Ms. Marvel Masterworks volume 2

By Chris Claremont, Simon Furman, Jim Shooter, George Pérez, Bob Layton, David Michelinie, Jim Mooney, Carmine Infantino, Dave Cockrum, Mike Vosburg, Mike Gustovich, Michael Golden, David Ross & various (Marvel)
ISBN: 978-0-7851-9575-7

Until relatively recently American comics and especially Marvel had very little in the way of positive female role models and almost no viable solo stars. Although there was a woman starring in the very first comic of the Marvel Age, Invisible Girl Susan Storm took years to become a potent and independent character in her own right. They’ve come a long way since then…

Ms. Marvel launched in her own title, cover-dated January 1977. She was followed by the equally copyright-protecting Spider-Woman in Marvel Spotlight #32 (February 1977, and securing her own title 15 months later) and Savage She-Hulk (#1, February 1980). Then came the music-biz sponsored Dazzler who premiered in Uncanny X-Men #130 the same month, before inevitably graduating to her own book.

Once upon a time Ms. Marvel was Carol Danvers, a United States Air Force security officer. She was first seen in Marvel Super-Heroes #13 (March 1968): the second episode of the saga of Kree warrior Mar-Vell AKA Captain Marvel, who had been dispatched to Earth as a spy after the Fantastic Four repulsed the alien Kree twice in two months…

That series was written by Roy Thomas and illustrated by Gene Colan with the immensely competent Carol perpetually investigating Mar-Vell’s assumed and tenuous cover-identity of Walter Lawson for many months.

This was until Danvers was collateral damage in a devastating battle between the now-defecting alien and his nemesis Yon-Rogg in Captain Marvel#18 (November 1969).

Caught in a climactic explosion of alien technology, she pretty much vanished from sight until revived as and in Ms. Marvel #1 (January 1977), heralding a new chapter for the company and the industry…

This second sturdy hardcover volume (or enthralling eBook if you prefer), collects Ms. Marvel volume 1#15-23, relevant portions of Marvel Super-Heroes Magazine #10-11, Avengers #197-200, Avengers Annual #10 and material from Marvel Fanfare #24, circuitously spanning March 1978 to October 1992, and leads off with an effusive Introduction from latter-day Danvers writer Kelly Sue DeConnick before the game-changing dramas commence…

Never having fully recovered from her near-death experience, Danvers had left the military and drifted into writing, slowly growing in confidence before relocating to New York City to work for publisher J. Jonah Jameson on his new project Woman Magazine.

During this time Carol learned that she had gained Kree-based abilities, psychic powers and partial amnesia: creating the role of Ms. Marvel without her own knowledge. Eventually her personality split was healed and she became a fully conscious and ferociously competent costumed champion…

With Chris Claremont scripting and Jim Mooney & Tony DeZuñiga providing the art, ‘The Shark is a Very Deadly Beast!’ opens this edition as the two-fisted titan clashes with undersea villain Tiger Shark. The action begins after Carol stumbles over him abducting the Sub-Mariner’s teenaged cousin Namorita. Despite a brief side trip to Avengers Mansion, only Ms. Marvel is on hand to provide succour in cataclysmic concluding ‘The Deep Deadly Silence!’ (inked by Frank Springer).

‘Shadow of the Gun!’ (Mooney & DeZuñiga) then enhances the X-Men connection by introducing shape-shifting mutant Mystique in a raid on S.H.I.E.L.D. to purloin a new super-weapon which then sees impressive service in #18’s ‘The St. Valentine’s Day/Avengers Massacre!’ (inked by Ricardo Villamonte): a blockbuster battle featuring the beginnings of a deadly plot originating at the heart of the distant Kree Imperium.

The scheme swiftly culminates in ‘Mirror, Mirror!’ (art by Carmine Infantino & Bob McLeod) as the Kree Supreme Intelligence attempts to reinvigorate his race’s stalled evolutionary path by kidnapping Earth/Kree hybrid Carol Danvers. However, with both her and Captain Marvel hitting hard against his emissary Ronan the Accuser, eventually the Supremor and his plotters take the hint and go home empty-handed…

Ms. Marvel #20 highlights a huge makeover as Danvers dumps her Mar-Vell-inspired uniform and finally finds her own look and identity in ‘The All-New Ms. Marvel’ courtesy of Claremont, Dave Cockrum & Bob Wiacek.

Here the utterly re-purposed hero tackles a hidden kingdom of predatory, intelligent, post-atomic dinosaurs infesting the American deserts, leading to a catastrophic clash with ‘The Devil in the Dark!’ (inked by Al Milgrom) in the following issue.

Now one of the most hands-on, bombastic battlers in the Marvel pantheon, Ms. M is more than ready for a return match with Death-Bird in ‘Second Chance!’ (art by Mikes Vosburg & Zeck) but thrown for a total loop in her personal life after being fired from Woman Magazine.

All these bold changes came too late as the series’ dwindling sales had earmarked it for cancellation. ‘The Woman Who Fell to Earth’ (inked by Bruce D. Patterson) resolves a long-running plot thread involving the disappearance of old friend Salia Petrie in a tale guest-starring the time-travelling Guardians of the Galaxy, just in time for the end of the road.

The series stopped there but two more stories were in various stages of preparation. They eventually saw print in 1992 (the Summer and Fall issues of oversized anthology publication Marvel Super-Heroes Magazine #10-11). Here they are presented in an originally untitled yarn dubbed ‘Sabretooth Stalks the Subway’: a ferocious fight against the feral mutant maniac by Claremont & Vosburg, followed by ‘Cry, Vengeance!’ (Claremont, Simon Furman, Vosburg & Mike Gustovich) as Ms. Marvel, now a card-carrying Avenger, faces off against Mystique and her Brotherhood of Evil Mutants.

This tale incorporates an additional section explaining how Carol is later attacked by young mutant Rogue, permanently loses her powers and memory and is eventually reborn as the cosmic-powered adventurer Binary: which is all well and good but somewhat takes the punch out of the later tales in this collection…

Relegated to an ensemble role in the Avengers, Danvers’ life took a strange and disturbing turn in Avengers 197-199 (July to September 1980 and represented here by pertinent extracts from those issues).

Written by David Michelinie with art from Infantino & Brett Breeding and George Pérez & Dan Green, these snippets follow a strange and terrifyingly rapid transformation as Carol finds herself impossibly pregnant and bringing an unknown baby to term in a matter of days…

The mystery is solved in ‘The Child is Father To…?’ (Avengers #200, October 1980 by plotters, Jim Shooter, Pérez & Bob Layton, scripter Michelinie, illustrated by Pérez & Green). The baby is born and hyper-rapidly matures as time goes wild, with different eras overwriting the present. The unearthly child begins building a machine to stabilise the chaos but the heroes misunderstand his motives.

