Superman vs The Flash


By Jim Shooter, E. Nelson Bridwell, Dennis O’Neil, Marty Pasko, Dan Jurgens, Geoff Johns, Curt Swan, Ross Andru, Dick Dillin, José Luis García-López, Rick Burchett, Carmine Infantino, Neal Adams, George Klein, Mike Esposito, Joe Giella, Dan Adkins, Art Thibert, Prentiss Rollins & various (DC Comics)
ISBN: 978-1-4012-0456-3 (TPB)

This book includes Discriminatory Content produced during less enlightened times.

The comic book experience is littered with eternal questions that can never really be satisfactorily answered. The most common and most passionately asked always begin “who would win if…?” or “who’s strongest/smartest/fastest…?” Teenaged scripting wunderkind Jim Shooter knew that very well when he pitched and subsequently scripted a Superman story in 1967 that created a subgenre of comic-plots and led inevitably and delightfully to the graphic compilation under review here.

DC Editors in the 1960s generally avoided such questions as who’s best for fear of upsetting some portion of their tenuous and supposed-transitory fan-base, but as the superhero boom slowed and the upstart Marvel Comics began to make genuine inroads into their market, the notion of a definitive race between the almighty Man of Steel and the Fastest Man Alive became an increasingly enticing and sales-worthy proposition. This sporty curated chronicle catalogues material from Superman #199, Flash #175, World’s Finest Comics #198-199, DC Comics Presents #1-2, Adventures of Superman #463 & DC First: Flash/Superman: collectively spanning cover-dates August 1967 through July 2002.

Long overdue for re-release – fully updated and translated to digital formats – this compendium and sporting almanac gathers together that initial contest and numerous rematches between the heroic speed-demons, but if you’re seeking a definitive answer you won’t find it here. These are splendid costumed entertainments; adventures designed to catch your breath and quicken your pulse. It not about the winning: it’s all about the taking part…

‘Superman’s Race with The Flash’ (Superman #199, August 1967) gets the ball rolling in a stirring saga by Shooter, limned by Curt Swan & George Klein, wherein the two speedy champions are asked to compete in an exhibition contest by the United Nations, to raise money to fight World Hunger. Naturally they agree, but the clever global handicap, circling the planet three times, is secretly and insidiously subverted by rival criminal combines attempting to stage the greatest gambling coup in history…

Of course, the vile gamblers are foiled and justice and wholesome charity triumph in the end, but the stakes are catastrophically raised in the inevitable rematch from The Flash #175 (December 1967). ‘Race to the End of the Universe!’ finds the friendly rivals rocketing across the cosmos after ruthless alien gamblers threaten to eradicate Central City and Metropolis unless the pair settle who was fastest.

Scripter E. Nelson Bridwell added an ingenious sting in the tale, whilst Ross Andru & Mike Esposito delivered a sterling illustration job in this yarn, but once more the actual winning was deliberately fudged. Presumably to prevent hurt feelings on the part of partisan young readers…

When World’s Finest Comics became briefly a team-up vehicle for Superman the first guest-star was the Flash, who again found himself in speedy if contrived competition. ‘Race to Save the Universe!’ and its conclusion ‘Race to Save Time’ (by Denny O’Neil, Dick Dillin & Joe Giella in WFC #198-199, November & December 1970) once again upped the stakes as the Guardians of the Universe conscripted our high speed heroes to circumnavigate the entire cosmos at their greatest velocities to undo the rampage of the enigmatic Anachronids: faster-than-light creatures whose pell-mell course throughout the galaxies was actually unwinding time itself.

Little did anybody suspect that Superman’s oldest enemies were behind the scheme…

‘Chase to the End of Time!’ & ‘Race to the End of Time!’ opened new team-up series DC Comics Presents (#1-2, July/August & September/October 1978) as Marty Pasko, José Luis García-López & Dan Adkins rather reprised that World’s Finest tale with two eternally-warring alien races tricking Superman & Flash into speeding through the time-stream to prevent Earth’s history from being corrupted and destroyed. As if that wasn’t dangerous enough, nobody could predict the deadly intervention of the Scarlet Speedster’s most dangerous foe: Professor Zoom, the Reverse-Flash

After the continuity-shattering Crisis on Infinite Earths mega-event, DC heroes got a sound refitting, and the frankly colossal power levels of the costumed community were suitably downscaled to more believable limits. Some stalwarts even died, and so when ‘Speed Kills!’ appeared in Adventures of Superman #463 (February 1990 by writer/artist Dan Jurgens and inker Art Thibert), the issue was touted as the first race between the fastest men on Earth. Of course, there was a new kid in the Flash’s uniform: former sidekick Wally West had graduated to the role after his mentor Barry Allen perished saving the universes in that aforementioned epic.

The story itself is a delightfully whacky romp wherein 5th dimensional gadfly Mr. Mxyzptlk coerces the pair into running a race everybody knows is fixed from the get-go…

This selection concludes with a spectacular saga unerringly aimed at older fans. ‘Speeding Bullets’ (from one-shot DC First: Flash/Superman July 2002) is by Geoff Johns, Rick Burchett & Prentis Rollins, and features futuristic villain Abra Kadabra who challenges the Man of Steel and 1940s Flash Jay Garrick to catch the current Vizier of Velocity – currently running amok at hyperspeed and rapid-aging with every step he takes. If they can’t catch him then the Fastest Man Alive won’t be for long…

With the inclusion to this book of some of the very best covers the company has ever produced – courtesy of Carmine Infantino, Murphy Anderson, Mike Esposito, Curt Swan, Neal Adams, García-López, Jurgens & Brett Breeding and Kevin Nowlan – readers casual and deeply devoted alike are guaranteed a joyous thrill-ride from some of the most entertaining stand-alone stories in DC history.

On your marks, get set, Go for it!
© 1970, 1972, 1973, 1978, 1990, 2002, 2005 DC Comics. All Rights Reserved.

Today in 1951 comic book all-rounder Ed Hannigan (Black Panther, The Defenders, Batman: Legends of the Dark Knight, Green Arrow, Spectacular Spider-Man) was born, sharing the birthday with US artist Don Kramer (Detective Comics, JSA, Nightwing, Doctor Fate, Wonder Woman) and Swedish cartoonist Tony Cronstam (Provet, Bamse, Elvis) in 1969 and comic book writer/colourist Jordi Bellaire (Absolute Wonder Woman, The Nice House, G.I. Joe, Catwoman, Detective Comics, Hawkeye, Batman, The Vision, Black Widow) in 1988.

Today in 1989 Berke Breathed took a decades-long sabbatical from Bloom County as the strip “ended” to be replaced by whole bunches of other fabulous comics stuff. The day also marks the death of Dick Tracy artist Richard EarlDickLocher in 2017.

Captain America by Ed Brubaker volume 1


By Ed Brubaker, Steve McNiven, Giuseppe Camuncoli, Mark Morales, Jay Leisten, Matteo Buffagni, Justin Ponsor, Laura Martin & various (MARVEL)
ISBN: 978-0-7851-5708-3 (HB) 978-0-7851-5709-0 (TPB) 978-0-7851-8271-9 (Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

One of the key moments in Marvel Comics history occurred when the Mighty Avengers recovered a tattered body floating in a block of ice (#4, March 1964) and resurrected the World War II hero Captain America. With this act bridging the years back to Timely & Atlas Comics – begun with the return of the Sub-Mariner in Fantastic Four #4 – Marvel confirmed and consolidated a solid, concrete, potential-packed history and created an enticing sense of mythic continuance for the fledgling company that instantly gave it the same cachet and enduring grandeur of market leader National/DC.

It’s just that rich heritage and history which informs and embellishes this grand old fashioned Fights ‘n’ Tights romp by Ed Brubaker and artists Steve McNiven, Giuseppe Camuncoli, Mark Morales, Jay Leisten & Matteo Buffagni which originally featured in the first five issues of volume 5 of the Captain America monthly comic book (cover-dated September 2011 to February 2012).

After too long on the sidelines and officially off-duty, Steve Rogers had again taken up the uniform and shield of the Star Spangled Avenger but was all too soon forced to confront his tragic past when his WWII ally and lover Peggy Carter passed away. Whilst attending her funeral with fellow veterans Nick Fury and “Dum Dum” Dugan the trio are targeted by a sniper and plunged back into long unfinished business…

Back in 1944, Peggy and the so-much-younger warriors were in Paris to destroy an advanced weapons facility operated by Nazi technocrat Baron Zemo and resurgent rapidly rebuilding conquest-cult Hydra. With the aid of costumed crusader Agent Bravo and Jimmy Jupiter (nee Jankovicz) – a boy with the ability to enter dreams and travel to a dimension where wishes became reality – the Allied operatives infiltrated the factory, but the mission went terribly wrong, leaving Jimmy a comatose vegetable and Bravo trapped within a timeless meta-realm with no hope of return.

