TV Review: "Honey, I Shrunk Team Flash"

This week, Cecile (Danielle Nicolet) gains telepathic abilities during her pregnancy with Joe's (Jesse L. Martin) baby. Meanwhile, Barry (Grant Gustin) discovers that fellow prisoner Big Sir (Bill Goldberg) is actually innocent of the charge he was imprisoned on and tasks the team at STAR Labs to try to apprehend the actual criminal, despite Big Sir asking him not to.
While tracking a vanishing building, Joe, Cisco (Carlos Valdes) and Ralph discover the home of a man who turns out to be a metahuman who can shrink anything. When Joe connects him to a crime, he lashes out, shrinking Ralph and Cisco in the process. However, when Harry (Tom Cavanaugh) tries to use a dwarf star alloy cannon to reverse the shrinking, it begins destroying their cells, giving a ticking doomsday clock before Team Flash is down two members.
This episode continues Season 4's run of giving us a rollicking good time with our superheroes. While fans of episodes where the truly crazy happens will love it, this is more likely one of the episodes taking some time before we get the next major development in the main storyline of the season. One nitpick was that after hearing the impending fate of Ralph and Cisco, Iris is suddenly seen having a nice cup of tea with Cecile. Perhaps not a flaw, but a little strange that she's not thinking about how two people she works with and knows pretty well are about to die.

Otherwise, looking forward to next week, which the press release promises will have another development for Ralph's story arc.

Viewers in the US may view "Honey, I Shrunk Team Flash" at no charge during a limited availability window on the CW website and app. With the current licensing agreement, the entire fourth season of The Flash will be available on Netflix in June, 2018. Digital versions of the episode may be purchased on iTunes, Amazon Instant Video, Vudu, Google Play and other retailers of digital video content. Blu-Ray and DVD copies of the season are expected to be available for sale in or by September, 2018.

Non-US viewers should check their local listings, the websites of the channels that air The Flash, and digital video retailers.

Puzzle of the Purple Pony!

Time for Ralph's third outing in Detective Comics. This one is in #329, and can be purchased via digital copy on Comixology or read via DC Universe.

"Puzzle of the Purple Pony!" was written by Gardner Fox, penciled and inked by Carmine Infantino with Julius Schwartz as editor. And probably Gaspar Saladino on lettering.

The splash page shows a scene from the story's climax from another angle, which looks a lot less dramatic with the old west baddies looking a little goofy. But it does tease the story pretty well, and at least the couple in the foreground look really well done. Admittedly, if anyone was up to having prominent figures in the background, foreground and midground, it'd be Infantino.

So, it's the Elongated Man out west!

Ralph and Sue are on their way to a rodeo in Cactus City. It seems there is actually a Cactus City in California, so perhaps this is where the story takes place, or it's just "Anywhere the plot requires, USA."

They stop their car to watch some wild horses running. Sue is spellbound while Ralph seems uninterested. This reminds us that they're from different backgrounds. Ralph grew up in the country while Sue is from a higher class family. As such, it makes sense that she'd be more enthralled with such sights. Also, check the visual differences between them: Ralph is wearing a cowboy hat and a bolo tie with his brown pants and green button-up shirt. Sue is wearing appropriate attire for the climate, but it's much more contemporary.

Infantino nicely draws the western landscape in this story. But that's hardly a surprise as DC had him on staff during the era where they specialized in western comics.

Sue is surprised as she sees a man in a jeep lasso and catch a wild pony and begin painting it purple. Ralph is generally uninterested, but Sue heads down to investigate. Inquiring, the cowboy refuses to tell her, saying it would "ruin everything" if he told her. Returning to the car, Sue orders Ralph to investigate, expecting him to meet her in town for the rodeo in four hours. Ralph changes into his costume and gets on the case, tracking the cowboy.

"I wouldn't admit it to Sue," Ralph thinks, "but I'm glad she made me do this! This might turn out to  be more exciting than any rodeo!" So I just hold that Ralph was interested in the purple horse, he just knew that if he acted uninterested, Sue would make him go investigate.

Most of Ralph's tracking is keeping low to the ground, stretching behind rocks and brush. He watches the cowboy meet a school teacher who calls him Jimmy Crowder. Jimmy and Nora, the school teacher, go riding out to the stretch of country known for being the alleged location of the Lost Frenchman Mine. If we're looking at locations, there was indeed gold found around Yuma, Arizona. And yes, there were stories about frenchmen leaving town intending to return for their gold with a skeleton turning up. And by car, it would be just over two and a half hours from Yuma to Cactus City, fitting in the four hour timeframe cited by Sue. Considering how much information Gardner Fox put in his stories, this shouldn't be surprising.

