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Dazzler: Ahead of its time?

I just finished reading all 42 issues of the late, lamented Dazzler series from 1981-1986, and although there is quite a bit that isn’t good about the series, I wonder if it’s one of those titles that was too far ahead of its time to succeed.  Allow me to explain under the fold!

Dazzler is certainly an interesting comic, with plenty to recommend it.  The art isn’t one of them, as for most of the run, Frank Springer supplied workable but unspectacular pencils that lacked a lot of dynamic fluidity and looked, frankly, old-fashioned (Springer was in his 50s at the time, so maybe it’s not surprising).  At the very end Paul Chadwick picked up the art chores and things improved dramatically, but the book was circling the drain by then and wasn’t saved.  Danny Fingeroth wrote the book early on, Springer contributed some scripts, Mike Carlin wrote some issues, and Archie Goodwin finished up the run.  Marc Bright and Geof Isherwood showed up for some guest pencils, too.  After the double-sized issue #21, the book floundered a little and became a comic-by-committee, which never works for too long.  Dazzler might be most famous for the series of stunning covers Bill Sienkiewicz did for issues #27-35, and when you’re best known for your covers, that can’t be good.

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What makes Dazzler interesting, however, is the way Fingeroth and Springer chose to present our heroine.  Alison Blaire never wants to be a superhero, which, when you consider she starred in a pretty mainstream superhero book in the Marvel Universe for 42 issues, is pretty impressive.  Until the very end of the comic, she denies any desire to be a hero, and although Fingeroth and later writers kind of beat the idea into the ground, it’s refreshing to read such an anti-superhero comic that is, ostensibly, about Alison learning how to be a hero.  She’s not a coward, of course, but there’s one issue in which she actually ducks a fight and hopes Warren Worthington III will want to get involved, because he’s a hero and she’s not.  Early in the series, she fights or interacts with many of Marvel’s heavy hitters, but she’s always looking for a way to stop fighting or find a different way out of the predicament, and she always is forced into action because the bad guys keep getting in the way of her career.  Damn them all!

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The evolution of the artist: Bill Sienkiewicz cover for issue #9, November 1981, and for issue #27, July 1983.

Marvel threw Alison right into the thick of their universe, with the Enchantress showing up as her first villain, and then Doctor Doom.  In both stories, the villains don’t necessarily want to fight Dazzler, a pattern that fits in with her desire to be left alone so she can pursue her singing career.  She tries to sing, and bad guys show up and cause her to use her mutant powers.  And, as I mentioned, very often she doesn’t want to fight and tries to find a way out of it.  Therefore, when the Hulk shows up, Alison flees from him, tries to distract him, but then uses her light powers to calm him down and end the threat.  Galactus shows up in issues #10-11, but not to fight Alison.  He wants her to retrieve his herald, Terrax, who has fled into a black hole, and he needs Alison’s light powers to counter the effects of the black hole.  She convinces Galactus to spare Terrax after she brings him back, even though he was under a death sentence for defying the Big Guy.  When the Enchantress returns and kidnaps Alison in issue #16, she “defeats” her captor by outsinging her in front of Odin and the other Asgardian gods.  But in between those two stories, she enlists the aid of Jessica Drew to find her mother, and when she and Spider-Woman end up in a death trap, Alison wusses out and practically sobs like a baby for Jessica to help her.  It’s a remarkably unsettling portrayal of the heroine of the book.  It shows, once again, that Fingeroth and Springer are showing a person who is uncomfortable with her powers and doesn’t want to be a hero.

Story continues below

                           09-26-2007 12;21;23PM.JPG 

Another interesting thing Fingeroth did with the book was take Alison completely out of her comfort zone.  This was probably a bad move in the long run, as it seemed to lead directly to the book’s cancellation, but it was still a pretty radical move back in the day for a mainstream comic.  In issue #26, Alison’s half-sister, whom she just met, accidentally kills a man (well, the official cause of death is a heart attack, but she blames herself and probably should) with her newly-discovered mutant powers.  Well, they might be mutant powers – we never actually learn the truth in the series.  Anyway, she and Alison flee New York instead of facing the music, and they end up in Los Angeles.  For ten issues, Alison tries to make a new start on the West Coast, severing all her ties with her old friends in New York, including those with her manager and her band.  Even though she has a single on the charts, she completely ignores her singing career in order to become an actress.  She and her sister have some adventures in Los Angeles, until Alison ditches her when she refuses to leave her biological father, who’s a bit of a scumbag.  Finally, toward the end of the run, she is picked up by a bounty hunter, O. Z. Chase, for leaving New York.  She and Chase form a bond and get caught up in a strange story about a couple who are trying to create their own race of mutants.  Or something.  Alison is trapped in this story, and Goodwin’s only solution is to “kill” her off.  Alison fakes her death so she can start her life over.  She hopefully (and naively) believes that if the world forgets about Alison Blaire, the mutant, then Dazzler, the performer, can start her career again.  She obviously doesn’t live in the Internet Age!