Now, somehow Bravo is back on Earth and working with a new Hydra Queen. Equipped with incredible, nigh-impossible new armaments and teamed up with the heir of Zemo, the vengeful veteran wants to destroy Cap & Fury; romance/abduct Rogers’ current girlfriend Agent 13 and wreak vengeance on the world which had callously forgotten him…

As part of that ambition Bravo recruits long-forgotten Cap adversary Lyle Dekker: a Nazi scientist and certified lunatic who had long harboured a festering hatred for the Red, White & Blue champion. After Rogers had thawed out in modern times, Dekker tried to assassinate Captain America and take his place by having his own mind permanently transferred into an 18-foot tall Cap robot dubbed The Ameridroid.

When that manic automaton attacks now it is but the prelude to Bravo’s masterstroke: exiling Rogers to Jimmy Jupiter’s fantasy dimension and a darkly irresistible, seductive faux existence Rogers could never dream of escaping, all whilst merging the Dream Dimension with the plane of mundane reality to create a new kind of American nation Bravo alone would control…

Of course, the outcast maniac has no conception of what a true hero and living symbol will endure to make the world – any world – right and must soon face his personal nemesis in a duel for all reality. Victory comes as it always does to the just and righteous, but Rogers is belatedly faced with staggering consequences in the celebratory aftermath…

To Be Continued…

In 2012 a Panini/Marvel UK trade paperback edition was released as Captain America: American Dreamers (ISBN: 978-1-84653-505-5) which also included a gallery of alternative covers by Art Adams, Olivier Coipel, Neal Adams, Dale Eaglesham, John Romita Sr. and Salvador Larroca, as well as anniversary and Movie variant edition covers which are sadly omitted here. However whichever version you see this is a superbly fast-paced, action-packed romp: a thrilling and immensely entertaining confection to delight old aficionados, impress newcomers and make fresh fans for the immortal and original Sentinel of Liberty.
© 2011 Marvel Characters, Inc. All rights reserved.

Today in 1907 arch stylist Jesse Marsh (Tarzan, John Carter of Mars, Brothers of the Spear) was born, as was fellow Tarzan illustrator Ruben Moreira (also Casey Ruggles, Rip Hunter -Time Master, Roy Raymond – TV Detective, Reef Ryan, Her Highness and Silk) in 1922. Five years later Italian master creator Guido Buzzelli (Angélique in the Daily Mirror, Zil Zelub, L’uomo del Bengala, Tex Willer) arrived, followed in 1938 by mega star writer Pierre Christin (Valerian and Laureline, The City That Didn’t Exist, The Black Order Brigade, La voyageuse de la petite ceinture, The Hunting Party). That same year welcomed Writer/Artist/Letterer/Editor/Publisher Bill Peason (Witzend, T.H.U.N.D.E.R. Agents) with artist Ernie Chan (everything from Batman to Conan to Secret Society of Super-Villains) born in 1940 and Singaporean illustrator Foo Swee Chin (A Lost Stock of Children, Mince, Chimney 25, Zeet, Nightmares & Fairy Tales, MuZz) arriving in 1977.

In 2005 we lost venerable Dutch veteran Marten Toonder (Tom Puss) with Portuguese illustrator Carlos Roque (Angélique, Wladimyr) dying a year later and Mad magazine mirth maven Stan Hart departing in 2017.

Superman The Golden Age Sundays volume 2 1946-1949


By Alvin Schwartz, Wayne Boring & various (IDW/Library of American Comics)
ISBN: 978-1-63140-109-1 (HB)

This book includes Discriminatory Content produced in less enlightened times..

After years wallowing in obscurity most of Superman’s newspaper strip exploits were at last made available to aficionados and the curious newcomer in tomes such as this one, compiled under the auspices of the Library of American Comics. Sadly, that bounty has dried up and the books are becoming as rare as the original strips. Hopefully the whole canon will one day make it into digital editions. Until then though, we fortunate ones can share what we have, like this epic transitional selection seeing the close of a Golden era in advance of a fresh, bold, daringly Atomic Age…

The comic book industry would be utterly unrecognisable without Superman. Jerry Siegel & Joe Shuster’s bold and unprecedented invention was fervidly adopted by a desperate and joy-starved generation and quite literally gave birth to a genre if not an actual art form. The Man of Tomorrow was shamelessly copied, adapted by countless inspired writers and artists for numerous publishers, spawning an incomprehensible army of imitators and variations within three years of his summer 1938 debut.

Yes, 88 YEARS… and still counting!

The intoxicating blend of breakneck, breathtaking action and visceral wish-fulfilment expressed by the newborn Action Ace swiftly expanded to encompass cops-&-robbers crimebusting, socially reformist dramas, science fiction and fantasy, romance and comedy; and – once war in Europe and the East engulfed America – absorbed and reinforced patriotic relevance for a host of gods, heroes and monsters, all dedicated to profit through exuberant, eye-popping excess and dashing derring-do. Superman was master of the world and whilst transforming and dictating the shape of the fledgling funnybook industry, relentlessly expanded into all areas of entertainment media.

We might think of the Cleveland boys’ iconic invention as the epitome and acme of comic strip creation, but the truth is that very soon after his debut in Action Comics #1 the Man of Steel was a fictional multimedia monolith in the same league as Sherlock Holmes, Popeye and Tarzan. Diehard comics fans regard our purest, most enduring icons in primarily graphic narrative terms, but the likes of Batman, Spider-Man, The Hulk and their hyperkinetic ilk long ago outgrew four-colour origins to become fully mythologized modern media creatures, instantly recognised in mass markets across all platforms and age ranges. Far more people have viewed or heard the Man of Steel than have ever read his comics.

His globally syndicated newspaper strips reached untold millions, and by the time of his 20th anniversary – at the very start of what we know as the Silver Age of Comics – he had been a thrice-weekly radio serial regular and starred in a series of astounding animated cartoons, as well as two films and a novel by George Lowther. Superman was a perennial wellspring for toys, game, puzzle and apparel manufacturers and had just ended his first smash live-action television serial. In his future were many more shows, a stage musical, a ton of blockbuster movies and near-seamless succession of games, bubblegum cards and TV cartoons beginning with The New Adventures of Superman in 1966 and continuing ever since. Even superdog Krypto has got in on the all screens act. However, in his formative years the moving picture option was simply an expensive novelty for most. The Action Ace achieved true mass market fame through a different medium: one not that far removed from his print origins.

Although pretty much a spent force these days, for most of the last century newspaper strips were the Holy Grail American cartoonists/graphic narrative storytellers hungered for. Syndicated across the country – and frequently the world – they might be seen by millions if not billions of readers and were generally accepted as a more mature and sophisticated form of literature than comic books. At that time it also paid far better, and rightly so. Some of the most enduring and entertaining characters and concepts of all time were created to lure readers from one particular paper to another and many of them grew to be part of a global culture. Flash Gordon, Dick Tracy, Buck Rogers, Blondie, Charlie Brown and so many more escaped humble, even tawdry newsprint origins to become meta-real: existing in the minds of earthlings from Albuquerque to Zanzibar. Some still do…

Superman was the first comic book character to make that leap; about six months after exploding out of Action Comics. The daily Superman strip launched on 16th January 1939, augmented from November 5th of that year by a full-colour Sunday page. Originally crafted by Siegel & Shuster and their studio (Paul Cassidy, Leo Nowak, Dennis Neville, John Sikela, Ed Dobrotka, Paul J. Lauretta & Wayne Boring), the mammoth task soon required the additional artistic gifts of Jack Burnley and ancillary writers Whitney Ellsworth, Jack Schiff & Alvin Schwartz. The McClure Syndicate feature ran uninterrupted until May 1966, and at its peak appeared in over 300 daily and 90 Sunday newspapers with a combined readership surpassing 20 million. For most of the post-war years, Boring & Stan Kaye limned the spectacular Sundays (latterly supplemented by Win Mortimer & Curt Swan). The majority of strips from 1944 to 1958 were written by largely unsung, nigh-forgotten scribe Alvin Schwartz.