Ralph trails Crowder across a stream to a stone ledge, but he's been spotted by a trio of gunmen who use rocks to knock him into the stream.

Luckily, Ralph uses his powers to stretch his nose out of the water so he can breathe. Getting carried a little further downstream, he emerges (I told you last time he'd get wet) and begins trailing the gunmen as well.

The story switches its focus on Jimmy Crowder and Nora, who stop about an hour's ride from where we left Ralph and begin searching for the Lost Frenchman's Mine. After an hour of searching, Jimmy notices the purple pony nudging at the ground with its hoof. Noticing a hole, he discovers rotting canvas bags of gold.

Celebrating their discovery, Jimmy and Nora are interrupted by the gunmen who hold them at gunpoint while one of them goes to claim the mine, making the gold legally theirs. However, a trailing Ralph uses a prickle from a cactus plant to knock the rider from his horse. He grabs the rider and knocks him out.

Turning his sights to the other two gunmen, Ralph seizes their weapons in the scene from the splash panel.

However, the men have other pistols, and Ralph stretches and bends himself out of their lines of fire before knocking them out. Jimmy gets their guns and Ralph accompanies Jimmy and Nora in turning the gunmen over to the authorities and claiming the mine.

In return for his help, Jimmy reveals why he painted the pony purple. (I hope he used non-toxic paint or at least just dye.) He says that in return for saving the life of an old native American medicine man, he got a prophecy about the mine.

He says the verse was written in "Indian verse." There were several tribes who lived in Arizona, so it's difficult to tell exactly which one since Fox is being vague. Jimmy shows Ralph the prophecy as translated in English, where we have an element that doesn't quite add up: the translated prophecy rhymes, whereas most translated verse doesn't rhyme as when it's put in another language, the words change.

The rhyme is:
When a wild pony turns purple and a hundred years pass
The lost frenchman mine will be found with a lass!
 So, Jimmy decided to try his luck by making the prophecy happen by making a pony turn purple.

Ralph manages to get to the rodeo just in time and Sue has him explain the story. Sue asks why Jimmy didn't tell her when she asked, and Ralph explains the prophetic verse had two more lines (that suspiciously also rhyme):
If anyone else should learn this rhyme,
The mine will stay hid for a century's time!
The only question I have is why were the gunmen trailing Jimmy? Likely lots of people headed out there to try to find the lost gold. What made Jimmy stand out so much that they were tracking him and tried to kill Ralph?

Again, this is a rather forgettable story. The lining up of locations works well for Fox's pen and Infantino draws a nice western comic. I suppose the story holds up, even with the afore mentioned weaknesses. But likely if you were to ask me in a year or so what the story was about, I might have trouble telling you without looking.

Next time, more adventures in California with Ralph and Sue.

Who is Gardner Fox?

When Ralph began a new chapter in his publication history at DC Comics, he got a new writer: Gardner Fox. Fox wrote Ralph's first several stories in Detective Comics, establishing Ralph as a detective and giving him an identity outside of his power set. John Broome had initially written the character and there is hints of Ralph's detective career in his stories, but when it came time to pen those stories, Fox was the man.

Gardner Francis Cooper Fox was born on May 20, 1911 in Brooklyn, New York. About age eleven, he became an avid reader of Edgar Rice Burroughs and other writers of adventure stories that sometimes mixed science fiction and fantasy into the proceedings.

Getting a law degree from St. John's College, he was admitted to the New York Bar in 1935. Needing to supplement his income after a couple years, he began writing for National Publications and All-American Comics (which would fold into National before becoming DC Comics), his first work estimated to be in Detective Comics #4. He would go on to be the first to pen stories for Jay Garrick's Flash, Sandman and Hawkman, making him a co-creator. He would also be one of the first to write Batman stories aside from Bill Finger, introducing some of the items in the character's arsenal. He would even create Starman and wrote the first Justice Society of America story.

In addition to his work in helping lay the groundwork of DC, Fox also worked for Avon Comics, EC Comics, Magazine Enterprises and Columbia Comic Corporation, doing both the writing of comics and writing text pieces. In the 1940s, he began writing short stories for pulp magazines and novels under a variety of pseudonyms.

