Celebrate the 50th episode of the Secret Origins Podcast (technically, if you count the annuals and special) with the homiest episode yet! First, Ryan Daly and new guest Mike Peacock uncover the mystery of the Justice League of America’s Secret Sanctuary from Secret Origins #46. Then, Ryan and Greg Araujo scrutinize the schematics of the New Teen Titans’ Tower. And finally, Martin Gray brings Ryan to the 30th Century to witness the super-secret origin of the Legion of Super-Heroes’ Clubhouse. Hey, not every issue can be about super-apes!
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- Dig Mike Peacock on Justice’s First Dawn: A Classic JLA Podcast at: http://classicjla.podbean.com
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- And follow Martin Gray’s blog Too Dangerous For A Girl at: http://dangermart.blogspot.co.uk
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“Premonition” (Theme for Secret Origins Podcast) written and performed by Neil Daly.
Additional music: “Merrymaking At My Place” by Calvin Harris; “Our House” by Madness; “Fix You” by Coldplay.
Thanks for listening!
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40 responses to “Secret Origins #46: Justice League Headquarters, Titans Tower, and Legion Clubhouse”
I laughed at the idea of architects browsing podcasts and checking this episode out. They’re getting some great guests stars if they do.
I treasured this issue, possibly my favourite of the run in my memory. Although I’m not up to that coverage yet, I recall that Legion story being goofy fun in the best way.
I thought for sure the Cribs episode would come in under 90 minutes. Sigh.
As much as I love the iconic Hall of Justice, Super Friends is not my primary frame of reference for the Justice League. A stately headquarters in a major metropolis is too Avengers for me, and I think space is the place for the League. I like both the Satellite and the Watchtower, with each having its pros and cons. I think the Secret Sanctuary was actually the League’s least interesting base. In the Silver Age, Martian Manhunter also had a secret mountain lair where he kept his computer and Zook, so I like to think he just built it out for the League. I think the Doom Patrol took that place over for a bit, as referenced during the “Breakdowns” arc when the JLI briefly returned there after the U.N. revoked their charter. The Bunker was awesome and you both trying to slum shame the Detroit League is noted with all due disdain!
Curt Swan was over the hill and past his prime during this period minus fifteen years. George Freeman does a great job overwhelming and assimilating Swan into something I want to look at, so your negative commentary may as well have been transmitted from Bizarro World to my ears. Me am no like old Dinah, me am think Swan swell! I’m glad we didn’t have Wonder Woman’s costume in this one. The story was meh Morrison Silver Age try-hard. I did love seeing the evolving JLofA without the Trinity, and wish we could have seen more of that period beyond Incarnations.
I put the alien inhabited costumes in the trophy room. Folks are going to miss those designs someday.
This is correct.
The Giffen era Justice League were based out of the cave when the series launched until they got “International” status in #7. After that, they still owned the place and were the ones to rent it out to the Doom Patrol — which is probably why Grant Morrison was chosen to write this story.
They later shared with the Doom Patrol during “Breakdowns” at left it again at the end of the JLI run. It made a brief apperance — in shambles — at the beginning of the Dan Jurgens era of the League before being replaced again by a shiny new building that Maxwell Lord got for them.
Oh yeah… Shiny new building that Max Lord got for them is definitely the worst Justice League headquarters. It was the MTV Beach House of super-shacks.
I did like the underwater docking bay for Blue Beetle’s bug ship, though.
Thanks for this episode. Sad it is so late in the run as I feel you guys were ‘building’ up momentum!
I always try to guess the music for the episodes. Wondered if ‘Sugar Walls’ by Sheena Easton was on the docket.
The JLA story is definitely my favorite of the bunch. As a native Rhode Islander, I always loved the fact that the JLA would have their headquarters in the ‘Biggest Little State in the Union.’ The Secret Sanctuary was definitely used by the Doom Patrol and in the Morrison era no less, which makes me wonder if he asked to do the story for that reason. (In one issue, a Materioptikan left in the HQ gets activated leading to wild Dorothy Spinner manifestations.)
The Legion HQ has been destroyed and dismantled a bunch of times. As Mart says, the Fatal Five trashed it. But Wildfire (my favorite Legionnaire) destroyed it on his own when trying to defeat Omega (#250-1)!