Born in 1916, Schwartz was an early maestro of comic books, writing Batman, Superman, Captain Marvel, and for many other titles and companies. Whilst handling the Superman strip he freelanced on Wonder Woman and other superheroes as well as DC’s genre titles such as Tomahawk, Buzzy, A Date with Judy and House of Mystery. After numerous and ever-escalating clashes with new Superman Editor Mort Weisinger, Schwartz quit comics for commercial writing: selling novels, essays, documentaries and docudramas for the National Film Board of Canada. He worked miracles in advertising and market research, developing selling techniques like psychographics and typological identification. A member of the advisory committee to the American Association of Advertising Agencies, he died in 2011.

After too many years wallowing in obscurity most of Superman’s newspaper strip exploits are finally available to aficionados and the curious newcomer in tomes such as this one compiled under the aegis of the Library of American Comics.

Showcasing Schwartz & Boring in their purest prime, these Sundays (numbered as Pages #354 to #520, collectively spanning August 11th 1946 to October 16th 1949) depict an almost omnipotent Man of Steel in domestically-framed tales of emotional dilemma, pedestrian criminality and surreal situations rather than muscle-flexing bombast, faux angst and bludgeoning action. Here humour, wit, mystery, fashion, satire and wonder reign supreme.

Following affable appreciation of the creators and the times in Mark Waid’s ‘An Introduction’ and a selection of contemporaneous Superman comic book covers in ‘A Wayne Boring Gallery’ the weekly wonderment recommences in all its vibrant glory. Sadly, the serials are untitled, so you’ll just have to manage with my meagre synopses of individual yarns…

Kicking off is a beguiling domestic dilemma as Lois Lane is overwhelmed looking after a neighbour’s boy whilst preparing to collect her sternly formidable, imminently visiting Aunt Matilda. Snowed under mounting physical and mental loads, she ropes in Superman to backstop her, only to discover there are many tasks – like baking a cake whilst watching a boisterous brat – that even the miraculous Man of Steel cannot manage…

Next up and beginning with Page 358 (September 8th 1946) the Action Ace faces criminal mastermind Tom Catt who plunders Metropolis in “Curiosity Crimes” dependent on the victims’ own innate nosiness. After a cascade of cat & mouse clashes the cunning crook ultimately falls because he didn’t follow his own advice about obtrusive inquiry and foolhardy felines…

More distracting nonsense results after social thinktank The Skeptics prove by rational debate that Superman doesn’t exist and seek to legally end the fraud being perpetrated upon the world. It takes a number of impossible tasks diligently performed by our hero before the cranky coots are convinced to change their minds, after which Page 371 (December 8th 1946) briefly returns the Man of Tomorrow to his war years and wish-fulfilling Superman’s Service for Servicemen scheme as he helps demobbed G.I. Steve Kennedy adapt to peacetime, work woes and officious in-laws making life intolerable…

Keeping our frame of reference domestic, a new year and fresh sequence (Page 375, January 5th 1947) saw the invulnerable hero hounded by an indefatigable go-getting salesman from Dynamic Insurance. Elmer Doolittle’s career – and future wedded bliss – depend on selling Superman a policy. Luckily, the goal never actually specified what kind of policy…

March 9th (Page 384) signalled a return to fantastic fantasy as an invisible beast causes havoc in the heartlands and farmers call for help to bring the “Nosuch Animal” to brook. Sadly, when Superman intervenes the unseen terror loses its camouflage gift and is exposed as a living example of a dinosaur… a Paleomatzoball. Moreover, this rampaging colossus loves rough handling and develops a disastrous romantic attachment to the Man of Steel before our embarrassed involuntary swain devises a timely solution to their mutual problem…

The “peace dividend” delivered by the end of the war is scrutinised next as Clark visits Boom Town and sees how a former manufacturing mecca was infiltrated and overrun by mobsters, gamblers and racketeers once the military – and their trustworthy, well-trained police – were transferred elsewhere. When the entrenched thugs begin attacking the municipality’s new law enforcement recruits, the Man of Steel steps up to school the neophytes and ensure crime never pays there again…

Circuses were a big draw and popular pastime of the postwar years and from Page 400 (June 29th) Superman & Lois were lured into that limelight when swindlers targeted Cap’n Tobey’s Mammoth Carnival. When the doddering owner is gulled into promising the world that the Metropolis Marvel is his new top attraction, Superman naturally helps out by showing up, but his good deed only allows a cartel of gangsters to use his scheduled performances as opportunities to try new ways to assassinate the Action Ace… with no appreciable result…

Next (from 28th August) two more former G.I.’s enlist the Man of Steel in a business venture, hoping his promotion of their new hot dog line (“Teenie Weinies”) will ensure success, Sadly, the enthusiastically spectacular super sales campaign only lands our hero with a lawsuit for restraint of trade when established fast food rivals cry unfair competition against their own brand of “Yankie Frankies”! Ordered to cease and desist, our hero still manages one stellar and out of this world act of promotion before capitulating…

One of the earliest examples of a recurring Silver Age Superman trope comes next as Page 414 (October 5th 1947) sees exotic nuclear radiation (another increasing popular maguffin of the forthcoming Atomic Age) accidentally reduce the mighty Man of Tomorrow to the size and relative age – but thankfully not intellect or emotional development – of an infant. Unable to appear as Clark, “Superbabe” recruits vagabond Edward Benton who resembles his adult self to impersonate Kent until a remedy is found, only to see the double fall for Lois and attempt to steal his civilian life and wed her under false pretences. Unable to operate as hero or tolerate the loss of Lois, the Caped Kryptonian risks a deadly potential cure, sabotages Lois’ wedding day and risks exposing his greatest secret to stop the mad escapade…

After that soap opera scandal carries us over the Holiday season, accidental time travel – beginning with February 22nd 1948’s Page 434 – sees Superman stranded in the past and ensnared by the irresistible wiles of seductive, lethally ambitious Egyptian Queen Cleopatra. Thankfully, former beau Mark Antony is able to break her spell before the Man of Tomorrow returns to today, just in time to foil an impending Martian invasion (May 2nd – July 18th over Pages 444-455) by impersonating an “ordinary human” abducted to their testing labs…

He even acts as a matchmaker for their lonely leader before returning to Earth and his strangest encounter yet after he’s “adopted” by talking dog Angus who needs a safe, secure home for his homeless human orphan kid pal Nicky Nichols. Of course, once he’s over the shock and disbelief, Superman is delighted to provide them and even reunite Nicky with his missing-but-not-dead mother… once he’s stopped every grifting chancer’s exploitative schemes to make money out of the mouthy mutt…

Another extraordinary tyke turns up on Page 467 (October 10th) as radical theorists of The Educational Improvements Association attempt to hothouse a 3-year old prodigy with plenty of weird notions of her own. “Smartypants” is granted absolute freedom to do whatever she wants, with the Man of Steel sworn to make every wish come true. The result is utter anarchy (with unleashed dinosaurs!) and total chaos until the harassed, embattled boffins convene for a swift rethink before resorting to tried-&-trusted rearing methods…

November 28th (Page 474) saw Superman in whimsical mood as he puckishly teaches a rug salesman a lesson by making his smarmy, smug sales patter about magic carpets come true for downtrodden shopper Geoge Paley. Sadly, the prank goes exponentially awry as an ever-escalating war for possession of George’s flying rug breaks out, resulting in violence, loss of livelihood and litigation. Once he’s done settling all the crises he’s sparked, the Action Ace resolves to quit playing practical jokes…

Far-flung fantasy follows from Pages 484 to 493 (February 6th – April 10th 1949) as Superman gathers Amazon jungle flora for the Metropolis Botanical Society and stumbles upon a fabulous golden sword, a potent legend and a long-hidden civilisation in the Lost Valley of Ru. Holding the antique blade, the Man of Steel inadvertently fulfils an ancient prophecy and must marry the socially reforming Queen. That’s not what tyrannical nobles led by Baron Akhar want, and his machinations to thwart the prophecy and marry her himself – as well as the monarch’s embarrassing infatuation with the mighty caped stranger – lead to confusion, crisis and civil war before our hero can fix everything and flee back to the outer world’s relative calm…

The next serialised saga (Pages 494-505, April 17th to July 3rd) offers another human-interest drama given a super-powered spin as, having learned nothing, Superman hires a double to stand in for him at all onerous public functions he’s too polite to refuse. Sadly, affable, honest mimic Mike is soon innocently complicating the Action Ace’s double lives to the point of imminent calamity and when the hapless doppelganger is kidnapped, panic ensues following wildfire rumours of the hero losing his powers. Realising the jig is up, Superman takes drastic action…

Concluding this final Golden Age collection, Pages 506-520 (July 10th – October 16th 1949) detail a bizarre fantasy wherein Superman emulates the travels of Lemuel Gulliver in a story within a story. To cheer up a love-crushed youngster, the Metropolis Marvel recounts his travails on a distant heavy-gravity world where his powers fluctuated and he faced miniscule warriors and lumbering giants, overthrew a tyrant before brokering peace and even arranging a love match between representatives of each side!

