Tag Archives: Jack Knight

The Original Man in Black – James Robinson’s reinvention of “The Shade”

“A villain? Oh yes, it’s a badge I wear with some degree of pride. But not this hour. I must say it’s nice to play Errol Flynn for a change, instead of Basil Rathbone.” – The Shade

In honor of the MLB All-Star Game the Unspoken Decade has decided to take a look at a few of our favorite “All-Star” characters from our favorite decade. Being the contrarian that I am I have chosen to examine the Shade, reintroduced by James Robinson and Tony Harris during their historic run on Starman.

I am not sure if this image is canon after the events of “Flashpoint” but really that is their loss.

Starman is one of the great success stories of comics during the nineties. Not only did it reinvigorate a property that had grown stale, it properly introduced the world to its creators, and, most importantly, did so from one month to the next.

Unlike many well remembered comics from that time Starman was not a limited series or a one-shot event. It was a “Top of the Pile” book that came out month after month and it got people to go to comic stores. It built community and told a long form story in a way few other titles have done up until, or since, then.

I am a fan of Garth Ennis and John McCrea’s Hitman. I would, at times, place this similar work of nineties’ long form storytelling ahead of Starman but I believe that I may be in the minority. Starman is a beloved series and if you have never had the chance to read it, or if you began but never finished, do yourself a favor and see it through. It is not the most readily available series but it is worth tracking down.

Now that is an origin story. All silhouettes and reserved acceptance.

I enjoy, and appreciate Starman but rarely because of Jack Knight, the star and heir apparent to the legacy of Starman. He was never why I choose to reread the series long after it had concluded. For me it was all about the Shade.

Originally introduced by writer Gardner Fox, during the forties, to bedevil the Jay Garrick version of the Flash, the Shade (or Richard “Dickie” Swift as he was eventually revealed to be named) is an unlikely cult favorite. He is a British dandy from the 1830s with roots in the work of Charles Dickens as opposed to the pulp adventure or sci-fi stories of most supercharacters.

His abilities range from the generic “darkness manipulation” to the disturbing implication that he accesses a realm at the root of all evil, somewhere the Old Gods or Many-Angled Ones call home. When he is conjuring shadow-demons and blades I prefer to believe that he is accessing the same Darkforce Dimension that others have been accessing since before there was a name for it. From the Shroud and Darkstar, to Obsidian and Nightshade, and even Jackie Estacado.

If that is the case then why is Shade immortal? Why does he no longer age? Why does he appear to be haunting the background of the shared DCU as if he were no more than one of his own, ever present shadows? If you know anything about Fox, a devout fan of HP Lovecraft, the answer may be lurking somewhere deep beneath the surface.

Her own shadow, above his bowed head, as she is committed to the pit by her own hand.

Before Shade, Fox introduced the very concept of the superteam with the Justice Society and was asked to revive the concept years later as the League. Have you ever wondered why the Justice League fought weird, mystical characters at the time that they were introduced? Tell me that Starro does not appear as if it should come from the same place as Cthulhu.

As a fan of “weird fiction” I assume that it informed most of Fox’s work, not just where the influences are explicit. You may not find much stygian darkness in the Golden Age stories as Shade is mostly a Green Lantern knockoff at that time. When fans were reintroduced to the character after the events of Zero Hour the disturbing implications seem to surface.

Darkness comes from him though he never seems to be distressed. He is not dark or mopey but always looking for the next adventure even if one is as mundane and revealing as a long walk on an autumn night. His powers take the form of living, murderous shadows or even cephalopod tentacles but this never means that he is a dreary man.

Shade could be keeping the darkness at bay with all of the blood he has shed, feeding it if you will, but I choose to believe that he simply accepts what he is and that having darkness powers does not mean that you need to be dark.

Shade haunts the stories of Starman. He provides context for the events going on in the Knight family’s beloved Opal City (a character as much as a setting) and introduces Jack to the unending weirdness of the DCU. Shade is a man of style who makes a point of commenting on how people dress and he aids in grounding the story to its time, including when he narrates a story set in the far past.