“Marcus” claims to be the son of time-master Immortus, trying to escape eternal isolation in other-dimensional Limbo by implanting his essence in a mortal tough enough to survive the energy required for the transfer.

Literally reborn on Earth, his attempts to complete the process are foiled by the World’s Most Confused Heroes and he is drawn back to his timeless realm. Carol, declaring her love for Marcus, unexpectedly goes with him…

Ms. Marvel only plays a peripheral role in ‘By Friends… Betrayed!’ (Avengers Annual #10 (1981, by Claremont, Michael Golden & Armando Gil), as powerless, amnesiac Carol is rescued from drowning by Spider-Woman, prior to Mystique launching an all-out attack on the World’s Mightiest Heroes whilst attempting to free the Brotherhood from custody.

In that attack Danvers’ mind and abilities are taken by power-leaching mutant Rogue, seemingly ending her adventuring life, and in the aftermath, the Avengers learn the horrific truth of her relationship with Marcus and their part in his doom…

One final sentimental moment comes with Claremont, David Ross & Wiacek’s ‘Elegy’ (Marvel Fanfare #24, January 1986) as Carol – now high-energy warrior Binary – returns to Earth to catch up with old friends and learns of the tragic death of Captain Mar-Vell…

Extras in this stellar compendium include a full cover gallery, a Ross alternative cover; ‘The RE-Making of Ms. Marvel’ promo article from F.O.O.M. #22, house ads for her 1978 makeover relaunch and biographies of all the creators involved.

Always entertaining, often groundbreaking and painfully patronising (occasionally at the same time), the early Ms. Marvel, against all odds, grew into the modern Marvel icon of capable womanhood we see today.

These stories are a valuable grounding of the contemporary champion but also still stand up on their own as intriguing examples of the inevitable fall of even the staunchest of male bastions – superhero stories…
© 1978, 1979, 1981, 1992, 2014 Marvel Characters, Inc. All rights reserved.

Beware of the Dog

By Pericle Luigi Giovannetti (Macmillan)
ASIN: B0000CK63L              BOO3UHYGAA

Pericle Luigi Giovannetti was a brief but transcendent star of the cartoon firmament in the years following World War II, and a prolific one who appealed to fans of all ages.

Born of Italian extraction on June 22nd 1916 in Basel, Switzerland, he was a talented draughtsman and painter who achieved vast fame after debuting – in April 1953 – his most beloved character in Britain’s most prominent satire periodical Punch.

Max was a small, round furry creature like a hamster – or maybe a marmot – whose wordless pantomimes were cute, whimsical and trenchantly self-deprecating. Don’t ask me how a beautifully rendered little puff-ball could stand for pride and pomposity punctured, but he did. It was also blissfully free of mawkish sentimentality, a funny animal icon for adults too: even stiff, ultra-reserved post-war Brits.

Imagine then how such a cartoonist’s observational acumen would bloom when he turned his dry, wry, laconic eye upon Man’s Best Friend?

Luckily you don’t have to as this 1958 hardcover is still readily available from a number of on-line vendors: a fabulous collection of 52 pooches, drawn, rendered and limned in a variety of styles, captioned in two separate languages (French and English) and, thanks to your pedigree guides and contemporary wits Mark Laurence and Richard Maury, curated in three separate comedic styles!

After enduring being a sensation on a number of continents Giovannetti all but vanished at the end of the 1950s. Unknown to most of his fans he had returned to Switzerland and retired to the artists enclave of Ascona where he spent the remainder of the century painting. Apparently, he was pretty damn good at that too, but being extremely reclusive, only purchasers would know as he never exhibited his work.

According to some reports, he never sold or showed his work to anyone, preferring to discuss his other hobbies such as homeopathy, astrology and UFOlogy.

He died in Ascona, aged 85 on August 10th 2001.

As a cartoonist, Giovannetti was a master of the pen, with a sparse and economical line, and completely au fait with all brush techniques from dry-point to tonal wash painting. The sheer variety he exhibits in this book of doggy delights would make any would-be illustrator weep with jealousy if they weren’t already splitting their sides with mirth.

To my knowledge there were six other Giovannetti books and collections between 1954 and 1961: Max, Max Presents, Nothing but Max, The Penguin Max, Birds Without Words and Hamid of Aleppo – but not one of these fabulous graphic gems is currently in print! Surely in this age of digital archives, the maestro’s mastery can all be collected, collated and brought back for a new generation of fans and aficionados?

The sheer artistic virtuosity of Giovanetti is astounding to see. That his work should be forgotten is a crime. If you ever, ever find a collection of his work don’t hesitate!

© 1958 P. L. Giovannetti. All Rights Reserved.

Benny Breakiron volume 1: The Red Taxis

By Peyo, with backgrounds by Will, translated by Joe Johnson (Papercutz/NBM)
ISBN: 978-1-59707-409-4

Pierre Culliford was born in Belgium in 1928 to a family of British origin living in the Schaerbeek district of Brussels. An admirer of the works of Hergé and American comics in Mickey, Robinson and Hurrah!, he developed his own artistic skills but the war and family bereavement forced him to forgo further education and find work.

After some time toiling as a cinema projectionist, in 1945 he joined C.B.A. animation studios, where he met André Franquin, Morris and Eddy Paape. When the studio closed, he briefly studied at the Brussels Academy of Fine Arts before moving full-time into graphic advertising. In his spare time he began submitting comic strips to the burgeoning post-war comics publishers. His first sale was in April 1946: Pied-Tendre, a tale of American Indians in Riquet, the comics supplement to the daily L’Occident newspaper. Further sales to other venues followed and in 1952 his knight Johan found a permanent spot in Le Journal de Spirou. Retitled Johan et Pirlouit, the strip prospered and in 1958 introduced a strange bunch of blue woodland gnomes called Les Schtroumpfs.

Culliford – who now used the nom de plume Peyo – would gradually turn those adorable little mites (known to us and most of the world as the Smurfs) into an all-encompassing global empire, but before being sucked onto that relentless treadmill, he still found time to create a few other noteworthy strips such as the titanic tyke on view here today.

In 1960 Benoît Brisefer – AKA Benedict Ironbreaker or (in Dutch) Steven Sterk – debuted in Spirou #1183 (December 1960). With a few slyly added tips of the hat to Siegel & Shuster’s Superman (check out that cover, fanboys!), the wry bucolic adventures star a small boy with superhuman strength living in a generally quiet and unassuming little French – or maybe Belgian? – town.