The Golden Age Superman: – Sunday Pages 1946-1949 – was the last of two huge (312 x 245 mm), lavish, high-end twinned hardbacks re-presenting the Man of Steel’s exploits during WWII and the immediate aftermath. They were a welcome addition to the superb commemorative series of Library of American Comics which preserved in luxurious splendour such landmark strips as Lil Abner, Tarzan, Rip Kirby, Polly and her Pals and many of the abovementioned cartoon icons. It’s an unimaginable joy to see these neglected Superman stories again, offering a far more measured, domesticated and comforting side of one of America’s most unique contributions to world culture. It’s also a pure delight to see some of the most engaging yesterdays of the Man of Tomorrow. Join me, see for yourself and agitate for the entire library to be released in digital editions…
© 2014 DC Comics. All rights reserved. SUPERMAN and all related characters and elements are trademarks of DC Comics.

Today in 1883, Edwin Balmer – journalist/fantasist/author/co-creator of the Speed Spaulding sci fi strip – was born. The day also saw the deaths of groundbreaking cartoonist and animator Winsor McCay (Little Nemo in Slumberland, Gertie the Dinosaur, Dreams of a Rarebit Fiend) in 1934 and Reg’lar Fellers, It’s A Great Life If You Don’t Weaken, Wide Awake Willie creator Gene Byrnes in 1974.

Spacehawk


By Basil Wolverton with commentary by Monte Wolverton (Fantagraphics Books)
ISBN: 978-1-60699-550-1 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Basil Wolverton was one of a kind: an artist, humourist and wordsmith of unique skill and imagination and one whose controversial works inspired and delighted many whilst utterly revolting others. Born in Central Point, Oregon on July 9th 1909, Wolverton worked as a Vaudeville performer, reporter, illustrator and cartoonist. However, unlike most artistic tyros of his time, he preferred to stay far away from the big city. For most of his life, he mailed in his artistic offerings from the rural wilderness of Vancouver, Washington State.

He made his first national cartoon sale at age 16 and began pitching newspaper strips in the late 1920s. A great fan of fantastic tales and the swiftly-developing science fiction genre, Wolverton sold Marco of Mars to the Independent Syndicate of New York in 1929, but the company ultimately declined to publish it, citing its similarity to the popular Buck Rogers feature they sought to compete with!

Equally at home with comedy, horror and adventure/fantasy material, the young creative dynamo adapted easily to the notion of superheroes, and began working extensively in the new medium of comic books, generating such gems as Spacehawks and Disk-Eyes the Detective for Circus Comics, plus a brace of minor hits and unabashed classics. These included Rockman – Underground Secret Agent for Timely/Marvel’s USA Comics and today’s star: the grimly imaginative (but unrelated) cosmic avenger Spacehawk for Target Comics. Apparently tireless and blessed with unlimited imagination, Wolverton also produced a seemingly endless supply of comedic features, ranging from extended series (like Superman/sports parody Powerhouse Pepper) to double-, single- and half-page gag fillers such as Bedtime Bunk, Culture Quickie and Bedtime Banter.

In 1946, he notoriously won a national competition held by Al Capp – of Li’l Abner fame – to visualise Lena the Hyena, that strip’s “ugliest woman in the world”, and, during the space and horror boom the 1950s, crafted some of the most imaginative short stories comics have ever seen. He also worked for Mad Magazine with staggering effect…

Wolverton became a member of the Radio Church of God in 1941. The organisation was devised by Herbert W. Armstrong: a prototype televangelist of a then-burgeoning Christian fundamentalist movement. In 1956, Wolverton illustrated the founder’s pamphlet 1975 in Prophecy and two years later produced a stunning illustrative interpretation of The Book of Revelation Unveiled at Last. Soon after, he began writing and drawing an illustrated 6-volume adaptation of the Old Testament. Entitled The Bible Story: The Story of Man, it was serialised in the sect’s journal The Plain Truth. His association with the Radio Church of God endured for the rest of his life. In 1973 the artist returned to comic books, illustrating more of his memorably comedic grotesques for DC’s Plop!, before suffering a stroke the next year. Basil Wolverton died on December 31st 1978.

His greatest triumph is undoubtedly the WWII-adjacent adventures of a mysterious, solitary steely-jawed he-man known only as Spacehawk. The strip debuted in the June 1940 issue of Target Comics (volume 1, #5) and ran for 30 issues until Wolverton left the company. With his origins only hinted at, Spacehawk initially prowled the star-lanes and outer reaches: a grim, relentless avenger of the persecuted innocent,. The stark, boldly exaggerated but meticulous art served only to highlight the singular appearance of the alien monstrosities and landscapes envisaged by Wolverton and defeated by “the Superhuman Enemy of Crime”. Some kids had nightmares after reading Spacehawk, and many parents wrote complaining letters because of it…

This epic assemblage gathers all those stunning stories in one breathtaking curated outburst, and begins by sharing pertinent background and context regarding the artist and his works in Monte (his son and also a cartoonist) Wolverton’s Introduction “The Lone Wolf of Void”. The heir also provided – from his father’s notes – individual episode names for those yarns that were originally untitled. Thereafter, the entire Spacehawk oeuvre unfolds in blistering force and all its delightfully overwhelming mechanistic totality.

Wolverton senior was clearly an avid follower of the nascent new genre of “scienti-fiction” in the grand Hugo Gernsback manner and his vivid, vibrant pages were bursting with highbrow concepts and images built from Functional Utilitarianism, with every panel crumbling under the weight of assorted tubes or tentacles, rockets, rays and bolts (both kinds) in service to the tale of a solitary, implacable dispenser of pitiless cosmic justice and retribution…

Just remember, this is not “retro”. This is what the term retro is referring to…

In the first episode (from Target Comics volume 1 #5 and cover-dated June 1940) the living enigma prowls the life-packed solar system in an era of constant interplanetary travel and commerce, albeit one plagued by petty regional tyrants and interworld piracy. With nothing but veiled hints of his coming from another system – if not galaxy – Spacehawk was simply a superior being resolved to do good and punish evil: a physical and mental marvel, brilliant beyond measure, and armed with psionic powers and an arsenal of astounding devices he set about righting wrongs wherever he found them. Yes: Doc Savage in space…

Delivered in an eye-popping and baroque style of fantastic imagination, introductory exploit ‘Spacehawk and the Creeping Death from Neptune’ sees the pitiless, mysteriously masked nemesis of evil drawn to the eighth planet to rescue kidnapped humans used as test subjects for sadistic Martian pirate Gorvak who is employing protoplasmic horrors to kill his victims.

With those monsters safely despatched, the still-faceless hero returned in vol. 1 #6 for ‘Spacehawk and the Lost Tribe of Mercury’ to save – through forced evolution – peaceful sea-dwellers on Venus as predatory Mercurians Rogg & Grebo ravage the water-world as they seek to locate, rob and kill refugees from their own fiery world, before #7 details how a beautiful Earth woman unmasks him. Whilst battling bizarre bandits Jark & Zork in ‘Spacehawk and the Perilous Planetoid Trap’ he strives to crush ruthless pirates using ballistic asteroids and gravity waves to plunder stellar shipping, but almost abandons his mission thanks to the charms of a newly-liberated slave girl…

Back to his stolid dedicated self, the Lone Wolf then battles cunning scavengers from his past and another star-system in ‘Spacehawk and the Vulture Men from the Void’ and displays his undercover credentials when he is dragged into the cesspit morass of politics in #9’s ‘Spacehawk and Mayhem at the Martian Election’. In Target Comics #10 ‘Spacehawk and the Pirate City on Venus’ – wherein the vigilante saves interplanetary police from a cosmic corsair citadel by extraordinary trans-species brain surgery – is supplemented by prose vignette ‘The Scratches of Doom – A Spacehawk Adventure’ as the astral avenger uses ancient detective methods to ferret out a cunning but short-sighted murderer. TC #11 finds him back in all his visual magnificence for ‘Spacehawk and the Pirates of Saturn’ as his relentless pursuit of evil briefly reunites him with Galar: another of his own race of supermen but one who has drifted from the path of virtue and valour…

Target #12 (January 1941) ended the first volume by introducing some recurring friends and foes as ‘Spacehawk and the Treachery of Smebar’ sees the hero save Neptune’s Noomite Queen Haba from her lustful, ambitious and usurping chief minister – who sees himself as a potential global overlord – whilst volume 2 #1 sees the Lone Wolf still in the vicinity and the focus of ‘Droon’s Plot Against Spacehawk’. However, the promise of Haba’s vile science advisor to make the enigmatic hero more tractable and amenable to her amorous overtures is foiled in vol. 2 #2’s ‘Spacehawk and the Master Plan of Droon’… just in time for a radical course correction…

Redefined by the designation Defender of America, the remaining Spacehawk tales are all Earth-based, with his mighty mentality and staggering superscience aimed at a contemporary, immediate and local threat. When the US entered the war on December 8th 1941, Wolverton’s editors compelled him to shift his story perspectives. Thus the space ranger took up a close orbit and faced Axis powers Nazi Germany and Imperial Japan (but not Italy) who gave the stellar Sentinel far more trouble than all the devils in the rest of the solar system, thereby further diluting the eerie power of the series but never the astounding illustration. By the end of 1942 (Target Comics volume 3, #10) Wolverton and his interplanetary masterpiece were gone, and headed for less hostile climes and more appreciative bosses.