As for this story, knowing that the place was trashed and on a scrap heap (it actually was in junkyard in Superboy and the Legion #211, the issue where the subs take it over), makes me sad. The poor guy! As a character and a building, I bet Fortress Lad had a lot of stories (see what I did there). But there is a nice Silver Age silliness mixed with some nice sentimentality.
Nothing to comment on about the Titans story other than I liked Vince Giarrano on Haywire. That was a nutty series!
‘Sugar Walls’ by Sheena Easton was on the docket.
Fun Fact: I was not allowed to listen to that song as a kid, my Mom thought it was so filthy. I didn’t get it.
I’m not sure how that song got by ANYBODY. I remember my Mom telling my sister that Prince corrupted that nice English girl and made her all dirty. 😉
Did you point out she’s Scottish?
I probably didn’t know it at the time. All I knew was my Mom liked “Morning Train” and “For Your Eyes Only”…then the Purple One got a hold of her…
That doesn’t sound like something Prince would do.
I don’t think my mother ever heard it so I was allowed to listen with glee!
Hope Shag says it about Sheena Easton so I don’t have to!
Last I heard, Easton claims she thought it was about a candy factory when she recorded it. Whatever she needed to tell her parents is fine by me.
Because nobody else will glom onto this: The episode of The Real Ghostbusters that Mike refers to is called “Citizen Ghost,” and it’s one of the best of the series (it made my recent Top 10 list of best episodes from that show, available now on the Council of Geeks YouTube channel! View it now and beat the rush!) It covers not only why the uniforms were different on the show, but the rebuilding of the destroyed firehouse, why the containment unit is so much bigger and most importantly why Slimer is suddenly their live in mascot. It’s a better sequel to the original film than Ghostbusters 2 was, I’ll tell you that.
I was hoping you’d hear that reference and give some context. I imagined you jerking suddenly awake when the episode posted, as if a silent Ghostbusters cartoon reference signal that only you could hear went off in the distance.
That signal sounds like Slimer screaming in panic for the record.
Before listening to the episode, I felt sort of weird thinking that this might be my favorite issue of SECRET ORIGINS. Of all the original issues I used to have, this was the only one I ever kept. Now I’m more confident than ever that I’m not alone with that belief.
Almost everything about this issue worked. First off, the cover. Yes, I liked that cover. I was technically a Marvel Boy before I was a DC Kid, so Eliot Brown’s cover was a wonderful throwback to his Marvel Handbook schematics; the sort of thing that made me love mine Marvel back in the day. The notes on the bottom were a cute way to promote the stories within, too; I’ll take some comfort that others like that piece of the cover at the very least.
The JL story made me giddy when I re-read it a few years ago just by seeing the names “Grant Morrison” and “Curt Swan” together. Even then I knew what a meeting of the minds this was. Morrison’s intrigue & offbeat love for classic DC illustrated by an absolute master of classic DC (no matter what part of his career he was in) resulted in a very good, one could say wistful, story calling back to those Silver Age days. Simple, to the point, strange – classic. Freeman’s inks definitely overtake Swan’s pencils during the flashbacks (nothing like how Mark Badger achieves that feat next issue, though) but Swan’s faces – his calling card, at least to me – shine through and identify the art as primarily his.
I’ll skip ahead past the uneventful but readable Titans tale – except to note that Vince Giarrano’s simpler artwork here is infinitely preferable to what it became during his terrible jagged inked days of 1990’s DC – to what everyone seems to consider (and rightfully so) the main event of the issue: “The Little Clubhouse That Could”, or “Never Give Up: The Ballad of Fortress Lad.”
In 12 pages its storytelling called back to those simpler days of keeping the stories quick and to the point, yet conveying all the emotion necessary (and then some) to make you care about a brand new someone…..who was there the whole time, turns out. As Martin said, Gerard Jones indeed delivered a gem with this one. I’ll confess to being momentarily fooled by Ty Templeton’s strong inks into thinking HE penciled this story with a Curt Swan influence, when it was in fact Swan himself penciling with Ty’s inks. But in the cases of Swan/Freeman and next issue’s Swan/Badger pairing (sorry for all these spoilers, Ryan), Templeton doesn’t overtake Swan’s pencils in that same (one might say negative) sense. Shades of Ty’s own style exist here with a style loyal to Swan that perfectly compliments both their strengths and accentuates Swan wonderfully. And once again, those Curt Swan faces stand out to identify his presence.
Stop the presses, I loved the Legion of Super Heroes story!
