The covers on “Secret Six” #3 and #4 are my least favorite things about those issues. Neither is strong but #4 in particular is a weird mess of an image muddled by an orange and brown mess of color and a too-small logo. I like big, bold logos that you can see from across the room.
The plot this time is a standard Cold War scenario given a touch of currency by being set in China instead of the Soviet Union. China was a closed society at the time as it underwent from 1966-1976 the Cultural Revolution, which was meant to correct the deficiencies of the Great Leap Forward five years earlier. Millions died in both events, though exact numbers are hard to pin down. I think pop culture would have dealt very differently with China in the 1960s had events been better known and understood in the West. Anyway, this story starts with disgraced General Pao waiting in his cell for execution, when King Savage enters and puts a real scare in him on the splash page.
Jack Sparling again shows he’s a good match for the material, giving the series’ unusual need for exposition a nice touch on pages two and three by really putting a sense of personality and even fun into the poses for each character. I especially like Mike Tempest showing off his muscles and Crimson Dawn doing much the same.Page 6
King Savage gets the backstory treatment this issue, starting off with his reckless youth racing dragsters and segueing into flying fighters in the Korean War. He’s shot down, captured and forced to talk by none other than General Pao, before Mockingbird arranges his escape and heroic return. Sparling pulls out the EC card for this sequence, delivering a really scratchy and moody sequence that fits the sequence well. The coloring, which is uncredited in the comic, also delivers some great mood with strange mixes of secondary color.Page 8
Speaking of color, things go off the rails a bit as the team arrives in China to extract Pao and bring him back to the West, as Lili DeNeuve makes up the team to pass for locals. That means unfortunate exaggeration of the epicanthral fold and a skin tone that bears no resemblance to that of any human. Neither would pass muster today. The coloring at least could be argued as limited by the technology of the day. There was no easy way to convey skin tones that weren’t white or black. The physical exaggerations in the art are really just awful, though thankfully not as bad as it could have been. Or even as bad as it is for some of the other characters in this issue, starting with General Pao. I doubt DC could reprint this today without some alteration, adjustment or apology.Page 11
And then comes page 11, which Will Jacobs and Gerard Jones chose to illustrate the entire series in “The Comic Book Heroes,” and it is a terrific page featuring a full-figure image of Crimson Dawn crouched undercover firing a rifle at a distant traveling car. This is a great example of using odd angles and panel shapes to create a dynamic story-driven comic page. It’s the clear highlight of the issue, which from here on out struggles to maintain that level of quality.
Crimson Dawn really emerges as the most interesting member of the Secret Six. After blowing out the tire of the car with her rifle, she kills the three men inside the vehicle and later during the climax of the caper, having positioned herself correctly, efficiently shoots Mike Tempest and Carlo Di Rienzi with her rifle. It’s all part of the plan, and her targets are soon revealed to have worn bullet-proof vests, but Crimson clearly has depths of dedication to this kind of work the others fail to show.
The plot in this issue has finally found a nice balance between the kind of careful machinations the premise requires and believability. This is far more realistic and compelling than the vacuum-cleaner plane from the first issue, and the street-level viewpoint and scratchy ink work make it a quite compelling read.Page 22
There’s a few pages that use gimmicky layouts, though not to too much distraction. Page 21 uses a diamond design featuring the team in the middle and other events wrapping up in the panels surrounding it. And page 22 has this chain design where Sparling draws images inside each link, leading up to the finale on page 23, which is one of those half-pages rounded out with an ad for Palisades Amusement Park in New Jersey.
One final note from the letter’s column: Editor Dick Giordano answers a letter explaining that Nick Cardy got the gig of drawing the cover to issue #2 because he was in the office the day they came up with the concept. Springer wasn’t, so he missed out. That’s comics.