Judging a book by it's cover: Unknown Soldier (1977 - 1982)

With Veteran's day quickly approaching (it's November 8th as I write this), I was hoping to review the Unknown Solder ongoing series that ran from 1977 to 1982. Sitting in front of me I have nearly 65 Unknown Soldier comics to peruse in less than 3 days -- which is a daunting task, even for me. Instead, I'll be trying something new -- I'll take a look at the cover, decide if it's interesting enough to flip through, and review those ones -- essentially 'judging a book by it's cover'.

Who or What is the Unknown Solder?

Created by Robert Kanigher and Joe Kubert in 1966, the Unknown Soldier first appeared in 1970s's Star-Spangled War Stories #151.

The Unknown Soldier [name never revealed] was a young American soldier who witnessed his older brother (also a soldier) sacrifice himself by jumping on a grenade thrown into their foxhole. Despite being wounded, the young American soldier managed to destroy the enemy patrol in an adrenaline rage before collapsing. When the young American soldier awoke in the hospital, he was informed that his face was damaged beyond repair. Rather than receive an honorable discharge, the young American solider decided to list himself "dead" on official records, but live on as "one man" who could make a difference. He mastered the art of disguise (he keeps a make-up kit on him at all times), hand-to-hand combat, the proficient use of almost any weapon and the ability to pilot almost any military vehicle. He became The Unknown Soldier -- he was the man that no one knew, but was known by everyone. He also had a few field operatives he relied on: Chat Noir, the Sparrow and Inge.

As Joe Kubert recalls, the initial inspiration for the Unknown Soldier came from the actual Tomb of the Unknown Soldier -- located in Arlington National Cemetery outside Washington, D.C. The Tomb is a memorial to all of the U.S. service members who died, but who's remains were never identified. Kubert intended the Unknown Solider to be a living symbol representing this idea. Kubert raised this idea to Carmine Infantino (DC executive at the time), and it was green lit. In order to distinguish the Unknown Soldier from the other DC soldiers (such as Sgt Rock), it was decided that the Unknown Soldier would have no identity of his own -- his face was taken away from him -- and so his main symbol of identity would be stripped from him. Hence, the bandaged face.

There's a bit of a debate on whether or not 1966's Our Army at War #168 was the Unknown Soldier's FIRST appearance -- and here's the scoop on that: OAaW #168 was a story in which Sgt Rock is saved by a mysterious unknown soldier who saves his life and disappears. Four years later, in Star-Spangled War Stories #151, the Unknown Soldier is introduced.


Scott Harris, a regular on the CGC comics forum, explained it as such: "The Unknown Soldier as a character and series doesn't debut until 1970, with Star Spangled War Stories #151. This is where we are introduced to the character, and the concept - he's a secret agent whose face was blown off during a battle in the Pacific, and who now uses his amazing acting skill, mimicry, and special effects make-up talents to take the place of various people of different nationalities, allowing him to go undercover in any situation. None of this is remotely hinted at in OAaW #168, because this character had not yet been conceived of. "

"Where this gets tricky is Star Spangled War Stories #157, which reprints OAaW #168 and retcons that standalone story into being an official appearance of The Unknown Soldier; since you never see the soldier's face in the story, it's easy enough to do. As a result, in continuity, OAaW #168 is the first story with Unknown Soldier that was published, but in reality, the character wasn't created until SSWS #151 four years later. OAaW #168 is a very clever retcon, but still a retcon. So for me, SSWS #151 should be more expensive than OAaW #168, because it's much more important. OAaW #168 is an interesting curiosity, and most Unknown Soldier fans would probably want both issues - I have them both - but it's definitely of lesser importance." 
 

Left: Our Army at War #168 (1966), Right: Star-Spangled War Stories #151 (1970)

If you need more evidence, the letter column of Unknown Soldier #263 lists Star-Spangled War Stories #151 as the first appearance of the Unknown Soldier.

Why was DC comics still publishing comic books about World War II in the late 70s/early 80s?

In 1978, DC was still publishing: G.I. Combat, Men Of War, Our Fighting Forces, Sgt Rock, Unknown Soldier, and Weird War Tales (some of these were being printed bi-monthly). Recurring WWII characters appearing in these books included Sgt Rock, Unknown Soldier, the Haunted Tank, Dateline: Frontline, Enemy Ace, The Losers (Johnny Cloud, Captain Storm, Gunner and Sarge), Mademoiselle Marie, Fighting Devil Dog, Codename: Gravedigger, and Viking Commando.

As far as DC was concerned, it wasn't just soldiers fighting in WWII, super-heroes were also battling Hitler and his Nazis in the 1970s and 1980s. The All-Star Squadron and Seven Soldiers of Victory both formed in 1941 to assist with the war effort. The Young All-Stars operated during 1942 to battle Nazis. The Freedom Fighters fought on Earth-X -- an alternate reality where Germany won World War II.

World War II ended in 1945, why was DC still publishing stories about World War II? Haven't they strip-mined that era of history enough? Why not cover Vietnam, the Korean War or the Cold War?

Simply put: stories about World War II sell. World War II holds a very strong and favorable sentiment among (most) North Americans. Other factors for DC focusing on World War II tales:

1. There was a very specific enemy (Adolf Hitler and the Nazis) that nobody felt sympathy towards.
2. Unlike all the other wars you can think of, World War II was a war America actually won.
3. Nick Cardy, Bob Haney, Dick Ayers, Joe Orlando, Robert Kanigher, Dan Spiegle, Bill Draut, Doug Wildey, Murray Boltinoff and Sam Glanzman regularly edited, wrote or drew the stories in DC's War anthology comics. They were also World War II veterans. Who would know the source material better than someone who was actually in WWII?
4. For an adventure/sci-fi writer, using World War II as a historical backdrop offers unlimited story possibilities. There were plenty of rumors that Germany was working on new technologies that could've changed the outcome of the war in their favor, and just about every crackpot theory has been put out there about the Nazi's involvement with mysticism, the occult, or aliens -- it's gotten to the point that we just kinda accept that it could be within the realm of possibility (see: Netflix specials about WWII Germany).