                           09-26-2007 12;22;24PM.JPG

Even more than the first half of the series, the second half shows Alison turning away from the heroic.  She simply tries to live her life, and never seeks trouble.  Trouble, of course, finds her, but she attempts to get out of its way and ignore her powers.  This becomes even more difficult after the events of the graphic novel Dazzler: The Movie, in which the fact that she’s a mutant is revealed to the world (and which, unfortunately, I don’t have).  In the spirit of the book, when the Inhumans try to enlist her help in issue #32, she rejects them initially, even though she owes Black Bolt for helping her defeat the Absorbing Man in issue #19.  She finally does the right thing and helps the Inhumans, but it’s very strange that Mike Carlin and Jim Shooter, who co-plotted #32, allow their heroine to be seen in so unheroic a light.  Finally, when she gets caught up at Camp Silence in the final arc, she meekly submits to the bad guys because they have taken her mother hostage.  She eventually fights back, but it’s not all her doing, as Chase and Henry McCoy help her out.  Finally, as a minor point about the unusual way Marvel chose to present their heroine: Dazzler doesn’t have a “superhero” costume until issue #38.  Yes, she has the disco suit that she wore in her first appearance, with its excellent flared collars and snap-on roller skates, but that’s not a “uniform” like, say, Batman’s garb is.  She wears it when she performs, and very often, enemies attack when she’s performing.  If she’s attacked while not performing, she fights in the clothes she’s wearing.  After she leaves New York, she doesn’t appear in “costume” for many issues: the last time she wears the “disco” outfit is issue #26, and she gets her more familiar blue costume in issue #38.  Fingeroth and his fellow writers simply ignored the use of costumes.

                           09-26-2007 12;23;22PM.JPG

All of this unheroic behavior can be seen as chauvinistic, I suppose.  The poor female needs a man to save her!  It’s rather odd that in the final story arc, Alison does less than Chase and the Beast, but for most of the story, that criticism doesn’t ring true.  Dazzler solves the problems, Dazzler fights the bad guys, Dazzler wins the day, but, as I pointed out, she doesn’t really want to.  It isn’t that she can’t.  Perhaps it’s chauvinistic that she doesn’t want to be a hero while a male character craves it, and that’s another good point.  Alison, however, is a single woman trying to make her way in the world, and she struggles with paying the rent, with men not taking her seriously, and with parental disapproval, as her father wanted her to go to law school and disowned her when she chose a recording career.  Her relationships are even somewhat mature for their time.  Yes, she gets starry-eyed over dreamy men, but when her first boyfriend, Dr. Paul Janson, dumps her because he doesn’t think she’s serious enough about life, her attitude changes.  Alison gets upset about getting dumped, but from then on, she’s very tough when it comes to men, even those who appear to be decent guys.  She lets herself get swept away by some guys who appear to live thrilling lives, but when she realizes what flakes they are, she ends it.  Alison doesn’t allow herself to get into bad relationships, which is nice to see.  The other men in her life are as varied as in real life.  Her agent, Harry Osgood, appears to be a buffoon early in the run, but he shows nice depth as the series moves along and becomes a good friend to Alison.  Her manager, Lance Steele, is a male chauvinist pig, but he’s loyal to Alison and he isn’t a complete jerk, even though he gets less development than Osgood.  Alison’s bandmates remain background characters for the most part, but her father is a nice character who comes to realize that Alison is a fine person who should be allowed to do her own thing.  And O. Z. Chase is a fascinating character, and he and Alison form a very nice non-romantic relationship in a brief time.  So the men in Alison’s life do not define her, except maybe in the way she reacts to her father.  Even many of the ancillary women in the book, such as Alison’s sister and the friends she makes in Los Angeles, are portrayed in a relatively decent light.  If the way Alison is shown in Dazzler isn’t perfect, it’s much more complex than you might expect.

