic Four #82)
Feb. 1969 Dr. Strange (Avengers #61)
Best all-issue ad for Dr. Strange’s comic book he ever got! Even, in my estimation, beats out Silver Surfer this month.
Mar. 1969 Capt. America (Captain America #111)
A sample of how good Steranko could be.
Apr. 1969 Mr. Fantastic (Fantastic Four #85)
May 1969 Mr. Fantastic (Fantastic Four #86)
June 1969 Silver Surfer (Silver Surfer #6)
July 1969 Capt. America (Captain America #115)
Aug. 1969 Silver Surfer (Silver Surfer #7)
Sept. 1969 Silver Surfer (Silver Surfer #8)
Oct. 1969 Silver Surfer (Silver Surfer #9)
Nov. 1969 Silver Surfer (Silver Surfer #10)
Dec. 1969 Silver Surfer (Silver Surfer #11)
Jan. 1970 Capt. America (Captain America #121)
More uneven goodness from Cap.
Feb. 1970 Black Panther (Avengers #73)
Roy Thomas seemed to understand that the Panther worked best as a solo hero.
Mar. 1970 Silver Surfer (Silver Surfer #14)
I first read this, years later, retold for Spidey Super Stories!
Apr. 1970 Scarlet Witch (Avengers #75)
May 1970 Scarlet Witch (Avengers #76)
What a classic this two-part story was.
June 1970 Human Torch (Fantastic Four #99)
Because his relation to Crystal always made a good excuse to show off the Inhumans again.
July 1970 Mr. Fantastic (Fantastic Four #100)
Only Reed could guess exactly which robot-using villains made all those robots.
Aug. 1970 Mr. Fantastic (Fantastic Four #101)
A reprint of this issue was my first FF acquisition!
Sept. 1970 Silver Surfer (Silver Surfer #18)
Back as a hiccup, better than it had been before, and then gone again as it was getting good.
Oct. 1970 Spider-Man (Amazing Spider-Man #89)
Fighting one of his greatest enemies, naturally.
Nov. 1970 Spider-Man (Amazing Spider-Man #90)
Dec. 1970 n/a
Nothing good this month, signaling the end of the Silver Age.

Monday, October 22, 2007

The Origin of Captain Marvel Annotated - p. 3

Billy suddenly finds himself back where he started, as if he had just woke up from a dream while he was standing there. The clock tower now says five minutes to one, so the whole story so far has taken place in one hour. Then the scene cuts to the next morning. Most retellings will later cut straight to the next morning and have Billy actually waking up after the events in the cave with Shazam. The death of Shazam always ends with Billy turning back into himself, even though he does not say “Shazam” to change back as he normally has to do. Power of Shazam explains this by having Shazam be the conduit through which the powers of the gods are passed down to Capt. Marvel, whereas in the original version Shazam passes the power of the gods directly to Capt. Marvel before his death. Perhaps the death of Shazam unleashes so much magical energy that it disrupts Capt. Marvel temporarily. Billy was either teleported back to the subway entrance, or perhaps was unconscious and returned there by the “phantom companion.”

The clock tower shows it is almost 8 am the next morning.

Billy’s newspaper is called the Morning Herald. Both New York City and Chicago had newspapers called the Morning Herald in the 19th century, though they were both defunct well before 1940 in our world.

The headline says “Maniac Scientist Threatens U.S. Radio System: Demands $50,000,000.” This was more money than the national debt in 1940, which stood at less than 43 billion dollars. While still an outrageous demand, radio was crucial to communications in the U.S. back then, far more so than it is today. The article goes on to call the maniac scientist “phantom scientist” and “mad wizard,” as if directly alluding to Billy’s phantom companion and the wizard Shazam. The deadline of “midnight tonite” gives the rest of the story a sense of urgency, due to end in 16 hours, 24 hours after the story began. That the article was written in haste for the morning extra is evident by the misspelling of tonight as “tonite.” The article is also the first mention of Sterling Morris, who Billy soon meets in the story. The name “Sterling Morris” seems invented from whole cloth and is not suggestive of any other names important to the radio industry I have found, although “sterling” refers to silver, providing connotation for Morris being rich.