Quiet, well-mannered, gentle and a bit lonely, Benny is also the mightiest boy on Earth; able to crush steel or stone in his tiny hands, leap huge distances and run faster than a racing car. He is also generally immune to all physical harm, but his only real weakness is that all his strength deserts him whenever he catches cold…

Benny never tries to conceal his powers but somehow the adults never catch on. They usually think he’s telling fibs or boasting and whenever he tries to prove he can bend steel in his hands the unlucky lad gets another dose of the galloping sniffles…

Most kids avoid him. It’s hard to make friends or play games when a minor kick can pop a football like a balloon and a shrug can topple trees...

Well-past it Brits of my age and vintage might remember the character from weekly comics in the 1960’s. As Tammy Tuff – The Strongest Boy on Earth – and later as Benny Breakiron and Steven Strong – our beret-wearing champion appeared in Giggle and other periodicals from 1967 onwards.

With Peyo’s little blue cash-cows taking up ever larger amounts of his concentration and time, other members of his studio assumed greater responsibilities for Benoît as the years passed. Willy Maltaite (“Will”), Gos, Yvan Delporte, François Walthéry and Albert Blesteau all pitched in and Jean Roba created many eye-catching Spirou covers, but by 1978 the demands of the Smurfs were all consuming and all the studio’s other strips were dropped.

You can’t keep a good super-junior down though, and, after Peyo’s death in 1992, his son Thierry Culliford and cartoonist Pascal Garray revived the strip, adding six more volumes to the eight generated by Peyo and his team between 1960 and 1978.

Thanks to the efforts of US publisher Papercutz, these gloriously genteel and outrageously engaging power fantasies are available to English-language readers again, both as robust full-colour hardbacks and eBooks, and this initial exploit begins in the sedate city of Vivejoie-la-Grande, where the sweet kid goes about his rather solitary life, doing good deeds in secret and being as good a boy as he can.

However, his sense of fair play is outraged when aging taxi driver Monsieur Dussiflard becomes the target of a dirty tricks campaign by new company Red Taxis. When he and the incensed cabbie challenge the oily company CEO in his flashy high-rise office, Benny is shooed away and the elderly driver later vanishes.

Suspicions aroused, the boy investigates and is attacked by a gang of thuggish Red Taxi employees. Only after thrashing and humiliating the goons does Benny realise that he still doesn’t know where Dussiflard is, so he throws the fight…

Just as he is imprisoned with his fellow abductee, the worst happens and the bombastic boy comes down with a stinker of a cold! As helpless as any other eight-year old, Benny is stuffed in a crate with the codger cabbie and loaded onto a freighter headed to the Galapagos Islands…

With all opposition ended, the boss and his Red Taxi stooges begin the final stage of their devilish plot, utterly oblivious to the dogged determination of Benny who must escape the ship and an alluring tropical paradise and impatiently wait for his cold to clear up, before setting off on a race against time, the elements and his own woefully-lacking knowledge of geography if he is to stop the ruthless criminals…

A superbly genteel spoof and fabulously winning fantasy about childhood validation and agency, The Red Taxis offers a distinctly Old World spin to the concept of superheroes and provides a wealth of action, thrills and chortles for lovers of incredible adventure and comics excellence.
© Peyo™ 2013 – licensed through Lafig Belgium. English translation © 2013 by Papercutz. All rights reserved.

The Adventures of Blake and Mortimer volume 5: The Strange Encounter

By Van Hamme & Benoit, coloured by Madeleine De Mille and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-905460-75-5

Win’s Christmas Gift Recommendation: Dashing Deeds in the Grand Manner… 8/10

Belgian Edgard Félix Pierre Jacobs (1904-1987) was one of the founding fathers of the Continental comics industry. Although his output was relatively modest compared to many of his iconic contemporaries, Jacobs’ landmark serialised life’s work – starring scientific trouble-shooters Professor Philip Mortimer and Captain Francis Blake – practically formed the backbone of the modern action-adventure comic in Europe.

His splendidly adroit, roguish and thoroughly British adventurers were conceived and realised for the very first issue of Le Journal de Tintin in 1946, and quickly became a crucial staple of life for post-war European kids – much as Dan Dare was in 1950s Britain.

After decades of fantastic exploits, the series apparently ended with the eleventh album. The gripping contemporary adventure had been serialised between September 1971 and May 1972 in Tintin, but after the first volume was completed Jacobs simply abandoned his story due to failing health and personal issues. He died on February 20th 1987, never having returned to or completing extended adventure Les 3 formules du professeur Satō.

That concluding volume was only released in March 1990 after veteran cartoonist Bob de Moor was commissioned by the Jacobs family and estate to complete the tale from the grand originator’s pencils and notes. The long-postponed release led to a republishing of all the earlier volumes, followed in 1996 by new adventures from two separate creative teams hired by the Jacobs Studio.

The first was the L’Affaire Francis Blake by Jean Van Hamme & Thierry “Ted” Benoit which settled itself into a comfortably defined and familiar mid-1950s milieu whilst unfolding a rousing tale of espionage and double-dealing.

The tale controversially omitted the fantastic elements of futuristic fiction and fringe science which had characterised Jacobs’ creation, whilst focusing on the suave MI5 officer rather than bombastic, belligerent boffin and inveterate scene-stealer Mortimer…

The same was broadly true for the follow-up release, published in 1999, although references to the space race and alien infestation did much to restore the series’ credentials regarding threats in uncanny circumstances in The Voronov Plot by Yves Sente (Le Janitor, Thorgal) & André Juillard (Bohémond de Saint-Gilles, Masquerouge, Mezek)…

Those charges can’t be levelled against Van Hamme & Benoit’s next outing. L’Étrange Rendez-Vous was released in 2001, the 15th official Blake and Mortimer tome and deftly combining elements of pure science fiction with sinister Cold War machinations and even the uncanny return of a former arch-fiend!

