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Tag: Marty Pasko

Comic Treks: Star Trek (Marvel) #12 (March 1981)

Cover to Star Trek #12 (March 1981). Cover art assumed by Comics.org to be penciled by Joe Brozowski and definitely inked by Tom Palmer.

“Eclipse of Reason” (22 pages)
Plotter: Alan Brennert
Scripter: Martin Pasko
Artists: Luke McDonnell & Tom Palmer
Letterer: Joe Rosen
Colorist: Carl Gafford
Editor: Louise Jones
Editor in Chief: Jim Shooter
Cover artists: Joe Brozowski & Tom Palmer

This issue is notable in that it’s one of the first comic book credits for Alan Brennert, who has written many fine novels and episodes of TV series like the 1970s Wonder Woman, Buck Rogers in the 25th Century, The Twilight Zone and L.A. Law, for which he won an Emmy award in 1991. He also wrote episodes of Stargate Atlantis and Star Trek: Enterprise under the pen name Michael Bryant.

It’s clear this is a pretty difficult comic to write for, mostly because too many of the scripters are trying too hard to do a TV episode instead of a comic. It’s also a good example of the original series format creating too much of an echo chamber. There’s a lot of repeating in these stories and not a lot of original ideas coming through. Not that that’s not normal for comic books, but it’s not done with sufficient energy or verve to work here.

Not a bad splash page. Good details and likenesses. But I have no idea what that pyramid thing Kadan is in is supposed to be.
I don’t think any of the proportions in this panel are corrct.

The art struggles to keep up with the story. There’s some very nice work here as far as likenesses. Palmer, clearly, has a few moments to shine. But the rest of the story lacks clarity and dynamism, and in a few places, just looks like it was done under rushed circumstances or by an artist whose skills weren’t up to the task of, say, drawing the Enterprise correctly.

Storywise, this issue sees yet another Kirk romance gone sideways as he learns his former yeoman, Janice Rand, has fallen in love with and married a being of pure energy named Kadan of Phaeton. Kadan is captain of the USS Icarus, which is tasked with exploring beyond the energy barrier at the edge of the galaxy. Rand is going along with Kadan on this mission as the lone human aboard, tasked with doing what the bodyless Phaetonians cannot. The mission will take 1,000 years, so Rand will live out the rest of her life aboard the Icarus, with her husband, who will outlive her by many hundreds of years.

Sad, no?

Nice page, especially that middle panel. It’s well drawn and the color use is interesting, too.

The Enterprise regulars check out the Icarus to ensure it’s in good operating condition. Kirk confronts Rand about her radical choice, reminding her that she’s a woman and her husband doesn’t even have a body. (Kirk’s nothing if not subtle, right?)

After the farewell, the Enterprise heads off to its next mission, while the Icarus hits the barrier and it drives the Phaetonian’s insane and makes Rand telepathic.

The plot’s wonky, but I do like this page. It’s one of the few uncrowded pages in the entire series and shows that it is indeed possible to draw good-looking Star Trek comics.

Now, this is where you have to wonder about this plot. Clearly, everyone in this story remembers what happened when the Enterprise tried to pierce that barrier in the classic second pilot of the series, titled “Where No Man Has Gone Before.” That was the episode where Kirk’s best friend Gary Mitchell, played by Gary Lockwood, gains god-like abilities when the ship tries to pass through the barrier. He’s joined shortly thereafter by Dr. Elizabeth Dehner (Sally Kellerman), and Kirk is forced to kill them both before their powers go out of control. It was one of the best episodes of the show, and one whose message would be hard to ignore. But ignore it Starfleet does, and the results are equally disastrous.

Rand seeks out Kadan for help, only to find he’s gone mad and is projecting an image of what his body-bearing ancestors once looked like into her mind for added effect.

The Icarus quickly destroys a cargo vessel and heads on a direct course to the Phaetonian homeworld. Far away, Spock receives a telepathic message from Rand and passes on what has happened to Kirk, who cancels his current mission to help out.

That first line of dialog in panel three is unintentionally hilarious. It’s also unclear what exactly is happening to Rand.