Arm Fall Off Boy (how could not post that page?!?) is one of my fav DC characters, and when I finally learned of his existence (I didn’t buy this comic off the stands, and only came to it later) I wanted this guy everywhere: an action figure, a Who’s Who page, full LSH membership, the works.
Gerard Jones managed to hit a line drive up the middle (attention nerds: sports metaphor) combining the goofiest elements of the DCU with a real emotional payoff. I think this story deserves to be in the running for any “top 10 Secret Origins stories” list you will NO DOUBT BE COMPILING when all this is over.
I wish I had thought of it at the time, I would have pitched myself to talk about this one, it’s so good. But Martin did a terrific job, his generally sunny podcasting demeanor a good match for the material. Nice job fellas!
Honestly, I thought I did include this page with the other images… 🙁
P.S.: I had never heard “Merrymaking At My Place” by Calvin Harris before, but I loved it, and it’s one of my favorite SO needle drops.
Chris comes to the defense of Curt Swan, imagine that! Curt Swan never missed a beat, like Martin pointed out. Just look at Eddy Zeno’s Swan biography. It’s chockful of his pencils from throughout his career, and his pencils from the Silver Age-on are consistently excellent. Few ever inked Swan in a complimentary fashion. Swan’s pencils included lots of feathering and shading, not just hard pencil lines. I like George Freeman elsewhere, but yeah, he’s smothering Swan here. Templeton did a great job over Swan in the Legion story, and on the TV-inspired Superboy series of the time. Yes, the mechanics of his storytelling may have been too subdued for this late in the Bronze Age for many, but Swan was ahead of his time in his natural presentation and body language. It’s the type of stuff that artist like Mike Allred get praised for nowadays.
Onto this issue. I always enjoy Elliot R. Brown’s comic contributions, but yeah, this cover is just…boring. Some snapshots of the heroes clipped to the blueprints may have helped. Or the heroes running out of their HQs? Anything, really.
I liked the hook of the JLA story. I remember seeing an episode of “In Search Of…” with my Dad, focusing on hauntings that postulated that some “ghosts” may actually be recordings of rock and rock-like materials recording and then playing back actual history. So when I read this origin for the Secret Sanctuary, I connected that to it, whether Morrison meant it or not. I remember even telling my Dad about this issue.
This story does have a Gardner Fox-like vibe to it, but then much of Morrison’s actual JLA run has Fox-on-shrooms feel to it.
The Titans Tower origin…yeah. Nothing really to add. It’s the low point of this issue, and neither fish nor fowl in story or art. Giarrno’s art really irritated me in the 90s. Despite the lack of background details, I find this easier to digest, but still not my cup of tea.
The Legion story is a classic. Despite not being a huge Legion guy, it’s definitely one of my favorite stories in the entire SO series.
Great job by the entire team on a rather odd issue. I can see why DC would want to put their top teams in an issue of a title that just got demoted to bi-monthly. I do think they should have skipped the logos and went for the actual characters if they wanted this to actually boost sales.
Still listening: Speaking to the Cyborg semi-coverage, I’ve NEVER thought of Cyborg as Frankenstein’s monster but with tech Ryan. I suppose, intellectually, it occurred to me, but never in the way that it would lead to potential similar story’s. I both LOVE the idea AND feel it conflicts with my idea of the character. To me, Vic has always been a character of near ANNOYING levels of optimism. Now maybe my sample group for him is so small that I only experienced that version once or twice and now it’s just my view on him (I haven’t read much Cyborg OR Teen Titans). Maybe there are FAR more stories of him being a dick or down on himself and his situation. But for ME, he’s an optimistic character. And that’s inspiring given his situation. But CAN you tell a Frankenstein’s monster story with an optimistic character? Isn’t the POINT the heartbreaking tragedy?
And if other people also see Vic as an optimistic character (like creators) then maybe the lack of legendary Cyborg stories has something to do with the idea that Frankenstein’s monster stories naturally push out any chance of optimism? I don’t know. But I’d definitely like to see a mini series or sort of Elseworlds where someone takes Vic on a rif of Frankenstein.
Victor was the stereotypical “angry black man” character in the very early issues of NTT, mostly because his dad turned him into a “freak”. Once they buried the hatchet, Wolfman and Perez actually had him grow and become a more positive character, which was very refreshing!
At this point in time, I liken the Secret Origins to a water drilling rig. It is possible for a drill bit to go right past the water stream into the sub-soil, and come up with dry dirt.