Story continues below

                           09-26-2007 12;24;19PM.JPG

Obviously, there’s a lot wrong with Dazzler.  It’s an early 1980s mainstream Marvel comic book, after all, with all the built-in problems that that entails.  The art isn’t great, the narration and dialogue is heavy-handed at times, and the soap opera elements are often pretty darned soapy.  However, it followed somewhat in the tradition of the 1970s Marvel books, where creators were given a bit more free rein, and therefore Fingeroth, Springer, and the other men who worked on the book (no women worked on the comic, although Mary Wilshire contributed a cover to issue #37) were able to attempt something a little different than the normal superhero book.  Dazzler survived early on, no doubt, by the stars of the Marvel Universe who showed up in the book – not only the villains, but the Fantastic Four (Johnny was a big fan), Hank McCoy, and several Avengers – but it lasted because the creators weren’t afraid to take some risks.  I shouldn’t really say it was a failure, because at 42 issues, it was remarkably long-lasting for a book featuring a female lead with very little history.  I want to say that after the second volume of She-Hulk (60 issues), it’s the longest-running Marvel book with a female lead.  Can anyone back me up?  So it was successful, to a point.  However, I wonder if it was a bit ahead of its time.  Fans claimed they wanted something different, but when Alison didn’t act like a “mainstream” heroine, they rebelled and left the book.  Sound familiar?  The brief arc by Goodwin and Chadwick at the end is an apparent attempt to rectify that situation, but even then, Alison was still a bit less heroic than she needed to be.  With Dazzler, however, Marvel saw that you could publish a book that wasn’t necessarily about superheroes, but about a person who happened to have powers struggling with her own life, and people would be interested.  This became a trend in the 1990s and into the present day, and I wonder if any of the creators who decided to go in that direction were influenced by Dazzler.  I can’t imagine that the series was so far under the radar that comics creators today didn’t know about it.  Marvel has recently published an Essential volume, which might be pushing it, but it’s certainly a different kind of book than you might expect.

Of course, whoever came up with Dazzler’s catch-phrase should be taken behind the woodshed and beaten:

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It doesn’t quite have the same ring as “Avengers Assemble,” does it?  Oh well.  Nothing’s perfect!


I think Fingeroth is vastly underrated as a writer. I love his work not only on Dazzler, but also on Darkhawk.

Yes, Darkhawk.

Ah., truly, what would comic special effects be without sets of expanding circles?

“I shouldn’t really say it was a failure, because at 42 issues, it was remarkably long-lasting for a book featuring a female lead with very little history. I want to say that after the second volume of She-Hulk (60 issues), it’s the longest-running Marvel book with a female lead. Can anyone back me up?”

Spider-Woman’s series lasted 50 issues.

You’re forgetting Spider-Girl, mattbib. That book ran for 100 issues before being canceled and immediately relaunched for no apparent reason.

I’ve never read Dazzler’s solo title, but from everything I hear it really is a pity that she got folded into the X-Men books, where if she’s not rounding out the membership of a minor team she’s stuck in limbo next to Karma and Mimic.

[…] [Commentary] Was Dazzler ahead of its time? Greg Burgas makes an almost believable case, if you don’t think about it too much. […]

I wanted to Like Dazzler a lot- she was an interesting character in her intro issues of X-men but you went from JR jr to Frank Springer on the art in the first few issues and that was too much to take. It’s possible that age may have made the experience more appealing so I may check out the Essential and see how it grabs me. I do agree with M Bloom though, there was enough to the character to warrant more than c list X-men status. She probably needs a decent creator with a real love for her to bring her back to prominence in the same way Bendi did with Spider-woman.

Dazzler should team up with Dakota North.

“Go for it” is not that bad for the early 80’s.

Issue 42 has an amazing caption on the cover: “Because you demanded it, the last issue of Dazzler!” Interesting marketing approach.

Ah, Spider-Girl – the little series that could. I forgot about it. Shouldn’t there be a web site that lists every series Marvel ever published and how many issues it ran? If there is, I couldn’t find it!

