Aquaman #1: Pozner and Hamilton/Montano bring Aquaman back for his first substantial (and post-Crisis) appearance since he left the Justice League. He's got a cool new costume, which I loved (and still do) in this, but it will turn out Hamilton seems to be one of the few that can draw it convincingly, so it's probably for the best it didn't last. This is the first series to really incorporate the fantasy elements of Arion in Aquaman's lore, something that continues (as far as I know) to this day.
Ocean Master attacks New Venice, drawing his brother into action, but Aquaman finds Orm stronger than he ever has been. Before he can solve this mystery, he's summoned to Atlantis by Vulko who tells him that the royal seal has been stolen. There have been mass demonstrations and unrest as the populace is caught up in anti-terrestrial sentiment, as they blame the surface world diplomats Aquaman invited in for the theft. Vulko believes the theft was magical and blames the secret city of Thierna Na Oge. There has been a coup there with King Bres overthrowing her sister, Nuada Silverhand.
Aquaman heads to Thierna Na Oge in a new, camouflage costume but he gets caught entering the city and is imprisoned with Nuada.
Amethyst #13: In this Crisis crossover issue, the series gets a sort of new direction as the exodus of the original writers is complete, and Giffen and Fleming take over. In the service of this direction which ties in more directly with DC's Order and Chaos mythos, Dr. Fate guest stars to reveal (in "Anatomy Lesson"-fashion) that Amethyst doesn't know the truth of her origins, and what we got before included some polite fictions from Citrine. Amethyst is a Lord of Order incarnate in human form, being the child of her mother and a Lord of Order who possessed (and sort of cukolded) her father. Dark Opal's background also gets some retconning to make him an agent of Chaos.
This new background does cleave Amethyst more tightly to established mystical elements of the DCU and it works well enough, but I feel like it's mostly here because it aligns the series more with Giffen's interests (This Order/Chaos stuff comes up again in his Dr. Fate limited series in '87.). It doesn't take away a whole lot, but I find I like what came before better than this twist.
'Mazing Man #2: Rozakis and DeStefano/Kesel continue with 2 more sort of charming, amusing (I wouldn't go so far as to say humorous, but the intent is clear) slice-of-life stories about the cast of regular folks who share their neighborhood with a friendly weirdo who thinks he's a superhero. In the first story, married couple Eddie and Brenda return to the old neighborhood to check in on Denton on their way to a movie but instead get drawn into local meathead Guido's attempts to figure out just where 'Mazing Man gets his money. They don't find out.
In the second story, Denton sells his script for the comic Splendiddog, K.P. and 'Mazing Man relate how they went to the mall to buy shoes and ran into Guido at two different shoe stores (making him imagine K.P. is into him). Throughout this storytelling 'Mazing Man keeps telling people the bathroom is occupied. When everyone compares notes, they confront him on this, and he reveals he's keeping a family of skunks in the bathroom, which Guido mistakes for cats.
Batman #392: Moench and Mandrake/Duursema begin the issue with a caption declaring "the Crisis is over," and also give the extended storylines a break with a done-in-one story. This is a fun issue about Batman and Catwoman trying to have a date night and continuously being interrupted in multiple locations by crimes. There is also a Lady and the Tramp homage (which they acknowledge in dialog) where the owner of an Italian restaurant sets up a table in the alley behind his place for them and serves spaghetti. All of this is interspersed with Bullock trying to convince an uninterested Gordon that Catwoman still has a criminal past, which shouldn't just be forgiven. In the end, the Bat and the Cat present the captured crooks to Gordon and bring him a pizza from the Italian restaurant, and he announces his willingness to forget Catwoman's previous misdeeds.
Legion of Super-Heroes #19: Levitz and LaRocque/Mahlstedt snip off a dangling plot thread. When five Legionnaires just disappear, their teammates can't help but notice that this was the crew formerly lost in Limbo. The group has been taken by a Controller who needs their help to stop the war-world Tyrraz since they destroyed the Sun-Eater he had been building to do just that (see LSH #7 from last year).
Omega Men #35: Klein and McManus have the Omega Men depart their crossover with the Titans to deal with the menace of X'Hal and Auron. I don't think I've said this before, but I feel like title has gotten better under Klein/McManus, or at least, more interesting. The Silfer/Giffen Omega Men was oddly toned space fantasy, like Starlin's stuff without any of the gravitas. Moench's tenure was more fantastical and lost the space opera narrative drive. What this run delivers is the American comic book space opera epic sort of filtered through 2000AD. However you want to describe it, the difference is clear in the change in character designs, and emblematic of that is X'Hal.
Where the Perez X'Hal was a beautiful young woman, McManus's is a mad cosmic mother like a monstrous Venus of Willendorf. Her transformation makes her backstory seem more genuine tragedy and horror instead of sensationalized exploitation. With a ploy to trick her, the Omega Men end her existence and bring the long-suffering spirit peace at last. They offer the same thing to Auron, but he declines. They have the hope that, freed of X'Hal's influence, he might return to sanity.
In the backup story by Klein and Randall, Harry Hokum ships the Omegans they have come to him for help with Gordanians to Slagg, but they end up (by his design) in the hands of the Spider Guild.
Star Trek #23: Isabella and Sutton/Villagran continue the story from last issue with Kirk and friends facing down Bryce who is possessed by Redjac. They manage to keep her distracted long enough for Saavik to knock her out with a hypo, but Redjac boasts it is in control of the whole planet. It sends wave after wave of the Enochians against them, but the crew figures out its power is limited. As it controls multiple people, it's power to control their phasers decreases. Ultimately, they manage to beam back up to Excelsior, where Scotty has devised a plan to reconfigure the shields to keep Redjac out at the price of making them vulnerable to regular attacks. Redjac pummels the ship, but can't get in. Scotty and Saavik devise a plan to open a wormwhole temporarily and get Redjac to follow them in. It works and they close the portal, hopefully trapping Redjac forever inside.
Super Powers #6: Kupperberg and Kirby/Theakston bring this toy tie-in limited series to a conclusion. The Super Friends attack Darkseid's base on the moon and defeat his subordinates, but wind up getting captured by the lord of Apokolips himself. They escape thanks to Martian Manhunter then race to stop Darkseid from destroying the Earth. Ultimately, Darkseid is thwarted by the betrayal of DeSaad in a bid for power, allowing the heroes to take them both down. Darkseid appears to be destroyed, but the final panel casts doubt on that.
Superman #416: I think I may own this issue by Maggin and Swan/Williamson. This is another of those Silver Age throwback, mostly late Bronze Age rejecting stories the Superman titles often have, but Maggin cleverly links the two stories together. In the first, Superman nabs Luthor doing weirdly non-criminal things (even for this anodyne version of Luthor its odd!) around the same time each year, and ultimately, he figures out Luthor is observing the birthday of his hero, Einstein, by re-enacting events of Einstein's life. Superman gives Luthor a little grace after the criminal genius saves a kid from drowning who inadvertently got caught in a distraction he built for Superman.
In the second story, old man Superman of the future is questioned about his relationship with the Luthor after the genius villian reformed. Superman has to take a break from the interview to appear as a hologram to his 20th century self. That Superman, at first, thinks the apparition is some trick by Luthor, but winds up delaying his capture of Luthor on Einstein's birthday as future Superman suggests, anyway. Back in the future, we learn that the boy Luthor saved will be grow up to cure Luthor's criminal monomania, allowing him to use his genius to benefit mankind.





















































