Showing posts with label George Tuska. Show all posts
Showing posts with label George Tuska. Show all posts

Wednesday, February 23, 2011

Early Black Comic Book Heroes: Mal Duncan (3/4)


In that early 70s transition period when DC were preparing to move from a 15c to 20c cover price, there's that spell where readers were treated to giant size 25c issues that also sported covers with a new look. Teen Titans 35 is one of those, and typically for the few issues around this point in the series, contains a story about an individual Teen Titan. In this case it's Mal Duncan, in "A Titan is Born" (Sept-Oct 1971). With art by George Tuska and Nick Cardy, this 7 page short story by Bob Haney has Mal faced by the escape from limbo of Dr. Victor Heller, alias Gargoyle. As we'd learned from Mal's previous appearances in the comic, he didn't feel completely ready to take on the mantle of being a Titan, but after successfully dealing with this threat, he experiences a kind of coming of age that boosts his self-efficacy and helps him accept his membership of the group. Note the stereotypical reference to limbo dancing, an Afro-Caribbean cultural item, which Mal appears to be preserving as part of his heritage. Unless his family moved to the USA from Trinidad or one of the other Caribbean nations, this makes little sense, unless he considers it part of a much broader African expression of culture.


The next detailed coverage of Mal as a character comes in Teen Titans 38 ("Through These Doors Pass the Bravest Titans of Them All", March-April 1972, art by Tuska and Cardy, story by Bob Haney), which features Wonder Girl, Robin, Mal, and Lilith, and involves Mr. Jupiter's version of a hypnotherapy session. Disguised as a balloon seller, he induces a hallucinatory 'trip' in the minds of Donna, Dick, and Mal, in which they confront their secret fears. In Mal's case he suffers from a kind of agoraphobia, that originated in his childhood when he was chased and beaten up by a white gang in an open space in the city where buildings had been demolished. I have to say that some of these panels have a very Colanesque feel to them. It's almost as if the combination of Tuska and Cardy looks like what I imagine Gene Colan inked by Murphy Anderson would look like.


Similar stuff happens to Robin and Wonder Girl, and they all meet up back at Mr. Jupiter's lab, looking for answers.


Jupiter reveals that he was the balloon seller, and this whole thing was his way of helping the Titans overcome their fears.


Teen Titans 41 again features Mal prominently, in a ghost story, "What Lies in Litchburg Graveyard" (Sept-Oct 1972), that takes readers back to the terrible days of slavery. Art is by Art Saaf and Nick Cardy, with story again penned by Bob Haney. What Mr. Jupiter had failed to tell the Titans until now was that he had an African American aunt, who was born in slavery, escaping north with her father on the Underground Railroad. Jupiter's aunt Hattie is very old and dying, so he's taken some of the Titans with him to visit her for the last time at the family home.


I'm unable to find any academic reference to 'moojum dolls', so it may have been something concocted for this story by Bob Haney. It could be a combination of something like a voodoo doll and a Hopi kachina doll. Thanks to stereotyping in the Judeo-Christian majority world view in America, Africans have been associated with superstitious following of pagan belief systems, and those belief systems themselves have been stereotyped in a derisive manner. So there's the danger of a bit of negative stereotyping creeping into this story, unless we can give equal respect to traditional African/Native American world views, which actually seems to be the tack taken by Haney. On the other hand, there's the assumption that all slaves brought from Africa followed traditional African belief systems, but of course vast numbers of the people brought against their will from Africa were Muslims. Anyway, back to the story, and Mal being haunted by the ghost of the slave catcher who was chasing Jupiter's aunt's father, Ned Jackson, back in the day, but was killed, we discover, by the moojum doll given to Hattie by a shaman when she was a little girl. The ghost thinks Mal is Hattie's father, due to the uncanny resemblance between the two. Hattie knew that the only way to put the ghost to rest once and for all was for him to re-experience his death at the hands of the moojum. First the ghost attacks Mal in his sleep...


...but then there's a running battle in the world of the living, which ends with the moojum doll intervening and taking the slave catcher's ghost to his final demise.


The first series of Teen Titans was approaching a hiatus, with issue 43 being the last before a break of nearly 4 years. Teen Titans returned to publication in December of 1976, still with Mal Duncan, and as we shall see in the fourth and final post in this series about Mal Duncan on Out Of This World, there were efforts to make his identity a little more 'super'.

Epilogue:

The recent and untimely passing away of African American comic writer, Dwayne McDuffie, has been covered by a couple of blogs that I follow, and you can read about him here:

Has Boobs, Reads Comics
Black Superhero Fan
The Comic Book Catacombs

And for the remains of Dwayne's own website and Facebook page:

http://dwaynemcduffie.com/
http://www.facebook.com/Dwayne.McDuffie.Page

Tuesday, February 22, 2011

Early Black Comic Book Heroes: Mal Duncan (2/4)


After his introduction to the Teen Titans and the DC universe in Teen Titans 26 & 27, Mal Duncan wasn't again a main focus of a Titans story until issues 32 & 33, a time travel tale begun by Steve Skeates and completed by Bob Haney. Art in both issues was by Nick Cardy, with finishes on issue 33 by George Tuska, and features the first appearance of time-displaced Neanderthal caveman, Gnarrk. Issue 32, "A Mystical Realm, A World Gone Mad" (Mar-Apr 1971), begins with an outcome, and then flashes back through the events leading up to that point. Mal is accidentally transported back in time by a temporal experiment being conducted by Mr. Jupiter. Kid Flash travels back to the Paleolithic using the treadmill by means of which Flash had traveled in time, after Lilith's powers identify the time period he's trapped in. Mal, meanwhile, inadvertently gets roped into a life and death battle with a caveman over a girl. Kid Flash arrives in time to see Mal clinging to a cliff top, about to be finished off by the club of his Stone Age adversary. In saving Mal, Kid Flash is rendered unconscious, and the cave man falls to his death. When Kid Flash comes to, he and Mal realize that the caveman's death has altered the future, hence the early 1970s looks nothing like it's supposed to.


In this alternate 1970s, Mal and Kid Flash find its equivalent of Mr. Jupiter, here a sorcerer, and some Justice League heroes, as well as Lilith and Speedy. They are subjected to a test, after realizing that he is the source of the monster illusions they have been experiencing.


In issue 33 ("Less Than Human?", May-June 1971) we see that a ghost of the dead cave man is apparently behind that door. Passing the tests of Jupiterius gives them the chance to go back in time and correct the mistake they made when the cave man was killed. They succeed, and the alternate reality they had entered upon their first return from the Stone Age is replaced with their own. The 1970s are really back how they should be, with one exception...


...there's just a slight snag - the Neanderthal was holding on to Kid Flash as he returned to his own time, and now finds himself lost in the 1970s. Gnarrk, as he comes to be called, is thoroughly bewildered by his new environment, and lashes out such that Mal has to land a hay-maker on his jaw to quieten him.


So Mal is back where he started, and Gnarrk is now a feature of the 1970s. Readers would see Gnarrk develop a relationship with Lilith fairly quickly, although his adjustment to his future was overall quite traumatic for him. Note that in the last panel on p.7 of "Less Than Human?", there is a printing error with Mal's skin color, suggesting lack of familiarity, on the part of the staff concerned, with inclusion as a policy for the DC universe.