Just think of how many Dibneys could have been saved if Brad Meltzer had read this before writing “Identity Crisis.”

Sometimes a criminal or a murderer, sure, but “Dickie” is never boring or without comment. He is unflappable and refers to “The Shade” as his stage name. You almost feel as if the going-ons of superherodom are just the distraction he needs from being something he fears.

He mentions having honed his abilities over his century and a half with them and acknowledges the readiness at which he disconnects from people. This last bit is a favorite of mine because when Shade does connect with someone it is not easily won by either party.

His friendship with former DC mainstay, the Scalphunter, is often referred to and at least once I found myself wondering if a simple hero had swayed Shade from being a greater menace to the world just by happening upon a situation where he could be nice to him.

In 1997 Robinson wrote a four issue Shade miniseries. Each issue featured a different artist though I am partial to the first issue’s work by Gene Ha. Issue two has JH Williams III but I am afraid that I am not familiar with the final two artists enough to speak to their work. It certainly seems as if Robinson also favored the earlier issues as there is noticeably fewer run-on captions featuring narration by the Shade though that could be because of the nature of the tale.

The Shade keeps journals. This is a fact crucial to his role in Starman and it is explored here as he tells the readers about the Ludlow Family, who has a longstanding, one-sided blood feud with him that he dearly wishes they did not.

Minor point, but if James Robinson happens to read this (Hi, Jimmy! I loved League of Extraordinary Gentlemen the movie.) please rerelease these issues without the fancy script font for the Shade’s scribblings. That gets tiring quickly.

Not from the original series but literally the only full body shot I could find “in costume.”

We are presented with bits of Dickie’s origin though for more on that I highly recommend the 2011 Shade series, written by Robinson and featuring a variety of exceptionally talented artists during the course of its 12 issue run, including Cully Hammer, Darwyn Cooke, Frazer Irving, and a final issue by Ha.

For the most part we are shown how much of a contradiction the Shade is. This is, I would wager, much the same as with any real person. We do things we want and cannot always explain why. We may be afforded the time, and incentive, to attempt to understand them later on but often we fail to recognize that. Dickie is comfortable with his murders (which are primarily in self-defense or of bad men) but there is no finer connoisseur of food in wine in superhero fiction than he.

Few panels are wasted on explaining what Shade can do. He is the narrator and main character but the plot is put into motion by others. Shade is the threat, the boogeyman, and the excuse for superpower to enter into stories of familial betrayal and corruption.

For all of his stygian prowess Dickie is a surprisingly upbeat man with a desire to enjoy the life he leads at a pace of his choosing. His interactions with the Flash and Starman (of both eras) are presented as what he does because he chooses to do so. He is above the desires of petty villainy and is actually shown to be doing quite well for himself.

Could he be an arch-mage, foe of luminaries such as the Sentinels of Magic (another nineties’ concept no one ever did anything with), commanding an army of shadow demons in an attempt to revert the world to darkness for the glory of his own personhood? Sure, but you can only tell that story once and other have done a better job at it.

This line needs to be uttered by Jon Pryce in a movie version before it is too late.

Shade prides himself on the quality of his coffee and technically had Oscar Wilde as a sidekick. He is the immortal who keeps the DCU in perspective, both for himself and others (hence all of the journaling) as opposed to measuring his worth by the influence he can have in directing the course of events throughout the world.

He is not Ra’s al Ghul, Vandal Savage, or any of the other long-lived, crazy people superheroes usually fight. Maybe this is because he was a content person before gaining great, poorly defined, superpowers and that did little to change what he wanted out of life. Maybe the trick to avoiding superpeople battles in the future is to only give powers and abilities to those who are already not hurting for their place in the world.

Dickie does not seem to concern himself with the future. When asked if the feud with the Ludlows is at an end he all but shrugs. He is not a detective, he is the mischief maker. He writes down his observations, his travels, and his adventures as he attempts to reconcile them. He takes thing slow and he enjoys all that he can.