In contrast, Marvel Comics tried to keep things "fresh" by keeping things contemporary. Nick Fury and his Howling Commandos became Nick Fury, Agent of SHIELD. The Nazis were now Hydra. The Punisher was a Vietnam War veteran. From 1986 to 1993, Marvel published The 'Nam -- a critically-acclaimed ongoing series about the U.S. War in Vietnam... and the list goes on and on.

Okay, so this isn't a REAL answer, but it's the best I've got. So...
 

Unknown Soldier issues #205 to #268

Star-Spangled War Stories was re-named to The Unknown Soldier in 1977. [This wasn't the first time this series had experienced a name change; it was originally called Star Spangled Comics and featured the Star Spangled Kid, and then at issue #131 was re-titled to Star-Spangled War Stories.] Another DC war comic, Our Army At War, had been re-named to Sgt. Rock in 1977 as well.

Also occurring around the same time as the title change from SSWS to The Unknown Soldier, David Michelinie -- who had been writing the Unknown Soldier feature in SSWS since issue #183 -- was being replaced by Bob Haney starting with issue #203. Haney had written Unknown Soldier stories before for SSWS in 1971 and 1972.

The Unknown Soldier had pretty much been the lead feature in SSWS since his introduction in issue #151. Why the sudden name change? Not sure, to be honest.

Staying true to our namesake (i,e.: DC in the 80s), we're going to start with the first 'official' The Unknown Soldier comic from 1977 -- issue #205:

Unknown Soldier #205 (1977)

It's really difficult to pass up a Joe Kubert-illustrated cover; he's the definitive Sgt Rock artist (he co-created Sgt Rock, dontcha know?) and has a distinct style that really encapsulates how miserable these soldiers are probably feeling running through the sleet and snow while getting mowed down by enemy fire. Also, it's got Sgt Rock's younger brother, Lawrence (aka: Fighting Devil Dog), in this issue. How could I resist?

This was a quick 11-page story about the Unknown Soldier impersonating a Colonel in order to give an American infantry unit the morale boost it needed to hold their location. This story was written by Bob Haney and illustrated by Dick Ayers and Gerry Talaoc. Joe Kubert only illustrated the cover of this issue. Haney made sure to take a moment to remind us that war isn't all sweeping victories and courageous moves on the battlefield -- many good soldiers died fighting for our freedom, too:

   
 
I skipped over Unknown Soldier #206 (the cover didn't really do anything for me), but decided to have a glance at DC Super Stars #15 thanks to another great Joe Kubert cover:

This cover got me interested in the story inside: two Sgt Rocks and one's trying to kill Mademoiselle Marie? Yeah, I couldn't pass on this one. The cover basically sells itself. Mlle Marie and the Unknown Soldier have a bit of a rivalry going on (aka: she wants to kill him) -- this would be a recurring theme throughout the regular series.


I skipped a few more issues, but these ones piqued my interest:

Both of these issues were very good. At 11 pages, issue #209 was a story about how resilient to enemy torture the Unknown Soldier is, and issue #211 contains an 11-page story about the Unknown Soldier persuading an American tank patrol from mutinying their crazy colonel (this was a reprint from an earlier issue of SSWS). Thanks to reader demand, The Unknown Soldier went from being a bi-monthly to a monthly series starting with issue #209. 

With Bob Haney as the new writer, the Unknown Soldier started off as more of a 'morale boost' for demoralized soldiers -- teaching them the valor of holding their position and that 'one man in the right place at the right time, can make the difference [in the war effort]'. Michelinie's Unknown Soldier mainly had him in spy/espionage tales. Readers noted that while Haney was good, Michelinie spent more time on characterization and gave more insight into what kind of person the Unknown Soldier was.

While the issue #211 of The Unknown Soldier story was good, what I really enjoyed was the "In Country" entry written by Larry Hama (Marvel's GI Joe) and illustrated by Russ Heath. It was an anecdote about a American soldier name Luthor who (I'm assuming) Larry knew personally. Either way, it was an interesting read:

  Two more Joe Kubert issues that jumped out at me (are we noticing a trend, yet?):

Issue #212 featured Unknown Soldier's ally, Chat Noir, in a 17-page story about the Unknown Soldier infiltrating a gang of Nazi saboteurs (with no back-up story). Issue #213 was a 12-page story about the Unknown Soldier capturing and rehabilitating a Hitler Youth who had been brainwashed. This issue has a back-up feature.


Gradually, the series started to do away with back-up features and start running full-length Unknown Soldier stories (some of them were even spanned multiple issues). They'd play with the format a bit throughout the course of the series. It was later explained by the editor that...

Issue #214 was a continuation of the events that occurred in DC Super Stars #15 (there's your continuity, folks). This was editor/writer Robert Kanigher's first Unknown Soldier story. This one's a bit heavy -- in this issue, the Unknown Soldier's mission is to rescue French Resistance leader, Mlle Marie, from the Auschwitz concentration camp. I had problems with this story -- while Kanigher took the time to mention the sheer terror of Auschwitz and how it was probably the closest thing to hell on earth...