Aboard the Icarus, Rand is trapped on the bridge when the crew shuts down the turbolifts and drives the ship into a “white hole.” The Enterprise follows and both ships enter a strange dimension and attempt to disable each other with phaser fire. Rand gets a signal through and tells Kirk the Phaetonians are like salmon swimming upstream — they want to return to their home planet and “land” the Icarus, meaning it’ll crash into the surface and the anti-matter explosion will kill billions.

Kirk, Spock, McCoy and Chekov beam over through a hole Scotty shoots in the Icarus’ shields and are trapped there as the Icarus damages the Enterprise and is able to speed off.

Another mix of good and bad art — so much so that this could have been a page from the old Gold Key comic book series.

The Icarus itself starts fighting the crew, which it has to because the Phaetonians have no bodies. That means force fields enacted, artificial gravity giving out and training devices attacking the crew.

Nice top panel, but the rest looks like it was adapted from a rejected X-Men story set in the Danger Room.

Rand detects her old shipmates and crawls through a Jeffries tube to reach them, while Scotty prepares the Enterprise crew for his new orders: Ram the Icarus to prevent it from reaching its homeworld.

Spock and Rand manage to telepathically communicate with Kadan and help him regain his senses at the same moment Kirk turns the gravity and life support back on — just in time to avoid a ramming from the Enterprise.

Um, yeah. No comment.

The story ends with less than a page explaining that the Phaetonians are off to an asylum on Elba II. Rand’s decided to seek an annulment and asks Kirk if she can have her old job back as the Enterprise transporter chief.

At least she’s not going back to getting Kirk coffee.

Rand’s story ends worse than it began. I get why that happens — characters like that might always be needed in the future and so you can’t really send them off on a 1,000-year mission. But nothing is added to her story. Her relationship with Kadan isn’t believable, nor her continued pining for Kirk. The captain fares no better, coming off as a complete jerk who expects Rand to be available to him on an ongoing basis — even though he has no intention of being with her at all.

And nobody else in this issue gets any more than that. The title lacks any kind of emotional connection with or between its characters and I can’t imagine that anyone other than a die-hard Star Trek fan finding much to enjoy with it.

I will add that this is one of several Marvel comics published this month that features the little gag at the end called “The Former X-Men,” which is a parody cover of The Uncanny X-Men #142’s cover. Cute.

Jim Salicrup and Terry Austin’s parody of the cover to The Uncanny X-Men #142.

One year out from the start of this series, it’s not looking good for its future. Star Wars was riding high, based on the success of The Empire Strikes Back and the anticipation for Return of the Jedi. It was hard at this time to think much of Star Trek: The Motion Picture or the future of Star Trek as a franchise, as The Wrath of Khan was still a year and a half away. But Marvel had another year on its license, so the comic book was still on track to publish through 1981.

Comic Treks: Star Trek (Marvel) #11 (Feb. 1981)

Cover to Star Trek #11. Art by Joe Brozowski and Tom Palmer.

“… Like A Woman Scorned!” (22 pages)
Writer: Martin Pasko
Artists: Joe Brozowski and Tom Palmer
Colorist: Carl Gafford
Letterer: Joe Rosen
Editor: Louise Jones
Editor in Chief: Jim Shooter
Cover: Joe Brozowski and Tom Palmer

A much better effort this issue, though the plots continue to be plagued by the embarrassing and not-very-interesting trope of the Enterprise crew encountering ancient Earth myths in the depths of space. Star Trek’s gone there on more than one occasion, but these are rarely the best episodes. Time travel and more straight-on, traditional sci-fi conventions that are integrated with character are the real hallmarks of Star Trek. And Marvel just can’t quite get there.

This issue we get a decidedly new look with art by Joe Brozowski and Tom Palmer. This is Brozowski’s first work on a Star Trek comic, not it’s not his last as he contributed to a number of issues in DC’s first series.

Tom Palmer is a legendary comic book inker. He’s inked tons of Avengers for Marvel, as well as having inked Neal Adams’ legendary run on X-Men. He also did finishes over Walt Simonson’s breakdowns on Marvel’s Star Wars. His work is detailed and organic, and his style is unmistakable and always welcome in any comic book I read. He has a real talent for likenesses, as well, which makes him well-suited to Star Trek.