In the first Terran trial he rapidly ends a Japanese scheme to bomb American cities from an artificial asteroid before vol. 2 #3’s ‘Spacehawk and the Undersea Tank’ sees Democracy’s newest champion spectacularly scuttling a city-sized subsea moving fortress constructed to sink US shipping and destroy the Panama Canal…

Wolverton’s wicked gift for caricature increasingly came into play from now on, and in Spacehawk and the Submarine Attack’ the alien Übermensch abducts grotesque and clownish German dictator “Moosler” and gives him a terrifying taste of battlefield conditions before deploying his mentally-controlled robotmen to wreck another marine masterplan in vol 2. #5’s ‘Spacehawk and the German Submarine Carrier’, after which ‘Spacehawk and the German Snow Airbase’ details how a hidden arctic airfield is destroyed and all its bombers shot down by the Stratospheric Sentinel…

An earthly archenemy manifests next as a sinister mercenary scientist steals many of the Lone Wolf’s secrets (including the ubiquitous and awesome antigravity principles) after our hero is ambushed and tortured in ‘Dr. Gore’s Hidden Lab’. Although his escape is prompt and vengeance terrible, the miscreant is as hard to kill as a cockroach and promptly retaliates in sequel saga ‘Dr. Gore’s Ant-Gravity Villainy’. Thankfully, the hero has enlisted a willing extraterrestrial sidekick in mighty minion Dork, a gleeful but so-homely comedic collaborator set on smashing bad guys and a being happy to maroon Gore on barren Mars once Spacehawk has done with him…

Target Comics vol, 2 #9 introduces another manic and hilariously libellous faux Fuhrer as ‘Nitwitler’s Secret Stratosphere Ships’ finds Spacehawk saving Canada from high-altitude bombardment before ‘Spacehawk and the Disks of Death’ sees him perform similar service, saving San Franciso from propaganda inundation and deadly skyscraper-scything missiles…

A change of pace in v2 #11 has the hero and Dork heading out west to stop subversive Bund leader Herman Vogel building a Fifth Column army in ‘Spacehawk and the Bullet Ship …That Brought Vengeance from the Void’ before the final issue of volume 2 (cover-dated February 1942) explores ‘Spacehawk and the Return of Dr. Gore’. Now, having escaped Mars, the tyrannical technologist wreaks vengeance on American infrastructure using stolen antigravity tricks… until Spacehawk intervenes…

Volume 3 #1 (March 1942) ramps up the patriotic fervour as ‘Spacehawk and the Battling Bullet Ships’ details the Deep Space Duo’s demolition of enemy planes bombing Iceland, before again going undercover to ferret out saboteurs wrecking dam construction in ‘Spacehawk and the Case of the Black Avenger’. Then, madder than ever, Dr. Gore resurfaces in ‘Spacehawk and the Blazing Death’ using an artificial storm cloud to blast US ships after which a turning point is reached…

Vowing to use his science directly for the war effort, the alien ace joins government think tanks in ‘Spacehawk and his Super Divebomber’ (Target vol. 3 #4) building revolutionary aircraft and crushing the wave of saboteurs resolved to destroy them. However, he is soon called away to wipe out a fiendish Japanese super-sub squadron in 5 ‘Spacehawk and the Devil Divers of the Deep’ before going on to Alaska in vol.3 #6 and destroying an invasion force in ‘Spacehawk and the Secret Japanese Base’

‘Spacehawk and the Mystery of the Green Faces’ finds him recalled to Washington DC to cure a diabolical bio-weapon that turns sufferers into emerald-hued raving fascists. After defeating the archenemy behind the threat he then delves into creating his own weapon of mass destruction in ‘Spacehawk and the Supersonic Siren’

The foe of fascism was happy to employ their own methodology against them with both bio-weapons and ultimate destruction devices leaping off his drawing board and into action, but he also fought an occasional small battle. In TC v3 #9, Spacehawk and the Case of The Missing Tires’ delivers a wry, light-hearted romp as the Lone Wolf grudgingly helps a feisty motorist made victim of tyre thieves (a grievous and growing felony in those times of war-effort rationing) and finds himself in over his head as left-leaning actress Diana Drean refuses to be patronised, assisted, sidelined or assassinated by the tyre-stealing gangsters…

Sadly that delightful switch in tone was never built upon as vol 3 #10 (December 1942) presented one final exploit in ‘Spacehawk and the Secret Submarine Fuel Depot’ with the space ace uncovering an enemy U-Boat installation in neutral Mexico and taking appropriate definitive action….

And that was that.

Changing times and tastes meant that Wolverton never returned to dramatic serial storytelling but instead went on to master anthological short graphic fiction – especially in the booming post-war fields of horror and science fiction (so stay tuned for those in days to come). This titanic tome also abruptly ends, delivering one last treat in a sublimely pencilled ‘Spacehawk cover sketch’ plus his only front of house appearance in the ‘Spacehawk cover’ on Traget Comic vol. 1 7…

Finally achieving the measure of popular recognition he always deserved, Basil Wolverton was a truly unique visionary and graphic pathfinder who inspired hundreds and entertained millions. This compendium from 2012 gathers all those so-Retro sidereal sagas and is an unmissable example of a creator given latitude and permission to be himself. If you love outré wonder and breathless, breakneck joy in motion, this is a treat you must not miss…
© 2012 Fantagraphics Books, Inc. All contents © 2012 Fantagraphics Books, Inc. unless otherwise noted. “The Lone Wolf of the Void” © 2012 Monte Wolverton. All rights reserved.

Today in 1897 pioneering and groundbreaking Russo-Serbian cartoonist Ivan Sensin was born, with Barney Google creator Fred Lasswell arriving in 1916; Archie Comics head honcho Richard Goldwater, coming along in 1936 and Underground legend S. Clay Wilson (Zap Comix, The Checkered Demon) in1941. Italian comics creator Anna Brandoli (Cuba 42, La Strega) was born in 1945 and French artist/raconteur ThierryTedBenoit (Bingo Bongo et son Combo Congolais, Ray Banana, Blake and Mortimer) followed in 1947: as did cartoonist Ray Billingsley (Lookin’ Fine, Curtis) in 1957 and artist/letterer Galen Showman in 1972.

Today in 1887 journalist, playwright, social reformer and Punch co-founder Henry Mayhew died. In 1982 Canadian adventure strip god Hal Foster (Tarzan, Prince Valiant) died too.

Today in 2007 The United States Postal Service introduced Marvel superhero postage stamps.

Thor: The Deviants Saga


By Robert Rodi, Stephen Segovia, M. Jason Paz & Jeffrey Huet & various (MARVEL)
ISBN: 978-1-3029-2295-5 (TPB), 978-1-3020-1399-8 (Digital edition), 978-1-84653-511-6 (Panini UK edition)

This book includes Discriminatory Content produced in less enlightened times

Time for another Anniversary shout out…

Jack Kirby’s The Eternals first emerged on 13th April 1976 in a title cover-dated July of that year, in a series slightly at odds with and removed from Marvel’s regular company continuity. The new mythology revealed that giant Celestial aliens had visited Earth in epochs past, gene-gineering proto-hominids into three distinct species: Human Beings; godly superbeings who called themselves Eternals and genetically unstable, ferociously aggressive but highly intelligent creatures dubbed Deviants. These subspecies had battled for ownership of Earth in wars spanning the length of human existence, but moreover the Space Gods had periodically returned to check up on their experiment…

Never a comfortable contemporary fit with the wider Marvel Universe – only S.H.I.E.L.D. ever really got involved the first time around – the series explored Kirby’s fascinations with Deities, Space and Supernature through the lens of very human observers. Once it ended and Kirby left, in the tried and trusted manner of such things other creators subsequently co-opted the concept into the regular continuity.

