Although belonging to the modern age of comics, James Robinson’s Starman pays heavy respect and tribute to the golden age. After all, it was Robinson’s The Golden Age which firmly planted the author on a pedestal as a great writer of the Justice Society and its memorable heroes. With – after two years – Starman an established title, it was time to expand outwards. In the afterword of Starman Omnibus Volume Two, Robinson comments on his sadness that particular DC characters were lost to the more adult Vertigo imprint, and thereby sectioned off from other mainstream characters. Although readers would naturally point out to the likes of Swamp Thing, Doom Patrol, and Animal Man as some of those who walked the plank and fell into grim (and often psychedelic) waters, most forget that the Golden Age Sandman was among that group. With Wesley Dodds receiving his own title – Sandman Mystery Theatre – from 1993 to 1999, Matt Wagner penned a darker title, one naturally at home at Vertigo. But with Starman (vol 2) 20, Robinson managed to pinch old Wesley from Vertigo and back into the pages of DC Comics...
Starman (vol 2) 20-26 was published from July 1996 to January 1997.Written by James Robinson, the art is by Tony Harris, Wade Von Grawbadger, Guy Davis, Chris Sprouse, Ray Snyder, J.H. Williams III, Gary Erskine, and Mick Gray.
Sand And Stars --- Written by James Robinson with art by Tony Harris, Wade Von Grawbadger, and Guy Davis
Starman (vol 2) 20-26 contains two stories: with issue 24 acting as an interlinking issue, considering itself an epilogue to the first tale and a prologue to the latter. But for this review, Starman (vol 2) 20-23 will be Sand and Stars, and the following three issues will be Hell and Back (mainly because the interlinking issue is more important to the latter story than the first. With that out of the way, it would be wrong to describe Sand and Stars as a crossover, at least not in a full-blooded sense. While there are references to Sandman Mystery Theatre, a title I have not read but heard good things about, Robinson focuses mainly on the world of Starman.
Starman (vol 2) 20 begins with a dream – Jack Knight dreaming of Wesley Dodds, a hero of his. Recalling the Mist – in the previous story – and her quest to locate her father’s First World War medal, Jack is directed to Wesley, since the Sandman was another of the Mist’s foes. Throughout the first issue, there is a feeling of excitement. This isn’t just because we are excited to witness the return of Wesley Dodds, but also because Jack himself is thrilled. Jack has the personality of a comic book fan – he looks up too many of the heroes who his father once fought alongside. It’s a sense of excitement which Jack can barely contain, and that meta and fan-boy feeling is something which is quite rare within comic book stories. But as ever, Jack is thinking about his loins too. Upon meeting Wesley, he also meets Dian Belmont, the beautiful wife (and also a highly rated author) of Wesley who Jack falls in love with at first sight. Jack’s excitement, mixed with awkwardness and nervousness at meeting two of his heroes, shows another side to the usually confident protagonist. But naturally, the spotlight is then placed on Wesley. Finally looking his elderly years (after the ageing events of Zero Hour), Wesley is tired and lacking much interest in the present. This first part does set the scene of the plot to dominate the lives of our heroes for the following three issues, but more than anything, it focuses on characters and relationships – to brilliant success. Ted Knight refuses to tag along with his son to meet Wesley because of the extreme guilt he feels over his inability to continue his work as Starman. We learn not just about characters new to the title, but more about the constant characters too. Robinson writes these scenes with such emotion and engaging charm that you almost forget these are fictional characters.
But ultimately, Sand and Stars is a detective tale. With Starman (vol 2) 21 – after a murder or two – Starman works alongside an energised Wesley Dodds who, with a crime to solve, is back on top of his game. With details surrounding possible motives, including money and the purchase of an airship, we’re presented with several pages of Wesley Dodds dancing through evidence and deduction, moving as quickly and effectively as Sherlock Holmes. Warren Gayle, the developer of a helium airship soon to be launched, seems to be tied to this drama. With that, the heroes split ways into true golden/silver age fashion. While Wesley and Dian do the talking and asking around, Starman is doing the manual labour side of affairs. Scenes of discussion can be verbose, but Robinson slowly and carefully constructs an engaging narrative and plot – it doesn’t bore. With Gayle seemingly killing off potential whistleblowers and using their funds, Starman beefs up his investigation and stealthily infiltrates the rich airship-maker’s base. But the stealth doesn’t last long – Jack is quickly captured by the enemy and it’s down to Wesley to act!
Despite his age, it’s great to see Wesley return as the Sandman. Not only does he get to wear the goggles and hat once again (thankfully not that woeful gear he wore during the Kirby/Simon era), but he takes centre stage in Starman (vol 2) 22 by infiltrating Gayle’s base himself. Although he is now elderly, these scenes where Wesley takes on a more active role don’t come across as embarrassing or impractical. Any scenes of action are balanced by moments of reflection. After locating Jack held hostage, we’re treated to an eleven-page mini-adventure from the past, whereby the younger Sandman rescued Ted Knight’s Starman. This flashback is a joy to read. It’s not just because it’s conveyed in a golden age style of storytelling with all the great detective writing, but also because the artist on these scenes, Guy Davis, was the main artist for Sandman Mystery Theatre.
