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Tag: Crimson Dawn

‘Secret’ Series Peaks With Sexy Issue #6

"Secret Six" #6 cover. Art by Jack Sparling.

"Secret Six" #6 (March 1969) is the best of the series short run. 

Up front, the cover really stands out amid the other books DC and Marvel were publishing in 1968. It's gritty, with just a hint of sex appeal.

Page 4.

This issue puts the spotlight on Lili De Neuve, as a famous actress is murdered in her spa. The plot gets a bit complex, but it goes something like this: the murdered actress, Jeanne Gautier, years ago murdered a high profile producer whose death was blamed on Lili, who did visit the scene after the murder. Mockingbird arranged an alibi for Lili that saved her from being guillotined for the producer's murder. But Jeanne is the only person beside Mockingbird  who knows the alibi is false as she saw Lili at the crime scene. Got it?

So the Secret Six investigate the scene of the crime and link it to Marcel Valory, who was Jeanne's ex-boyfriend.

King and Mike head off to find Valory and run straight into trouble at the Casino Royale. This is pretty great fight scene with the tough guys rolling up their sleeves and then figures flying through the air. Sparling brings a nice, cartoony style to this scene that's just the right mix of tough and fun.

Page 11

And here's where it gets really fun, as Crimson heads to the beach to turn Valory's head and distract him. The coloring gets strange on this page with a full figure of Crimson revealing herself on the beach in a bikini — I think those are supposed to be sunglasses she's wearing, not a blindfold. Sparling shows off some really nice figure work here and makes Crimson a total knockout without resorting to the kind of oversexualized brokeback stuff that came in later comics.

Page 13

And it gets better, with the first of two splash pages in this issue showing what happens when King Savage comes over and plays the bully to evoke a more aggressive response from Valory. Sparling again shows his figure drawing skills and proves he can draw men as well as he can draw women.

Page 14

And that leads directly into page 14, wrapping up the sequence in great style. What makes this really great is the facial expressions: Valory in shadow and Crimson with wild smile. I also like Valory's clenched fist, the way they're holding hands and Crimson's twirling of the sunglasses as King lies defeated in the sand. Great stuff!

This wraps up in typical Secret Six fashion, with Lili disguising herself as Jeanne Gautier to get a confession from Valory in front of a live theater audience. And yes, that's as weird as it sounds. Page 20 has some great coloring, though, making the most of the three available shades of cyan to give the scene depth. And page 22 resorts to the old trope of using the sandbags whenever a chase scene heads backstage at a theater. Crimson, of course, delivers the final blow with a bit of panache.

In all, a really fun issue, but sadly there's only one more to go before cancellation.

Crimson Dawn’s Revenge is a Star-Making Role in ‘Secret Six’ #5

"Secret Six" #6 (Jan. 1969). Art by Jack Sparling.

If you needed more proof Crimson Dawn was the breakout star of "Secret Six," the cover to issue #6 (Jan. 1969) should seal the deal. The cover is by far the series’ best so far, with Jack Sparling’s art having a clear sense of depth that’s accentuated by the excellent use of color and that nice, big logo pasted on at an angle. Good stuff.

The plot this issue is less important than how it opens the door for E. Nelson Bridwell and Joe Gill’s script to tell the tale of how Crimson Dawn got started. It involves stolen crown jewels that, if not recovered, will allow political forces unfriendly to Western interests to take power. The man behind the theft turns out to be Johnny Bright, the man who stole — and then promptly crushed — Crimson Dawn’s heart and finances.

Page 2

Sparling again makes all this stuff work better than it should. On page two alone, he has inky black silent panels and a nice central image featuring the Secret Six in disguise that shows off Sparling’s ability to delineate character.

As with the previous issue’s venture into China, Crimson’s origin runs afoul of modern politically correct conventions by showing one of her major flaws to be that she’s fat. Of course, being large, she though no man would ever love her, giving Johnny the chance to sweep in and make off with the family fortunes. And now, Crimson’s family is so angry with her, she has to disguise herself — by losing all that weight and becoming a fabulous model, all thanks to Lili De Neuve’s luxe French spa.

So, furthering the plot, Crimson Dawn now looks so not-fat, that Johnny fails to recognize her at all and only her similar name — she was previously Kit Dawn — gives him pause to mention it all.

Sparling again does a good jobs playing with contemporary trends, with a handful of pages with odd angles to the panels and in a modern dress that is good-looking enough to avoid being too dated.

Page 10

There’s some good “Mission: Impossible”-style action going on with people wearing disguises, etc. There’s a nice silent action sequence on page 13, another diamond-shaped panel layout on page 14.

Page 13

Page 16 goes a step too far with the jagged panel layouts proving a distraction from the story, and Crimson’s now-dated line “That turns me on, Johnny!” (I can’t read that line without hearing Andrea Martin as perpetually harassed yet starstruck Miss Purdy in the classic SCTV sketch “The Nutty Lab Assistant,” where she says “How about it? John?” in asking musical guest star John Cougar [pre-Mellencamp] to sing his hit “Jack & Diane” for her again. See the clip below, about 6:55.)

Page 16

It’s much the same on page 21, where Crimson reveals her real identity to Johnny. Of course, the jewels are saved, and everyone’s so impressed with Crimson that they wonder aloud if she could be Mockingbird.

Of course, readers are told to come back next issue to see if that might be true!

‘Secret Six’ #4 Goes Behind the Bamboo Curtain

A mess of a cover for "Secret Six" #4 (Nov. 1968). Art by Jack Sparling.

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.

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