History and legacies are two overarching themes present consistently in James Robinson’s Starman run. Not only does Robinson dive deep into the history of the DC Universe and its Starmen, but it also explores the mantle of heroism as one which can be passed down through the generations. Robinson takes care with his plotting and choice of stories, combining their strengths with fantastically interesting characters. It explains why those ‘Times Past’ tales are so wonderful to read; they uncover forgotten history and add new elements and features. But Starman isn’t just about the past. It looks to the future, a great plane of enigmas – one which Robinson slowly begins to uncover as the run enters 1997…
Starman (vol 2) 27-29 was published from February to April 1997 – three issues which bridge a small gap between the two larger tales of ‘Hell and Back’ and ‘Infernal Devices.’ However, I’ll also be looking at Starman Annual 1, released in December 1996, the fascinating issue glimpsing into the future. Furthermore, there’s Showcase ’96 4-5 to look at – an additional mini-story featuring the Shade.
As ever, we had James Robinson at the helm, with art by Steve Yeowell, Wade Von Grawbadger, Craig Hamilton, Ray Synder, Tony Harris, Bret Blevins, J.H. Williams III, Mick Gray, and Matthew Smith.
Christmas Knight --- Written by James Robinson with art by Steve Yeowell and Wade Von Grawbadger
Just imagine – for me – that it we aren’t in the heat of summer. Instead, it’s December, in the weeks leading up to Christmas. Starman (vol 2) 27 is a Christmas special striking a different kind of note to previous issues. The O’Dare police family arrange a Christmas feast for their Opal City friends. It’s a party for characters we have seen several times thus far in the run – not just the O’Dares, but also Ted Knight and Mikaal. These are friendly and warm scenes whereby we learn more about the O’Dares and their relationships, capturing some of the emotion which Robinson hasn’t shone much light on thus far. These warm scenes contrast with the cold outside, a metaphor which applies not simply to the weather. While it’s all smiles inside, it’s depression outside. Although invited to the party, Jack Knight is not yet present. Instead, he is in the cold acting as a good Samaritan to a homeless man dressed as Santa. This man once had a wife and a son, but tragedy struck as quickly as a tsunami wrecking a helpless village. He lost his family, his home, and his livelihood, leaving him only a locket reminding him of his former life. Even though the man has committed petty crimes after his fall from grace, Jack helps him recover the locket from his some thieves. The man is consumed by guilt – guilt that he is alive, guilt over his past, but also guilt over the fact he needs help. Jack’s charitable ways lead to the sweetest of endings, with the homeless man leaving the cold and entering the warm world of the O’Dares, with food and all. This message of kindness is eternally linked to Christmas, but perhaps it also shows some development in the heart of Jack and how he has grown kinder after his days of ignorant youth. And after some of the darker stories of late, a warm and festive episode in the Starman title is just what readers would want. A real festive tale that makes you appreciate the joys of the season – food, fun, and family.
Steve Yeowell brilliantly captures two very different moods here. His scenes in the warmth of Christmas are brighter and softer, with the inks of Von Grawbadger fitting that theme. Meanwhile, the bitter chills of winter create a rougher outside world. These differences in style are helped by consistency in the fact that Yeowell is a creative artist who suits Starman just as well as Tony Harris.
1976: Super Freaks and Backstabbers --- Written by James Robinson with art by Craig Hamilton and Ray Synder
For another Times Past tale, Starman (vol 2) 28 finally places the spotlight on Mikaal. Created by Gerry Conway in the 1970s and reborn by Robinson in the first year of Starman (vol 2), the plotting hasn’t focused on him nearly enough thus far. Even after regaining his powers of speech, we know little about him. This issue begins to change that. If you’ve read the 1st Issue Special tale first featuring Mikaal, then the details of the issue’s early pages will not come as a huge surprise. But Robinson does add more to the origin story of a heroic renegade whose people wanted to destroy Earth. Taking place in 1976, this is during something of a limbo period. Mikaal, no longer as interested in defending the Earth, decided to spend his time having fun partying in American nightclubs. It’s there where Mikaal meets Komak, another of his species.