Now that’s a splash page!

This issue starts off with a great image on the splash page of Starfleet officers dying of exposure to Berthold rays on the planet Andronicus. It’s dramatic, and exciting! There’s actually something going on this issue.

The officers died a while back, but the Enterprise is headed to Andronicus because it’s the home of a clinic founded by psychiatrist Carl Wentworth. The clinic had protected Wentworth and his staff from the Berthold rays with a transparent neutronium shield that is now failing. The Enterprise is to transport the doctor and his crew to Starbase 28.

I have to mention Wentworth for a moment, because he’s described before his appearance in this story as the founder of the “anti-apologists movement.” McCoy calls him a con artist, Kirk admits some call him a cult leader. And Spock describes his teachings as training people base their conduct on “enlightened self-interest.” McCoy remarks that he senses disdain in Spock’s voice, which he denies.

Lots and lots of words on this page.

Enlightened self-interest is a philosophy that dates back to Alexis de Toqueville as a kind of “treat others as you would have them treat you.” But it also evokes Ayn Rand’s objectivist philosophy, which uses the term “rational self-interest” to describe the idea that improving and enriching yourself is the best way to improve the world. Like everything associated with Rand, her views are controversial and evoke extreme devotion among a small set of devotees and general derision from the rest of the world. And of course any discussion of Ayn Rand and comics leads back to Steve Ditko and the controversies associated with his career. Let’s see what happens …

The first member of Wentworth’s party to beam aboard is a lovely woman in a tiny wisp of a dress named Andrea Manning, who shares some unpleasant history with Scotty that he’s embarrassed by.

All of this, by the way, happens in the first three pages of this comic!

En route to Starbase 28, Spock notes a decrease in Scotty’s efficiency, while Wentworth gets a tour of the ship. Of course, he’s dressed like a cult leader: robes, sandals, balding with long white hair and a beard. And, of course, an attitude. On the bridge, he gives Uhura an earful about following orders when she should decide what she wants to do on a moment to moment basis. She dismisses him as a kook.

What the heck’s going on here? At least the art is pretty to look at.

Then this story gets really strange. The intruder alert alarm sounds in engineering as a “witch-hag” appears and rips through crewmen as it goes after Scotty. The hag is pretty powerful, redirecting and amplifying phaser fire back at crew members, then enlarging a security guard’s phaser so much that he’s pinned underneath it. Kirk jumps in and is knocked back, while Spock’s nerve-pinch goes right through the hag’s shoulder and she makes him dance like he’s in a Beyonce video before disappearing.

Spock gets jiggy with it in panel 4.

In sickbay, Bones says Scotty shows signs of fear but otherwise should be OK. While he’s out, he whispers “Black Annis” and Spock heads off to look it up in the computer banks.

Wentworth, meanwhile, is in the recreation deck telling Uhura and Sulu they should follow their whims and change course to Drexler II for shore leave. Somehow, they find themselves following his lead. And Dr. Chapel checks in on Andrea Manning to find her downing a bottle of saurian brandy by herself and going off on how much she loved Scotty and how much she gave up for him, only to less important to him than a rivet on a baffle plate.

Andrea Manning’s apparently a lightweight when it comes to drinking. No wonder Scotty left her.

Spock learns Black Annis is a character from ancient Scottish folklore that used to eat small children. Then Kirk finds the ship’s off course and headed to Drexler II. Kirk orders security to the bridge to arrest Sulu and Uhura and put them in the brig. And then another intruder alert comes in as another creature from Scottish folklore — a birdlike creature called a direach — is attacking Bones, Spock and Scotty. Spock tries to nerve pinch it, but it responds by kicking his ass. Bones shoots it with a phaser, to no avail. Kirk then tries to throttle it. Yes, throttle it! At that moment, Andrea Manning passes out from too much brandy and the creature disappears.

This page is all kinds of crazy: Kirk throttling a mythical creature and Andrea passes out drunk.