...it all seemed to be down-played by how easily The Unknown Soldier and Mlle Marie were able to free themselves and coerce the prisoners to turn on their captors. Now, I realize this was only a 17-page story in a book targeted to young adults (and adults) that had to meet the Comics Code Authority's guidelines -- so Kanigher couldn't really delve into the horrors of Auschwitz or what it's prisoners experiences. My recommendation? Read Art Spiegelman's Maus at least once in your life.


I skimmed the next two issues. While the covers were nicely illustrated (Kubert again), there wasn't enough there to really make me want to read them:

Writer Bob Haney served in the Navy during World War II, so Unknown Soldier #215 (left) would've been right in his wheelhouse.

The Unknown Soldier #217 is the beginning of a 3-issue story arc (written by Bob Haney) about the Unknown Soldier's failed assassination attempt on Hitler, getting killed and then having a Nazi imposter pretending to be the Unknown Soldier to assassinate Winston Churchill. This cover made me laugh because you don't typically expect to have explosives hidden in a painting.

The Unknown Solider #218 also had a cover that made me laugh. Without any context of who the Unknown Soldier was, it would appear that Hitler wants to allocate all of his resources into killing a fourth-degree burn victim. Like, it's bad enough that this guy has to walk around for the rest of his life with charred skin, but now Hitler wants him shot, too? Harsh. All kidding aside, this was a great issue and would pretty much cement the Unknown Soldier/Adolf Hitler rivalry that could only end one way at the end of the series. (hint hint)

Staring with issue #219, the price of the book went up (from 35 cents to 50 cents) and books now had 40 pages. Welcome to the 1978 'DC Explosion' (soon followed by the 1978 'DC Implosion' three months later).

For reasons I can't really explain, the cover of issue #221 intrigued me -- so I gave it a read. This issue's story is about a Tokyo Rose-type radio personality who is feeding Japanese military intel to American troops in coded messages during her radio programs. What struck me about this issue is that, contrary to what I'd normally expect, the Unknown Soldier was unable to prevent the pretty young radio announcer from getting discovered and murdered by her husband/Japanese colonel. Huh. These guys play for keeps.  


Alright, so the book prices have been re-adjusted: 40 cents now gets you 32 pages:

So this cover jumped out at me -- it appears that the Unknown Soldier is trying rescue allied soldiers on a German plane... that won't land! This cover was actually misleading -- it was about American aircrafts getting captured with with a Nazi "capture beam" and the allied aircraft crew being brainwashed into fighting for Germany. So, really, there was never any danger of the plane NOT landing. The Unknown Soldier thwarts their plans -- all within 13 pages. So far, this has felt like the most sci-fi/adventure/superhero story of them all.

On the cover of The Unknown Solider #232 is the Unknown Soldier and the closest thing he has to a comrade-in-arms, Chat Noir, securing a secret envelope with the name of a secret traitor. A 17-page story about the Unknown Solider using his detective skills to uncover who the traitor is in a French Resistance group. The story moved quickly and had plenty of action. Very enjoyable.

It's the Third Reich on a submarine... saluting the Unknown Solider? Also, it's a really nice cover with a high contrast between the oranges and grey/blues. The Unknown Soldier impersonates a German submarine captain in order to infiltrate an impregnable German naval base and blow it up. This was a quick 17-page story.

This cover reminded me of a scene from The Deer Hunter, and I remembered enjoying the film --so I had to give this one a read. The Unknown Soldier needs to convince an American being held in a Japanese-American internment camp to pose as an Imperial Ordnance Specialist to plant bombs in a Japanese army stronghold. There's a bit of suspense as we wonder if the American will betray his adopted homeland for his ancestral one. I applaud writer Bob Haney for not trying to pull the wool over our eyes and pretending like the Japanese-American internment camp "guests" had the best living conditions:
 

This was one of the sillier issues I read. The Germans are using children to stop the Allied forces from bombing a town, as they bide their time for their own Panzer squad to arrive to counter-strike against the Allied forces. The Unknown Soldier's solution? Dress up like the Pied Piper and lure the kids safely out of town so the Allied forces can attack:

Paul Levitz leaves as editor on The Unknown Soldier (to work on Batman and it's spin-off comics), and Len Wein comes in as the new editor.

It was hard to resist this cover: the Unknown Soldier hanging from the front of a charging locomotive while dodging a Nazi officer swinging a giant mallet. Don Heck illustrated this cover. This was a story that drew a lot of criticism from readers and sparked the whole 'Realistic vs Unrealistic war stories' debate in the letter column pages of The Unknown Soldier. Another misleading cover: at no point does the Unknown Soldier fight a guy carrying a giant hammer on the front of a train -- but this story does read a bit like Raiders of the Lost Ark as the Unknown Soldier is desperately trying to keep famous French artifact, The Hammer Martel, out of Nazi hands. Great read.



Around this time, GI Combat becomes a monthly book (it was previously a bi-monthly book).

 

It's the Unknown Solder guest-starring Captain Storm (of the Losers). Prior to this issue, I've never heard of Dateline: Frontline!, but in this issue it looks like we're getting 8 extra pages of it (and a ten cent price increase). In this issue, the Unknown Soldier and Captain Storm team-up to take out a mysterious 'ghost sub' that's blowing up Allied ships. It was a good story, but what really stood out for me was the 2-page 'Big Daddy' story written by Robert Kanigher and illustrated by Tom Yeates:

I was drawn to this issue because it kind of reminds me of the cover of that Punisher issue where Frank Castle is all chained up, but has a grenade hidden behind his back with the pin halfway out. "Like, ha, you guys think you have me beat? You have no clue what you're in for." There is no scene in this book where the Unknown Soldier hides in a sewer where a dozen Nazis march around him -- but he does meet his female German counterpart:

How were war comics doing around this point? Well, the Men Of War ongoing series was cancelled sometime between Unknown Soldier #246 and #247.