When the Silver Age began, Fox was writing Adam Strange stories for Julius Schwartz, and would write the new versions of the Atom and Hawkman, as well as co-create Zatanna, the daughter of largely discontinued character Zatara. He also revived the Justice Society concept as the Justice League of America. Later on when Batman was being revamped in Detective Comics, Fox would contribute in introducing the Riddler, the Scarecrow and even Barbara Gordon's Batgirl. As a tribute to him, the character Guy Gardner was named after Fox.

In 1968, Fox left DC as they refused to offer health insurance and other benefits to their older creators. He took on writing novels full time and even briefly worked for Marvel Comics, Eclipse Comics and Warren Publications.

About 1980, Fox's health required him to move into a medical center in Princeton, New Jersey. He died on December 24, 1986, survived by his wife Lynda, his two children and four grandchildren.

Fox's work would receive many awards, including four Alley Awards. His work for DC has led to him being posthumously receiving many honored titles.

TV Review: "The Elongated Knight Rises"

Team Flash is having trouble with Ralph as the episode begins with Barry (Grant Gustin) beginning his eighth day in Iron Heights with Ralph taking out a would-be bomber in the Flash's absence. However, Alex Walker—the young Trickster (Devon Graye)—is broken out of jail by his mother (Corinne Bohrer, in a new incarnation of her role from the 1990s Flash TV series) and challenges Ralph to fight him. Just he's armed with a potent acid that can actually harm him.
Meanwhile, Barry is in prison dealing with abuse from other inmates, discovering a friend of his father's (Bill Goldberg).
"The Elongated Knight Rises" presents a major point in Ralph's story arc for the season with personal growth as well as a proper superhero costume and finally showing us how he gets his superhero name. Also demonstrated is the toll Barry's prison sentence is having on the rest of the team. This season has not only been exciting me with introducing the character I always wanted on the show, but also doing what seems to be a good story.

Viewers in the US may view "The Elongated Knight Rises" at no charge during a limited availability window on the CW website and app. With the current licensing agreement, the entire fourth season of The Flash will be available on Netflix in June, 2018. Digital versions of the episode may be purchased on iTunes, Amazon Instant Video, Vudu, Google Play and other retailers of digital video content. Blu-Ray and DVD copies of the season are expected to be available for sale in or by September, 2018.

Non-US viewers should check their local listings, the websites of the channels that air The Flash, and digital video retailers.

TV Review: "The Trial of the Flash"





Well, there's no real way to talk about this episode without spoiling the last one, so if you don't want spoilers for "Don't Run," I'd advise you to skip this entry.

Being framed for the murder of Clifford DeVoe, Barry (Grant Gustin) has few options for clearing his name. However, Cecile (Danielle Nicolet) and Iris (Candice Patton) present him with one option: reveal that he's actually the Flash and explain his actual activities.

Meanwhile, the team at STAR Labs discover a metahuman who flares up with nuclear radiation and have to find a way to take him out. In addition, Joe (Jesse L. Martin) enlists Ralph's help in trying to discover new evidence against DeVoe. Or planting some.

This episode was a wild one for fans of The Flash. The show sees a definite shakeup from its status quo going forward, which will likely change in time, but at the moment leaves us wondering how the show will proceed.

Next week, "The Elongated Knight Rises."

Viewers in the US may view "The Trial of the Flash" at no charge during a limited availability window on the CW website and app. With the current licensing agreement, the entire fourth season of The Flash will be available on Netflix in June, 2018. Digital versions of the episode may be purchased on iTunes, Amazon Instant Video, Vudu, Google Play and other retailers of digital video content. Blu-Ray and DVD copies of the season are expected to be available for sale in or by September, 2018.

Non-US viewers should check their local listings, the websites of the channels that air The Flash, and digital video retailers.

The Curious Case of the Barn Door Bandit!

 Detective Comics #328 made it clear that Ralph was going to be a regular feature. However, the issue is notable for its Batman story once again as this issue featured a scene in which Alfred helps Batman and Robin take on a threat and blocks a falling boulder by having it hit him instead, leading to his death. The issue then introduced Dick Grayson's Aunt Harriet, John Broome stating that he wanted to bring a female into the Wayne household. Alfred would later be resurrected due to the debut of the Batman TV show.

And that's why getting an original printing of this story might be pricey. Darn it, Batman. You can purchase a digital copy of this issue via Comixology or read it on DC Universe.