American radio was threatened by something more mundane in 1940 – the threat of monopoly, held jointly by RCA and NBC. The FCC was the real-life “hero”, forcing NBC to sell off some of its stations.

P. 7: “Skytower Apartments” is a generic enough name that it does not narrow down where Billy lives except to cities with skyscrapers. Interestingly, when searching Google for both “Morning Herald” and “Skytower Apartments” today, the top hits for both refer to Australia.

It is convenient to the plot that Billy goes straight to Sterling Morris, president of the Amalgamated Broadcasting Corporation instead of the police. The Wisdom of Solomon would tell Capt. Marvel that he is withholding vital information from a police investigation, but Billy may distrust conventional authority figures who all failed to save his parents or protect him from his uncle.

Amalgamated Broadcasting Corporation may have been named for Amalgamated Broadcasting System, a short-lived radio network that was on the air for less than two months in 1933. Little could Capt. Marvel’s creators know that the NBC affiliates sold off in 1940 would grow into the American Broadcasting Corporation – ABC – four years later.

Though Hammond strikes a blow for equality in the workplace by defying traditional gender roles, the male receptionist does not prove to be a recurring character.

This is the last page of the Captain Thunder ashcan, except for the artwork from the last page of this issue (with different dialog). There is a strong shift in the story at this point, from the deeply meaningful, mystical origin story, to an adventure tale that seems to be a cross between a Superman story and an action-oriented movie serial.

P. 8: When Billy shares what he knows with Sterling Morris, Morris mocks him and asks why he did not say the “Phantom” was in “City Hall” or “the Capitol at Washington.” Perhaps Morris is voicing his frustrations with the FCC’s recent actions, as outlined above.

Morris is wearing pince-nez glasses, as popularized by President Teddy Roosevelt (though there is little other physical resemblance to suggest Morris is meant to look like Roosevelt).

After securing a promise from Morris to give him a job if he finds the “madman’s” laboratory, Billy is next seen much later that night, still mulling over how to get into that apartment building. As the next page makes clear, it is almost midnight again – meaning Billy has wasted as much as 15 hours on the first step. It would have been no difficulty at all for Capt. Marvel. He has either forgotten about his dream-like visit to Shazam or simply remained skeptical of it, as he has not have even tried saying the magic word all this time.

P. 9: After finally trying out his magic word, Capt. Marvel jumps from the roof of a nearby skyscraper to the penthouse apartment of the Skytower Apartment building. Capt. Marvel has either chosen not to fly or, at this time, cannot fly.

Few superheroes in 1940 could fly, and the standard for them all, Superman, would not be flying for another few years. It is a shame that Capt. Marvel, with such varied sources of power, would display no more abilities than any Superman-clone in the comic book market displayed. If we assume that Billy’s world was the same as ours, except that what happened in Fawcett comics was real, then Superman would also be a comic book character, and one Billy would undoubtedly be familiar with. Superman was enormously popular in 1940, thanks to his appearances in comic books, newspaper comic strips, and radio. If Capt. Marvel was limited to only what abilities Billy could conceive, Superman likely would have been his model.

Sunday, October 21, 2007

The Origin of Captain Marvel Annotated - p. 2

It is curious that Achilles here represents courage, when Achilles is normally associated with invulnerability.

The title of Shazam’s book is visible in two panels, but sadly illegible. The characters are likely not from the English alphabet.

If Shazam has been active for 3,000 years, then he predates the Roman names of at least two of the gods who gave him their powers. Since being published by DC comics, Shazam has been depicted as even older and said to derive his powers from different deities than Capt. Marvel, though this is clearly not the case in the original origin. Shazam could hail from the early period of Greece, which seems appropriate given his patron gods, though it is difficult to identify his heritage except that his skin is fair and centuries spent underground could have changed that from any shade. Shazam has been amazingly good at remaining anonymous while fighting evil over three millennia, though he has likely used aliases. Odysseus, Jason, and Beowulf all fit within Shazam’s timeline.