It's the Unknown Soldier, and he's leaving in a cart of dead people with a little red-haired girl [?] who is clearly alive. This was a great story about the Unknown Soldier trying to escape a Jewish ghetto with a secret formula to create the atomic bomb. This issue also contains part 2 of Cary Burkett's 'Ruptured Duck' feature.

Well, I'm a sucker for 'secret origin' issues, so I couldn't resist reading this issue. This was actually part 1 of a 2 part story in which a top SS espionage agent learns of the Unknown Soldier's true identity and seeks to hold his dad hostage. It does re-tell the Unknown Soldier's origin. It's continued in the following issue... and the Unknown Soldier retcons his own origin -- it turns out that he was inspired by a Battle God to become the 'Immortal GI':

How could anyone pass on a cover like this? Guest-starring Sgt Rock and Easy Company, Mlle Marie, the Haunted Tank and the Losers... and they're all trying to kill the Unknown Soldier. In this issue, the Unknown Soldier pretends to defect to the Nazis and become Hitler's right-hand man, so of course there's a giant target on his head. This issue gives you exactly what it professes -- all of these characters are trying to kill the Unknown Soldier, only to realize it was a giant scheme at the end. A really fun issue.

Mike W Barr (Batman and the Outsiders) becomes the editor of the title starting with issue #256.

The cover of this issue looked intriguing, so I gave it a shot. In issue #261, The Unknown Soldier goes on a secret mission to a French Chateau to rescue his paramour, Lady Jade, who is being tortured by Nazis. [Lady Jade was introduced in issue #254]. This issue has plenty of supernatural overtones, and probably should've been a Weird War Tales story. Still a fun read, however.   

I liked this cover because it introduces a mystery: what is the secret of the Death Sub? This easily could've been a Weird War Tales or House of Mystery cover. Unfortunately, this was not a submarine piloted by zombies, but a bunch of crew members who were sick with an experimental Japanese virus. It was a quick read, and the cover definitely drew me in.

Another whodunit cover. Who murdered the general? This was part 1 of a 2-part story that finished in issue #266. In typical DC fashion, we discover that the person who first confessed to the murder was only trying to protect his squad from being court-martialed, and that the REAL killer was actually a German soldier posing as an American soldier. Great story -- a quick and easy read.

Okay, so this is the LAST issue of the series. It's set on April 30th 1945 --  the day of the Gotterdammerung -- the day Adolf Hitler dies. It's a 23-page story. This is how you end a series. The Unknown Soldier is in Berlin, hot on Hitler's trail. All of his supporting characters are getting wiped out: Sparrow is discovered and killed by an SS firing squad, Inge sacrifices herself for the Unknown Soldier and trips on a seemingly inert bomb, and Chat Noir is gunned down while trying to rescue the Unknown Soldier from a tight situation. With the fall of Berlin looming, Hitler has one crazy scheme left up his sleeve: blood-sucking octopi that are to be dropped on Allied forces from the sky.

The Unknown Soldier manages to infiltrate Hitler's bunker, and shoots Hitler (making it look like a suicide). Throughout the course of their struggle, Eva Braun accidentally swallows her cyanide tablet. The Unknown Soldier uses his skills as a master of disguise to impersonate Hitler and shuts down the crazy Nazi 'octopi from the sky' scheme. While leaving Hitler's bunker, in one last selfless act of heroism, the Unknown Solider sacrifices his life to save an innocent child:

 
...and that's the end of the Unknown Soldier, folks. Or is it? The final panels allude that he may have dodged death and disguised himself as a GI. It kinda leaves the ending open for interpretation.

-----

This series was cancelled due to low sales. I don't have an accurate number of how many issues they were selling by the end, but in issue #249 (1981) they estimated that they had more 100,000 readers. It's really hard to make sense of the then-current war comic landscape since some war titles were getting cancelled, and some were going from a bi-monthly to a monthly schedule. Sgt Rock would outlast them all.  

A popular demand among readers who wrote in were for longer Unknown Soldier stories. Most readers wanted more than 13-page Unknown Soldier stories since he was the lead feature. It was explained by editorial that it simply wasn't possible since the regular inkers, Romeo Tanghal and Gerry Talaoc, lived in the Phillipines and that more than 13 pages would be too big of a workload on them.

It was later revealed by editorial that the back-up features were meant to expand their audience and (hopefully) bring in new readers. Popular back-up features included Enemy Ace by Robert Kanigher and John Severin, Dateline: Frontline! by Cary Burkett and Rick Estrada, and pretty much anything Robert Kanigher and Tom Yeates were cooking up. Unpopular back-up features included Andy Stewart: Combat Nurse and Fighting Devil Dog. Somewhere in the middle was Mlle Marie, the Losers, Balloon Buster and Viking Prince.

What's interesting about this series is that it doesn't pull any punches -- while the Unknown Soldier always wins at the end, many American soldiers are killed in the process. Often the scenes are grim -- Nazi (and Allied) soldiers are stabbed, hung, having their necks broken or shot. It's not just limited to men in uniform, either -- civilians and bystanders are captured, shot, blown up or tortured. That's war.

When I was a pre-teen, I could not stand war comics. I had a whole pile of Sgt Rock comics and the odd issue of Charlton Comics' Fightin' Army thrown into the mix, and I absolutely did not care for them. To this effect, I feel that war comics are an acquired taste -- since I love reading them now. I would definitely recommend the Unknown Soldier.

