9. Lex Luthor in the 1980s



I spent weeks going back and forth between these two very different interpretations of Lex Luthor before I ultimately decided that I love them equally and for the exact same reason.

Lex Luthor is the perfect antagonist. Give the world the perfect, all-powerful hero, and what's going to stand in his way? It's tempting to bring in a General Zod or a Doomsday who can meet Superman on his level, but Luthor taps into something far more meaningful for me -- heck, I identify with him. Let's not forget that Superman was originally conceived of as a villain, because, while it's tempting to imagine being Superman, the disappointing fact is that we're not, and we're never going to be, so the ordinary human tirelessly working to compete against him makes for a compelling premise. And while that premise has been done poorly at least as often as it's been done well, these two visual depictions of Luthor are meaningful expressions of that concept.

The battlesuit is the ultimate expression of man's tireless efforts to enhance himself and transcend his limitations. Can't fight Superman hand to hand? Build an elaborate armor system that can. It's visually compelling, but the concept expressed by it is even more impressive. Man CAN be Superman.

Meanwhile. the three piece suit expresses a whole other level on which man can attain power, this time through social and economic means. Especially in the 1980s, the only thing more powerful and feared than a Superman was a guy in a high priced suit. And that metallic hand, so often used to crush things, was a compelling and foreboding symbol of power as well.

These may not be the most visually impressive designs in their own right, but they speak volumes about the very concept of a Lex Luthor. True thought and understanding went into these designs and is conveyed by these designs as well. We can't be Superman but maybe, just maybe, we could attain the kind of power represented by these two visual designs.

But...ya know, without being bad guys.

The Black Cougar, Star-Spangled Comics, 113 and 114 (Feb; March 1951)

 

I came upon the Black Cougar first in a reprint in (Son of) Tomahawk 139 and again in DC’s Greatest Golden Age Stories Ever Told collection when I finally bought it a few years ago. (It’s an excellent anthology, chock-full of stories and background information. Why they don’t publish anything in this format any more I don’t understand.*)

From the moody opening page right on through the story, it’s Frazetta at his best, and since he could make Percival Popp and Ma Hunkel look ominous and dangerous, imagine what he does with a guy who’s wearing an all-black outfit, a black cape and a pointy-headed, full-face mask.

The BC only appeared in two issues of Star-Spangled Comics, his debut in 113 and his finale in 114, but the latter was drawn not by Frazetta but by Bruno Premiani (an artist whose work I greatly enjoy), and though he did an excellent job on the Cougar, it’s those lush Frazetta inks and rich black colors that put it over the top.

The Black Cougar is just one of thousands of villains, I guess, but he struck a chord with me, both for his appearance and the above-average quality of the story, but also for the thoughts of what might have been.

I know I’m dating myself here (No one else would), but Frazetta’s design and execution of the Cougar remind me of some of the villainous types who inhabit the cartoons of Max Fleischer. If I could post more images for comparison, I would, but trust me, there are touches of the likes of Fleischer’s Superman cartoons and Gulliver’s Travels in Frazetta’s work.

BTW, think Frazetta was an influence on the great Joe Maneely?

Don’t know why the character never reappeared. Far less threatening villains have returned from far more apparent deaths, because he would have made a great recurring foe in the 1950s and would have made for an excellent revival in the 60s and /or 70s.

*Buy it: www.amazon.com/Greatest-Golden-Stories-Ever-Told/dp/0930289579

A name echoes in the vast halls of the CCC... the name of

#9 Hela, goddess of death!



Cei-U beat me to it, but I couldn't resist having the ruler of Hel on this list. Naturally, she looks nothing like a Norse goddess (although who knows what a Norse goddess actually looks like?) but has the unique quality of a Kirby Asgardian design: something that is both fantasy and sci-fi, something that is not based on a historical look but imposes its own vision and makes it even more authentic, as it were, as a more traditional look would. This Hela is downright weird, what with the gorgeous crown of thorns and a bodystocking made of green metal.

One of the things I liked about Mallah as opposed to Grodd or other comic book gorillas was that Bruno Premiani drew him anatomically accurate, complete with saddle back and pointed head. It made him much more frightening.

Cei-U!
I summon the monkey madness!

Time to bring on the ladies for the rest of the countdown...

#9- VOLCANA



Secret Wars in the 80s was one of those events that young kids and pre-teens loved. It also introduced many new baddies into the Marvel Universe and Marsha Rosenberg aka Volcana was one of them.  I like that she wasn't slim and beautiful like everyone else; that she was a more voluptuous figured woman.  I love the way Mike Zeck create her look.  While it looks like there's not a stitch on her, she does wear a leotard when she's cooled off.  I like fire characters and the volcanic ash look on her body mixed with white heat of fire is a lovely mixture. While she may not be the coolest villainess, her look like Nova and other fire bodied figures stands out to me.  

#9. Captain Cold

He's the most famous of the Flash's Rogues and one of the best dressed to boost! I love the Inuit influence with the parka and hood, which were sadly tossed out in the Nu52 redesign. The blue and white color scheme emphasizes this cold schtick, but also complement each other rather well. The freeze gun is just a plus at that point.