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Dazzler #39 (1985, September)

March 14, 2015

I’m excited for the next review. But first, more Dazzler. By Goodwin and Chadwick, “Deathgrip.”


What the hell is even going on with the energy on this cover.

A Dr. Piper is killing a rat. He’s an electronics expert who’s working late. A security officer interrupts him, but doesn’t actually catch him doing anything bad. Piper does admit to killing a rat, but says it came from a strain that was turned mutant. The security guy remembers that Piper was hurt in a demonstration a mutant put on.

In San Diego, in a really bad neighbourhood, a couple guys are about to try to rip off a truck. The giant dog inside it scares them off. O.Z. Chase is meeting with an agent, asking about Alison. The guy gives Chase a list of people and places he had given Alison so she could try for singing gigs. One is in Arizona.

On the highway, on a treacherous mountain path (what would fiction be without treacherous mountain roads), a car has gone over the edge, with a couple kids inside. It’s balanced on a rock below, but that rock is starting to crumble. There’s no way to get down there without setting off another rockslide. Or is there? Alison gets into her snazzy new costume, and gets some rope and runs off to find a storm drain. She uses lasers to clear a path from the car to the storm drain. She tosses them a rope so they can make their way. The ledge finally gives out, but she pulls them to safety with the rope. Once the kids are back to safety, she tells the onlookers she’s Dazzler, and that makes some of them re-think their views on mutants. But Dr. Piper watched the whole thing, and isn’t impressed.

Piper returns home, and dismisses the woman he hired to watch his daughter. He wants to see his daughter, Melissa, alone. She’s pretty much lost her mind. Doctors said it was because of the drugs she was on, and Dazzler’s fancy lightshow was simply the catalyst for Melissa’s delirium. Piper says Dazzler’s solely top blame, and he’s designed a suit to burn out Dazzler’s nervous system.

Dazzler’s performing at some crappy cowboy bar. The band is happy with how they played, and thank Alison for it. She’s crying a bit from how happy she is to have performed. Her earlier rescue brought a lot of people to the audience, but it’s the music she lives for. Outside, Chase is calling the bail company about the job. The guy he talks to is decomposing. Chase has started to like Alison, and hates having to go after her. As soon as he hangs up, Piper knocks over the phone booth he’s in.

Alison rushes out to see what the noise was. She suggests they talk out whatever Piper’s grievance is, but he attacks her, and she fights back. He grabs her, and she’s in pain, but she flips him over. From a truck, Melissa is watching the fight with her caretaker. Dazzler and Piper climb onto the roof to fight some more. She can’t burn through his power pack, so she starts climbing the neon sign. He follows, but he’s slow and cumbersome, which lets her burn through the less-solid parts of the suit. He gets angry and tries harder to catch her, but that just breaks the metal struts, and the sign starts to fall. She tries to grab him, but only tears his helmet off. Luckily, he’s able to hang onto the bit of the sign still on the roof.

Dazzler pulls him back up, but that lets him grab hold of her. On the ground, Melissa’s regained her mind, but he can’t hear her shouts, and he tries to kill Dazzler. She lets loose with a big flare that leaves Piper in the same state Melissa had been in. Very poetic and stuff.

Dazzler returns to her motel room, and Chase arrests her.

Meh. This is mostly a superhero issue. Her singing career is touched on, but mostly it’s about Dazzler being a superhero. That pretty much defines the Goodwin issues, more than any other period in this series. It’s a shame, because it pretty much removes the most unique part of the series. That said, Goodwin does handle the superheroic stuff well. Her rescue of the kids is a nice scene, and her fight with Piper is done well. It’s choreographed well. It’s just that nothing about this issue is particularly original.

Chadwick does an adequate job on art. Nothing exceptional, but it’s good. As with the writing, the art is largely just boring and generic.

Song of the day: Aloha and the Three Johns by Jenny Lewis.


From → 1980s, 1985, Dazzler

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