The word “historama” delivers about 53,400 hits in Google today, though it cannot be found in the Oxford English dictionary. It may have been coined here. It would be nice if the historama was the globe, with images superimposed over it, but instead the historama appears to be a flat image projected on the wall, like a movie, only from no visible projector. Again, the fantastic elements are limited to what concepts Billy is able to comprehend at his age, or perhaps by Billy’s level of comprehension.

The historama is a “super-television screen.” The first working television was invented in the 1920s. More advanced, the historama is clap-activated, anticipating the Clapper light switch by about 40 years.

Billy’s “wicked uncle” is not named here and is last seen here for possibly almost eight years, his next known appearance being in Captain Marvel Adventures #88 (Sept. 1948). There are physical similarities between Ebenezer Batson (as he is later named) and Capt. Marvel’s arch-foe, Sivana, and most of their differences are simply distorted characteristics of Ebenezer (Sivana is more bald, has thicker glasses, is more wrinkly, etc.). The concept of a child’s parental figure playing the role of villain in his fantasies can be traced back to Peter Pan, where many stage productions have the father and Captain Hook played by the same actor.

Roy Thomas understood the connection between Ebenezer and Sivana, but simplified it by combining them into one character for Shazam!: the New Beginning.

No explanation is given for how Billy’s parents died. It may have been a recent event for Billy, as he does not appear noticeably younger in the historama as his uncle is kicking him out of his home. That Billy’s father had an intact fortune in money and bonds to pass onto Billy at the height of the Great Depression shows that Billy would have been extremely lucky. Of course, having a fortune willed to you during the Great Depression would have a very common wish. There is accumulating evidence to suggest that Capt. Marvel is not just a wish-fulfillment fantasy, but is specifically part of Billy’s wish-fulfillment fantasy.

In Power of Shazam, Billy's parents are archaeologists and killed by Black Adam (who would not debut in the original continuity for another five years).

P. 5: Shazam says he has spent his life fighting “injustice and cruelty.” Injustice is one of the Seven Enemies of Man. Since cruelty is not one, Shazam may just be speaking in general terms here, or perhaps Injustice was his principal opponent and cruelty is his blanket term for the other six.

By making Billy his successor, Shazam becomes a father figure for Billy.

Billy gains the powers of Shazam by speaking his name. The concepts of magic words and true names having magical power are deeply rooted in folklore.

Billy is transformed into an adult by speaking his magic word. In Power of Shazam, Billy’s father is shown to look identical to Captain Marvel and in Kingdom Come, Billy is shown to look identical to Captain Marvel when he reaches adulthood (through mundane aging instead of magical means). It is a common wish for children to wish to be adults, thinking adults have easier lives.

Although Fred MacMurray is often cited as the inspiration for Capt. Marvel's appearance, the earliest appearance of Capt. Marvel scarcely resembles him at all.

From Wikipedia: Captain Marvel wore a bright red costume, inspired by both military uniforms and ancient Egyptian and Persian costumes as depicted in popular operas, with gold trim and a lightning bolt insignia on the chest. The body suit originally included a buttoned lapel, but was changed to a one-piece skintight suit within a year at the insistence of the editors (the current DC costume of the character has the lapel restored to it). The costume also included a white-collared cape trimmed with gold flower symbols, usually asymmetrically thrown over the left shoulder and held around his neck by a gold cord. The cape came from the ceremonial cape worn by the British nobility, photographs of which appeared in newspapers in the 1930s.

It is also worth noting that the armbands on Capt. Marvel's costume look like bracers, or armor that goes over the forearms, furthering the militant look of the uniform. I think the “flower symbols” look like daggers, but that’s just me. Michael Norwitz says E. Nelson Bridwell had identified the "flower symbols" as moly. Allium Moly does have splayed yellow leaves, somewhat similar to the design on the cape. Moly, of course, also sounds like the "moley" in Billy and Capt. Marvel's favorite catchphrase, "Holy moley!"