"The Curious Case of the Barn Door Bandit!" was written by Gardner Fox with art by Carmine Infantino. The splash page illustrates a scene from the conclusion of the story while having the teaser text cut off with a profile of Ralph elongating his nose. To be honest, I don't like the splash page. While it's an action-packed scene, it's just not as pleasing or exciting as the previous Infantino-pencilled splash pages in The Flash and Detective Comics.


Heading to Florida Beach (or a beach in Florida?), Ralph and Sue spot a man on the side of the road with a flat tire. Pulling over (but showing off by elongating his neck instead of getting out of the car), Ralph asks the man if they can be of any help. When he hears the man say his barn door has been stolen, Ralph begins wiggling his nose.

This has gone down in Elongated Man lore as Ralph "smelling" a mystery. Ralph claims it's a superpower, but note that it took until his tenth appearance for it to pop up. There will be some stories in the future when it randomly happens as if it's an actual superpower, but as the controversial Identity Crisis #1 revealed, it's exactly what you'd think it is as Firehawk claims Green Arrow told her that Ralph just made it up for the press. (Instead of confirming or denying, Ralph claims that Green Arrow's hat is to cover a bald spot.)

Anyway, this is, I believe, the last element of main Elongated Man lore to be introduced. All we got to look forward to now are costume changes.

The man tells Ralph that he saw a man stealing his barn door in his truck, which he recognized from town. He pursued the truck until he got a flat tire. Ralph promises to recover the barn door.

It seems Infantino inking his own work didn't go over well with readers, but I like it in its own way. It's unusual seeing art look this much like a sketch, but the lines suggest a type of life to the image different from when we've seen it with other inks.

Ralph swings by the farm and inspects the property carefully. Afterward, he surprises Sue by heading to the cheapest hotel in a rougher part of town, driving right past the Hotel Blue. And when they go to dinner, it results in one of my favorite Infantino panels for Ralph and Sue.

Sue is wanting to go to the best hotels, get to the best restaurants and shop at nice stores, but Ralph insists on going to the cheaper places which finally causes her to ask what's going on. Ralph tells her he's tracking the barn door thief. When Sue protests that Ralph doesn't know what the thief looks like, he gives a description of the man's build, his shoes and sweater, all based on clues he found at the crime scene. Sherlock Holmes would be proud.

Sue spots a man matching Ralph's description right away, so kudos for making her part of the story to some degree. Later stories put her in the detective/investigative spot more, but early on, it's as if Sue is annoyed with having a detective for a husband.

Ralph tracks the thief to a boathouse and discovers that the thief turned the door over to another crook, Barney Baxter. It turns out Baxter robbed a bank and hid the loot in the barn door. He hired the bandit to recover it for him by just stealing the door.

These pages show a good sense of scale and angle masterfully handled by Infantino. In addition, there's the shadows. Infantino gives the whole story's art a real sense of depth. This is just a pleasure to look at.

Since I need to fill some space, here's some trivia, Sue's closely cropped pixie cut that debuted in Detective Comics was modeled after Shirley MacLaine.

After the Barn Door Bandit leaves, Ralph apprehends Baxter in a pair of excellent panel with a fair visual feast in them. The shading gives an excellent idea of how dim the room is, and check the falling stacks of bills in the second panel. Also, the way Ralph enters the boathouse is very effective and intimidating. He's going to mess something up.

The next page shows Ralph make use of his nose again. He stretches it out to grab Baxter's gun and throws it out the window, then uses his body to dodge a punch by Baxter before knocking him out. Not as action-packed as the previous story's fight, but we got more coming.

The bandit, now identified as Joe Peters, has been watching and as Ralph scrambles to pick up the money, he goes in and knocks him out.

This reminds us that Ralph isn't supposed to be invulnerable. He can stretch, but originally, he couldn't be made to stretch by external force. This will generally depend on who's writing him or which continuity. (The Flash TV show, for example, has demonstrated that Ralph can be made to stretch in their continuity.)

When Ralph comes to, he sees Joe getting away in a boat with the money. He follows with a dive into the water. By elongating his feet into paddles, he's able to swim quickly and catch up with Joe, dodge a blow with a paddle and knock him out. The scene looks better, in my opinion, here than in the splash panel.

Turning over the crooks to the authorities, Ralph instructs the police to give the reward for the stolen loot to the farmer they met in the beginning who sent Ralph off on the case.

It appears Ralph and Sue move lodging to the fancy Fountain Blue Hotel and enjoy the amenities, in particular, the pool where we get a return of "Malibu Ralph" relaxing in his swim trunks and Sue in her bathing suit.