Chekov then reports that a full-fledged mutiny is underway as Wentworth takes control of the Enterprise. He rants about having leaned mind-direction techniques from ancient archives on Andronicus and he plans to create a new base on Drexler II, with the Enterprise at its command. Spock decides to mind-meld with Scotty to erase his memories of Scottish folklore as a way to cut off the source of Andrea’s power, while Kirk storms the bridge. Wentworth appears to win over Kirk, Andrea wakes up ranting about how much she hates Scotty and the ship is rocked by a giant alien creature wrapping itself around the ship.

Wentworth looks a little like Hitler in panel 5.

As the entirety of Star Trek up to this point has made clear, the only thing Kirk really loves is the Enterprise and his mission. So he overcomes Wentworth’s influence and decks him with a left cross. He realizes the creature is, of course, the Loch Ness Monster. Bones knocks out Andrea with a sedative, and the monster disappears. The Enterprise drops off Andrea, Wentworth and the rest of their people at a rehabilitation center. Kirk notes no charges against the crew because they were under Wentworth and Andrea’s influence, and the ship warps off to the next issue.

As you might expect from what I wrote above about the artists on this issue, I like the way this looks. The problem is the story, which tries to pack way too much into a mere 22-page comic to work. There are quite a few seven-panel pages in this book, and one nine-panel page — just to keep up! There’s also a lot of script to explain things going on that the art can’t convey.

But it’s just a mess, overall. The folklore creatures, the mutiny, Scotty’s bad breakup, the heavy drinking, the cult leader — it’s all too much. None of it has space or time to develop into anything of note. And the villain, who’s clear from the start and about as one-dimensional as you can get, is practically squeezed out of his own story. It evokes enough Star Trek flavor to feel kind of like a Star Trek story, but it’s too crammed full of elements for the story to deliver anything more than a surface experience.

No letters column appears in this issue, replaced by a house ad for Spider-Woman.

Comic Treks: Star Trek (Marvel) #9 (Dec. 1980)

Cover to Star Trek #9 (Dec. 1980). Art is unsigned, but credited on Comics.org to Dave Cockrum and Joe Rubinstein.

“Experiment in Vengeance!” (22 pages)
Writer: Martin Pasko
Artists: Dave Cockrum & Frank Springer
Letterer: John Costanza
Colorist: Carl Gafford
Editor: Louise Jones
Editor in Chief: Jim Shooter
Cover artists: Dave Cockrum & Joe Rubinstein

This one’s complicated, and not in a good way. I do give Marty Pasko credit for trying to do an issue of the comic that evokes the feel of the show, but this is an excellent example of trying to do a TV show in a comic book format instead of adapting the show to comics.

Not a terrible start, but drawing the USS Enterprise is tricky and even artists as experienced as Cockrum and Springer struggle to get it right.

This one starts off with the USS Enterprise locating the USS Endeavor, a starship lost in action 22 years ago whose fate has puzzled Starfleet ever since. As the Enterprise approaches, Lt. Karen Hester-Jones reports to Kirk as the ship’s new zoologist. She and Kirk have an obvious history together, one that obviously didn’t end well and, for her, not happily. The Endeavor then surprises everyone by intercepting the Enterprise and attacking!

All this happens by the end of page 2!

Page 3 is where the seams start to show. Spock detects no life forms, but the Enterprise is able to immobilize the Endeavor in a panel that sees the word balloons pointing at the wrong ships. The script’s also been all over the place in terms of technobabble, with the Endeavor reported as being found a half-parsec from its last known location (which doesn’t seem that far off in Trek terms), and then distances tossed around inconsistently — 25,000 km out is far out, but then it seems closer at 200,000 before instantly getting down to 1,000 km. A sure sign this issue was under the deadline gun.

It’s interesting to note, as the crew beams over to the Endeavor’s bridge (in environment suits) that the ship’s exteriors and interiors, as well as the crew’s uniforms, evoke the TV series very strongly. With the sweater-like collars on the crew’s tunics, it looks very much like the second Star Trek TV pilot, Where No Man Has Gone Before.

Then it gets weird — and familiar in a not-s0-good way. There’s a mysterious, sparkly cloud that “possesses” one of the crew members. We just had a ghost story in issues #4 and #5, and here we are going down that same path again! There’s a three-page action sequence that’s better than it should be, really, but still fails to be interesting because all the characters are fighting each other in big, clunky, monotone-colored environment suits. It’s a bit of a chore to figure out who’s who in this mess. But they end up beaming back to the Enterprise with the possessed crewman — and the sparkly cloud tags along in the transporter beam.