Captain Marvel is first named by the narrator, but first hears his name from Shazam. In the ashcan version of Capt. Marvel’s origin, he was to be named Captain Thunder, but the name was dropped over copyright concerns.

Shazam charges him with “sacred” duties, which might be a pun or meant to be taken literally given that gods are the source of most of his powers. “To defend the poor and helpless” and “right wrongs” are democratic ideals, with the former a liberal democratic ideal. Crushing evil, on the other hand, is much more heavy-handed and suggests that the war against the Seven Deadly Enemies of Man is an active one (hence inspiring Shazam to give Capt. Marvel a military-themed uniform?).

That Capt. Marvel calls Shazam “sire” can mean that he recognizes Shazam as his master (Jeff Smith would have Capt. Marvel call him “master”) or can mean that he recognizes Shazam as a father figure (Shazam, in a magical sense, sired him just now).

Shazam has discharged his duty to pass on his legacy to Billy just before being killed, making him the second father figure Billy has lost. Shazam will return, though, as a spirit to guide Capt. Marvel. In Power of Shazam, Shazam does not die and goes back with Billy to Fawcett City.

Friday, October 19, 2007

The Origin of Captain Marvel Annotated - p. 1

The Shazam Archives Vol. 1 Annotated
Whiz Comics no. 2 (Feb. 1940)

Pg. 1: Billy’s hometown is not identified, but the general consensus of the Marvels of Shazam Yahoo!group (http://groups.yahoo.com/group/marvels_of_shazam/) is that his base of operations is specifically said to be, or at least strongly hinted at being, New York City later in the original series. Of course, many superheroes would come to inhabit fictional cities. Later, when DC took over publishing Capt. Marvel, Billy was said to live in Fawcett City, named for the original publisher. Capt. Marvel fan Walt Grogan writes: "E. Nelson Bridwell confirmed it was New York City in an issue of Shazam! but there were enough hints in Whiz Comics and Captain Marvel Adventures to suggest it was New York. The biggest hint was that New York was probably the only big city that Captain Marvel didn't visit in his city-visiting stories -- most likely because it was his base. There was also a story that said Amalgamated Broadcasting was in fact based in New York and that's where Sterling Morris had his office. So all signs point to New York as Cap's hometown."

The fact that it is raining is suggestive of it being spring, though this issue was on sale in January. Of course, rain in January is not uncommon in some parts of the country, particularly California. In the 1987 relaunch of Shazam: the New Beginning, Roy Thomas located Billy in San Francisco.

The time on the clock tower is five minutes to midnight. Midnight, also known as the "witching hour," has strong supernatural connotations.

Though it appears that Billy is answering the stranger honestly about sleeping in the subway station, it is not clear whether Billy is choosing to be honest or is compelled to answer. After his initial question, the stranger only talks in commands to Billy, with his first command appearing in bold, colored letters – a technique used no where else in the first issue. In no later interpretation of the character does Billy live in a subway station. It would be extremely difficult for Billy to escape the notice of the authorities in such a public place, and it is important to Billy’s origin that he have no parental figures, not even as a ward of the state. Billy has been forced by his own circumstances to grow up, just as speaking the magic word “Shazam” will force him to literally grow up. This parallelism, the same theme seen through the lens of the mundane and then the magical, is at least as old as Peter Pan, and can be interpreted as how a child interprets the mundane world around them through their own magical lens. This thematic parallelism will occur again.

Pg. 2: The stranger is referred to as Billy’s “phantom companion,” further reinforcing the impression that the stranger is supernatural in origin.

The headlights and grill of the subway car are suggestive of a face, with the headlights even compared to a dragon’s eyes. That the car has no driver may be further evidence that the train is alive. One year later, Disney released the movie Dumbo, featuring an even more anthropomorphic train. The weird symbols on the outside of the train my show that the train is non-sentient, but magically animated. A tilde-like wave shape is repeated outside and inside the train, and a sun symbol is visible inside the train. These could represent water and fire, though without obvious symbols for air or earth, an alchemical connection seems less likely. One of the symbols on the outside of the train is the Star of David, an important symbol in Judaism. It is surely no coincidence that so many comic book creators circa 1940 were Jewish.