The story begins in October 1777 when British survivors of the Battle of Saratoga are fleeing for their lives. That night an uncanny light show shatters the sky and when it ends Major Lachlan McQuarrie has vanished, never to be seen again…

In Colorado 177 years later, another trio of light beams terrifies ranchers and cattle and investigation reveals the freshly expired and unaged cadaver of a British major in full War of Independence livery…

The case is discussed by Professor Philip Mortimer and his close friend Captain Francis Blake of MI5 as they wing over the Atlantic on separate missions to America. Blake has unspecified business with his US counterparts, whilst the boffin is travelling for a far more personal reason. Tried in absentia for desertion, Lachlan McQuarrie has been the black sheep of the Mortimer family for almost two centuries. Now, having been asked to identify the body recently recovered, the Professor harbours hopes of cleaning a stain off the clan’s escutcheon…

When they split up at the airport Mortimer heads to the SUFOS (Section of UFO Studies) Lab in Kansas whilst Blake heads to Washington DC. The scientist is accosted by rowdily over-friendly physicist Dr. Jeronimo Ramirez whereas the security man’s reception is far more dangerous since mysterious men in dark glasses trail him before targeting him with incredible futuristic weapons in an ambush he barely survives…

Meanwhile in Kansas, the Professor and Section Director Dr. Walter Kaufman convene and confirm with astonishment that the body under discussion is indeed McQuarrie. Born in 1743 he appears to have died of asphyxiation in the last couple of days. He still looks to be 34 years old.

Amongst his possessions is a leather baldric with a hastily inscribed but baffling message – “Yellow King, 8061, Danger, Light, Plutonian, H, Poplar Trees, Temple 1954”. Also found with the body was a strange pair of dark glasses and a metal rod that projects an unknown energy causing unconsciousness…

And thus begins a twist-packed, fast-paced mystery yarn of time-travel invasions, alien incursions, atomic armageddon, nuclear piracy and a bizarre scheme to resurrect and reinstate the most despised despot of the 20th century, with Blake and Mortimer battling separately on two fronts to save not only the precariously imperilled present but also prevent the worst of all possible futures from coming to pass…

Balancing suspenseful drama with blazing action, and fantastic science with scurrilous skulduggery and paranoiac espionage, this wild ride is a splendid tribute to 1950s B-Movie sci fi such as Invaders from Mars and Invasion of the Body Snatchers: a devilishly devised conundrum overflowing with period style and grittily terse adventure. The Strange Encounter is another superbly entertaining addition to the captivating canon of the Gentleman Adventurers and one no fan of comics or entertainment should miss.
Original edition © Editions Blake & Mortimer/Studio Jacobs (Dargaud-Lombard S. A.) 2001 by Ted Benoit & Jean Van Hamme. All rights reserved. English translation © 2008 Cinebook Ltd.


By Vehlmann & Kerascoët, translated by Joe Johnson (NBM)
ISBN: 978-1-68112-143-7

Win’s Christmas Gift Recommendation: A Daring Dip into the Dark Underside of Life… 9/10

Vehlmann was only born in 1972 yet his prodigious canon of work (from 1998 to the present) has earned him the soubriquet of “the Goscinny of the 21st Century”. As Fabien Vehlmann, he entered the world in Mont-de-Marsan and grew up in Savoie, growing up to study business management before taking a job with a theatre group.

In 1996, after entering a writing contest in Spirou, he caught the comics bug and two years later published – with illustrative collaborator Denis Bodart – a mordantly quirky and sophisticated portmanteau period crime comedy entitled Green Manor. From there on his triumphs grew to include amongst others Célestin Speculoos for Circus, Nicotine Goudron for l’Écho des Savanes and major league property Spirou and Fantasio.

Since then his star has grown brighter and brighter, especially on his collaborations with husband-&-wife team Kerascoët: Marie Pommepuy and Sébastien Cosset, who work in advertising, animation and fashion when not rendering such glorious comics treats as Beauty, Beautiful Darkness, Miss Don’t Touch Me and the epically expansive Dungeons franchise of inter-linked albums.

Their most recent joint escapade is Satanie, translated into English as the equally disquieting Satania. A seemingly bright and shiny bauble, the tale offers a dark glimpse into inner worlds both physical and psychical as troubled Charlie convinces a disparate band of potholers to help her find her missing brother Christopher.

Rendered in a captivating primitivist style that conceals a potent emotional punch, the unfolding saga finds young Charlotte, elderly priest Father Monsore, Mr Lavergne, Legoff and a handful of other intrepid souls delving deep beneath a mountain in search of the young scientist.

Scientist Christopher held radical evolutionary theories positing that Hell is real and exists far beneath the earth, populated by corporeal beings adapted over eons of natural selection to their harsh subterranean existence. The devils and demons of history and superstition are simply fellow creatures awaiting our discovery and classification and extended arms of friendship and welcome…

However, when a flash flood fills the caverns and forces the explorers deep into uncharted regions, an incredible series of tribulations and revelations begin. A fantastic underground odyssey with lost human civilisations, incredible monsters and unimaginable macro-organisms is boldly undertaken, but as ill-fortune and death constantly dog the party, the survivors quickly realise that although the fantastic creatures they encounter may not be supernally evil, the god-fearing humans have brought their own demons with them into a fresh kind of hell …

An astounding voyage of discovery with breathtaking vistas and inventions, Satania explores the human condition in ways both uncomfortable and wondrous.
© Editions Soleil/Vehlmann/Kerascoët 2016. © 2017 NBM for the English Translation.

For more information and other great reads see

Tex: The Lonesome Rider

By Claudio Nizzi & Joe Kubert. English-language adaptation by Pete Carlsson & Philip R. Simon (Dark Horse)
ISBN: 978-1-61655-620-4(HC)                      eISBN: 978-1-63008-169-0

Win’s Christmas Gift Recommendation: Pure Poetry in Perfectly Rendered Motion… 10/10

One of the most popular western strips ever created, Tex premiered in September 1948, the brainchild of writer Gian Luigi Bonelli and artist Aurelio Galleppini. Very much an Italian synthesis of the classic Hollywood western, the strip is both mythically traditional and unflinchingly dark in a way US material wasn’t until the advent of the filmic “spaghetti westerns” of the 1960s and later. Gosh, I wonder if there’s some kind of connection there?

Bonelli was a prolific writer of books, articles screenplays and comics for more than fifty years and artist Galleppini eventually dropped a prestigious career as a book illustrator to draw approximately 200 issues of Tex and four hundred covers.

Comics featuring Tex Willer and his legendary allies Kit Carson, Kit Willer and Tiger Jack have been translated far and wide for decades, scoring big not only all over Europe but also in Brazil, Finland, Turkey, India and elsewhere. Guest artists for specials have included Ivo Milazzo, Jordi Bernet and the masterful Joe Kubert.

Kubert was born in 1926 in rural Southeast Poland (which became Ukraine and might be Outer Russia by the time you read this). At age two his parents took him to America where he grew up a Brooklyn kid. Joe’s folks encouraged him to draw from an early age and the precocious prodigy began a glittering career at the start of the Golden Age, before he was even a teenager.