It’s not like there wasn’t material to hit: Aquaman, Wonder Woman, a number of Golden Age characters that were in various stages of completion but never published (never got my Gray Morrow Vigilante, dammit!!) and so many others worthy of a re-visit.
But, (at the risk of offending my buddy Siskoid) with apes, headquarters, dead Legionnaires, Chris K-L-99, Stanley and his Monster, and now these monuments, (two of which weren’t even being used in current incarnations) was Mark Waid ever hitting the sand in these last few issues.
I will say the creators did pretty good with the assignments given, but I had the feeling that we were either running out the clock, trying to jump start the Silver Age, or trying to dig the book a grave.
I am glad that he got it back together for issue #50 – though you wonder if he’d used those concepts, whether the book would have lasted longer.
Better than I expected. But I still have to think, “we get this instead of a Wonder Woman or Aquaman Secret Origin?”
Given the mention of WW in the letter pages’ coming soon blurb, I wonder if Wonder Woman would’ve been issue 50’s secret origin had it not been a jam packed “clear the desk drawers of the short story origins that’re done already” final issue spectacular….
It’s official, the more I dislike original comic the more I love the connected podcast. I loved this episode.
Someone correct me if I’m wrong, but I think the brief, underwhelming re-teaming of Marv Wolfman and George Perez was either done or wrapping up by this point, which was followed by the book drifting out of view again. “Who Is Wonder Girl” was such a convoluted continuity patch, and not much of a story beyond that, plus the heavy-handed inks of Bob McLeod essentially rendered him the artist. I suppose Wonder Woman was in such dire straits and fans old and new were so grateful for Perez’s attention that nobody ever seems to bring up his pulling a Hawkworld and rendering Donna Troy toxic (while contributing to the muting of Justice League legacy made bereft of the Trinity.) The main highlights up until “Titans Hunt” was the “Lonely Place of Dying” tie-in, the now forgotten “Titans Plague,” and an arc where Raven fell for some sort of psychic vampire. It was still better than the Barreto years, but more down to incoming artist Tom Grummett as inked by Perez and especially Al Vey.
When I look at the melancholy Titans pulling up to the island on that raft, I can’t help but read it as metacommentary on their current status within the DC Universe. They were static, even stagnant, and what changes they had seen were for the worse. They may as well have been living on a landfill by this point.
My main issue with Vic Stone, beyond his being boring and not exhibiting any great intelligence for the son of two brilliant scientists who was empowered by advanced technology, is that he’s Ben Grimm without the personality. They were both turned into “monsters” by science gone wrong, placed in a distressing position by big brains close to them that they erroneously trusted to keep them safe. They’re each the short-tempered roughneck strongman of their group who found love from attractive white women who were willing to look past their “disabilities” thanks to their own close association with handicaps. Both have best friends who are immature pests that needle them constantly. The main difference is that Ben smokes stogies and plays cards and speaks with a delightful Noo Yawk accent and was a key player in hundreds of great comic stories while serving as Spider-Man’s alternate for “Everyman who somehow knows everyone in the universe,” while Cyborg only gets play to check a box. Most of my friends into my late teens were black, but none of them bought New Teen Titans or held up Cyborg as one of their heroes. Marvel was legitimately inclusive and published solo titles with their black characters. Cyborg was a background player in one title that was popular for about four or five years, plus some minor appearances on the Super Powers cartoon that spawned his one mass market action figure. I don’t think Cyborg was ever all that popular himself, and if he was, DC did him a disservice in not taking advantage of it before that moment came and went. In my experience, Cyborg rates well behind Stalker and Roadblock, much less Luke Cage, Black Panther, Storm, Blade, and on and on.