-Justin

Wonder Woman in the 80s: the Dan Mishkin run

Wonder Woman is one of those titles I've always wanted to 'dive into' but never had the opportunity -- mainly because my early collection of DC comics contained a hodgepodge of Wonder Woman comics from different eras (i.e.,  a few pre-Crisis issues, a few post-Crisis issues, a few early 90s issues, a few post-Zero Hour issues, etc). Sure, I have a 'functional' knowledge of Wonder Woman -- from what I've picked up from Super Friends episodes and Justice League of America comics -- but it always seemed too daunting to read her books since I knew her history (and powers) had been retconned a few times too many. For this article, I'm going to ignore all that, just dive into it and simply accept it all at face value. This is where I actually sit down and read a whole run of consecutive Wonder Woman issues and give an honest-to-god review. This will be my FIRST time reading this, so I really have no preconceived opinions or biases here.


A bit of background:

Dan Mishkin took over as writer for Wonder Woman in mid-1982. Previously, it was Roy Thomas writing Wonder Woman, but he needed to drop the title due to his hectic schedule. Mishkin started scripting over Thomas's plots for issues #295 and #296, and by issue #297 he was THE writer on the title. Marv Wolfman became the editor of Wonder Woman just as Mishkin was becoming the main writer on the series.

You might recognize Mishkin as the co-creator (along with Gary Cohn) of Amethyst and Blue Devil -- and you'd be correct -- but these came AFTER Mishkin started on Wonder Woman. At this point, Mishkin had worked with Cohn on material for DC's mystery/horror/supernatural anthology titles (i.e., House of Mystery, Unexpected, Ghosts, Weird War Tales) and a few one-off stories for Flash, Green Lantern and Jonah Hex. It's safe to say that Mishkin was still an 'unknown' to comic fandom when he took over Wonder Woman.

When Mishkin took over the title, the Joey Cavalieri/Joe Staton Huntress back-ups were already in full swing -- you were only getting 16 to 18 pages of Wonder Woman per issue (which may been a bonus or a nuisance, depending on who you ask). A few readers had even speculated that Wonder Woman's sales would drop if the Huntress back-up feature had been taken away. Since this is a Wonder Woman review, the Huntress back-up features will be reviewed at another time.

When Mishkin picked up Wonder Woman, he was finishing up a story arc Thomas started about video games that were taking control of players and turning them into zombies for General Electric (a 1970s Sandman villain). Wonder Woman was at a good place by this point. Readers wrote in expressing excitement for the 'sensational new' Wonder Woman -- as of issue #288, the series had received an updated logo, a new writer who seemed to know his Wonder Woman history (Roy Thomas), a new penciller (Gene Colan), and her costume had gotten a slight update. According to fans, the book was definitely on an upswing. Issue #297 would be Mishkin's proving grounds.

Wonder Woman v1 #297 (1982). Dan Mishkin's first issue. Beautiful Mike Kaluta cover.

It's important to note that Gene Colan was the penciller on Mishkin's first eight issues. Colan's contribution to the book should NOT be overlooked -- Colan becoming penciller at issue #288 brought a surge of renewed interest to the book (if nothing else for the new readers who just wanted to check out his art).

Gene Colan art from Wonder Woman v1 #298 (1982)

Unfortunately, Mishkin's first story arc gets interrupted by a 16-page Masters of The Universe comic book preview insert. (I say 'unfortunately', but this may have actually encouraged more comic fans to pick up the issue due to the MOTU insert.) Regardless, we're introduced to a NEW Wonder Woman foe and a plot to destroy the Amazons on Paradise Island in a three-issue story arc. There's a bit of info about Themiscyra and we get a bit of a mythology lesson about Bellerophon and Pegasus. Mishkin also throws in some reminders that America was still in a cold war with Russia, and that Diana is still an accomplished fighter pilot. All in all, I enjoyed this story arc and quickly dove into the next issues. This leads us to the 300th issue of Wonder Woman.

Wonder Woman #300 v1 (1983) wrap-around cover by Ed Hannigan and Dick Giordano

The 300th issue is a 72-page landmark issue -- with contributions from about a dozen different pencillers and inkers -- all written by Roy and Danette Thomas. Before he left, Thomas had already written Wonder Woman #300, and advanced solicitations dropped the big spoiler that Wonder Woman would accept Steve Trevor's marriage proposal. This was the first appearance of Lyta Trevor (who later becomes Fury from Infinity Inc.), and the Sandman (Garrett Sanford) plays a big supporting role in this story. Mishkin had no part in this issue. Thankfully, everything returns to status quo before we move onto Wonder Woman #301.

Issue #301 has Wonder Woman hanging out on Paradise Island with the rest of the Amazons. We're seeing a lot more of this under Mishkin's creative direction -- he's really bringing Wonder Woman back to her Greek roots. It's a set-up for a new story arc -- this time about the previous Amazon who held the title of 'Wonder Woman'. I found this story to be very well-written and intriguing. Mishkin knows how to set the pace to keep things mysterious. I'm enjoying this very much. (As it happens, Wonder Woman #301 is also around the same time when Mishkin and Gary Cohn debuted their Amethyst preview story in Legion of Super-Heroes #298.)

Gene Colan art from Wonder Woman #301 (1983)

Wonder Woman issues #303 and #304 features a super-villain who last appeared in a Green Lantern story written by Marv Wolfman. This is somewhat fitting, since Wolfman was the editor on Wonder Woman by this point. I always enjoy stories that have another hero's villain cross-over to another character's title, so Mishkin's run is batting 1000 as far as I'm concerned. Ernie Colon takes over as editor in issue #304.

Wonder Woman #303 (1983): In today's edition of 'Guess that Green Lantern villain'...
Art by Gene Colan

The next issue (#305) in this run has Wonder Woman battling Circe (one of her more 'classic' rogues) and reminds us that Wonder Woman has a four-decade-long legacy with her own rogues gallery. So far, it would appear that Mishkin is managing to keep Wonder Woman contemporary (and not campy) while still respecting her roots.