Lines such as this make me appreciate this character more than whoever it was that starred in “Man of Steel.”

He does not dwell because he does not have to. As far as he can tell he will be around forever. His immortality, more than any other attribute (including his penchant for dark clothes and smoked sunglasses), is what he relies on. What other character can boast an arch-rival as interesting and complex as the seemingly never-ending string of descendants from a perverted British family that predates the American Civil War?

Not only do the Ludlows lend themselves to the telling of a variety of different types of stories (most of which are at least hinted at during this series) but they prove to be the one aspect of the Shade’s life that he cannot take in stride.

They reappear from beneath the veneer of supposed friends and lovers, more often than not harming the Shade’s few friends instead of himself. For the man who only wants to enjoy life, seek thrills, and not be bothered with the moroseness that he should, by all rights, be enveloped by, it is something incredibly mundane (at least by comparison) that often hurts him the most: People raised to hate something they know nothing about.

Dickie outlasts Robinson within the DCU and has continued to appear. Maybe not having created him in the first place meant that he could not be put into the same “do not touch” box as Jack Knight and the other extended family cast members. Or maybe it is that no one has tried.

Either way, the Shade continues to haunt the periphery of the world that the superheroes operate in. He has yet to suffer a direct setback because of his powers. By that I mean that unlike other heroes, it has yet to be proven that his powers are killing him or the world he lives him. In all likelihood he will outlive the current crop of heroes and be around to remind the next exactly which struggles they should learn from and which they should put behind them.

What story is there for a man who takes almost no active part in the world? The beauty of the Shade is that the world he finds himself in becomes the story. Timelines, and bloodlines, can be played with and Dickie himself is quick to hint at untold tales and adventures that he played a part in but can only barely recall now. Or so he claims.

The Shade does not want your crossovers or your ridiculossness but business is business when it must be done.
The Shade does not want your crossovers or your ridiculossness but business is business when it must be done.

The Shade allows for worlds to be built and his callous nature means that more often than not he is at the center of attention of someone looking for retribution. He is not against involving himself and does so sometimes only to his own detriment. He also has a friend named Bobo.

I have no idea what the current state of the DCU is. Continuity, for whatever that word is worth, is apparently different after Convergence but I remember a time when a monthly book was allowed to shape an ongoing story more than what was happening in the books published alongside it. Starman was a semi-obscure character, out-of-publication for decades, who became one of the most well-regarded superhero comics of all time.

The Shade should never have been anything other than a rogue, trotted out to fight the Justice Society occasionally, but instead I rank him as one of my favorite characters. His name alone is one of the few that will get me to pick up a title, though hopefully that means Robinson is along for the ride because they certainly seem to bring out the best in each other.

The Forgotten Son. Starman #0 by Angel Hayes

Sorry for the delay everyone. I was at my best friend’s college graduation and sadly the internet was scarce at best.

Onto the show!!!

Starman #0 Sins of the Father Pt 1 1994

There is something to be said of feeling like an outsider. The desperate longing on others, but always just beyond their notice. The feeling like you are the disappointment, or that there is no longer a reason to try and fit in. We have all felt this one at one time or another. We’ve all felt just like Jack Knight.

 Starman V2 #0 (1994) - Page 1

Nothing says 90’s cool like a bad leather jacket

Starman revels in beautiful colors. A gradient of blues on blues on blues. A grungy blur of shadows. The bright red sigil bursts behind Jack. Breaking up the blues in the most forceful way possible. The only illumination being the sigil and the cosmic rod. Providing illumination in the dark gloomy world we see. Starman’s covers are forever inspiring to me. I see something new into them each time I pursue. The shadow line of a brick, something hidden in the light of the cosmic rod, a extra dark shadow that breaks through the others. The covers are memorizing.