As you fellows touched on, I think the path to Cyborg’s elevation is not through incorporating a Boom Tube or making him the ultimate wi-fi hotspot, but through his relationship with his father and expansion of his personality. Silas Stone is arguably a greater cybernetic engineer than Tony Stark was a mechanical one. Silas figured out how to intermingle living organic matter with robotics encompassing at least half a human body in the 20th century without using any extraterrestrial technology or resources beyond S.T.A.R. Labs. That’s vastly more impressive than boot jets and a magnet keeping shrapnel from digging deeper into a heart. The Hank Henshaw version of Steel was a more realistic and tragic take on the origin of The Shield, and I think Gerry Conway gave that character a great story engine without having enough fuel to run it. I’d salvage the best parts of the Henshaws– the Detroit setting, The Bunker, Moses Gunn, and especially the generational conflict; and merge it with with the Stones’ chilling pragmatic brains versus altruistic emotional brawn. Vic is a good man with skills and experience that make him the most effective cybernetic hero, but he should need his old man to maintain his life/tech and create compromises/complications. Borrow a page from the Firestorm playbook with Silas as the disembodied voice in Vic’s robot ear. Silas needs a capable agent to implement his science-fu, but his son is an conscientious actor with whom he has a contentious relationship, and often they’re at cross-purposes. Killing Silas off and retroactively sainting Silas removed Vic’s best option for dramatic tension. He needs and wants to love a father he can’t trust who often earns his contempt. It also motivates Vic to become a central figure in “Black DC.” On the outs with his old man, Cyborg must turn to John Henry Irons and Jefferson Pierce to rework ha armor, but will even their combined abilities be enough to halt the rampage of the African thunder god Shango? Ooo, Natasha Irons as an ongoing supporting character and Vixen as a mentor/crush object? Take my money!
Vince Giarrano was the epitome of terrible ’90s art with his absent backgrounds, grimacing faces, lack of any semblance of depth, and random dashes everywhere indicating nothing but EXTREMEness. Relative to his later awfulness, his art here might as well be Kevin Maguire or Paul Smith. Again, I stress only by comparison, but this work is nice and clean and reasonably appealing. My major caveat is that Vic is often drawn realistically as a terrified or exhausted young man, which I read as unintentional racism, because a white character in that same scenario would likely still be shown as a square-jawed stoic. It’s one of those little ways non-minority creators accidentally make “ethnic” appear “less than,” then get huffy when you point it out. No argument that the story had more padding than the concrete reenforced walls. Given that I give no figs for the life story of domiciles, I don’t care how well or clearly the Titans Tower is rendered here. I will defend its “T” shape on the grounds of “because comics,” and I also like that it lends itself to a distinctive alliterative name.
This Secret Origins issue actually came out the same month as Perez’s last plotted issue of New Titans (#61, A Lonely Place of Dying part 4).
Excellent podcast Ryan, even though the subject matter was a bit iffy. Am surprised they did not do a joke one page origin of the JLI embassies consisting of UN officials meeting realtors to obtain the embassies for the JLI! The Secret Sanctuary is a classic headquarters and was used by Doom Patrol, Young Justice and I believe was used by the android Hourman during his series. The legal contracts to pass ownership from own group to another must have been horrendous!
Following on from the lists of prior weeks, here are my top 5 Justice League headquarters:
1. JLA Watchtower
2. JLofA Satellite
3. Secret Sanctuary.
4. JLE Embassy Paris
5. JLI Castle, London
Worst headquarters in my opinion was the Overmaster Spaceship that the JLA took over after the events of Judgement Day, with Yazz as its caretaker.
Titans Tower – story sounds quite meh. Think it was better to have the Tower based in the West coast which is what happened when Johns had his run.
The Legion story sounded like it was the best, from Ryan and Martin’s retelling. Reading the early stories from Showcase Presents, I always felt that there must have been some Tardis technology involved, as it was definitely bigger on the inside than the outside! Probably just as well it was destroyed and replaced by a citadel (which looked more like a small village!) – given the number of superheroes that joined, it probably ended up being very cramped inside!
Enjoy your day off next week Ryan and congratulations on your 50th episode.
Oh, and loved the Madness song included – one of my all time favourites!
Thanks so much for having me on the show, Ryan, I had loads of fun.
And it sounds as it Mike and Greg did too. I liked the Silver Ageieness of the JLA story, with the possession of the suits making for some fun visuals. The imagery is very complement the cover of JLA #53 rather nicely.
The Titans story was the most boring thing ever, as Ryan and Greg made clear, there are umpteen ways to get a story out of a building’s creation, and all we got was: ‘It was built’.
Vince Giarrano had a similar style to Kyle Baker: open, clean, brisk. I don’t see it as lazy at all. The actual drawing isn’t sloppy or inaccurate. Even in its simplicity, every line looks measured, every expression, thoughtful. He later changed his style very decisively to fit the times (almost as a statement): ridiculous proportions, jagged inking lines, insane character designs. It was almost a completely different person drawing those Batman comics. I very much like both styles. He’s now a fine arts painter.