The Dibnys are joined by the farmer and his wife who are enjoying a brief stay at the hotel.

Overall, not a bad story. Not altogether very remarkable either, except for the first appearance of Ralph "smelling a mystery." To be honest, I'd forgotten about it until it came time to tackle it for this blog. But at least the story's fairly decent and the art remains great.

Next time, another case where Ralph gets wet.

Why I Think Ralph Dibny Is Important

It was about seventeen years ago when I was going over my father's collection of Batman comics, including a large number of issues of Detective Comics. I particularly recall picking up #359, because it was the first appearance of Barbara Gordon as Batgirl.

I read through the main story, enjoying it, and then after it finished, I saw that there were plenty of other pages, so I kept turning and was surprised to find the first Elongated Man story I'd ever seen, "Riddle of the Sleepytime Taxi!"

I've always enjoyed the weirder things pop culture has to offer, and a superhero who could stretch his body was right up my alley. So, not only did I continue the issue, I began searching my father's other issues of Detective Comics for more adventures of Ralph and Sue Dibny.

My father didn't have a complete collection, but what he did have had some excellent stories. Among them was the Silver Age Classics reprint of #327, the first issue that Ralph appeared in.

Well, yours truly was a fan from the get go. Later, I managed to find and read more of Ralph's appearances, including his first stories in The Flash.

What I've recently realized is that Ralph is a perfect poster child for chasing your passions and dreams. His original origin finds him with an oddball obsession, one that he chases into adulthood and turns it into a full blown superhero career. His marriage to Sue, a loving, devoted relationship, is an example that your oddball nature doesn't mean you can't have a good life.

About twelve years ago, I had an idea for a fan script for a superhero movie. Titling it "Ralph," I never got very far in it. Ralph Dibny lived with his parents and brother in Waymore, Nebraska, the story opening with him hurrying to a local circus so he can talk to the contortionist. He gets shut down, but he goes to his chemist friend and they realize Gingold extract is the key Ralph was looking for. They create their own potent version and both get elastic powers. Storing some in an old sports drink bottle in the fridge, Ralph goes to bed at home, but not before calling his girlfriend Sue with the news.

Ralph's brother Ken grabs the bottle on his way to football practice, and drinking it makes him seriously sick. Thinking Ralph intentionally tried to harm Ken, Mrs. Dibny kicks Ralph out of the house. Sue gets her parents to let Ralph stay with them, and they're soon married and traveling the country, adopting a dog and a recreation of "Ten Miles to Nowhere!" happens on the honeymoon.

Ralph's chemist friend discovers that drinking too much extract results in fearsome powers and a personality change. That's about where I stopped writing. The idea would be that Ralph discovers he can be his own worst enemy and reconciles with his mother by the end.

Five years ago, I came out as gay and thinking of Ralph's origin and the ways I'd interpreted it (I tackled it again as a fan fiction for The Flash TV show last year), I began to see Ralph's story as a metaphor for the queer experience. It didn't matter that the character is heterosexual. Ralph doesn't feel valued in his hometown and he embraces something about himself that's different from most people he knows, including his own family. In the end, he finds love with Sue, acceptance in the publicity he receives and even a welcoming community in the Justice League.

Basically, Ralph Dibny is a superhero who embodies both "Live your dreams" and "Let your freak flag fly" without a downside. In a world that often demands us to fit in one specific spot, having a hero who doesn't fit in one is very welcome.

Who is Carmine Infantino?

Well, we come to the penciler of the original Elongated Man stories at last. The artist usually got the main credit for the art, and to be fair, most of the time, it was their designs and layout that made up the comic. The final look of the page was down to the inker, of course, who might alter the art. But Infantino worked on both during his career.

Carmine Infantino was born on May 24, 1925 at his family's apartment home in Brooklyn, New York. He would later attend Manhattan's School of Industrial Art. His first comics job came during his first year of high school from comics packager Harry "A" Chesler. Chesler was known for being difficult to work with, but Infantino recalled him fondly, saying he was given a dollar a day to study artists at work and to improve at art himself.

At age 16, Infantino's first comics job came in inking the "Jack Frost" feature in USA Comics for Timely Comics, which would later become Marvel. He and his friend Frank Giacola (who drew "Jack Frost") were offered staff jobs, but Infantino turned it down at the insistence of his father who wanted him to complete his education.