Again, for those who read 1st Issue Special 12, Komak was one of the antagonists who fought Mikaal when he rushed to Earth to try and warn humanity of oncoming danger. However, Robinson doesn’t suggest that this Komak is the same one from 1st Issue Special 12. Robinson treats them – mysteriously and nonsensically – like two different characters. Nonetheless, they are the last two of their race after their home planet was destroyed by the Darkstars, an intergalactic group of heroes who thankfully DC have buried since their embarrassing appearances in the 1990s. But Komak still sees it as his duty to execute Mikaal for betraying his people. But this last mission is no longer life or death – Komak is dying. Like Mikaal, he has been enjoying a colourful social life on Earth and has contracted a disease fatal to his race. It's a surprising but successful way of bringing this fantasy concept into reality. These dialogue scenes are great because although there is obvious animus between the characters, there is a sense of weight to their discussion as they both are forced to accept that they are the last of their kind. It almost feels like a shame that it builds up to a fight, especially one where the clear winner was always going to be Mikaal. Like all Times Past tales, Robinson wants to capture the mood of the era. He does so in a successful, if slightly dated, way here. America in 1976 may have had its dance floors, flared trousers, and embarrassing dress senses echoing John Travolta, but in other elements it was a greyer world. Nevertheless, like all Times Past stories, this one uncovers forgotten stories and finally gives Mikaal some time at the centre of events.
Craig Hamilton and Ray Synder produce a beautifully colourful world for the 1970s dance scene. Although the inks may be overly dark in a few areas (especially for such a bright setting), it captures the mood and brings the action to life stunningly.
The Return of Bobo --- Written by James Robinson with art by Steve Yeowell and Wade Von Grawbadger
James Robinson has always made sure to give Opal City a vibrant and extensive history. With Starman (vol 2) 29, we’re introduced to an old face familiar decades ago. Jack Benetti – better known as Bobo – was once a supervillain, but now out of prison after years inside following murder charges, he returns to Opal City. Bobo is an interesting addition to the Starman cast. This issue treats him as a villain, with the O’Dares spying on the former criminal in fear that his villainous ways may strike again. With his wit and cunning personality, Bobo is no ordinary henchman, but an interesting and manipulative character who tricks Mason O’Dare into nearly befriending him. But the beauty of the story emerges when Bobo attempts to rob a bank, but before he can begin his heist, he is presented with competition. Enter the Royal Flush Gang, a deck of playing card-theme foes who, both in numbers and weaponry, prove no match for Bobo. However, Starman appears on the scene and Bobo teams up with the hero to take out the villains who have their eyes on the bank’s money. With the Royal Flush Gang’s defeat, Bobo becomes an unexpected hero, placing him on the pathway to vigilantism. Although that transformation may occur unbelievably quickly, it makes for a surprising and satisfying conclusion for a character we hope to see more of. Bobo was created by Robinson because he wished to see a character witness the historical changes of Opal City over the years. Bobo certainly does that, and more. Despite all this, there is something else which causes Starman (vol 2) 29 to stand out. Jack Knight receives the biggest news a man could have – he is now a father. Remember when the Mist kidnapped Jack in Starman (vol 2) 12? When Jack was unconscious, the Mist raped him and, many months on, they now share a son – Kyle, named purposefully after the villain Starman killed in the title’s fourth issue.
This is obviously a moment of great shock and drama, and it’s perhaps one of the most consequential events in the run. However, it feels as if Robinson doesn’t provide it with enough space or drama. Really, such a revelation should take centre stage of an entire issue, focusing on the emotional effects and aftermath of such a moment. But after only about three or four pages, the shock has worn off and Jack is now after Bobo. It’s a shame that this moment isn’t covered as awesomely as deserved, but Robinson more than makes up for it in subsequent stories.
With Yeowell and Von Grawbadger recreating the gangster setting that Bobo feels at home with, alongside the smooth flowing storytelling and action, Starman (vol 2) 29 is visually another fantastic issue.
The Stories of Prince Gavyn and Ted Knight --- Written by James Robinson with art by Craig Hamilton, Bret Blevins, Ray Synder, J.H. Williams III, and Mick Gray
During its seven-year run, Starman had only two annuals. Both of them – while connected to much larger crossovers between titles in the entire DC Universe – are readable on their own and readers aren’t forced to dive into woeful intergalactic plots where characters are simple shoehorned in. For Starman (vol 2) Annual 1, it’s a tie-in to Legends of the Dead Earth, an event which every title crossed over with, but it’s more of a theme rather than a plot. Set centuries into the future after humanity has left Earth, the Starman Annual takes place after every cast member has died. Well, all but one. Of course, the Shade is still alive and well, ruling on a planet where he is treated like a King. But he is by no means a dictator or a cruel ruler. Instead, he invites young children to listen to his stories of the past. This is a sweet and fascinating method of recalling stories of the past, especially as it’s suggested and stated that some of the children are descendants of the O’Dares.