Working and learning at the Chesler comics packaging “Shop”, MLJ, Holyoke and assorted other outfits, he began his close association with National/DC in 1943. A canny survivor of the Great Depression, Joe also maintained outside contacts, dividing his time and energies between Fiction House, Avon, Harvey and All-American Comics, where he particularly distinguished himself on The Flash and Hawkman.

In the early 1950s he and old school chum Norman Maurer were the creative force behind publishers St. Johns: creating evergreen caveman Tor and launching the 3D comics craze with Three Dimension Comics.

Joe never stopped freelancing, appearing in EC’s Two-Fisted Tales, Avon’s Strange Worlds, Lev Gleason Publications & Atlas Comics until in 1955 when, with the industry imploding, he took a permanent position at DC, only slightly diluted whilst he illustrated the contentious and controversial newspaper strip Tales of the Green Berets (1965-1968). From then, he split his time drawing Sgt. Rock and other features, designing covers and editing DC’s line of war comicbooks. He also drew his fair share of westerns such as DC’s incarnation of Firehair, Tomahawk and Son of Tomahawk. He later created a host of superb. Hard-hitting mature reader graphic novels such as Fax from Sarajevo, Jew Gangster and Yossel: April 1943.

In his quiet moments he also created and ran the Joe Kubert School of Cartoon and Graphic Art, training and mentoring a host of new funnybook superstars beside many of his fellow comics veterans.

Hugely popular and venerated in Europe, Kubert stretched his wings in 2000 by adding Tex to his list of achievements, written by Claudio Nizzi for Sergio Bonelli Editore’s premier Tex Albo Speciale/Texone imprint. Nizzi began writing comics in 1963, and created many popular series – such as Larry Yuma, Captain Erik and Rosco & Sonny – before moving to Bonelli in 1983 to craft stories of Mr. No, Nick Raider and Tex.

As is the case with all such long-lived action icons, the working premise of the Western Wonder is devilishly uncomplicated. Former outlaw Tex Willer clears his unjustly besmirched name and joins the Texas Rangers. He marries an Indian maiden and becomes an honorary chief of the Navajo (called “Eagle of the Night”) after she dies.

Over the years, Tex travels far and wide to dispense justice and has encountered every kind of peril you might have seen in western films, but like any great comics character also has a few outlandish arch-enemies such as evil prestidigitator Mefisto, piratical foreign prince Black Tiger and master of disguise Proteus.

After being published to great success and acclaim as The Four Killers in Italy in 2001, this particular tale finally became available to English speakers in 2015 as a sturdily redoubtable hardback (and latterly, ephemeral eBook) packing the entire pulse-pounding saga into one fearsome fable of electrifying energy and dogged determination…

Following an informative and appreciative Foreword by co-translator and letterer Pete Carlsson, the drama opens with the aging lawman approaching the remote farm of his old friends the Colters. He will not get there in time…

On finding the slain and defiled bodies of the family, doctored to appear the victims of an “injun” outrage, Tex reads the trail signs and deduces the killers are three white men and a renegade Indian, before setting off to arrest them. At this stage he is ready to let the law judge them. However, after being ambushed and thrown him off a cliff, the miraculously still surviving manhunter is ready to do whatever is necessary…

When the killers split up, the patiently remorseless peacekeeper becomes repeatedly embroiled in the webs of brutal violence the quartet spin around them and many more people will die before justice is finally served…

Raw, primal and visually grandiose, Tex: The Lonesome Rider is a stripped-down epic of the genre in the manner of Unforgiven and Once Upon a Time in the West; a masterclass in civilisation triumphing over chaos and greed, played out in a pitiless arena shaped by Big Sky Country aesthetics with the iconic scenery honed by a matchless craftsman into a major player and contributor to the mood of the story.

This is the genre at its most potent, pure and powerful: perhaps the best and credible cowboy comic you’ll ever see.
© 2001, 2005, 2015 Sergio Bonelli Editore. Licensed through Panini SpA All rights reserved.

The Mercenary – The Definitive Editions volume 1: The Cult of the Sacred Fire

By Vicente Segrelles, translated by Mary McKee (NBM)
ISBN: 978-1-68112-124-6

Win’s Christmas Gift Recommendation: A Mythic Masterpiece Returns… 9/10

Born in Barcelona in 1940, Vicente Segrelles Sacristán is a renowned illustrator of magazines and book covers on three continents and the creator of one of the world’s most popular graphic novel series.

His first comics album ‘El Mercenario’ (The Mercenary) was released in 1982; the tale of an itinerant knight-for-hire fighting his way through a fantastic world of science and sorcery, often on the back of a flying dragon.

Rendered initially in lush oil-paints (before graduating to creating art digitally from 1998 onwards), the epic tales blend visual realism and accuracy with fable, myth, historical weaponry, contemporary technology and classical science fiction themes. All these fantastic scenes are screened through the visual lens of a natural architect and engineer. Fourteen albums were released between 1982 and 2003, most of them seen by English-language readers through the auspices of publisher NBM.

Hugely in demand for his painted covers since the 1970s, Segrelles has created book covers for the works of such authors as H, Rider Haggard, Poul Anderson, Roger Zelazny, Alistair McLean, Desmond Bagley, G. F. Unger, Andre Norton, Joel Rosenberg, Charles DeLint, C.H. Guenter, Jason Dark, Terry Pratchett and a host of others.

European prose readers may also know him as the cover artist of Italian science fiction magazine Urania.

The artist came to comics relatively late in his career and the reasons for that can be learned in a prodigious “behind-the-scenes” section at the back of this stunning hardcover (and eBook) remastered reissue entitled ‘Meet Vicente Segrelles’, relating his life and career and breaking down his working methodology. That includes how this volume and the Mercenary series came into being, augmented with a wealth of illustrations from the artist’s early days, discarded paintings and drawings plus many detail-shots taken from the story that precedes it.

Originally serialised in Spanish magazine Cimoc in 1980, El Mercenario was one of the earliest European series NBM published in English and to celebrate forty years in business the company have finally rereleased the series in fabulous oversized (314 x 236 mm) remastered hardcover albums to once more set the world alight. If you prefer, you could instead pick up a thoroughly modern digital edition.