It’s a great succinic nod to the world followers of Wesley Dodds are used to. Furthermore, Robinson surprises us by displaying a pretty negative relationship between Sandman and Starman in the past, a rocky partnership only to be rectified with the end of the flashback. Typically of Robinson, he respects the past and shakes it up for the present.
The relationship Robinson creates for Wesley and Jack is like a grandfather with his grandson. They haven’t known each other long, but Jack looks up to Wesley almost uncritically, while the former Sandman sees it as his duty to protect the current Starman at all costs and give him advice on heroism. It’s with that relationship that has been developed so well in the first three parts that Starman (vol 2) 23 launches with Wesley throwing himself in harm’s way to rescue Jack. It would be too cruel and pointless to kill off Wesley Dodds in a story like this, but a sense of drama and tension is there. But with the two heroes reunited, it’s time for Starman and Sandman to defeat Warren Gayle. Oh. Actually, it’s not. It’s revealed that the villain isn’t really Gayle. Instead it’s a man disguised as him – the real Gayle is locked in a cupboard. The real villain is revealed to be scarred and deformed man who, as an investor in Gayle’s airship project, decided he could make more money out of it if he stole the airship instead. Although Starman easily puts an end to this mastermind, I feel the very idea that this villain has been disguising himself as Gayle the whole time is ridiculous and perhaps even undermines the seriousness and high-quality storytelling thus far. This has been a great detective romp, and it’s ruined by a Scooby-Doo tactic and rubber mask. Robinson tries to hint that the real villain may still be out there somewhere, but with scant details about him revealed, it’s not something that is either desired or likely. Nevertheless, the story ends almost comedically when we readers remember that Jack came to visit Wesley in the first place for a very different reason – to find the original Mist’s war-time medal. In this mission Jack is successful; the stage is set for one of my favourite moments of the Starman saga, but that shall have to wait for the next issue.
As stories go, Stars and Stripes is a highlight of the run. Not only does Starman enter new territory and teams up with a great hero from the past, but Robinson also writes a detective thriller full of twists and turns. While the rubber-mask revelation may be a big damp squib, it’s difficult to find any other major faults. With a great plot, balanced with interesting relationships and a long flashback which feels like its own adventure, Starman (vol 2) 20-23 is a fun and memorable four issues of the run.
Tony Harris and Wade Von Grawbadger never cease to amaze with their uniquely creative style of storytelling. All what usually makes them great here, especially in the shadowing department. But with a new cast of characters, the duo creates a fantastically memorable appearance for Wesley Dodds. He may be old, but with that gasmask and hat, he looks as stunning as he did in the 1940s. When it comes to the flashbacks in Starman (vol 2) 22, Guy Davis’s artwork stands out mainly for reasons of consistency. To conform with the world of the Sandman Mystery Theatre, including Davis and his noir-style texture is a great move. Visually, it looks a bit too scratchy for my liking, but I’ve seen much worse. It’s certainly helped by the muted colouring. So, while Harris and Von Grawbadger predictably (but not disappointingly so) deliver their best, Davis gives us Starman readers something different!
Hell and Back --- Written by James Robinson with art by Tony Harris, Wade Von Grawbadger, Chris Sprouse, Ray Synder, J.H. Williams III, Gary Erskine, and Mick Gray
Hell and Back is a relatively short story, given that the focus of the three issues is on the immortal whose poster is sending helpless mortals to Hell has become a staple essentially since the run began. However, for the opening half of Starman (vol 2) 24, Robinson ties up the very plotline which commenced Sand and Stars. During Sins of the Child, Nash tried desperately to confuse Jack by convincing him that they are both the same. On the surface, there may be truth to that. Both are offspring of super-powered personalities, and both are determined and driven in their quests. But it is the moral of their quests which differ brutally so. To prove that he is the better person than Nash, Jack visits her father (the original Mist) in a care home. Suffering from dementia, the former supervillain confuses Jack for his deceased son, the same character Starman killed at the start of the run. In a scene of emotion and respect, Jack gives the Mist his Great War medal back. These pages are flawlessly written. Not only do we witness humanity from Jack despite all the Mist’s actions, but Robinson makes the Mist a decrepit character to feel sorry for. His dementia causes extreme reactions, both happy and sad. But Jack’s gift causes tears. These scenes present these two characters in very different lights, with mutual respect and empathy. Finally, the story of the original Mist is complete.
This is where Hell and Back truly begins. Remember the O’Dares? Yeah, not much has been made of them thus far, but Hope O’Dare asks for Jack’s help in finding her brother Matt. The story of Merritt and the famed poster – the doorway to Hell – has been carefully crafted by Robinson as a plot point for a while now. Slowly but surely, Robinson has been building it up and this is its pinnacle – Jack must accompany the remaining O’Dares in the realm of the living to find Matt and the Shade. A promising adventure!