Eventually, Giacola and Infantino swapped jobs on "Jack Frost." Infantino would do more work at Timely, as well as Fawcett, Hillman and Holyoke before getting work at All-American Comics, which would later be folded into National Publications, which would quickly become known as DC Comics. His first work for All-American was the story "The Black Canary" for the "Johnny Thunder" feature in Flash Comics #86. This was the debut appearance of the villainous Black Canary who would be revised into a heroine. He would eventually work on many other superheroes who would become some of the best-known DC characters.

Between the decline of superhero comics and the Silver Age, Infantino worked on mysteries, romances and Westerns, which kept the comic medium alive. He also freelanced for the short-lived Prize Comics.

Infantino was responsible for designing the new costume for the Flash for Barry Allen's first appearance in Showcase #4. He gave the Flash a cowl instead of a helmet, transforming the costume into a one-piece bodysuit with boots. He also created the motion lines to suggest super-speed. This new design paired with a more science fiction approach to the character became a hit and ushered in the Silver Age of superhero comics.

Infantino would work with a variety of writers and worked on many DC characters and titles, co-creating characters such as Barbara Gordon's Batgirl, Deadman, Blockbuster, the Human Target as well as the Elongated Man. In the face of an offer to move to Marvel, Infantino was promoted to art director. When DC was bought by Kinney National Company (now Time Warner), he was made editorial director. He was responsible for signing on many new and established artists, including bringing none other than Jack Kirby to create new characters and comics that would introduce elements that would become essential parts of DC lore.

In 1971, he would be promoted to publisher. Under his leadership, DC comics went up to 25 cents per issue, significantly increasing page count with reprints and new backup features. Marvel Comics wound up beating the competition by matching their pricing, then dropping to a more attractive 20 cents, losing some sales for DC. Infantino served as a consultant for Superman: The Motion Picture and its sequel and also was the one who worked with Marvel on the crossover Superman vs. the Amazing Spider-Man.

He was succeeded as publisher in 1976 by Jenette Kahn, and he resumed freelance work for many comic companies (including Marvel's company-saving Star Wars comic book), which he wound up doing until his retirement, one of his final stories appearing in 2004 as a tribute to the recently deceased Julius Schwartz.

Infantino's work earned him no less than twelve Alley Awards (among other awards), with special attention given to The Flash #123, which featured the story "The Flash of Two Worlds," reintroducing Jay Garrick and introducing the multiverse concept to DC Comics lore. He was presented with an Inkpot Award in 2000. He died at his home in Manhattan on April 4, 2013.

It's almost an understatement that without Infantino, we wouldn't have the DC Comics we have today, with his co-creating and designing heroes and villains that captured the imaginations of readers across the world to creating art filled with action and movement that set the standard for the company.

Ten Miles To Nowhere!

The Flash #138 had a cover date of August 1963, and it was the last time Ralph appeared as a guest star in that comic book for a very long time. He was next seen in Detective Comics #327, with a cover date of May 1964.

You can purchase a digital version of this comic on Comixology, or you can pick up Detective Comics #445, which reprinted Ralph's story. In addition, both are available to read via DC Universe.

This is an important issue for the Batman content as well. It was with this issue that Julius Schwartz took over the comic, having John Broome write and Carmine Infantino draw the Batman story, which tried to make Batman more serious, Infantino putting a yellow circle around the bat insignia on the Caped Crusader's chest. This new take on Batman was so successful that this is considered to be the beginning of the official "Earth One" Batman continuity before being rewritten by Crisis on Infinite Earths in the 1980s.

I did some searching on Google and it seems the reason why Ralph became a backup feature in Detective Comics is because of Infantino. It seems he enjoyed drawing Ralph and giving him a new book to handle was quite a task, so to keep him happy, he got to have some fun with the backup feature. Ralph became a popular enough addition that fans wrote in to suggest that Detective should alternate between him and Batman as the lead story. The Elongated Man backup feature ran through Detective Comics #383, when the book would become "the Batman Family" book. Ralph would have occasional backup stories and reprints, particularly when the book went to 100 pages and other special issues.

"Ten Miles To Nowhere" was written by Gardner Fox with art by Carmine Infantino. Infantino also inked the story, and we see far more line detail than when we saw Joe Giella ink his work in The Flash.