Greg I dont know of any sites that compares the lengths of Marvel’s various series together on a single page (though there is probably one on wikipedia somewhere) but there are a good few web sites which list that info along with other data. Probably the best and easiest to navigate is the Unofficial Handbook of Marvel Comics Creators (an amazing resource which is seems to be constantly updated – its webaddress is http://www.maelmill-insi.de/UHBMCC/) but there are lots of others such as the Grand Comics database (http://www.comics.org/index.lasso) and the Marvel Chronology project (http://www.chronologyproject.com/).

Also thanks for the interesting and thoughtful article, I for one would be very interested in reading more articles like this covering other historically obscure and critically unloved Marvel/DC superhero series.

Wow. Impressive analysis that makes we want to go back and revisit all those old stories.

Dazzler is one of those books I always wanted to get, but just can’t bring myself to. The character is just to dated & silly. Plus they tried to make her cool my dumping her in the X-Men. Blech.

Off the top of my head, I believe the ’70s SPIDER-WOMAN ran for 50 issues, making her the big # 2 after SHE-HULK. And by the way, the SPIDER-WOMAN run, in its own shlocky way, with its wacky Wolfman writing and fun Carmine art, is probably equally underrated (and more creatively successful than DAZZLER, in my opinion). But great job overviewing DAZZLER, Greg!– Michael Aushenker, contributing writer, BACK ISSUE magazine

This was a very entertaining write up. As a Marvel Zombie in my early teens (in th early 80’s), I bought a fair bit of DAZZLER’s run after seeing her introduced in X-MEN. You’re right, it was an odd book (with lousy art) that focused more on the main character’s life and psychology instead of trying to ram her into stock plots (well, they did ram her into stock plots, she just reacted differently than the norm).

You didn’t mention the Michael Jackson / THRILLER cover!

When you say: “However, it followed somewhat in the tradition of the 1970s Marvel books, where creators were given a bit more free rein, and therefore Fingeroth, Springer, and the other men who worked on the book (no women worked on the comic, although Mary Wilshire contributed a cover to issue #37) were able to attempt something a little different than the normal superhero book.”

You hit the nail right on the head. Take a look at ESSENTIAL WEREWOLF BY NIGHT and you’ll see the same apporach. Most of Marvel’s 70’s (anti/monster) heroes were all about *not* being heroes most of the time and the books flailed around to some degree because of this. Jack Russell was unconsciously going out and tearing people apart at night and, even when he gains control over his werewolf form, he still laughs at the idea of being considered a super hero.

Again, thanks for the interesting write-up.

Why did Marvel go with a disco-themed heroine right when disco music was going through its death throes? Did they gloss over her music later on in the series or was it yet another instance of an out-of-touch view of youth culture?

From what I understand, the proper launch of Dazzler’s series was delayed a bit by the dawdling of the record company that was supposed to do their cross-promotion with a singer releasing albums under the name (and this eventually fell through), so it may just have been a problem of timing.

As for “Go For It”, I think the problem’s not so much the phrase as the way they tried to hammer the reader with it every issue.

We must take great care with what is published. There is an amazing power in words. That power is re-enforced when combined with a visual medium such as comics. And with great power comes great responsibility.

Not that I’m trying to use a catch phrase whenever possible. I’d never do that.

Because I’m the best there is at what I do, but what I do isn’t nice. By my power, Green Lantern’s light, truth, justice, and I’m the God d*** Batman.

Stop me before I hurt myself.

Besides the previously mentioned exceptions, there are a few others that might qualify as longer depending on your criteria. Barbie was licensed, but carried two series for > 60 issues each. Millie the Model and Patsy Walker were started before the company actually became Marvel (but were continued after it did) and ran for over 100 issues each.

I used to have some Dazzler issues as a kid and loved them. I recently bought the Essential volume, but haven’t had the chance to sit down and read it to see if it still holds up. Though I hope they do get around to releasing the whole series in Essentials eventually.

This was a good write up, and it’s nice to see you getting snarky linked attention from ijournalista again. Because it worked out so well last time. But really, I’m just impressed that you and good ol’ J.R. have similar taste in phrases. Have you ever described anyone as having “educated feet” or being “quicker than a hickup”? Do you call any form of physical combat a “slobber knocker”? Does anyone who doesn’t watch RAW every week have a clue what the hell I’m saying? Anyway, you make me want to read Dazzler, and I don’t know how I should feel about that. I’m leaning toward hating you. Or calling you a hoss.

Love you, Greg!