Starting with issue #306, Don Heck becomes the new penciller AND inker (replacing Gene Colan). Colan's art is very moody and atmospheric (see: Marvel's Tomb of Dracula), while Heck has very crisp lines and makes it feels like a bright and cheerful 'super hero' comic. Colan also had the tendency to use a lot of BIG panels in his stories -- making them feel a lot shorter than their allotted 18 pages.

Panels from Wonder Woman #306 (1983). Art by Don Heck.

Issue #306 also begins to see Wonder Woman's support characters getting more exposure -- Etta Candy, Steve Trevor, Phillip Darnell, Keith Griggs, Lisa Abernathy  -- they're all in here taking part in one of the most confusing cold war espionage thrillers I've ever read. It would seem that Mishkin is trying to build on Wonder Woman's strong supporting cast and show readers more of Diana's personality. I'm seeing a strong trend towards realism and depth in Mishkin's work. While I couldn't understand the conclusion to the cold war spy thriller, I still thought this story arc had strong character development and I was interested enough to keep reading. 

So far, at this point into Mishkin's run, readers had written in asking to see: more about Diana's ties to her Amazon heritage, appearances from her old rogues, and more attention to her support characters. For anyone keeping score, Mishkin has delivered on all three.

Next up, there's a two-issue story arc (#308 - #309) in which she teams up with the Black Canary and Elongated Man (reinforcing her ties as a Justice Leaguer). I had trouble maintaining interest in this story arc -- partly because Mishkin put all of the interesting sub-plots he'd brewing up on hold, and partly because I was more interested in Wonder Woman's civilian life and interactions with her support characters (I wasn't kidding when I said his characterization was really really good). Additionally, issue #308 was when Ernie Colon left as editor on Wonder Woman to illustrate Amethyst v1 (also written by Mishkin and Cohn) and to work on his science fiction graphic novel (see: The Medusa Chain). Alan Gold becomes the new editor in issue #309.

Panels from Wonder Woman #308 (1983). Art by Don Heck.

Issue #310 features more Greek mythology. I'm feeling that Mishkin is taking some creative liberties with his recounting of Greek myths, but it's adding to the Wonder Woman lore and fills us in on the mysterious origin of the 'previous Wonder Woman' -- so hey, I'm enjoying this. Mark Beachum is the guest penciller on this issue and Pablo Marcus inks.

panels from Wonder Woman #310 (1983). Art by Mark Beachum and Pablo Marcus.

A major obstacle with writing Wonder Woman was deciding what to do with her love interest, Steve Trevor. Readers had polarized views on Trevor's role in the series -- some felt that he was crucial to Wonder Woman and her love for him was the only tie to man's world, while other readers felt he was boring as hell and should get killed off (again). Mishkin took the higher ground here and tried to turn Steve Trevor into a character fans would care about...

...as demonstrated in issue #311 when Steve Trevor narrates the story. This two-issue story arc had Wonder Woman solving a sci-fi/supernatural mystery which I didn't expect to enjoy as much as I did.

The supernatural force that is destroying jet fighters in mid-air is... [dramatic pause]... gremlins. That is correct, folks. Gremlins. Coincidentally, I was about to put the finishing touches on this review and publish it, when I discovered Brian Cronin of CBR posted an article of his own about this. Cronin points out that Mishkin added the whole 'gremlins' several months BEFORE the movie Gremlins was released, which just happens to be a HUGE coincidence. The Gremlins in Mishkin's story gave off a friendly, helpful Smurf-like vibe as opposed to the type of creatures that may or may not devour a human infant from the Gremlins film.

That's right. Gremlins.
panel from Wonder Woman #310 (1984). art by Don Heck.

As an added bonus, the long-running "Will she reveal her secret identity to Steve Trevor? Or won't she?" subplot that had been running *forever* finally gets resolved. By the end of it all, this sci-fi story ends with Wonder Woman getting a new side-kick/supporting character... who is a Gremlin.

Issues #313 and 314 have Wonder Woman battling Circe (again). In the background, the plot thickens as it is revealed that Wonder Woman had memories erased by her mother, Hippolyta. A new villain is introduced: Tezcatlipoca -- a chieftain of the Aztec Gods. Issues #315 and #316 are spent battling Tezcatlipoca. For anyone who's curious, Blue Devil #1 (created and written by Dan Mishkin and Gary Cohn) was released around the same time as Wonder Woman #316 -- Mishkin is now the regular writer on three DC books (i.e., Wonder Woman, Amethyst and Blue Devil).

introducing... Tezcatlipoca!
panel from Wonder Woman #314 (1984). art by Don Heck.

I can appreciate Mishkin introducing a NEW god-like threat that isn't based on a Greek mythological figure, but once again, I'm eagerly waiting to find out what memories Diana's mother had stolen from her and I'm wondering if Mishkin is deliberately stalling because he hasn't written that far ahead in the plot, yet. (ha!) We are giving a few tidbits of info... like Steve Trevor had already died -- which makes me even more eager to discover who this current Steve Trevor is...


Issue #317 is filled with even more revisions to Amazon mythology -- we are introduced to a 'lost' tribe of South American Amazons:

panels from Wonder Woman #317 (1984). Art by Don Heck and Rick Magyer.

Wonder Woman #318 was a Kurt Busiek and Irv Novick fill-in issue -- so I'll be skipping over this one. Editor Alan Gold revealed that it was planned to occur out-of-continuity, and meant to give Mishkin and Heck a breather. It doesn't mean that we can't appreciate the cover, however:

Wonder Woman #318 (1984). Cover by Eduardo Barreto

And this brings us to issue #319. This... this is what I've been waiting for! Some answers at last! But first, we need to deal with the dramatic return of Dr Cyber -- a Wonder Woman villain I had little familiarity with but was always genuinely curious about. The next few issues deal with more Cold War intrigue as Dr Cyber steals the launch codes for America's nuclear warheads and Wonder Woman narrowly averts World War III.

