Midnight 13: NIGHT FORCE #7-8

Ryan Daly and Paul Hix, along with special guest Anj, wrap up the first story arc in Night Force #7 and the first half of issue #8. Plus, listener feedback from previous Night Force episodes, and the debut of "Pandora's Box" by Neil Daly.

Check out Dr. Anj's Supergirl blog at: http://comicboxcommentary.blogspot.com

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Let us know what you think! Leave a comment or send an email to: RDalyPodcast@gmail.com.

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Music produced by Neil Daly.

Thanks for listening!

10 responses to “Midnight 13: NIGHT FORCE #7-8

  1. Great wrap-up lads. I remember being shocked at just how dark the finale was, with Donovan maimed after being widowed, Jack in a proper pickle and Baron Winters patently not giving a toss for his agents. Wonderful!

    While a lot of the folk in the art this issue are at the most extreme end of Colan’s super-squat style, it still works, and the plague scenes are, as you said, really rather disturbing.

    The monster on the cover to #8 is really not scary, like a kid’s idea of an elephant monster, a snuffleuffimous or something. The guy’s hair, though, that’s frightening.

  2. Wow, what an ending! When you guys were discussing Donovan’s maiming, I did recall the original Night Force Who’s Who entry, with Donavan on crutches missing an arm and a leg. I remember thinking at the time “Wow, what an action-packed fighting team!”

    Jack’s living hell of being stuck in a relationship with a demon-manifesting, psychologically damaged woman reminds me of just how good Marv Wolfman was back then. The interpersonal relationships in New Teen Titans was what really made it the great book it was back in the day (well, that and the Perez artwork). Kid-Flash was manipulated into joining the team thanks to Raven, and was then infatuated with and repulsed by her at the same time. Wolfman went into some deep places with characters other comics of the time didn’t bother with.

    As for the cover of issue #8, Gene Colan always drew big feet. I love Colan, although I do think his ethereal art occasionally veers into sloppy and hard to follow, but I’ve never liked his feet. Seriously, just look at his work across the years and you’ll see Batman, Dracula, Iron Man and Daredevil have shovels for shoes.

    Looking forward to more of this. Great job fellas!


  3. Paul can be my nemesis WHILE ALSO having a silky smooth voice.

    Funny and a total coincidence Paul mentions the Joe Kubert School when referencing my analysis of the art for issue #4, because I went to the Joe Kubert School!

    With all the talk of secretaries, a good needle drop for this episode would have been Paul McCartney’s “Temporary Secretary.” Just saying.

    Nice song by Neil at the end! Feels kinda Night Force-y, was it written for the show?

    1. No, the song was written the same time as the rest of the music I use for the show, but I thought the same thing–felt Night Force-y, so I wanted to use it as the closing music for this story.

      1. I got pulled away before the show’s end song run, so I missed Neil’s music. Went back and listened, and yeah, I thought he’d penned it for this. Fantastic stuff!!! Very impressed!


  4. This show deserves better then the quick “great show” I keep leaving. However as I tend to be responding at red lights while driving, it will have to suffice.
    Great Show,

  5. Great episode, gentlemen. I have a quick question for anyone who might know. Did Donovan lose the leg that was already injured from the gun shot wound or did he lose his good leg? If it was the former, then at least he could take some comfort in the fact that he still had his good leg (assuming he’s a glass-half-full kind of guy). If it was the latter, then that would just suck.

  6. That ending does what the best horror stories do and most mediocre stories fail to do. You’re average run of the mill horror story just does something awful to a character and goes “ooooooo, scary.” A great horror story takes something real and relatable and blows it up to horrific proportions. Like how the fear of communistic conformity was blown up to give us Invasion of the Body Snatchers, fear of becoming a parent blown up to give us Rosemary’s Baby, or Jordan Peele’s discomfort when he’s the only black man at a social gathering blown up until he got Get Out. In this case it’s the fairly standard fear of any man who’s had an idle dalliance: what if I have to commit because of this. Now in real life that might mean the woman got pregnant or the classic father with a shotgun, but here it’s taken to an appropriately horrific extreme and works like gangbusters.

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