Between Trevor Von Eden and Nowlan’s Clayface cover to this issue’s Freeman inking Swan and the Giarrano criticism, this seems to be THE place for me to agree-to-disagree with. It’s nothing deep, I just think our values are way different. But hey, we’ll always have our love of Ty Templeton to keep us together.
I have to say, my true architectural love lies with the Hall of Justice. You can’t beat art deco for housing the ultimate conglomeration of heroes. The satellite is a sentimental favorite, since that is my era of the JLA. My only problem is that the interiors never quite lived up to the exteriors. Nothing had the character of the Batcave, in DC, apart from the Fortress of Solitude. Titan’s Tower and the Legion HQ of the 70s (the Cockrum and Grell building) gave us something awesome for the time.
I have always had an interest in architecture, though mostly the late Victorian period (art nouveau) up to the 1960s (art deco and Mid-Century Modern). A lot of that is the influence of movies, especially the Bond films, and others where architecture is a major part of the world of the film. I even did an IMDB list devoted to cool lairs and architecture in film: http://www.imdb.com/list/ls054875884/
Titan’s Tower probably makes architects and structural engineers laugh hysterically. The two wings of the “T” would have to be ornamental. You’d have a heck of a time making that structurally sound. I almost wonder if Wolfman and Perez got loopy, while watching It’s a Mad, Mad, Mad, Mad World! and fixated on a big “T” (as did the Simpsons, in their spoof).
My favorite HQ’s and lairs:
Hall of Justice
1970s Legion HQ
I always preferred the idea that the original Legion clubhouse was just that, a clubhouse built out of an old rocket that crashed into the ground. It reminded me of a British kids’ show, from the 70s, that was shown on US Saturday morning tv. It was called Here Come the Double-Deckers and featured a group of kids who had a clubhouse, built out of an old double-decker bus, in a junkyard. The junkyard had a secret entrance through the fence and the bus had security features. The kids had their adventures (including one with a very young Jane Seymour). The Legion always felt kind of like that show, with super-powers. This story, though, is terrific. This is the kind of storytelling that I miss, in modern comics. In an age where a, at best, 2-issue story is padded into 6, it’s refreshing to see someone who can produce a classic in half or a third of the pages. It’s an art form that is all but last.
‘Get on board, get on board, get on board with the Double Header…’
Oh, I love this community, you’ve made my day, Jeff. The Legion of Super-Heroes as the Double Deckers. ‘With Melvyn Hates as RJ Brande.’
While extolling the virtues of Blackhawk last time, I somehow managed to forget about Blackhawk Island being one of the coolest super-bases ever! It makes more sense than most, for a start. Challengers Mountain also needs some love.
I’m ambivalent toward the Legion story. I’m not at all fond of Curt Swan, and Ty Templeton is extremely faithful to his look, but the inks are rich and this is about as good as Swan gets. Despite spending a lot of years as a Legion fan, I’ve never been able to will myself to read the Silver Age stuff because it looks so corny. The story is also nakedly emotionally manipulative with contrived logic, but it’s also pure comics and don’t I prefer being made to feel something over the usual nothing? Ultimately, I’ll give it the nod as well above average, but it not one of my favorites of the series. Finally, perhaps Mneumonic Kid inspired the look of Kid Quantum?
Since I tend to lag on my podcast listening, but somehow (a week’s worth of neglected lawn mowing) managed to get caught up, I can actually pipe up! I know for a fact that when I saw this cover on the stands in my youth, I passed it up. Hard. Like walked right by and didn’t even flip through it.
So I never knew the treasures inside. And I still don’t. At least not firsthand.
This show, if nothing else, has really sparked the secondary market for these issues, and this one and #48 are probably among the hardest to find OFFLINE. I searched no fewer than 3 shops and 1 con (sure, it was Motor City Comic Con, but it is a “con” and it did have real comic book guests this year) before literally tripping across it in a shop while looking for other issues of this series. That’s right, I would have been content to pass this one up and just buy #48, but since fate put my hand on this one (and it was only $2) I decided to buy it. And add it to the “someday” reading pile.
Of the three HQs discussed herein, I was always preferential to the Titans HQ, although the Morrisonification (it’s a word) of the secret sanctuary adds some Danny the Street type character to that locale. I might have to give this a read soon.
Thanks for covering this one so well, crew!
Read it, Doug. Like the Secret Sanctuary, we can wait…
Congratulations on another excellent episode of the Architectural Digest Podcast.