Marvel Masterworks: Golden Age USA Comics Nos.1- 4


By Al Avison, Al Gabriel, Basil Wolverton, Syd Shores, George Klein & various (Marvel)
ISBN: 978-0-7851-2478-8

Whereas much of DC’s Golden Age archive is still readily readable today, a great deal of  Marvel Comics’ Timely and Atlas output is both dated and quite often painfully strident, and even offensive to modern eyes and sensibilities.

Even so, I’d rather have the raw historical form rather than any bowdlerised or censored reworking and even in their most jingoistic and populist excesses there are usually individual nuggets of gold amidst the shocking or – horror of horrors! – badly crafted yarns from the House of Ideas’ antediluvian antecedents.

Moreover, there’s quite a lot to be said for putting the material in lavish and expensive hardbound volumes for those early comic adventures and I must admit that when they were good the individual efforts could be very good indeed.

The quarterly USA Comics launched with an August 1941 cover-date and the four complete issues reprinted in this sturdy deluxe hardback reveal a period of intense experimentation and constant change as the eager publishers weaned themselves away from the “comics shop” freelancers-for-hire production system and began to build a stable – or bullpen – of in-house creators.

Since these stories come from a time of poor record-keeping, frantic scrabbling to fill pages and under the constant threat of losing staff and creators to the war-effort, the informative introduction discussing the lack of accurate creator detail and best-guess attributions from comics historian Dr. Michael J. Vassallo is a godsend for interested fans, and with covers and House ads reproduced throughout, the World War Wonderment and Patriotic Perils begin with The Defender illustrated by Al Avison, Al Gabriele, Joe Simon and diverse unknown hands (who might or might not have been Sam Cooper, Al Fagaly, George Klein & Charles Wojtkoski AKA “Charles Nicholas”); another flag-clad patriotic mystery-man, who, with designated boy sidekick Rusty, smashed a band of Nazi-backed river pirates plaguing Manhattan’s waterways.

Next comes the utterly outrageous origin of The Whizzer (by Avison & Gabriele) which saw young Bob Frank gain super-speed after his dying father injected him with mongoose blood to counteract jungle fever and snakebite.

Orphaned and vengeful, the young man thereafter dedicated his life to stopping criminals such as the thugs who had forced his ailing parent to hide and die in such a hellhole…

‘Mr. Liberty debuted in ‘The Spirits of Freedom’ by Phil Sturm, Syd Shores, & Klein, as with war erupting everywhere, history Professor John Liberty was visited by the ghosts of American patriots who offered him supernatural assistance to stamp out all threats to democracy.

After Arthur Cazeneuve’s prose crime-thriller ‘Haunted Fireplace’ the astonishing Rockman: Underground Secret Agent blazed into action in ‘The Tunnel That Led to Death’ by the incomparable Basil Wolverton – but with a splash page drawn by Nicholas – which introduced a patriot from super-scientific kingdom Abysmia; miles below American soil, determined to safeguard his upstairs neighbours from tyranny…

Howard Purcell working as Michael Robard then stylishly introduced ‘Young Avenger’ a junior superman summoned by mystic voices to battle spies and saboteurs, before arctic elemental ‘Jack Frost’ sprang to life to avenge a murder on ice in a classy origin yarn by Stan Lee & Nicholas. The polar opposite to the Human Torch (I’m such a wag, me) travelled to New York and soon occupied the same well-intentioned/hunted menace/anti-hero niche pioneered by both the blazing android and the Sub-Mariner: a much-used formula still effective to this day…

USA #2 (November 1941) led with a new nautical costumed crusader in ‘Captain Terror Battles the Fiends of the Seas’ (by Mike Suchorsky) as retired gentleman adventurer Dan Kane returned to the masked identity he had adopted during the Spanish War to hunt down a Nazi destroyer haunting American waters in an action-packed, extra-long exploit. With the Allied effort increasing on all fronts civilian “Mr.” became ‘Major Liberty’ to crush a monster-making Nazi who turned a peaceful Caribbean resort into ‘The Island Menace!’ (Shores & Klein).