Over 19 issues and one Annual, the series avoided contact with Marvel continuity as modern humanity’s military, secret agencies and moneyed movers-&-shakers dealt with the politics and panic of a world-shattering event seen through the eyes of heroic rebel Ikaris, human Margo Damian, and a potent cast of Earth aliens Ajak, Sersi, Makkari, Zuras, Thena, Sprite and Druig who fought and foiled – or occasionally befriended – Deviants including Kro, Brother Tode, Ransak & Karkas, with Homo sapiens skulking running or cowering in terror in the background and under the microscope as a Celestial Fourth Host hovered above the world in a city-sized ship, pondering final judgement: a process that would take 50 years…

One of the heroes the Eternals did eventually meet with most often was the bellicose but benevolent Asgardian Storm Lord…

Lovingly remastered and skilfully refitted here by Robert Rodi and artists Stephen Segovia, M. Jason, Paz & Jeffrey Huet, the story here originated at the end of 2011 as a 5-issue miniseries and part of wave of publishing projects to support the burgeoning film franchise. It picks up on fresh elements introduced in 2007’s collection Neil Gaiman’s Eternals and opens in the ruins of Asgard as Thor discovers ancient deposed, Deviant monarch Ereshkigal has crept in and is searching through the rubble with a horde of brutal monsters…

The Deviants have also fallen on hard times and face extinction from a deadly plague, inspiring the dire, demi-demonic ex-empress to seek Asgardian tools and weapons to facilitate her return to personal power. After an inconclusive battle, Ereshkigal escapes with the Unbinding Stone of Oshemar, an apparently innocuous globe which can literally unmake reality. Utterly unaware of the power of her purloined prize, the Deviant tries and fails to usurp control from the current rulers of the Lemurian undercity which is their last refuge and home, whilst Thor – galvanised by the imminent destruction of the universe – seeks allies and the location of her hidden homeland amongst his old comrades and erstwhile allies in Olympia, cloaked Earthly citadel of his old Eternal comrades.

The city is all but deserted, with only resurrected hero Virako, master technician Phastos and “reformed” Deviants Karkas & Ransak the Reject occupying the immense mountaintop metropolis. Before the valiant band can formulate a plan, however, the city is invaded by a Deviant army led by apparently ageless and undying Warlord Kro and a cadre of elite monster warriors. After a spectacular battle the heroes are temporarily overwhelmed and Phastos captured. Critically, his incredible devices are stolen: taken in the misguided belief that they can reverse the effects of the disease devastating the Deviant population.

With the Unbinding Stone still in Ereshkigal’s meddling hands and their friend in peril, Thor and his comrades must storm the very heart of Lemuria before personal tragedy becomes universal Armageddon, but at least they have a hidden ally in the heart of the enemy – the outcast Eternal known alternatively as Gilgamesh and The Forgotten One

Also re-entering the mix as the cataclysmic climax builds are the space-scattered, long missing other Eternals, but even if they return in time, what can anybody do against a doom-obsessed potentate possessing a device which destroys atomic bonds and has no off-switch? The only answer to is try and pray and hope to make a miracle…

A grandiose,  old-fashioned blockbuster spectacle, this rousing yarn is cannily constructed so that even first-time readers can get right into the swing of things, whilst veteran devotees will find plenty of old favourite characters and themes revisited and clarified, with the adventure rattling along to a perfect climax with the portentous promise of more to come.

Fast, furious, frantic fantasy fun for older kids of all ages and one no Fights ‘n’ Tights fanatic could possibly resist.
© 2012 Marvel Characters, Inc. All rights reserved.

Today in 1902 “Father of Turkish Comics” Cemal Nadir Güler was born, followed in 1919 by hyperprolific comic book scribe Joe Gill (The Phantom, Zaza the Mystic, Fightin’ Five, Blue Beetle, Captain Atom, Peacemaker, Vengeance Squad, Hot Wheels, The Secret Six, every Charlton genre anthology ever) and, in 1931 Puerto Rican superstar writer/artist/editor Ernesto Colón Sierra AKA Ernie Colon (Harvey Comics, Star Comics, Manimal, Ax, The Medusa Chain, Arak, Son of Thunder, Dr Solar Man of the Atom, Amethyst, Princess of Gemworld, Damage Control, The 9/11 Report: A Graphic Adaptation, Vlad the Impaler). In 1937 Belgian humour cartoonist Hugo De Reymaeker AKA Hurey, Hugo and/or Fonske (De Fratsen van Jan Heibel, Anakronis), with Mike Ploog (Man-Thing, Ghost Rider, The Monster of Frankenstein, Werewolf By Night, The Spirit) arriving in 1940; master inker Tom Palmer (Doctor Strange, Avengers, Tomb of Dracula) joining in 1942 and military comics specialist Wayne Vansant (The ‘Nam, Days of Darkness, Katusha) in 1949.

The Black Panther Epic Collection volume 1 (1966-1976): Panther’s Rage


By Stan Lee & Jack Kirby, Don McGregor, Rich Buckler, Gil Kane, Billy Graham, Keith Pollard, Klaus Janson, Joe Sinnott, Klaus Janson, P. Craig Russell, Pablo Marcos, Dan Green, Bob McLeod,  Jim Mooney & various (MARVEL)
ISBN: 978-1-3029-0190-5 (TPB) 978-1-3024-9321-9 (Digital edition)

This book includes Discriminatory Content produced in less enlightened times. This book also includes Discriminatory Content utilised for dramatic effect.

With democracy under fire and American Civil Rights enduring active and constant attack in the Land of the Free, let’s look back on more progressive times and comics as we all stagger towards the 250th Fourth of July, shall we?

Acclaimed as the first black superhero in US comics and one of the first to carry his own series, the Black Panther’s popularity and fortunes have waxed and waned since he first appeared in Fantastic Four. In fact, the cat king actually attacked Marvel’s First Family as part of an extended plan to gain vengeance on the murderer of his father.

T’Challa was also the first black superhero in US comics, debuting in summer 1966. As created by Jack Kirby & Stan Lee, T’Challa, son of T’Chaka, is an African monarch whose deliberately hidden kingdom is the only known source of vibration-absorbing wonder mineral Vibranium. The miraculous alien ore – supposedly derived from a fallen meteor which struck the continent in lost antiquity – is the basis of the country’s immense wealth, enabling it to become one of the wealthiest and most secretive nations on Earth. These riches also allow the young king to radically remake his country, creating a high tech paradise even after he left Africa to fight as one of America’s Avengers.

Since time immemorial Wakanda has been an isolated, utopian wonderland with tribal resources and people safeguarded and led by a human warrior-king deriving cat-like physical advantages from secret ceremonies and a mysterious heart-shaped herb. This has ensured the generational dominance of the nation’s Panther Cult and sacrosanct hereditary Royal Family…

The “Vibranium mound” had guaranteed the nation’s status as a clandestine superpower for centuries, but in modern times increasingly made Wakanda a target for subversion, incursion and even invasion as the world grew ever smaller. This colossal compendium gathers the dynamic debut from Fantastic Four #52-53 (cover-dated July and August 1966) in advance of groundbreaking solo stories from Jungle Action (vol. 2) #6-24, collectively covering September 1973 through November 1976.