But before the heroes can even enter this hellish realm, they need to find the portal. While excerpts from the Shade’s journal in the first part are greatly welcomed and Robinson’s conveys his skill as a writer of prose, Starman (vol 2) 25 is simply a drag. It involves Jack searching for the poster and learning its possible locations through the O’Dares. This would have been a great opportunity to learn more about this famed family of Opal, but much of the dialogue is irrelevant or plain. Sure, there are some good scenes along the way, but they don’t usually involve the O’Dares. As Jack prepares to enter Hell, there’s a great moment when his father finally admits to feeling fear for his son on his quest. It provides food for thought as Ted looks back briefly on how his son has changed since the run’s beginning. And also, Jack finally discovers that Mikaal can talk! Robinson hasn’t made very much of this during the run – you get the feeling that Mikaal’s time in the spotlight will come soon, especially since there is much mystery to unpack. But for now – after a relatively pedestrian issue – Jack finds and enters the portal into Hell…
What does Hell look like? Does it really equal the flurry of images which your mind would instantly conjure – a painting of fire, torture, and never-ending suffering? Or is it something more desolate, empty, and cold? Starman (vol 2) 26 begins in Hell, but not as the kind you’d expect.
This is where Starman finds Matt O’Dare. It should be mentioned at this point that, according to the Shade, Matt is the reincarnated version of Scalphunter, a bronze age creation who was the sheriff of Opal City. The original character once met Batman in an average Brave and the Bold tale, but Robinson’s ret-con certainly adds some relief – the O’Dares are now interesting! Regardless, Jack quickly comes face-to-face with the real villain – the Devil himself! With Merritt as his servant and one who wishes for the realm to claim more souls so continuing immortality is granted to him, the Devil entraps Jack, the Shade, and Matt in situations which will make them into his servants. For instance, Jack is met by his mother; Shade is confronted by Merritt, and Matt comes face-to-face with Scalphunter. The Devil toys with the three heroes and attempts to twist their emotions and con them into accepting immortality and serving Satan. These are powerful scenes for Jack, especially as we learn more about him as the Devil exploits his emotional weaknesses. For the Shade, the Devil promises that in exchange for his soul, Merritt will be erased from existence. As for Matt, he becomes convinced that he is betraying the legacy of Scalphunter. In short, the heroes give in to the devil. For Jack – after the emotional roller-coaster – it makes sense, but I’m less convinced about the others, especially the Shade? Why would immortality, or even the death of Merritt, convince him that his soul would be better with the Devil? Regardless, it turns out that it doesn’t matter anyway. The Devil, sensing the heroes have come to their decisions for selfless reasons, cannot accept damnation without selfishness. With that rather weak writing, the Devil decides that Merritt is no longer worth much (whatever his fate is or even whereabouts are unknown) and it’s decided that everyone trapped in the realm will return to Earth as if nothing happened. It does feel like a rushed ending, especially as Merritt’s story doesn’t come to any real or substantive conclusion. Nonetheless, Jack, the Shade, and Matt join hundreds of others who return to Opal City. It feels like there is much promise about some of the returning people, especially since some of them have been trapped in there for centuries. Sadly, the writer never puts the spotlight onto some of the interesting souls stolen by Merritt.
As stories go, I think Hell and Back is one of the weaker entries in the Starman saga. It’s hard to deny the build-up to the story over the course of previous issues is fantastic, but with a vacuous middle and hugely disappointing ending, it doesn’t live up to the potential it certainly had. I feel like Merritt should have taken a much larger role in the story, especially since his rivalry with the Shade has been a constant point of interest in the run. There are some great personal moments, and it’s good to learn more about Matt O’Dare, certainly the most interesting of the siblings, but with a boring middle and unsatisfactory conclusion, it’s perhaps my least favourite story of the entire Starman run.
While Harris and Von Grawbadger work their magic, for Starman (vol 2) 26, a different artist for each of the three characters (Jack, Shade, and Matt) in their own realms is deployed to create more unique moments. Tony Harris’s art for Jack is stunning, capturing the emotion and sadness that Jack feels when met with his mother. Meanwhile, with a knack for dark shadows, J.H. Williams III’s Shade moments are fantastic. Meanwhile, Gary Erskine’s more colourful style for Matt works because it reflects the brighter comic-book side of the bronze age which Scalphunter featured in. This creative use of the art is highlighted by Robinson when he reflected on this issue, and it certainly adds weight to the story.
VERDICT
Overall, Starman (vol 2) 20-26 are fairly varied in quality. Sand and Stars is a fantastic story, helped massively by Robinson’s effortless writing of Wesley Dodds and Jack Knight. The plot may grow thin towards the end, but all-in-all, it’s impressive. The same cannot be said for From Hell and Back. The concept is good enough, but the execution is lacking desperately. It felt like more could have been done. Thankfully, this doesn’t commence a downturn in fortunes for the run. From Hell and Back turns out to be a slight blip…
Next Week: TBC
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