Ed Winiarski then introduced Assistant District Attorney Murphy who chose to crush Home Front racketeers disguised as gaudy tramp Chauncey Throttlebottom III AKA ‘The Vagabond’ after which ‘The Defender’ (by Klein) took Rusty South of the Border to stop a plan to destabilise the nation’s South American allies. The text piece describing ‘When USA Heroes Meet!’ by Stan Lee was swiftly followed by another Wolverton Rockman stunner wherein the Subterranean Supremo tackled Zombo the Hypnotist whose mesmeric powers made men into slavish ‘Killers of the Sea’.

After which an uncredited ‘Jack Frost’ exploit found the freezing fugitive avoiding cops but still destroying a marauding robot octopus ship, ‘The Whizzer’ – also unattributed – ended a string of murders by jockey-fixers ruining the horse-racing industry.

USA Comics #3 (January 1942) opened with ‘Captain Terror and the Magic Crystal of Death’ (Suchorsky) as the bold buccaneer spectacularly smashed a sabotage ring organised by wicked ersatz gypsies, after which Major Liberty faced – or rather didn’t, if you get my point – a cunning killer masquerading as ‘The Headless Horseman’ (by Shores & and an unnamed assistant) whilst Winiarski’s Vagabond demolished yet another would-be kingpin of crime.

Once The Defender had finished a hyperthyroid maniac dubbed ‘The Monster Who Couldn’t be Stopped!’ (Klein), Lee’s prestidigitation prose piece ‘Quicker than the Eye!’ gave way to the latest Rockman instalment which he’d scripted for Nicholas to illumine; a broad fantasy set in Jugoslavia where evil pixies had abducted the beauteous Princess Alecia. Object: Matrimony!

Young wannabes Frank Giacoia & Carmine Infantino got a big boost to their careers when they illustrated the anonymously scripted Jack Frost yarn involving strong-arm thugs forcing hospitals to buy their adulterated black market drugs and, after an engaging ‘Unsolved Mysteries’ feature page (which included who had produced it), Winiarski then contributed Tom ‘Powers of the Press’ – a reporter and refreshingly plainclothes hero who, with the aid of diminutive photographer Candid Kenny Roberts, tracked down murderous payroll bandits to explosively end the third issue.

Major Liberty made the cover and lead spot in USA #4 (May 1942), using his ghostly gifts to smash a gang of spies and infiltrators terrorising German-born Americans in a breathtaking romp from Shores & his unknown collaborator, whilst Jack Frost battled mad cryogenics researchers in ‘The Adventure of the Frozen Corpses’ – attributed to Pierce Rice & Louis Cazeneuve – and The Defender stopped the maker of a deadly artificial fog assisted as ever by Rusty and the skilled artistic endeavours of George & Klein and others.

The Vagabond (by Winiarski and an unknown assistant) found the Faux Hobo exorcising a haunted castle in pursuit of a Mad Monk and loot from a decades-old cold case, after which the anonymously-penned text thriller ‘Diamond of Juba’ was followed by another Suchorsky Captain Terror tale, which saw the seaborne stalwart smashing a Nazi plot to starve Britain into submission.

The uncredited Rockman story then saw the Underworld Agent stop murder and banditry in Alaska, after which the equally unattributed Corporal Dix debuted in the stirring tale of a soldier on leave who still found the time to clear up a gang of cheap hoods and set his own wastrel brother on the right and patriotic path…

This premier collection then ends on a riotous high note as The Whizzer (by Howard James) finally came up to full speed in a rocket-paced action romp with the Golden Rocket crushing a gang of thieves targeting a brilliant boy-inventor.

I’m delighted with this substantial chronicle, warts and all, but I can fully understand why anyone other than a life-long comics or Marvel fan would baulk at the steep price-tag in these days of austerity, with a wealth of better-quality and more highly regarded Golden Age material available. Still, value is one thing and worth another, so in the end the choice, as always, is yours…
© 1941, 1942, 2007 Marvel Characters, Inc. All rights reserved.

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