Figures in environment suits fight on the USS Endeavor. Nice attempt to spice things up with the color holds in those last two panels.

While the sparkly cloud sneaks around the ship, Hester-Jones and Kirk have it out. Turns out they were a couple, until Kirk was drawn back to Starfleet. She was angry at him and married Bill Jones, who realized he couldn’t compete with Kirk and didn’t renew their marriage license. (This was something Gene Roddenberry mentioned in the novelization of Star Trek: The Motion Picture. Marriage licenses in the 23rd century have to be renewed or they expire. Kirk’s marriage to Vice Admiral Lori Ciani ended the same way.) She’s still angry with Kirk, but he has a job to do!

Will Jim Kirk ever allow himself … to be loved?

On cue, Spock reveals that the Endeavor’s logs reveal its last mission was responding to a distress call from Janet Hester on a moon called Mycena. Hester-Jones says that was her grandmother’s name, but it couldn’t have been because Janet Hester died at the age of 36 in 2139. Spock then shows it was her, producing a photo of her at age 89. He continues: Shortly after the Endeavor rescued Janet Hester, the crew started going crazy and the crew was eventually murdered or killed by cutting life support. The madness, of course, resembles what happened to the Enterprise crewmember on the Endeavor, so Kirk receives new orders to investigate and orders a course to Mycena.

Ten pages in, you can see how dense this story is, though not in a good way. It’s very episodic and clunky when it wants so very much to be mysterious and interconnected.

And it doesn’t get any better once the Enterprise arrives at Mycena, which is an ice planet. Kirk, Bones, Spock and Sulu beam down in parkas and split up to explore two tunnels that both lead to an underground chamber. Bones and Spock are immediately attacked by a giant lobster creature that resists all phaser fire and can’t be detected by a tricorder. It also has flexible spine, so it can follow Spock and McCoy into the tunnels. Kirk and Sulu somehow spot a human body underneath the ice that isn’t shown in the artwork, and then meet up with Spock and McCoy in a chamber with a device that, when Spock activates it, creates a defense field that keeps out the creature. And if that wasn’t enough, Sulu notices that this alien technology has Starfleet technology added to it.

Lots of talking heads and pointing — all in that inimitable Cockrum style!

Then Bones finds some early transporter technology and Spock digs up computer records of the “Hester Project.” Kirk calls the ship, where Uhura is the most-recent crewmember to be possessed. He sends McCoy up to help with that, and orders Hester-Jones beamed down. He asks her to take some samples from the lobster thing and she explains her grandmother “died” when she was lost in space while being transported from the her assignment at the Deneva Research Station. Kirk then realizes she was part of the team that invented the transporter and that, after they were ordered to discontinue the project, she and six of her colleagues ended up getting “lost,” landing on Mycena and continuing their experiments.

An angry Lt. Uhura starts tearing things apart as she looks for a script that isn’t lame.

You’re not the only one struggling to keep up. The pages stopped even being numbered half-way through this one.

Doctor, heal thyself.

And it gets weirder. The possessed crewmembers all start chanting in unison: “We seek Hester! The Unity seeks Hester!” They then bust out of sickbay, giving McCoy a black eye, and beam down to attack Hester-Jones. Kirk realizes they want Janet Hester and that there are six beings who were all Hester’s colleagues and became trapped as spirit-like creatures because of the transporter experiments. When she was rescued by the Endeavor, they followed and killed the crew trying to kill her. But she escaped in a shuttlecraft and died in a crash landing … on Mycena.

That’s the body Sulu spotted, and Kirk uses it to lure the Unity into the shuttle, and then tosses in some overloaded phasers and beams up just before the whole thing blows up.

If all else fails, blow it up! The throwback shuttlecraft is a nice touch and drawing it was probably the only fun Cockrum had while working on this issue.

Finally, the end is in sight. Spock’s puzzled by their hatred, the “possessed” crewmembers are all back to normal, and Hester-Jones decides to move on from Jim Kirk and transfers off the Enterprise.