What’s it about?: in the mediaeval world, a region of Central Asia lies all but undiscovered. The Land of Eternal Clouds is an isolate region where life has taken a different turn at the highest mountain levels. Here reptilian fliers dubbed dragons abound and the outposts of humanity have turned them into beasts of burden. This setting is the backdrop to introduce a nameless action hero and problem-solver who is engaged in this premier tome by the puissant potentate of one super-cumulus city-state to rescue his queen from vile abductors…

Riding a gigantic bat-winged lizard, The Mercenary plucks the unfortunate lady from peril and defeats the dragon-riding guards who give chase but only at great personal and financial cost…

Happily, the wary warrior has made prior contingency plans and – even after they go awry following a clash with a predatory beast – is smart enough to build a mechanical flyer to replace the ones he has lost to this ill-fated mission…

This initial yarn is actually a tryptic of three interrelated vignettes, and the second begins once the hero-for-hire returns the comely bride to her rich but old and flabby husband. Safely re-ensconced in the lap of luxury, she repays her dutiful saviour for spurning her amorous attentions by accusing him of assaulting her…

Although the Mercenary escapes to his hastily constructed contraption, it is not enough to keep him airborne and slowly he plunges into the swirling cloud mass from which no man has ever returned…

Crashing to earth he finds a whole new and undiscovered world, and an old sage with a handy potion that soothes his wounds and allows him to breathe better in air that cloys like soup. He soon returns the favour when the oldster shares his woes: the family have also suffered a recent kidnapping.

This time a young woman has been taken by a mystery group demanding as ransom all the alcohol the village contains…

Soon the tireless adventurer has broached the cage in which she hangs above certain death only to find himself also a captive: this time inside a colossal and all but invisible floating city ruled by mysterious cloaked figures claiming to be the Cult of the Sacred Fire…

Before long the doughty champion has discerned the incredible rational secret behind all the seemingly magical phenomena and set the city on a course of appalling destruction and personal vengeance…

To Be Continued…

Although sometimes considered a little static, Segrelles’ vibrant, classical realism set a benchmark for illustrative narrative that has inspired generations of artists and millions of readers. This landmark series is a long overdue and welcome returnee to our bookshelves and seems certain to garner a whole new legion of fans and admirers.
© 2015 Vicente Segrelles. English Translation © 2017 NBM for the English Translation.

For more information and other great reads see

Asterix and the Chariot Race

By Jean-Yves Ferri & Didier Conrad, colored by Thierry Mébarki and translated by Adriana Hunter (Orion Books)
ISBN: 978-1-5101-0401-3 (HB)                    eISBN: 978-1-5101-0402-0

Win’s Christmas Gift Recommendation: Celebrate the Season in Classical Style… 9/10

Asterix debuted in 1959 and has since become part of the fabric of French life. His exploits have touched billions of people all around the world for five and a half decades and for almost all of that time his astounding adventures were the sole preserve of originators Rene Goscinny and/or Albert Uderzo.

After nearly 15 years dissemination as weekly serials (subsequently collected into book-length compilations), in 1974 the 21st saga – Asterix and Caesar’s Gift – was the first to be released as a complete, original album prior to serialisation.

Thereafter each new tome became an eagerly anticipated, impatiently awaited treat for legions of devotees. The eager anxiety hasn’t diminished any even now that Uderzo’s handpicked replacements – scripter Jean-Yves Ferri (Fables Autonomes, La Retour à la terre) and illustrator Didier Conrad (Les Innomables, Le Piège Malais, Tatum) have taken up the creative role since his retirement in 2009.

Whether as an action-packed comedic romp with sneaky, bullying baddies getting their just deserts or as a sly and wicked satire for older-if-no-wiser heads, these new yarns are just as engrossing as the established canon.

As you already know, half of the intoxicating epics take place in various exotic locales throughout the Ancient World, whilst the alternating rest are set in and around Uderzo’s adored Brittany where, circa 50 BC, a little hamlet of cantankerous, proudly defiant warriors and their families resist every effort of the mighty Roman Empire to complete the conquest of Gaul.

Although the country is divided by the notional conquerors into provinces Celtica, Aquitania and Armorica, the very tip of the last named stubbornly refuses to be properly pacified. The otherwise dominant overlords, utterly unable to overrun this last bastion of Gallic insouciance, are reduced to a pointless policy of absolute containment – and yet the irksome Gauls come and go as they please.

Thus, a tiny seaside hamlet is permanently hemmed in by heavily fortified garrisons Totorum, Aquarium, Laudanum and Compendium, filled with veteran fighters who would rather be anywhere else on earth than there…

Their “prisoners” couldn’t care less; daily defying and frustrating the world’s greatest military machine by uncaringly going about their everyday affairs, bolstered by magic potion brewed by resident druid Getafix and the shrewd wits and strategic aplomb of diminutive dynamo Asterix and his simplistic, supercharged best friend Obelix

Astérix et la Transitalique was released on October 17th 2017, and simultaneously or soon after hurtled off the shelves of many nations as Asterix and the Chariot Race – or whatever the local language equivalent of the many nations addicted to these epics might be…

This time the narrative horsepower comes from sport, and as always there is a healthy helping of satirical lampooning of current affairs, administrative, political and regional and nationalistic…

Before this away game eventually takes in all of Italy it opens bombastically in the Roman Senate where shifty political chancer Lactus Bifidus is fiercely challenged about the appalling state of the Empire’s roads. Yes, they all still lead to Rome, but their maintenance is a major issue riddled with potholes that are a public disgrace and hazard to safe navigation…

Roused from a sneaky slumber and thinking too fast, the overly-defensive corrupt bureaucrat instantly declares a grand chariot race to span all of Italy and thereby prove the perfection of the byways under his management.

His big mistake is publicly declaring his magnificent trans-Italian rally open to “all the peoples of the known world”…

As a seething Julius Caesar is quick to point out in private, a competition spanning the entire Italic Peninsula is liable to stir up subject races and even other Italian cities if it’s won by anyone but a purebred Roman Citizen.

The Emperors then advises Lactus that it’s now the Senator’s sole responsibility to guarantee no barbarian crosses the finish line first…

In Gaul, the residents of a certain indomitable village are rowdily enjoying themselves at a huge market festival. Amidst the tooth pullers, weapons-sellers, fortune tellers and other vendors, one canny salesman spies an easy mark and lumbers gullible giant Obelix with a flashy racing chariot.