The splash page has a great concept for having a character cross over from a guest star in one book to taking a solo feature in another. We have Ralph stepping off of a cover of The Flash (this is, of course, not an actual issue) and directly onto a page of Detective Comics. Infantino goes to great lengths to make that cover look like an actual issue of The Flash with pages, the DC logo, the Comics Code seal, and a 12 cent price. Missing is an issue number and date. But the style even looks like Joe Giella inked it. Perhaps he got Giellla to ink that part in his style to maintain visual continuity. Ralph is now completely in Infantino's own style with thin, rougher looking lines.

You will notice that Ralph is now, for the first time, not wearing a mask.

The following page compares Ralph with Dr. Jekyll and Mr. Hyde, showing an interesting illustration for that famous story, then two similar panels depicting Ralph stretch his arm across a room to get some gingold while just relaxing on a sofa. The text tells us that Ralph gets his powers from the elixir he created.

This was the earliest story featuring Ralph that I'd read for a long time, and this was all the explanation of Ralph's powers and origin that I had. I had no idea what he'd done in The Flash. And well, it tells us Ralph is quite the self-made made man.

The next panel recreates the famous scene from "The Space-Boomerang Trap!" before the final panel finally starts the story with Ralph and Sue returning to the United States from a visit to eastern Canada. The officer mentions that there's been a robbery in Montreal with two million dollars worth of diamonds stolen.

As we kick in with the third page, Ralph is surprised that the officer doesn't recognize his name. Sue, still rocking her short curly hair and looking glamorous, suggests he tell him that he's the Elongated Man. Ralph decides not to. However, he tries to play the "humble celebrity" bit again when they check into their motel for the night. The clerk doesn't recognize him either.

The page specifically says that this is Starbright Motel on Lake Champlain, which is a real lake between Vermont, New York and Quebec, Canada. If the motel was real, it's not going by that name now, though there does seem to be quite a few lodging options there.

The way Sue talks to Ralph in panel #4 is so good. "Cheer up, honey! We'll meet somebody—somewhere—who will have heard of the oh-so-famous Elongated Man! Have you ever considered a press agent?" This tells you right off, she's not in this marriage to be married to someone famous. She genuinely likes Ralph. Which is basically the first bit of characterization we got for her, even though this is her fourth appearance. (And Ralph's ninth.)

Preparing for a 300 mile journey in the day, Ralph checks the odometer in the car and sees that it's gained ten miles since they parked it the night before.

Might I point out the Dibny's car? Because it has changed since we saw it in The Flash. It's a different model, the one in #124 was orange, the one in #130 was blue, and this one in Detective Comics is red. Is this a continuity error? Not really. Perhaps they do rental cars instead of owning one since they don't seem to have a home at the moment.

Onto page four. Ralph leaves the motel as if nothing happened so if whoever stole their car happens to be watching, they won't catch that he's suspicious. Sue comments on it, prompting his explanation. A mile away, he drives off the road and Sue asks what she's going to do while he solves the case of "Ten Miles to Nowhere," naming the case. Ralph tells her there's an antique store in the next town, instructing her to do some shopping, which she happily agrees to do while Ralph changes into his costume.

Now, this struck me as wrong back when I read it as a kid. Sue shouldn't be relegated to sitting out Ralph's cases and just going shopping. She should be out there with Ralph investigating. I'm not saying Sue isn't allowed to enjoy going shopping and doing stereotypical female things, but when that becomes all that she's doing, that's a problem.

Ralph heads back to the motel by foot, but by foot on elongated legs that allow him to walk a mile in 18 steps. He spots the tread of his tires and begins to trace where it went.

Page five opens with a trademark of what many fans love about Ralph: he's a detective and uses his powers to enhance his investigations. On this well-drawn page, you see Ralph tracking the tread to a house which must be about five miles away from the motel. He sneaks onto the roof and elongates his ear down the chimney to hear the gang that's still there.

The idea of using his own body to remotely eavesdrop is so well-executed with the art. It's probably a usual layout no-no, but they do use arrows to ensure you read them in order so they can have that long panel showing the chimney action.

Page six mainly has the crooks explain their plan, with the leader going into the typical "more detail than a real person would actually give" type of speech. But hey, I've never stolen two million dollars worth of diamonds, so maybe I don't know how much you want to gloat after thinking you've pulled it off flawlessly.

Basically, the crooks stole the gems in Canada and overhearing the Dibnys talk about their travel plans in a restaurant, they had the gems put in a metal box spot-welded to the underside of the car by the mechanic servicing it, making Ralph and Sue unwittingly smuggled them out of Canada. Unspoken is how the crooks drove the car without the key. Likely they had a dupe of the key made (presumably servicing the car would require turning over the key just in case, and since the crooks were working with the mechanic, it'd work) as hot-wiring the car would leave clear evidence of tampering with the car.