Always absent from later retellings are the two alien figures standing before the subway car after it stopped. It is possible that the lizard-like humanoids, noticed by neither the characters nor the narrator, are not real, but are artworks on the cavern wall, like the symbols on the subway car. It is odd, though, that these creatures are rendered no less realistically, and no less 2-D, than Billy and his companion in the same panel. These creatures may have been controlling the car, or simply passing by. There is the possibility here that this underground lair is shared by multiple intelligent species. This also presages the appearance of aliens later in the series, though later monsters will tend to be rendered more cartoon-y and less sinister-looking.

The subterranean lair is not here identified as the Rock of Eternity, but it probably is.

P. 3: It is interesting that the statues are “the seven deadly enemies of man” instead of “the seven deadly sins.” Only three of the seven are the same in both versions – Pride, Envy, and Greed – with Hatred, Laziness, Selfishness, and Injustice replacing Anger, Sloth, Lust, and Gluttony. Aesthetically, the longer title fits better over the entire row of statues. Or it could have been a conscious effort by the comic book’s creators to separate them from their religious connotations. Other elements of religion will soon appear without their religious context. It could also be that young Billy can only identify the enemies using terms he understands. This would make sense if much of this is actually going on inside Billy’s head, a journey of self-discovery where Billy reviews what he knows so far of human nature, translated literally on the page. Jeff Smith has commented before his revision of the origin on how he liked the Tiki-like quality of the statues. If this is true, there may be a Central Eastern Polynesian connection to the statues, and/or the enemies.

It is later revealed that the seven enemies of man are contained within the statues. In Jeff Smith's retcon, the statues open their eyes as indicators of how active the enemies are on Earth.

This is the last we see of Billy's phantom companion for about 50 years. When Jerry Ordway rewrote Capt. Marvel's origin, his big revelation was that the phantom is the spirit of Billy's dad. When Jeff Smith rewrote the origin, he turned this on its head by having Billy recognize the phantom as his dad right away. Michael Norwitz recalls an interview where C.C. Beck, or someone else from the original series, identified the phantom companion as Mercury, messenger of the gods.

Literary precedents for old, bearded wizards abound, with Shazam fitting the mold of Merlin and Gandalf. Merlin was imprisoned underground and Gandalf was imprisoned on a rooftop, while Shazam seems incapable of leaving his spot, even with the threat of death literally hanging over him. The stone block hanging by a thread has an obvious mythological precedent in the Sword of Damocles, the legend of a sword hanging over a ruler’s head by a hair and representing the perils of leadership. The books and scrolls around Shazam represent his knowledge, and the fact that the book must be close to four feet tall shows he is very knowledgeable (indeed, he even claims omniscience). It is telling that the globe is positioned to show the Americas. With so much unrest in Europe and Asia circa 1940, it is curious that Shazam looked to North America for his champion, yet he must have sensed or known the pivotal role the United States would soon play in world events (and certainly lends credence to his claim of knowing everything).

Lightning and thunder accompany Shazam speaking his name, foreshadowing the visual effects of Billy’s transformation to Captain Marvel. The flames on the brazier suggest the appearance of wind too, though this is never an effect associated with Billy’s transformation. Shazam does not change when he says his own name.

Pg. 4: Much has been written about the six beings that spell out the acronym SHAZAM. From these six sponsors, Billy will gain the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles, and the speed of Mercury. Of them, Solomon is Hebrew, Hercules is Roman (called Heracles in Green myth), Atlas, Zeus, and Achilles are Greek (though Atlas is called the same in Roman mythology too), and Mercury is Roman. It is frequently pointed out that Solomon hails from religion while the others are from mythology, but little is made of the geographic location, with all of them originating within just a 1,500-mile diameter along the Mediterranean. Close to the opposite side of the globe from the Mediterranean is the very Polynesian region of the Pacific that makes Tikis. So the sponsors of Capt. Marvel and the enemies of man are not just morally opposed, but geophysically opposite. Still, this polarity is likely symbolic and not meant to speak to cultural value.