Some points on early Dazzler, some directed at the comments:

The disco ties were fully dropped by Dazzler #5, and already dropped off by issue #3 for the most part. Dazz was conceptualized as a disco tie-in, but this was when a record company was funding the thing. When they bailed (bankruptcy!) and Marvel took over, it was dropped.

Dazzler #1-2 was the original script for Casablanca, though, with some minor tweaks. Which is why you get the campy disco dialogue and “LAST STAND IN DISCOLAND!” on the cover of Issue #2. But they knew what was up.

Springer’s pencils were a bit old-fashioned and he had some issues with fluid superhero movement, but it was great — IMO — for Dazzler. The coloring was dreadful though. His pencils (even with the crazy inks) show much better in the Essential. The colors were horrendous. Nothing illuminating about them for someone with such a visual power.

She had this anti-hero vibe, and I loved the stage outfit. It was perfect for her and made her stand out. Streamline some of the clunkier fare (collar, giant disco necklace) and you get something golden that really works. And the skates? So much hate, but they were a fun plot device in several issues.

Also loved how Ali had the sound limitation on her light powers. The problem with the early series is that Dazzler failed to retain and really develop her own “Spider-Man” like cast — the friends, bandmates, and family — before she ditched them. And her unique villains and allies were also underdeveloped (or very unoriginal. Techmaster? Flame? Blargh).

But it DID have good character drama, and so much continuity. The Fingeroth run flowed so well together, IMO.

Have to comment on the latter half, too:

Dazzler lasted 42 issues, but the latter half was mostly bi-monthy — issues 26-42 were on this schedule. A contibution to killing it, for sure. But in total, the series lasted 5 years.

Frank Springer moved Dazz to the West Coast, not Fingeroth, and then it transitioned to Shooter and the fill-ins. Another big problem was the chronology of “Dazzler: The Movie.” While a FANTASTIC story (read that, then you will definitely get the “ahead of it’s time” vibe), it was a dead weight anchor on the series.

Dazzler: The Movie was published as Marvel GN #12, but was solicited as Marvel: GN #9 (or #7 — I have the article, but not on hand). It was supposed to be published right after #31, with Issue #35 to be the next issue (which is why #35 is still drawn by Springer).

Instead it was delayed for MONTHS, causing #32-#34 being fill-in inventory issues. Bi-montly publication? That’s EIGHT MONTHS between issues #31-#35, all of which treaded water (there’s your Michael Jackson and Millie the Model uber-fill-ins for you!). Not the best way to continue on the “mutants rights” angle that EiC Jim Shooter was pushing for within the title (and which Dazzler: The Movie and #35, both by Shooter, did with aplomb).

Plus, it was hard to push for the mutants rights thing when Dazzler was not really an X-Title. The X-Men sure did never reference Dazzler, nor the movie plot. And Dazzler appeared in New Mutants as — you guessed it –a cracked out drug addict. Way to go, Claremont. She was forced to fit with what the X-Men were doing, and that meant she wasn’t allowed to do too much at all.

So Ali burned most of her MU tricks as X-Men soared in popularity, and then she lost all direction and eventually was forgotten. A shame. Dazzler: The Movie and #35 were pushing her in a very “before her time” Civil War-like direction, but it was kaiboshed for Phoenix Redux and Space Plots.

I think Dazzler could do much better in today’s market, but too many people write her off as the joke of her former series, when it was an interesting, different, more free-form angle (as you’ve said).

Fantastic write-up, though. While I disagree at points, mucho kudos!

Great article. I think you ascribe more planning to the character arcs than the writers were actually giving the book, but I definitely remember the “I’m not a hero” bit was interesting, and was actually backed up by her actions (unlike, say, the similar protests by DC’s Blue Devil who actually would leap into action against supervillains). A heroic character played straight but who isn’t that heroic is a tough sell.

The thing that does astonish me is that Dazzler is one of the very few Marvel Comics that has never, ever has a volume 2. They’ve brushed off Ghost Rider and Marvel Team-Up and Nova and Howard the Duck and Man-Thing for more than one series…yet Ms. Blaire remains with only the one book. I’d like to see the character get another shot at solo stardom, although I think with a character like this you need to have a gimmick twist that’s dramatically different than what went before to capture people’s attentions (i.e., Booster Gold as Policeman of Time, She-Hulk as Lawyer to the Marvel Universe). Just please resist tying her into a fad once again–no “Dazzler as Judge on American Idol” or “Dazzler in a reality series”. Since the 1970s, Marvel’s never been great at timing tie-ins to pop culture.