The only woman Jim Kirk can love is named … Enterprise!

Just understanding the plot in this one is difficult. It’s way too much crammed into too small a space to work in any way, shape or form. The art by Cockrum and Springer is, in a way, a minor miracle for not making the entire affair even worse. Visually, it’s not terrible. But it’s not good either.

And let’s look at the cover for this issue, which is confusing in so many ways. I’m going to assume the woman in the Starfleet uniform is supposed to be Karen Hester-Jones, though her outfit and hair are colored differently than inside the issue. If the man is supposed to be Kirk, it’s not at all clear, but who else would it be? I thought on first glance that these were Endeavor crewmembers, but that’s obviously wrong. And the story has six alien ghosts, and this cover features nine heads. I do like the overall composition, with the swooping Tholian-style lines, but that also has nothing to do with the story inside.

Last thing: the letters column is still being written by Mike W. Barr, who didn’t write this issue and won’t write another one until issue #17.

Clearly, this is a title in disarray. Marvel had more success with Star Wars and Battlestar Galactica, in part because those books found sympatico creative leaders in, respectively, Archie Goodwin and Walter Simonson. And while affection among the Marvel staff for Star Trek was clearly high, that direction was lacking in the comics themselves.

At least the next issue has a Frank Miller cover to look forward to.

Comic Treks: Star Trek (Marvel) #8 (Nov. 1980)

Cover to Star Trek #8 (Nov. 1980), art by Dave Cockrum.

“The Expansionist Syndrome” (22 pages)
Writer:
Martin Pasko
Artists: Dave Cockrum & Ricardo Villamonte
Letterer: Ray Burzon
Colorist: Carl Gafford
Editor: Louise Jones
Editor in Chief: Jim Shooter
Cover artist: Dave Cockrum

A few changes this issue, with Marty Pasko stepping in as writer and Ricardo Villamonte as inker on Dave Cockrum’s pencils. There’s good and bad in these changes: Pasko’s script starts off strong and action packed — the best so far of the original stories — but suffers from trying to wedge in a full TV episode’s worth of plot in a comic book space. It quickly becomes clear there’s just not enough space to give the ideas space to breathe or context to give it meaning. Villamonte fares better, bringing a much cleaner look to Cockrum’s pencils that better suits the series. It’s the best-looking book so far in the series, even with Cockrum’s design biases on clear display in the creation of the alien Machs (who look a lot like the Sidri from X-Men).

This issue begins with a solid splash page of the bridge crew reacting in pain as alien ships can seen on the main viewer — and Spock looking like he’s in a trance. The captions explain the Enterprise is on its way on an emergency medical mission to Starbase 14 and its course has taken it into the Agena system, where the inhabitants of the fourth planet have taken their appearance in their space as an invasion.

A decent splash page, but that title lettering is weak.

We then get a pretty good two-page spread, with the Agenan ships trapping the Enterprise with energy bands resembling the web seen in the third season TV episode “The Tholian Web.” The energy is causing the bridge crew extreme pain and disrupting the matter/anti-matter generators, trapping the ship in space with all other systems operational. The last panel reveals the medical mission the trap disrupts is getting an ill agricultural engineer to the Starbase for a live-saving procedure. Without it, she’ll die in 24 hours.

Shades of “The Tholian Web,” but still a pretty dynamic two-page spread from Cockrum.

Complicating matters, Spock is “digitized” off the bridge to one of the alien ships, which heads to the planet surface. So, naturally, Kirk prepares to fight back only to hear from Scotty that the energy disruption is affecting weapons systems and that unless they stop the aliens the Enterprise will explode in four hours.

Spock goes to pieces. Or maybe he just really likes the cover to Talking Heads’ 1978 album, “More Songs About Buildings and Food.” I think he and David Byrne would get on well.

Villamonte’s inks and Burzon’s very clear lettering show how mismatched Janson’s style was with the book. The story so far has breezed along easily, clearly and is quite entertaining. Cockrum’s art looks like Cockrum’s art. And it continues in some cool alien designs and layouts as Kirk leads a landing party to a surface full of interesting aliens and a fair bit of action.