The artwork continues to be lovely and different with just a tad of despair. The grimey bits remind us of a old neighborhood’s side streets. Slight disrepair, but lovely in spite of all the damage, age, and wear.

Starman V2 #0 (1994) - Page 2

It’s like a neon Japanese Empire


Enter our backdrop, Opal City. Much like the Opal itself, the city is colorful in spades. Bright colors and lines for the sky a glorious beautiful sunset to behold. The layering of the cityscape giving an amazing texture of crowding and growth like a true urban jungle would.

Starman V2 #0 (1994) - Page 3


He’s like caped Captain Morgan on that statue

David Knight surveys the overgrowth of man known as Opal City. It is his paradise to protect. He revels in his role. The panels here are stunning with heavy vector style propaganda shadows

. We see him as a man however he demands we see him as more. As Starman a savior, a unique entity in the universe. Master of his fate, protector of ours.

The first panel show his connection to man the shadow of himself in the statue. The last panels’ golden background meant to show this saviour as an illuminating figure. The dynamic movement and shadow of his boot preparing for flight makes us gasp as though the wind from the rooftop is in our face as well.

And like a flash of lightning……

Starman V2 #0 (1994) - Page 4



and the crash of thunder afterwards.

The savior we have just seen is struck down. The entity known to protect and serve us as citizens is taken in the smallest amount of time we can fathom.

The hard vertical lines and bright block colors of opal city only serve to accentuate the speed at which this disaster takes place. The statue of man behind him reminding us once more that he is just as mortal as you or I.

David Knight, Starman, is no more.

The sins of the father carry unto us much like heraldry on a shield in the 12th century. The opening splash page is of David Knight lifeless form looking tarnished and desecrated. Nothing at all like the illuminated savior from the former page. Death is universal and sadly for Starman his light has gone out.

Let us take a moment and travel back to happier times.

A family moment. Ted Knight, David, and Jack all at home and like most families arguing about siblings taking each others things. This is first glimpse we see of Jack Knight and really….Well….He looks like a higher cheek boned Robert Smith of the cure. A little grungey, a little unwholesome, and obviously the shut out one. Ted sides with David pretty easily over the harmless acts of Jack buying old things off of David.

Starman V2 #0 (1994) - Page 7

Best way to end an argument Ever.

After Ted sides with David in the argument, Jack does what most younger siblings tend to do…which is say how everything you love is stupid. He immediately has a put foot in mouth moment. But not taking the mantle of Starman from Ted and obviously being mostly disinterested in the idea has caused tension. Like not only not wanting to take on the family farm but not caring if it’s turned into an amusement park either. Jack has found his own identity through his love of antiques. He has no problem not being the superhero.

He is a goth kid on Easter Sunday. Why go to church anyway? They don’t want him.

There’s some really alienating artwork here. With Ted and David illuminated in opposite negative to positive colors to Jack also the facial portraits of Ted and David panel to panel showing the same hard shadow lines the same small chin and angular cheeks. Father to Song always. Jack’s portraits are always from the side or  3/4 view here. Never directly like his family. He is a glimpse of humanity in a family who is a savior to it.

After this fallout we follow Jack into Opal city. His Mundane day of picking up dry cleaning and talking to his roommate with the gorgeous backdrop of the bright almost deco style design of the city is beautiful. The old styling the continual pattern of disrepair but full of charm seeps through. Like a hometown that kept growing, but when you return for a visit you cannot stand anything that was not there before.

At the end of his day he finds an antique shop to visit.

Starman V2 #0 (1994) - Page 9


The only labeled antique is from Penn State…What?

Jack is a nostalgic soul. I can relate. The smell of old books, the weathered but strong feeling of a handmade blanket, that pictures of long lost families where now the frame is worth more than the memory; the melancholy of a thrift store knows no bounds. Jack finds peace amongst the relics. They are kind of expatriate to the world around them. From it, but never in sync with it. Similar to how he fits in at home.


Starman V2 #0 (1994) - Page 11Starman V2 #0 (1994) - Page 12








The color shift from the first to the second page is brought to you with no extra charge by hallucinogens.