The little stuffed bull speaks truth!

I really think having her as an X-Men hanger-on is about the *worst* use of Dazzler, because she’s not that kind of character. And her series had a (comparative) “real world” feel to the increasingly insular X-titles, which even then were becoming books where every single character was a good or evil mutant, with little more than the occasional “humans who hate us and fear us” business relating it to the wider world.

But giving her a solo shot might work. I might call it “Whatever Happened to Dazzler?” Alison Blaire as “has-been” on the comeback trail? And you could work in “trendy” bits like reality TV as part of that, but they’d be hit-and-run stories, not the basis for the series.

[…] Dazzler: Ahead of its time? i read most of these after i inherited someone’s collection (tags: ComicBooks retro writing) […]

I liked Dazzler in The X-Men because she wasn’t very good at being a superhero

Dazzler was shoe-horned in as token X-Idiot and generic X-Woman #215 in X-Men. Not a good fit, but I did like that X-Era.

I would love to see Dazzler revived as superhero media embassador. I liked what Bendis did in HoM (Dazzler talk show), though I would prefer Dazzler more as mutant/superhero activism in the media.

Really. Read Dazzler: The Movie. It’s so the perfect Civil War tie-in idea back in 1984. ’84 dialogue and kitsch still applies, but the core is there.

I agree with you on Dazzler: The Movie. It was a really great story and, in retrospect, was dealing with anti-mutant hysteria better, if not before, Uncanny X-Men or New Mutants.

I think Ali’s X-Men membership started out well. She definitely did NOT want to be there…she hated the idea of being forced onto the team. But it seemed this disappeared rather quickly…almost right after the newbies’ encounter with the Juggernaut. And once she and Longshot hooked up, which I despised, it was all downhill. She seemed to lose all identity and purpose. Whether that was worse than her disappearance from comics altogether or not, I don’t know.

As for the future…hopefully she’s put to better use in NEX with the next writer. Or hopefully she’s dropped and used elsewhere. I wouldn’t even mind her dropping “Dazzler” as her stage name and just going by Alison. It’d certainly be a little more timely. But the argument could be made for owning her past as well.

If you are looking for a website that lists every Marvel Comics series, including the lengths of the series, try The Big Comic Book Database (http://www.comics-db.com).

Thanks, Bishop! And thanks for the good information about the series, Novaya Havoc. It’s interesting to get some of the behind-the-scenes stuff that was going on.

Of course, I am the perfect writer for Dazzler. She, along with Rogue and Psylocke, are my absolute favorite Marvel characters. I would carry out clandestine assassinations for Joey Q if he let me write a book with those three characters.

Dazzler’s series was very much ahead of its time, especially after #21. Those weren’t the best issues of the series, but they stick out in my mind as being the most radical. She had no costume, no flashy characters to fight- she was just an extraordinary girl with extraordinary abilities, trying to get by. Throw in some conspiracies and heavy political agenda, and you’ve got something that looks VERY much like some of the more popular “comic book-y” Tv shows, like The 4400 or Heroes. If she were to have a relaunch with this in mind- maybe instead of Ali having a comeback, she could be trying to AVOID a comeback- just to fit in and have a life away from the hustle and bustle of the MU?


[…] Comics Should Be Good!: The countdown wraps up with Marvel characters #25-#21, #20-#16, #15-#11, #10-#6, #5 The Thing, #4 Dr. Doom, #3 Daredevil, #2 Captain America and #1 Spider-man; and DC characters #25-#21, #20-#16, #15-#11, #10-#6, #5 The Joker, #4 Hal Jordan, #3 The Flash, #2 Superman and #1 Batman. And those that almost made it Captain Marvel and Deadshot. Also, was Dazzler ahead of her time? Love those phone books. More and more comic book urban legends revealed. Proof that comics love witches (and hate doctors). And Batman keeps his hands to himself. […]

Although not as sexy as Colletta’s earlier romance women, Dazzler definitely looked better than any other comic-wench of the 80s.

really great article that perfecty captures wy I loved this series when I read it.

Dazzler remains my favorite super-heroine, and I still think Claremont sort of ruined her.

Oh, and Disco will never die, man!

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