The superhuman simpleton’s friends soon cease their good-natured teasing at his foolish purchase after the announcement of the great Trans-Italic Race is read out and Chief Vitalstatistix agrees that it would be nice to bother the Romans on their own turf for a change…

Soon Asterix, Obelix and canine companion Dogmatix are off on those bumpy deplorable roads and heading for the border. From Modica they will pit themselves against a horde of teams hungry for victory as they chase down to the “boot of Italy” to the finish line at Neapolis under the grumbling fire mountain Vesuvius…

Most of their competitors seem decent enough folk, but amongst the racers from Breton, Lusitania, Kush, Liguria, Calabria and other desolate points of the Empire, Asterix notes a few teams to watch closely: the devious Cimbri, the rowdy Normans and Sarmatians but most especially the Roman squad and their always-masked, unbeaten charioteer Coronavirus…

There’s something not quite right about him…

And then, with wealthy sponsors Lupus Garum (the Fermented Fish-gut Sauce of Champions!) adjudicating every stage of the contest the valiant Aurigae (you know that means charioteers, right?) are off!

Spoofing sporting corruption, the ephemeral venalities of corporate sponsorship and the sordid power of petty nationalism, this rocket-paced rollercoaster ride is awash with sneaky plots, dirty tricks and rapid switches of allegiance; providing plenty of thrills and spills to garnish the madcap chase to the finish line, and even incorporates spacious room for plenty of twists, turns and deliciously doled-out just deserts.

With Asterix and Obelix at their most disingenuously heroic and charming, this unbeatable Race of the Century is furiously funny and hilariously jam-packed with and timeless jibes and cracking contemporary swipes, plus an enchanting double-surprise ending. Asterix and the Chariot Race is a sure win and another triumphant addition to the mythic canon for laugh-seekers in general and all devotees of comics.
© 2017 Les Éditions Albert René. English translation: © 2017 Les Éditions Albert René. All rights reserved.

Betsy and Me

By Jack Cole & Dwight Parks (Fantagraphics Books)
ISBN: 978-156097-878-7

Win’s Christmas Gift Recommendation: Classic Madcap Mirth and Melodrama… 9/10

Jack Cole was one of the most uniquely gifted talents of American comics’ Golden Age. Before moving into mature magazine and gag markets he originated landmark tales in horror, true crime, war, adventure and especially superhero comicbooks, and his incredible humour-hero Plastic Man remains an unsurpassed benchmark of screwball costumed hi-jinks: frequently copied but never equalled. It was a glittering career of distinction which Cole was clearly embarrassed by and unhappy with.

Without doubt – and despite his other triumphal comicbook innovations such as The Comet, Silver Streak, Daredevil, The Claw, Death Patrol, Midnight, Quicksilver, The Barker, and a uniquely twisted and phenomenally popular take on the crime and horror genres – Cole’s greatest contribution and lasting creation was zany Malleable Marvel Plastic Man who (with indispensable sidekick/gadfly Woozy Winks) quickly grew from a minor back-up character into one of the most memorable and popular heroes of the era.

In 1954 Cole quit comics for the lucrative and prestigious field of magazine cartooning, swiftly becoming a household name when his brilliant watercolour gags and stunningly saucy pictures began regularly running in Playboy from the fifth issue.

Cole eventually moved into the lofty realms of newspaper strips and, in 1958, achieved his life-long ambition by launching a syndicated newspaper strip, the domestic comedy Betsy and Me which began publication on Monday May 26th. Something about reaching the cartoonist’s Promised Land clearly did not meet with the infamously private Cole’s expectations and, on August 13th 1958, at the peak of his prowess and success, he took his own life.

The reasons – although highly speculated upon ever since – remain unknown.

The strip was handed to commercial cartoonist Dwight Parks who continued it until the editorial decision was made to end it. The last daily was published on Saturday, December 27th.

That great loss to the future of the industry and artform has for years clouded a greater truth: whatever his demons, Jack Cole was a master of comedy and narrative art in all its forms and Betsy and Me was, in its own niche, every bit as great as his glamour illustration and comicbook endeavours.

This mostly monochrome paperback – also available digitally – collects those long-lost newspaper efforts in a welcoming package which begins with the captivating solicitation page designed to entice new papers to buy the strip.

Then biography, history, context and analysis come courtesy of historian R. C. Harvey’s introductory essay ‘The Last of Jack Cole: His Life and Art and Why They Both Ended with Betsy and Me’. The heavily illustrated article also offers possible insights into Cole’s motivations, state of mind and possible reasons for suicide, before this superb collection of what should have been Cole’s greatest legacy opens…

Utilising a stripped-down minimalist style that was the astute acme of its time, this domestic comedy is recounted as a fireside tale by homely working stiff Chester B. Tibbit. He recalls and reminisces with unseen readers who daily learn of his romancing of and marriage to Betsy, his downtrodden life as a floorwalker at the Meyers department store and plodding climb up the ladder of middle class aspiration.

The move from apartment to house, the trepidatious purchase of consumer benchmarks such as white goods and even an automobile (in the most generous sense of the term), and the inevitable addition of a child are all gradually covered in a manner most wry and deliciously sardonic. All the laughs stem from an old cartoonist’s trick: the rose-tinted self-deluding narrative says one thing whilst the pictures tell the grim sordid truth, even when Chester can’t see it himself…

His admired and adored bosses are bullying martinets, his friends are shallow, fair-weather self-servers, Betsy isn’t a quiet, obedient little woman and his son is…

Well, the truth is that infant Farley actually is a genius: rude, brusque, impatient and utterly beyond the intellectual capabilities of his terrified, long-suffering parents. Even from his earliest moments in the crib the kid is the smartest one in the house – and that includes financially and emotionally…

The strips follow the traditional developmental path of courtship, marriage, home-making and child-rearing but always Cole’s needle-sharp social observations and uncontrollable whimsy are seditiously at work. At Meyers’ the infant blackmails his father’s superiors so they stop picking on the little nebbish and when Farley starts school he organises a student revolt…

The toddler even masters judo to protect his bewildered guardians from marauding criminals and spars continually with mooching, predatory Gus, a confirmed bachelor always hanging around Betsy with attentions that are clear to everyone but Chester…

Over the course of the summer of 1958 Betsy and Me steadily grew in quality, scope and popularity. When Cole died on August 13th he had submitted strips for a full month ahead. His last daily ran on September 7th and the final Sunday on September 21st.

Dwight Parks took over and whereas the pared-down artistic style remained, the uneasy edgy satire was lost in favour of more comfortable themes such as the new house being a broken-down money pit, interfering neighbours, kindergarten woes, dieting and “keeping up with the Joneses”: the stuff of TV sitcoms such as I Love Lucy

Critics have debated ever since Cole’s passing about whether, given time, Betsy and Me (or even a successor strip) would have cemented the brilliant raconteur as a master of all forms of graphic narrative or whether he had finally overreached himself. We’ll never know, but at least you can read what remains and judge for yourself.