Throughout Robinson’s run, there have been countless mentions of every Starman. Alongside the Knight family and their friends, there has even mentions of the Will Payton incarnation, and an enigmatic Starman from the 1950s. However, there has been few mentions of Prince Gavyn, the Starman created by Steve Ditko in the bronze age. Royality from outer-space, Gavyn rose to lead to a kingdom after a long struggle for survival (events of which are in Ditko’s Adventure Comics run, but Robinson provides a nice summary here, including Gavyn’s tutorage by Mn’Torr, his mentor and teacher). But one day, crisis came – literally, the Crisis. With existence literally facing extinction, Gavyn transforms himself into Starman one last time to fight the invading anti-matter, against the wishes of his wife. Sadly, Gavyn was consumed by the anti-matter – seconds before it vanished. An icon to the people of his world, Gavyn is now lost to history. It’s great that Robinson has finally given the spotlight to one of my favourite Starmen. The saga Steve Ditko and writer Paul Levitz created for him was wonderful, and here – after nearly two decades – we finally get some closure. But thankfully, more is to come!
For the second-half of the annual, the Shade looks back to a tale where Ted Knight first meets William O’Dare, the original head of the police family. It’s good to see Robinson continue to add and develop the history of Starman’s world, and the mood and aesthetics of the golden age are recreated brilliantly here. In addition, Robinson writes a golden-age themed tale about the Prairie Witch, a villainess whose cunning skills with a gun leads to the hero’s first meeting with the cop soon to become his ally. Their friendship is a frosty one, but it grows warmer. These scenes hold much more weight because readers know what their relationship will lead to. These make for some great moments. Meanwhile, the plotting is to be expected, and the Prairie Witch isn’t exactly a memorable foe. But this story – combined with the tale of Gavyn – lead to a beautiful conclusion. Throughout, the children demand that the Shade tell them a story with a happy ending – their wishes are not fulfilled after these two tales. However, the Shade reveals to the children that they are living in a paradise created by centuries of heroic sacrifice by various Starmen and other heroes. Thanks to the heroes of the past, the children of today life in a harmonious utopia. Although readers will never get to see the full transformation of our time to the type we see in Legends of the Dead Earth, Starman Annual 1 goes to some length to describe two of the events that lead to this paradise. It’s a hopeful note to leave this fantastic annual on.
Bret Blevins’s retro art captures some of the style Ditko created for his late-1970s Starman run, to great success. Meanwhile, J.H. Williams III and Mick Gray form this hazy and dark golden age world which captures the grim elements of that era well – this artistic duo perform just as brilliantly as they did on the Batman titles of the time. At the same time, you have Craig Hamilton and Ray Synder acting as the glue and illustrating the Shade’s scenes in the far future, looking back. Every page and scene simply looks stunning.
Day and Night --- Written by James Robinson with art by Matthew Smith
Although Starman (vol 2) was an unusual title in that it rarely crossed-over with other DC titles, it did appear thrice in the Showcase titles of the mid-1990s. Showcase was less so the launch pad for new ideas it once had been; it was now a comic book featuring short stories advertising monthly titles. Showcase ’96 4-5 – published in April and May 1996, is by no means integral to Robinson’s run, but it features the Shade in one of his adventures. Set in the past, after the Shade struggles in a fight against the Flashes of Earth-1 and Earth-2, the villain finds himself transported away by Doctor Fate. The supernatural knight who lives in a tower with no windows, Doctor Fate enlists the Shade on a mission to defeat some cultists. Robinson breathes some golden age air into this nineties tale. That’s not just because the two protagonists are golden age characters, but because the cultists they fight appear to have owls armed with guns for support. This, along with the supernatural elements and Matthew Smith’s simple but dark art, cultivates a great retro theme for this short story. In the end, the two supernatural stars save the day and defeat the cultists, but Robinson adds a further layer of mystery. These cultists wanted to obtain the Shade’s shadowy power for themselves. Questions are raised about the true origin and background of the Shade, but that brilliant mystery thankfully remains cloudy, for now…
VERDICT
What can be said, other than the obvious that these stories continue Starman’s upwards trend. Christmas Knight is a flawless one-off, right for the winter season. Mikaal’s Times Past is a good tale filling in a gap in that hero’s backstory, while the Return of Bobo is a good adventure exploring Opal’s past. The tales from Showcase are nice additions, but the Annual is excellent in every way possible. Although Robinson explores the past so deeply in his quest to uncover new stories, hints of what is to come in the future are becoming more apparent…
Next Week: The Shade: The Ludlow Curse (The Shade (vol 1) 1-4). Written by James Robinson with art by Gene Ha, J.H. Williams III, Mick Gray, Bret Blevins, and Michael Zulli.
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