And here’s where the story starts to run into itself. First, we have the humanoid aliens on the planet calling themselves Orgs and their enemies are the Mox. More on that in a bit. And then the critical patient on the Enterprise, Professor Lenore Fowler, starts smacking tools out of Dr. Chapel’s hands as she demands to see McCoy.

Cockrum again delivers with a nice alien in the first panel and then that fourth panel with the projectile-tossing arm just visible on the edge.

The Enterprise sensors pick up Spock’s life form readings as the only such readings in a 200 km radius, and lead the landing party to his location within a large temple. There’s some slug-like creatures all around called the Kamahr that generate force fields. An org named D’vid explains the Orgs and Mox are enemies fighting for control of the planet. The Mox have control and confine the Orgs to small areas unable to support their population. So they starve and are now ready to fight back with a planned invasion of the Mox temple.

Next, we find Spock inside the temple with the Mox citing self defense as they attempt to convince him to use his telepathic abilities on the Kamahr in some way. Spock refuses, of course.

Kirk and McCoy, meanwhile, are in the temple and see the Mox for the first time. Together, they figure out that the Mox are Machs, as in machines, and the Orgs are organisms. Mastering the obvious is apparently a difficult course to pass at Starfleet Academy. When the Mox guard spots D’vid, it attacks and the landing party defends itself by destroying the guard. They then find and free Spock, who, like some kind of pointy-eared Clarissa, tells it all: the Mox have learned of the Orgs invasion and are seeking a way to defend themselves as nonviolently as possible by tapping into the Kamahr and their telekinetic abilities.

Kirk and McCoy put their half-brains together and figure out the obvious.

Meanwhile, Chapel makes the mistake of turning her back on the professor, who uses a hypospray on her doctor to escape. Back on the planet, McCoy and Kirk debate whether killing the Mox is murder, when the Orgs attack. Spock, of course, fixes the whole thing by mind melding with the Kamahr and using their telekinesis to free the Enterprise from the Mox ship. Kirk orders the ship to fire its phasers in a wide target on stun mode, which stops the invasion by knocking out all the Orgs.

The Fowler stuff aside, I like the little debate in the bottom half of this page. It really evokes the feeling of the original series.

The professor, meanwhile, stuns the transporter crew and beams down in time to tell Kirk she has a solution to the planet’s problem — just as she collapses due to her fatal disease.

Suddenly, Kirk, Spock and McCoy are back on the Enterprise bridge. Kirk reveals how Spock’s mind-meld revealed that the Mox and Org were both from Earth — refugees from the Eugenics wars of the 1990s.

A good page for some typical Trek-like banter — too bad none of it makes sense.

Then Professor Fowler on the planet communicates that she’s doing great with the mechanical heart the Mox designed for her and that she’s got high hopes for the truce she arranged between them. She’s already got them building hydroponics gardens, high-rise housing and instituted a population control program.

Since THAT all worked out somehow, Kirk orders the ship on to its next mission.

And just in case you weren’t confused enough, here’s a final attempt to explain this story before it ends.

This is a script that really tries to evoke the feeling of the TV show, and succeeds in a number of ways. But it ends being too much story for a 22 page comic book. (In case you were wondering, Marvel did up its story page count in 1980 from 17 to 22 pages at the same time it raised prices from 40 cents to 50 cents.) Trying to jam this much story into a single issue fails to give any of the elements the space to build any suspense or have the payoff mean much of anything in any of its plot lines. The klunkiness of the Mox and Orgs and D’vid is pretty mawkish, and the Professor Fowler character has no rational motivation for her actions and ends up pretty much just a plot device designed to increase danger and resolve the story.

The rest of the comic is pretty solid, though. The mention of the Eugenics Wars of the 1990s predicts and pre-dates plans to bring back Khan in the next movie. The art is clean and clear and has the personality and flair you expect from Dave Cockrum. The colors aren’t flashy, but they do their job. And the lettering is clean and clear. I think Marvel must have upgraded its printing along with expanding the page rates, because there’s far less of the muddiness seen in previous issues to be found here. Even the cover is a big improvement, actually showing one of the main characters — Spock — prominently and in a perilous situation interesting-looking enough to entice readers to part with their half-dollars. No letters page this issue, but there are plenty of signs that the book is improving in many ways for hopeful Trekkers in the summer of 1980.