The reality of what happened before returns. David Knight is dead. Ted calls Jack and tells him the details that he knows suspicious all the while. The portraits change to show Ted and Jack in a similar light due to the grief they currently share.

The color saturation disperses in the last panel as Jack is left alone. The grief washes out all the light in his world.

Meanwhile, Ted’s colors go to focus the negative to positive ratio switch like earlier when they were aside from Jack. The focusing neon makes for a tense feeling. We watch the color recede and flood his viewpoint from tense to sad to regret. The feeling of dread that happens after they all mix.

Starman V2 #0 (1994) - Page 13

Must have been a Pinto.

The colors from the former page swirl magnificently with danger on the wind. The explosion pulls all the neurosis from the form page into one large shadowy act. We can see that the explosion wasn’t enough and Ted is also shot. The onlooker confirming the action. Her face covered shadows.

We are then drawn back into Jack’s orbit. He’s lamenting on his emotions involving his brother. Wondering if that fact that he doesn’t feel terrible about his brother’s passing makes him horrible.

A strange man enters his shop dressed like a perfect middle ground between a matrix and a blade villain. He asks Jack about various antiques he might sell, but when Jack begins to tell him where to find these things the man cuts him off repeatedly.

Something is wrong. The man begins to ask about weapons. Then declares he killed Starman earlier that evening.

Starman V2 #0 (1994) - Page 15

 Why does his gun sometimes shoot fire? PKOW!

The color of violence floods the page. When the shooting stops via Jack hitting the man with a body blow the red fades and the panel turns blue. It is neutralized for now.

Jack manages to run but not before taking a hit to the leg. He is searching desperately for the package his father left years ago containing a belt and a Star Rod. Knowing the one thing he has denied is currently the only salvation he can find.

Like a slap to the face his attacker makes it to the belt first. The gods of fate do smile somewhat for Jack Knight however. The attacker throws a grenade after Jack disappears into the fire. Little did he know Jack was looking for his salvation in this baptism of fire.

Starman V2 #0 (1994) - Page 20


Jack finds the Star rod. He greieves for the relics of the past. The ones whom shared in his loneliness. Their existence always a comfort letting him know it’s not just people who are ostracized. These valuable relics showing him that he himself is valuable just maybe not to everyone. He refuses to die not knowing why all these events are happening.

Why now? Why to him. Can’t die not knowing.

Cut to the bad guys like it’s a Thundercats episode.

We see the onlooker of Ted’s car explosion and the Blade villian wannabe. Looking like a goth high school reunion. A currently unseen instructor asking if their assigned tasks are complete. They confirm that the sons of Ted Knight have perished, and Ted Knight himself is in the hospital. He shows himself excited at the prospect of Ted Knight’s life being living torment rather than just death.

Starman V2 #0 (1994) - Page 23

This is what it looks like when the Crypt Keeper has a drink.

Cut to our dearest disabled Jack Knight. He shambles through the street trying to make sense of the days events in his mind. His body battered. His mental strength strained. He pulls himself onward.

Wondering what happened. Where should he go? He’s not Starman. What can he do?

Starman V2 #0 (1994) - Page 25


I really really want a Munsters View Master now.

To his father’s side, the forgotten son forges on.


Hope you’ve enjoyed this journey with me.

Starman meant a lot to me when I was young. I used to go and take the issues from my brother’s room when he was out. Rereading them and letting the colors soak in. I had never seen anything like them. I still don’t feel like I have. Jack’s desire to get along with his family, but knowing he’s fundamentally different from them struck a chord with me as well. I just wanted him to find something to believe in. Something we could both believe in. Find our place no matter where it might be.

Well, I figured if I could believe in Jack maybe he could believe in me too. To find that moral compass, that sanctuary to be yourself, that salvation…the understanding that I could save myself.

So for now, Goodnight Mr. Knight.

Until we meet again,

Angel Hayes