Dr Cyber finally gets the drop on Wonder Woman.
panel from Wonder Woman #320. Art by Don Heck and Rick Magyar.

In issue #322, after a climactic battle with Dr Cyber, the entire 'missing memories and the mysterious death(s) of Steve Trevor' storyline wraps up. I wasn't aware at the time of reading this, but the mysterious return of Steve Trevor had been an unresolved plotline in Wonder Woman's continuity that had been running since 1980 -- and it wasn't even the first time the writers had killed Steve Trevor and brought him back to life! (Which is probably the most telling detail of how badly Wonder Woman's continuity was messed up.)

For the curious: the answer involves parallel earths, which gives us a bit of foreshadowing to the upcoming Crisis On Infinite Earths. The living and breathing Steve Trevor we see now accidentally came from a parallel reality and crash landed into this reality. After a lot of exposition and a fistfight, Steve Trevor is ultimately restored to his 'whole' self after merging with Aphrodite's son, Eros.

...yeah, I'm still kinda unclear on all of this.

What the hell? From Wonder Woman #322.

Issue #322 was the first issue in a long time with NO Huntress back-up, just 23 pages of Wonder Woman. This may have also been the kiss of death on this series, since Wonder Woman #322 was the last monthly issue and would be published bi-monthly starting with issue #323.

Issue #323 was quite possibly the funnest issue of Wonder Woman Mishkin had written in a while. There were a lot of Wonder Woman villains in this one (ex: Angle Man, Silver Swan, Cheetah, Dr Psycho), Etta gets Wonder Woman powers, the Monitor and Harbinger make an appearance (it was an unofficial Crisis on Infinite Earths tie-in), and there's a bit of romantic tension building between Diana and Keith Griggs. According to editor Alan Gold, this story was originally pitched by Mishkin to be several issues long, but Gold asked Mishkin to keep it contained within one issue to give readers a break from long, complicated storylines.

panels from Wonder Woman #323 (1985). Art by Don Heck

According to editor Alan Gold, like all DC writers at the time, Mishkin was obliged to add Harbinger and the Monitor to Wonder Woman's regular continuity in issue #323, quite possibly without really knowing what the aftermath of Crisis On Infinite Earths would be or what the Monitor was all about. (I personally love reading about editorial curve-balls that were thrown at writers and how they dealt with them.) Hence, we get a Monitor who is more or less a power-broker for villains -- which is how he was introduced in the Teen Titans books:

panels from Wonder Woman #323 (1985). Art by Don Heck

To conclude Mishkin's run, issues #324 and #325 featured the return of the Atomic Knight -- a DC sci-fi character that first debuted in the sixties, ran in about twenty stories, took a twelve year hiatus, and re-appeared in 1983's DC Comics Presents #57 (also written by Mishkin and Cohn). After Mishkin left the title, the Atomic Knight no longer appeared in Wonder Woman... but that's okay because we'd see Atomic Knight reappear again in 1985's Outsiders v2.

re-introducing...the Atomic Knight! panels from Wonder Woman #324.

These were 'bridging issues' meant to bridge Mindy Newell as the new writer (much in the same way Roy Thomas had done for Mishkin). Mishkin's last issue of Wonder Woman would be #325. Mishkin was nice enough to write 'Glitch' (the gremlin sidekick that Steve Trevor befriends back in issue #311) out of the series, and Newell was freed up to take the series in the direction she chose to. Curiously, a new female supporting character, Lieutenant Lauren Haley, is added to the roster -- and I'm wondering if this was at Newell's request because it's kinda late in the game for Mishkin to be throwing in new characters...

introducing Lieutenant Lauren Haley. Wonder Woman #325.

This more or less concludes Dan Mishkin's run on Wonder Woman. It was announced in issue #324 that Mindy Newell would be succeeding Dan Mishkin.

Following Wonder Woman #325, Mindy Newell took over writing chores for the title. The letters column hinted that Newell had big plans for Steve Trevor and Wonder Woman, and a few great storylines of her own dealing with Hippolyta and her son... but alas, these never saw print. The series ended four issues later at issue #329. Curiously, Newell decided to finish up the Tezcatlipoca storyline after Mishkin left, which built up to and was immediately followed up by an official Crisis On Infinite Earths tie-in. The last issue of this series (a Crisis tie-in) was written by Gerry Conway.

Following the last issue of the series, Trina Robbins wrote a four-part Wonder Woman mini-series meant to satiate Wonder Woman fans while they tried to figure out their next move -- because, really, I don't think THEY even knew what was happening next:

(from Wonder Woman #325)

By issue #323 (after the title went bi-monthly), it was pretty much known by fans that the Wonder Woman series was in trouble.  I'm wondering if Mishkin knew that the writing was on the wall for this series by this point? In issue #327, readers KNEW that sales on Wonder Woman were really poor. From this point on, every Tom, Dick & Harry wrote in to suggest how to save the series or who to blame for faltering sales. Many readers felt that nothing, short of killing her off and starting all over again, could resolve Wonder Woman's messy continuity. A recurring suggestion was that there weren't enough *good* guest stars and why couldn't Wonder Woman make an appearance in [insert title of best selling comic here]? Finally, a lot of readers complained that Don Heck's sub-par art was responsible for bringing the series down (ouch!).

As hard as editor Alan Gold tried, Wonder Woman just didn't have enough of a readership to justify a Wonder Woman Special.