Thursday, October 18, 2007

More Misc. Avengers Graded

The following are the latest mildew casualties from my collection:

Avengers #62 (Mar. 1969, reprint). “The Monarch and the Man-Ape!” Grade: A. I don’t usually discuss the art as much as the writing, but it is clearly John Buscema who brings power and grandeur to Roy Thomas’ tale of a guy wearing an ape suit kicking the Black Panther’s butt.
Avengers #71 (Dec. 1969, reprint). “Endgame” Grade: B. So many epic-worthy ideas crammed into this issue, like a novelist’s notes, without ever being finished into something that works. Yellowjacket holding his own against Sub-Mariner? Black Knight knocking out Kang in one hit? Roy Thomas has a strange grasp of the relative power levels, or else he was just really swamped with editing work at the time and had to crank this out in a hurry.
Avengers #166 (Dec. 1977). “Day of the Godslayer” Grade: A. It may have been impossible to live up to the promise of part one as super-Count Nefaria mauled the Avengers like crazy. As fun as it is to see a villain able to duke it out one-on-one with Thor, the way the Vision beat him seemed like a cop-out to wrap up the story quickly. The art looks a little rushed too. Busy month for the inker?
Avengers #170 (Apr. 1978). “…Though H--- Should Bar the Way.” Grade: B+. Possibly the slowest lead-in to an Ultron two-parter ever. Jocasta is inexplicably powerful compared to later appearances, but the effort to stop her is practically buried under a bunch of sub-plots.
Avengers #171 (May 1978). “…Where Angels Fear to Tread.” Grade: A-. The best part here is Thor talking about how he feels about the Catholic Church and God, which was almost never touched on in his own comic. The worst part is how Ms. Marvel is forced in the story as an obvious bit of cross-promotion. The fight against Ultron is okay, but has been done better before and since.
Avengers Annual #9 (1978). “…Today the Avengers Die!” Grade: A++. My copy is in tatters because I literally wore it out by re-reading it as I grew up. Bill Mantlo was never too successful with ongoing series, but he could write fill-in issues better than anyone else in the business. Don Newton draws the Avengers fantastically, as he would a few more times in the ongoing series before his untimely demise. Best of all is Arsenal, a robot menace who's powerful, mysterious, and personal for the Avengers -- Ultron done right! I must have subconsciously learned from Mantlo when it comes to writing superheroes. When I wrote “The Last Fantastic Four Story,” I paced it much the same way, keeping the strongest hero busy rescuing someone else to give the weaker heroes time to shine until the strongest hero returns for the grand finale. Superb.
Avengers #173 (July 1978). “Threshold of Oblivion” Grade: B+. I never read the whole “Korvac saga” and these issues didn’t make me want to. It’s hard for me to get excited about a villain who hangs around the house all day in his robe, gloating because no one has noticed him. The best stuff here is Jim Shooter riffing on Tony Isabella’s Champions book and some delightful interplay between Hercules and the Black Widow, as well as some Dr. Who references at the end. This is also around the time when George Perez started doing all the covers for the Avengers, even when he was not the artist inside. They look great and gave the book more consistency, at least on the outside.
Avengers #174 (Aug. 1978). “Captives of the Collector” Grade: B. Uh-huh. The Collector takes down every Avenger there ever was, but gets beat by Hawkeye. More of that silly Korvac stuff stuff. At least he’s moved from his robe to a T-shirt now. Still, the Collector is a great villain that always lets a writer get inventive.
Avengers #181 (Mar. 1979). “On the Matter of Heroes” Grade: A++. David Micheline’s stellar stint on the Avengers has begun. John Byrne’s artwork is top notch and lovingly embellished by Dan Green. The then-new character Peter Gyrich is a scream and (again, then) highly original. And what a cliffhanger ending!
Avengers #182 (Apr. 1979). “Honor Thy Father” Grade: A+. It bothers me a little that such veteran superheroes were fooled so long by rather obvious illusions, but this is a perfectly-paced story and such a treat to see Klaus Janson inking John Byrne’s art.