Before all that though, the innovative and unforgettable character debuted in ‘The Black Panther!’: an enigmatic African monarch whose secretive kingdom was the only source of a vibration-absorbing alien metal. These mineral riches had enabled him to turn his country into a technological marvel before he lured the FF into his savage super-scientific kingdom as part of an extended plan to gain vengeance on the murderer of his father. After battling the team to a standstill, King T’Challa revealed his tragic origin in ‘The Way it Began..!’, detailing how his father was murdered by marauding sonic science researcher Ulysses Klaw. As the monarch details how he took vengeance and liberated his people, word comes of incredible solidified-sound monsters attacking the region. Klaw has returned at last…

The cataclysmic clash that follows set the scene for the Warrior-Chieftain to guest star with numerous Marvel superstars before breaking out into the wider world, but it would years before he finally won his own solo series…

After roaming around the Marvel Universe, enjoying team-ups and saving Earth on a semi-regular basis as one “Earth’s Mightiest Superheroes”, the summer of 1973 saw the Black Panther finally become a solo star in his own series. Scripter Don McGregor opted to return the King to his people for an ambitious epic of love, death, vengeance and civil war: inventing from whole cloth and Kirby’s throwaway notion of a futuristic jungle the most unique African nation ever seen in comics or anywhere else…

Jungle Action had launched with an October 1972 cover-date: a cheap reprint vehicle for old Atlas-era Tarzan and Sheena knock-offs like Tharn, Jann and Lorna (all equally “…of the Jungle”). The fifth issue (not included here) abruptly changed tack, reprinting a Black Panther-starring saga from Avengers #62 as prelude to the start of T’Challa’s own all new adventures. These open here with # 6 and the eponymous ‘Panther’s Rage’, illustrated by Rich Buckler & Klaus Janson. The story opens with the Panther back in his contradictory homeland, stumbling upon the torture of an elderly farmer. Despite T’Challa’s best efforts, the victim dies in his arms, swearing he never lost faith in king or country…

Learning the attack is the work of brutal rebel leader Erik Killmonger, T’Challa sets all the resources of his inner court circle to finding the monster. With reports of further atrocities mounting, he all but abandons his American lover Monica Lynne to hunt the perpetrators and soon confronts his potential usurper at the potently symbolic Warrior Falls roaring above the life-sustaining River of Grace and Wisdom. The barbarous-seeming giant is not cowed by the Panther’s power or prowess and easily wins the no-holds barred battle that follows…

The initial episode is supplemented by detailed maps of Wakanda (the first fans had ever seen) before JA #7 mobilises ‘Death Regiments Beneath Wakanda’. Barely surviving his clash with Killmonger, T’Challa is nursed back to health by Monica at the Palace, even as hideously disfigured American Horatio displays his skill with snakes and poisons to his friend N’Jadaka. Known to their recruits as Venomm and Erik Killmonger, these rebel leaders plot their next attack resulting in the reptilian insurgent ambushing T’Challa when the king investigates an unsanctioned, illegal mine. This shocking atrocity is being used to siphon off raw Vibranium to pay for Killmonger’s increasingly violent and widespread attacks on the outlying population centres…

Although triumphant this time, T’Challa realises this is a many-layered war: one he might not win…

Whilst the Panther renews his powers through ancient ritual, Jungle Action #8 introduces another super-powered rebel with ‘Malice by Crimson Moonlight’ revealing a spear-wielding wonder woman invading the Royal Palace. Advisor Taku is interrogating Venomm (and gradually making inroads into turning the bitter outcast) when she attacks. Only the power of the Panther saves the servitor and prevents the brutal jailbreak from succeeding…

After maps of the hidden country and detailed plans of ‘Central Wakanda’s Palace Royale’ the saga resumes in #9 with ‘But Now the Spears Are Broken’ (spectacularly illustrated by Gil Kane & Janson) as T’Challa goes in-country to learn the effects of the power struggle on ordinary Wakandans. After saving little boy Kantu from a rhino, the king is made painfully aware that the common people view his foreign woman Monica with as much suspicion as the constantly-raiding insurgents. That feeling even penetrates to the heart of the palace. When advisor Zatama is murdered, Monica is arrested for the crime…

T’Challa is not there to protest or defend her. He has returned to Kantu’s village to investigate strange disappearances, discovering a seeming mass-rising of zombies led by skeletal maniac Baron Macabre. Once more the Great Cat is forced to ignominiously retreat…

Supreme stylist Billy Graham takes over pencilling with #10 as the Black Panther returns to the zombie nest, exposing a cunning charade beneath the deserted village as well as a super-scientific base run by a malignant, mind-warping mutant in ‘King Cadaver is Dead and Living in Wakanda!’

Accompanying the dark drama here are examples of ‘Black Panther Artistry’ – specifically, Kirby’s first designs for the hero back when he was going by provisional title ‘The Coal Tiger’ and Buckler & Janson’s initial depiction of ‘Erik Killmonger’. Due to an extremely unfavourable publishing schedule, Panther’s Rage unfolded with agonising slowness, but the lengthy wait between episodes allowed McGregor the latitude to pick and choose key events, with readers accepting that some stuff was actually occurring between issues.

By JA #11 (September 1974), the civil war had proceeded unchecked and ‘Once You Slay the Dragon!’ sees the Panther and his forces launching the long-awaited counterattack on Killmonger’s base in N’Jadaka Village. The battle is vicious and brief, introducing yet another powered lieutenant in the shape of pitiless high-tech armourer Lord Karnaj. And on the home front, T’Challa finally clears Monica and captures actual Zatama’s killer…

With Killmonger temporarily in retreat, the Panther goes on the offensive, using the rebel’s most inconsequential converts – Tayete and Kazibe – as reluctant guides to follow his ultimate nemesis to his most secret strongholds. Heading into the mountains and fabled Land of Chilling Mists, the Panther discovers a mutagenic temple… the Resurrection Altar. Employed by Killmonger to create his grotesque super-warriors, it is presided over by scientifically-spawned vampire Sombre. When T’Challa confronts them both, he is again overpowered by Erik and left for wolves to devour in ‘Blood Stains on Virgin Snow!’

  1. Craig Russell inked the next chapter as, enduring incomprehensible hardships in sub-arctic conditions, T’Challa perseveres and survives to follow Killmonger into the temperate swamps of Serpent Valley in #13. However, this is only after facing a pack of Wakanda’s white apes. To survive, the Panther must blasphemously ignore the sacred (to many of his subjects) religious aspect of the mighty carnivores and become ‘The God Killer’

Following a Venomm pin-up, #14 then reveals ‘There Are Serpents Lurking in Paradise’ (inked by Pablo Marcos) as T’Challa clashes once more with Sombre before encountering an affable forest sprite guarding Serpent Valley. Pixie-like Mokadi asks difficult moral questions as T’Challa rushes towards his next battle with Killmonger, making him too late to stop the rebel capturing a legion of the valley’s awesome dinosaurs. The usurper even has time to leave one behind as a lethal parting gift for the embattled, exhausted Wakandan chieftain…

The endgame rapidly approaches in #15 as ‘Thorns in the Flesh, Thorns in the Mind’ (Dan Green inks) finds T’Challa still tracking his foe only to be overcome by Killmonger’s archer assassin Salamander K’Ruel. Beaten and left to be dismembered by a ravenous Pterosaur, T’Challa incredibly overcomes every challenge before – against all odds – staggering back to Monica for another bout of recuperation…

Graham inked his own pencils for the beginning of the end in #16 as T’Challa & Monica’s time of idyllic passion culminates in catastrophe when ‘And All Our Past Decades Have Seen Revolutions!’ reveals Killmonger’s origins as the vast cast converges for one final battle. That comes in #17 as an army of war-trained dinosaurs invades Central Wakanda only to be finally crushed by the Panther’s forces and Wakandan technology. The affair concludes as it began at Warrior Falls, but ‘Of Shadows and Rages’ also holds a shocking twist as the great game of kings is ultimately decided by a player no one considered of any relevance…

With its nuanced emotional interplay, extended scope and fiercely independent supporting cast, Panther’s Rage was a milestone in dramatic comics storytelling but it harboured one last punch in a gripping ‘Epilogue!’(Jungle Action#18, November 1975). Bob McLeod inked McGregor & Graham’s forceful look at the repercussions of conflict, which finds T’Challa and maimed security chief Wakabi targeted by feral woman Madame Slay: Killmonger’s ardent and unsuspected lover who believes her loss can only be assuaged by having her pack of loyal leopards eviscerate the victorious Wakandans…

Cover-dated January 1976, Jungle Action #19 premiered McGregor’s most audacious and ultimately frustrating project, with T’Challa accompanying Monica back to America. The Panther versus the Klan shifted focus from war stories to crime fiction, substituting exotic Africa for America’s poverty-wracked, troubled, still segregated-in-all-but-name Deep South for a head-on collision with centuries of entrenched and endemic racism. Illustrated by Graham & McLeod, ‘Blood and Sacrifices!’ sees Monica back with her family after her sister is murdered. All too soon T’Challa is ferociously battling a gang of purple-hooded killers who appear to have set up in opposition to the ancient but apparently not supremacist enough white-hooded Ku Klux Klan.