And you really should.
© 2007 Fantagraphics Books. Text © 2007 R. C. Harvey.

Avengers Epic Collection: Once an Avenger…

By Stan Lee, Roy Thomas, Don Heck & various (Marvel)
ISBN: 978-0-7851-9582-5

Win’s Christmas Gift Recommendation: Matchless Marvel Mayhem and Melodrama… 8/10

One of the most momentous events in Marvel Comics history came in the middle of 1963 when a disparate array of individual heroes banded together to combat an apparently out of control Incredible Hulk.

The Avengers combined most of the company’s fledgling superhero line in one bright, shiny and highly commercial package. Over the decades the roster has unceasingly changed, and now almost every character in their universe has at some time numbered amongst their colourful ranks…

The Avengers always proved that putting all one’s star eggs in on single basket can pay off big-time. Even when all Marvel all-stars such as Thor, Captain America and Iron Man are absent, it merely allows always the lesser lights of the team to shine more brightly.

Of course, the founding stars regularly featured due to the rotating, open door policy which meant that most issues included somebody’s fave-rave. The increasingly bold and impressive stories and artwork were no hindrance either.

After Lee moved on, the team was left in the capable hands of Roy Thomas who grew into one of the industry’s most impressive writers, guiding the World’s Mightiest Heroes through a range of adventures ranging from sublimely poetic to staggeringly epic…

This compilation – available in hardcover, paperback and eBook iterations – collects Avengers #21-40 from October 1965 to May 1967.

With this second collection the team – consisting of Captain America, Hawkeye, Quicksilver and his sister the Scarlet Witch – was already a firm fan-favourite with close attention to melodrama sub-plots, leavening the action through compelling soap-opera elements that kept readers riveted.

After debuting insidious infiltrator Swordsman in the previous volume, writer Stan Lee and illustrators Don Heck & Wally Wood – without pausing for creative breath – launched another soon -to-be big name villain in the form of Power Man. ‘The Bitter Dregs of Defeat!’ (Avengers #21) depicted his creation and the diabolical plan hatched with the evil Asgardian witch the Enchantress to discredit and replace the quarrelsome quartet. The scheme was only narrowly foiled in the concluding ‘The Road Back.’

An epic 2-part tale follows as the team is shanghaied into the far-future to battle against and eventually with Kang the Conqueror. ‘Once an Avenger…’ (Avengers #23, December 1965 and, incidentally, my vote for the best cover Jack Kirby ever drew) is inked by the wonderful John Romita (senior), pitting the heroes against an army of fearsome future men, with the yarn explosively and tragically ending in From the Ashes of Defeat!’ by Lee, Heck & inker Dick Ayers.

The still-learning team then face their greatest test yet after they are captured by the deadliest man alive in #25’s ‘Enter… Dr. Doom!’ and forced to fight their way out of the tyrant’s kingdom of Latveria.

Since change is ever the watchword for this series, the next two issues combined a threat to drown the world from subsea barbarian Attuma with the return of some old comrades. ‘The Voice of the Wasp!’ and ‘Four Against the Floodtide!’ (inked by Frank Giacoia as the pseudonymous Frank Ray) is a superlative action-romp but is merely a prelude to the main event – issue #28’s return of founding Avenger Giant-Man in a new guise as ‘Among us Walks a Goliath!’ This instant classic introduced the villainous and ultimately immortally alien Collector whilst extending the company’s pet theme of alienation by tragically trapping the size-changing hero at a freakish ten-foot height, seemingly forever…

As Quicksilver and the Scarlet Witch bow out and return to Europe to reinvigorate their fading powers Avengers #29 features ‘This Power Unleashed!’ and brings back Hawkeye’s lost love Black Widow as a brainwashed Soviet agent attempting to destroy the team.

She recruits old foes Power Man and Swordsman as cannon-fodder but is foiled by her own incompletely submerged feeling for Hawkeye, after which ‘Frenzy in a Far-Off Land!’ sees dispirited colossus Henry Pym embroiled in a futuristic civil war amongst a lost south American civilisation. The conclusion threatened to end in global incineration in the ludicrously titled yet satisfyingly thrilling ‘Never Bug a Giant!’

The company’s crusading credentials are enhanced next as ‘The Sign of the Serpent!’ and concluding chapter ‘To Smash a Serpent!’ (Avengers#32-33, with Heck providing raw, gritty inks over his own pencils) craft a brave, socially-aware epic.

Here the heroes tackle a sinister band of organised racists in a thinly veiled allegory of the Civil Rights turmoil then gripping America. Marvel’s bold liberal stand even went so far as to introduce a new African-American character, Bill Foster, who would eventually become a superhero in his own right.

It was then back to crime-busting basics as Roy Thomas officially began his long association with the team in #34’s ‘The Living Laser!’, but second part ‘The Light that Failed!’ again assumes political overtones as the light bending super-villain allies himself with South American (and by implication, Marxist) rebels for a rollercoaster ride of thrills and spills.

The team’s international credentials are further exploited when long-missing Scarlet Witch and Quicksilver return, heralding an alien invasion of the Balkans in ‘The Ultroids Attack!’ and ‘To Conquer a Colossus!’ (Avengers #36-37). Along for the ride and a crucial factor in repelling an extraterrestrial invasion is newly cured and reformed Natasha Romanoff – the sinister, merciless Black Widow…

Thomas clearly had no problem juggling a larger roster of characters as he promptly added Olympian godling Hercules to the mix, first as a duped and drugged pawn of the Enchantress in #38’s ‘In our Midst… An Immortal’ (inked by George Roussos, nee Bell) and then as a member from the following issue onwards, when the Mad Thinker attacks during ‘The Torment… and the Triumph!’.

No prizes for guessing who was throwing the punches in #40’s ‘Suddenly… the Sub-Mariner!’ as the team battle the Lord of Atlantis for possession of a reality-warping Cosmic Cube; a riotous all-action romp to end a superb classic chronicle of furious Fights ‘n’ Tights fables.

Augmenting the narrative joys is an abundance of behind-the-scenes treasures such as original art reproductions, production-stage pencilled page photostats and a fascinating sequence of “tweaked” cover-corrections. Still more extras include Tee-shirt art-designs by Jack Kirby, Frank Giacoia & Wally Wood plus earlier Kirby and Gil Kane Avengers collection covers modified by painters Dean White & Richard Isanove.

Unceasingly enticing and always evergreen, these immortal epics are tales that defined the Marvel experience and a joy no fan should deny themselves or their kids.
© 1965, 1966, 1967, 2017 Marvel Characters, Inc. All rights reserved.