A recurring theme in Mishkin's run is that the readers were hard to please; some absolutely adored the supporting cast, some wanted them all killed off. Some readers wanted Wonder Woman fighting more super-villains and to feature less mythological characters, while other readers wanted more mythology and Amazons in Wonder Woman's title. Some long-time readers just didn't like the way Mishkin was handling the book, in general. Most notably, Mishkin "gets into it" with Wonder Woman super-fan, Carol Strickland, in the letter column of Wonder Woman #321 with a two-page letter that editor Alan Gold felt was worth printing in it's entirety.

To break it down, Strickland wasn't satisfied with:

1) The sexism in Mishkin's Wonder Woman stories,

2) Mishkin's treatment of Queen Hippolyta,

3) Mishkin's Artermis sub-plot,

4) A few details about Wonder Woman's powers, history and abilities that Mishkin may or may not have gotten wrong, and

5) Wonder Woman's new gremlin sidekick, "Glitch"

I don't necessarily believe that Strickland spoke for ALL die-hard Wonder Woman fans, but she DID reiterate a few points that had come up in the letter column before. She was also coming at this from the perspective of a fan who lived and breathed Wonder Woman, and had a much better grasp on her history than I did. (I mean, had I been reading Wonder Woman since the seventies, I probably would've felt as strongly as Strickland did.) To his credit, Mishkin replied gracefully to Strickland's feedback and handled it like a pro -- while he did agree with her on a lot of her points, he also did remind her that Wonder Woman's continuity is rife with inconsistencies and that he's doing the best he possibly can with the assignment he was given.

[By the way, Carol Strickland is still very much alive and active online, and we hope to grab an interview with her someday soon.]

Ultimately, it was editor Alan Gold who blamed Wonder Woman's disappointing sales on "a bad rep because of lackluster fabulation over the years. That bad rep is what we're up against, I think." (Wonder Woman #324, letter column)

----

As someone who already knew the basics of Wonder Woman (i.e., daughter of Hippolyta, came from Paradise Island, lived among Amazons, had a love interest with Steve Trevor, a good friend named Etta Candy, lasso of truth, her alter ego was Diana Prince) this wasn't the worst jumping on point and I was able to pick up the story pretty quickly.

Due to the luxury of owning all twenty-something issues of Mishkin's run, I had no trouble keeping track of what was going on. While these were really good story arcs, if you missed a few issues, you were kinda lost. With the exception of Wonder Woman #323, none of the stories were 'one-and-dones'. (Which is probably why I don't think I've EVER seen a Mishkin Wonder Woman story appear in a Wonder Woman anthology.)

Ed Hannigan and Dick Giordano cover

I really really enjoyed the ex-Wonder Woman story line Mishkin wove up. Same with the 'missing memories about Steve Trevor' thing. There were lots of things happening with the support characters, too -- even Etta is included in a subplot. I saw some strong character development, and at some points I was more interested in the subplots involving the supporting characters more so than the main story at hand.

The entire 'Etta getting Wonder Woman powers' reminded me of the crazy days of the Silver Age of DC when just about anything could happen thanks to 'imaginary stories'. Wonder Woman #323 is probably the most memorable issue among Wonder Woman fans, just for the sake of Etta getting to play the 'superhero' of the story for once.

Wonder Woman is a larger-than-life figure, a Greek goddess (sorta) who has immense power. Almost like a DC comics counterpart to Marvel's Thor, perhaps. So, she SHOULD be in big EPIC stories and not battling street crime.

Another distinct thing about Wonder Woman... well, what is she? Is she an adventurer? A soldier? A mythological hero? A fighter pilot? An Amazon trying to understand man's world? A superhero? An emissary sent to protect mankind from itself? Well, she's all of these things. You can more or less fit Wonder Woman into any type of story you want. While Roy Thomas' prior run saw Wonder Woman having a lot of adventures with other super-heroes, it seemed like Mishkin wanted to explore her mythological ties. Also, I don't remember ever seeing as many skeletons as I have in Mishkin's run -- maybe a nod to the supernatural/horror stories he'd been writing in House Of Mystery?

Frank Miller and Dick Giordano cover

I felt that Mishkin wrote a 'very strong' Wonder Woman -- a 'woman of the eighties'. No-nonsense. Knows what she wants, what she's fighting for, has principles and values, upholds the American ideals. Characterization is key, and Mishkin's characters had loads of it.

---

Two subplots that never saw resolution:

Why does Sofia look like Diana Prince? Sofia was introduced WAY BACK in Wonder Woman #297 (Mishkin's first solo issue) as a terrorist that Wonder Woman rescues and "reforms" to become an Amazon. Over the course of Mishkin's run, Sofia becomes more ingrained in Amazon culture and even discovers Hippolyta's cover up to keep memories from Diana.

panels from Wonder Woman #322. Sophia is the woman in the green blouse. Compare to Wonder Woman. Hmmm...

Sofia last appears in the series at issue #322 (just before the Atomic Knight team-up) and decides to 'stay' on Paradise Island. My guess was that Sofia was originally introduced to somehow play into the post-Crisis Wonder Woman pitch Mishkin had been rumored to have proposed, but was written out of the story when Mishkin's proposal was refused.


A second unresolved subplot involved Diana Prince (Wonder Woman's alter ego) and Major Keith Griggs becoming an "item". The storyline was cut short due to the series only lasting four more issues after Mishkin left:

panels from Wonder Woman #323 (1985). Art by Don Heck

This concludes my review of Dan Mishkin's Wonder Woman run. I don't believe it's been reprinted as a TPB yet, so if you want to seek it out, you'll need to pick up the back issues like I did.



-Justin