The crooks have stuck around so they can clear up any clues left behind. Which didn't account for tire treads or the odometer. The leader flicks some hot ash from a cigarette into the fireplace, which hits Ralph's ear. The sting makes him exclaim "Ow!" which, the next page reveals, has the crooks notice "An ear—in the fireplace!"

 "He must be up on the roof!" the crooks decide as they look up the roof, but Ralph has retracted his ear as soon as he noticed that he was spotted. The crooks run outside to catch Ralph on the roof, but he jumps down the chimney and is able to spring out and surprise them when they return, beginning a fight scene that continues over the next two pages.

This is probably what Carmine Infantino was placated with, drawing these eye-popping fight scenes where Ralph uses his stretchable body to avoid getting hit or to make the crooks hit each other.

 And that is going to leave a mark... Ralph has managed to knock out the entire trio of crooks. He manages to contact the local chief of police (there might be a telephone in the cabin) to pick them up. The crooks puzzle over how Ralph tracked them down.

Two things on page 9: the crooks call Ralph an "India Rubber Man," which was a name Jack Cole had considered for Plastic Man. The other is that the police officer asks Ralph if he's with a circus. He replies, "I was once..." You might wonder "When?" but recall Ralph's second story in which he "retires from public life" because he made a lot of money from media appearances, including the circus act he does in the opening. So, it's not out of the question that he worked with a circus during this, or perhaps while he was tracking down the secret of contortionists he worked with one.

Now that the crooks have been caught and the loot likely turned over to the authorities, Ralph wants to get on the publicity kick. He meets Sue just outside the antique store he mentioned to her and she overhears people talking about him. He reveals he pinned a flyer to his back announcing his identity.

Revisiting this story has been a delight. Not only for the nostalgia of reading this one so often when it was one of the few Elongated Man stories I had at my disposal, but also that it's good! The story's sound, any unanswered questions have easy answers you can think of. The art is good, although readers weren't a fan of the sketchy style of the inking Infantino did for himself.

So, Ralph was now on his own in 10-page adventures in Detective Comics and "Ten Miles to Nowhere!" offered a solid start. The template for solo Elongated Man stories was now in place. Next time, a big part of Elongated Man lore comes to the table at last.

Who is Joe Giella?

It's almost easy to forget about inking when it comes time to appreciate how comics are made. The main artist of a comic book would do the pencils and generally do the line work, but the printing processes of comics wouldn't allow for lifting the art from the pencils. This is where the inker would come in and create a new version of the art with more definition to the lines that the processes can pick up on. In addition, unused lines created during drafting can be completely eliminated. With modern digital imaging, it is possible to create print-ready art now, but many artists still use pencils as their preferred style of drafting and an inker is still required.

The inker who worked on The Flash when Ralph Dibny debuted was Joe Giella, who happens to be—at the time of writing—the sole surviving known person to work on that debut. He was born on July 27, 1928 and studied at Manhattan's School of Industrial Art, the Art Students League and took commercial art courses at Hunter College.

Joe began work at age 17, later noting his Italian heritage, being the firstborn son and the struggles of his family. His first comics work was art for the six-page Captain Codfish story in Hillman Periodicals' Punch and Judy #11.

In 1946, Giella began working for Fawcett Comics, inking Captain Marvel (now Shazam). Soon, he got on at Timely Comics (now Marvel). He revealed recently that he lost his first big project while commuting home on the bus and after being yelled at by Stan Lee, the artist quickly redid the pencils and he was able to get it done well in good time, getting him a staff position doing whatever odd art jobs were needed.

In a couple years, he'd moved onto a better paying position at National Publications while also serving for the Naval Reserves. He continued his work for what would become well through the dawn of the Silver Age, inking for Adam Strange, Green Lantern, and other titles, including—of course—The Flash.

Giella also worked on comic strips such as The Phantom and Flash Gordon and served as artist on Mary Worth from 1991 to 2016. He also did commercial art for advertising firms and publishing companies.

Joe Giella's work earned him a 1996 Inkpot award. He was also a guest of honor at 2017's Herocon's Inkwell Awards.

Joe currently lives in Eastmeadow on Long Island in New York.

Where Ralph could fit in James Gunn's DCU (and Plastic Man too!)

 So, hi! I haven't forgotten about this blog, it's just time gets away from me, there's other stuff I want to handle. If I could...