‘Secret Six’ #7 Wraps Up the Series With an Inky, Moody Tale

Secret Six #7 (May 1969). Art by Jack Sparling.

“Secret Six” #7 is another superior issue, suggesting the series could have done some really cool stuff it this wasn’t the final issue.

This period was a tough one for comics. The Silver Age was winding down, the industry was facing distribution issues amid a volatile economy and a new series was bound to struggle for sales. Of the “DC Experiment” titles Jacobs and Jones lauded in “The Comic Book Heroes,” none was a commercial hit. But, as they write:

“But the experiment had been an exciting one, and the field seemed suddenly flushed with the rcognition of its newly expanding horizons. Anything, it now appeared, might be tackled in the medium.”

Titled “An Eye for an Eye,” this issue strangly lacks credits for the usual creative team of E. Nelson Bridwell on plot, Joe Gill on script and Jack Sparling on art. The story shines a spotlight on Carlo Di Rienzi, who is back on stage pulling off impossible feats as an illusionist. Like this one:

Page 4

Not sure why he doesn’t just walk around the wall, but OK, it’s comics.

On the way home, he’s kidnapped and chained up by some tough guys who want to know where to find Mike Tempest, a.k.a. Tiger Force. Carlo, of course, refuses and conveniently flashes back to that time he rebuffed mobsters pushing on him a protection racket. The result of that was the mobsters blowing up his house as he pulled up in a car marked “Carlo the Great.”

Page 8

Page 8 is pretty effective in showing the aftermath, and generating a lot of sympathy for Carlo. Bat-fans will surely see some similarity between this and the famous “Death in the Family” storyline from Batman #426-429.

Torture’s terrible, but Sparling’s art on pages 11 and 12 look great. There’s a strong EC influence here, with a solid dose of noir that is, again, very unusual for DC books of the era, if not just about any entertainment of the era. The coloring on panel 4 of page 11 is a great example of how to use the simple options of the day to create drama.

Pages 13 and 14

All of it leads up to this cool spread in which King Savage and Crimson Dawn come to the rescue and deliver a Kirkian beat-down on these pug-ugly mobsters. Sparling does great work here and his version of King is the closest he’s gotten to channeling the influential power of Jack Kirby’s work. I love Crimson’s double-handed Kirk chop and wonder how and why that move was so popular in the 1960s. It’s clearly worthless, taking away all the leverage. It looks cool, though it also always reminds me of the fight scene between Nicolas Cage and John Goodman in “Raising Arizona” where Cage lifts his hands to deliver a Kirk blow and scrapes his knuckles across the rough popcorn ceiling. Excellent stuff.

Page 19

There’s some great “Mission: Impossible” stuff on page 19 with a disguised dummy, followed by a great, moody finale with big, even wordless panels.

And then it’s all over. The final page is only a partial page, and “Secret Six” comes to an unexpected end without revealing the identity of Mockingbird and many interesting missions untold.

Page 24

“Secret Six” wouldn’t return to comics form until 1988, when DC converted “Action Comics” into an anthology titled “Action Comics Weekly,” which featured 48 pages of comics a week. The debut of this format in “Action Comics Weekly” #601 featured the debut of a new “Secret Six” serial written by the recently departed Martin Pasko and drawn by Dan Speigle.

Action Comics Weekly #601 (May 24, 1988). Art by Dave Gibbons.

It was a continuation of the original series, though the intervening years had passed. The original Six was all still alive, though much older, as Mockingbird assembled a new Secret Six. The identity of Mockingbird was eventually revealed in one of the later episodes, and “Action Comics Weekly” only ran 41 issues before returning to its previous format as a monthly Superman title. And when DC revived Secret Six in the early 21st century, it used the name for a completely concept and set of characters.

Does “Secret Six” hold up? Yes and no. The early issues in particular are a real struggle to get through, but readers who stick with it will get to some really nice vintage storytelling that stands out for its time as well as for today. Definitely a fun one to visit — or revisit, as the case may be.

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