Moreover, both sects are determined to conceal the truth of Angela Lynne’s death, but a break comes when bumbling, well-meaning reporter Kevin Trublood stumbles into an attack on the newcomers by the strangely multi-racial Klan sect calling itself The Dragon Circle

With neither townsfolk nor lawmen offering any welcome, T’Challa faces unbridled hostility and suspicion at every turn. He is even attacked by cops and a mob of citizens when he thwarts a knife attack on Monica. Although Sheriff Roderick Tate makes all the right noises and seems helpful, in ‘They Told Me a Myth I Wanted to Believe’, the Panther opts to pursue his own investigation before being overwhelmed by an army of white-robed Klansmen who tie him to a burning cross and leave him to die…

As Monica and Kevin puzzle out the convoluted web of mysteries, the Panther exerts all his uncanny gifts to escape becoming ‘A Cross Burning Darkly Blackening the Night!’ Later, as he recovers in hospital, Monica’s family, Kevin and Tate review the few verifiable facts of Angela’s demise before patriarch Lloyd Lynne urges T’Challa to stop looking. He only has one daughter left after all…

Nevertheless, when the Panther and Trublood invade and disrupt a Klan rally, Lloyd is right there with them…

With Buckler joining Graham on pencils and Jim Mooney alternating with McCleod on inks, Jungle Action #22 takes a bizarre turn as ‘Death Riders on the Horizon’ explores a Lynne family legend dating back to the formative days of the Klan in 1867 when old Caleb was targeted by the vile “southern knights” and their seemingly supernatural sponsor the Soul Strangler. As Monica listens to the ghastly, appallingly unjust tale, her mind fills in how T’Challa would have acted in such a hopeless situation…

JA #23 (September 1976) was a deadline missed and rapidly-sourced reprint from Daredevil #69 – represented here only by its cover and a Buckler pin-up – before this tantalising tale is unhappily cut short in final published instalment ‘Wind Eagle in Flight’ (McGregor, Buckler & Keith Pollard).The multi-layered, many-stranded plot suddenly expands as the Panther is almost killed by a mysterious new player who flies into the ever more bewildering clash between cops, Klan, Dragon Circle and Lynne family but, before the mystery could move any further, Jungle Action was cancelled…

A wholly different kind of Black Panther and utterly unrelated adventures would reappear two months later, under the auspices of returning creative colossus Jack Kirby and it would be years before the enigma of Angela’s death and the hero’s war against the Klan was resolved…

Bonus extras here include Kirby & Sinnott’s unused original art cover for FF #52, John Romita’s cover for Jungle Action #5; McGregor’s correspondence with then-fan Ralph Macchio and the author’s original working notes, plot synopses and candid contemporary photos of the close-knit creative team. Also on show: original cover art, pages and sketches by Buckler & Janson & Kane; pencils & layouts by Graham & Buckler, plus Steve Gerber’s ‘Jungle Re-Actions’ editorial feature from Jungle Action #7. Capping off the freebie joys are un-inked Buckler story pages that would have been #25…

A truly groundbreaking classic of comics narrative, Don McGregor’s Black Panther is stark, vibrant proof that the superhero genre works best when ambitious and passionate creators are given their head and let loose to get on with it.
© 1973, 1974, 1975, 1976, 2016 Marvel Characters Inc. All rights reserved.

Today in 1917 US artist/production wizard Jack Adler was born, followed in 1935 by pioneering African American artist Billy Graham (Luke Cage, Black Panther, Sabre) and writer Mike Baron (Nexus, Badger, Flash, The Punisher) in 1949.

In 1952 today, Australia’s beloved Ginger Meggs strip creator Jimmy Bancks died, and the date also saw the debut of Judd Winick’s Frumpy the Clown strip in 1996 and launch of manga collective CLAMP’s Angelic Layer series in 1999.

DC Finest: Robin – The Origin of Robin


By Ed Hamilton, John Broome, Gardner F. Fox, Cary Bates, Mike Friedrich, E. Nelson Bridwell, Frank Robbins, Dennis O’Neil, Bob Haney, Elliot Maggin, Bob Rozakis, Ross Andru, Curt Swan, Sheldon Moldoff, Pete Costanza, Chic Stone, Gil Kane, Irv Novick, Murphy Anderson, Dick Dillin, Rich Buckler, Bob Brown, Mike Grell, A. Martinez, Al Milgrom, José Delbo, Bill Draut, George Klein, Joe Giella, Sid Greene, Murphy Mike Esposito, Anderson, Vince Colletta, Dick Giordano, Frank McLaughlin, José Mazzaroli, Terry Austin, José Luis García-López, Ernie Chan & various (DC Comics)
ISBN: 978-1-79950-829-8 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

Robin the Boy Wonder debuted in Detective Comics #38 (cover dated April 1940 and on sale from March 6th). Co-created by Bob Kane, Bill Finger & Jerry Robinson, he was a juvenile circus acrobat whose parents were murdered by a mob boss. The story of how Batman took the orphaned Dick Grayson under his scalloped wing and trained him to fight crime has been told, retold and revised many times over the decades and still regularly undergoes tweaking to this day. Grayson fought beside Batman until 1970 when, as an indicator of those turbulent times, he flew the nest, becoming a Teen Wonder college student. His creation as a junior hero for younger readers to identify with inspired countless costumed sidekicks and kid crusaders, and Grayson continued in similar innovative vein for the older, more worldly-wise readership of America’s increasingly rebellious youth culture.

The first Robin even had his own solo series in Star Spangled Comics from 1947 to 1952, a solo spot in the back of Detective Comics from the end of the 1960s as covered here (but a position he alternated and shared with Batgirl) and a starring feature in anthology comic Batman Family. In the 1980s he led the New Teen Titans, initially in his original costumed identity but eventually in the reinvigorated guise of Nightwing, all while re-establishing a (somewhat turbulent) working relationship with his masked mentor.

This broad-ranging full colour but strictly non-digital compilation covers the period from Julie Schwartz’s captivating reinvigoration of the Dynamic Duo in 1964 until 1975 with Robin-related stories and material from Batman #184, 192, 202, 213, 217, 227, 229-231, 234-236, 239-242, 244-246, 248-250, 252, 254 & 259; Detective Comics #342, 386, 390-391, 394-395, 398-403, 445, 447, 450-251; World’s Finest Comics #141, 147, 195, & 200; Superman’s Pal Jimmy Olsen #111, 130 and Batman Family #1 & 3-5, spanning cover-dates May 1964 to May/June 1976.

With covers by Curt Swan, George Klein, Carmine Infantino, Joe Giella, Bill Draut & Vince Colletta, Neal Adams, Murphy Anderson, Mike Grell, Ernie Chan & Tatiana Wood, the developmental wonderment and rocky road from boys to men begins with ‘The Olsen-Robin Team versus… the Superman-Batman Team!’ Taken from World’s Finest #141, May 1964, by Edmond Hamilton, Curt Swan & George Klein, it’s a stirring blend of sci fi thriller and crime caper, wherein the underappreciated sidekicks fake their own deaths to undertake a secret mission even their adult partners must remain unaware of… for the very best of reasons of course.

The sequel (WFC #147, February 1965) delivers an engaging drama of youth-in-revolt as ‘The Doomed Boy Heroes!’ quit their assistant roles to strike out on their disgruntled own. Naturally there’s a perfectly reasonable – if incredible – reason here, too. Then in Detective Comics #342 (August 1965) cover-featured ‘The Midnight Raid of the Robin Gang!’ (John Broome, Sheldon Moldoff & Joe Giella) sees the Boy Wonder defy his mentor’s orders to infiltrate a youthful gang of costumed criminals. Following that, ‘The Boy Wonder’s Boo-Boo Patrol!’ (originally a back-up in Batman #184; September 1966 by Gardner Fox, Chic Stone & Sid Greene), shows the daring lad’s star-potential in a clever tale of thespian skulduggery and classic conundrum solving, before ‘Dick Grayson’s Secret Guardian!’ (Batman #192, June 1967, Fox, Moldoff & Giella) showcases his physical prowess in one of comic books’ first instances of the exoskeletal augmentation gimmick.

Superman’s Pal Jimmy Olsen #111 (June 1968) brought ‘Jimmy Olsen, Boy Wonder!’ by Cary Bates & Pete Costanza, which finds the cub reporter trying to prove his covert skills by convincing the Gotham Guardian that he was actually Robin (!), whilst that same month in Batman #202 the genuine article tackles the ‘Menace of the Motorcycle Marauders!’ (Mike Friedrich, Stone & Giella), consequently learning a salutary lesson in the price of responsibility. Then April 1969’s Detective Comics #386 featured the Boy Wonder’s first solo back-up in what was to become his semi-regular spot for years.

‘The Teen-Age Gap!’ as described by Friedrich, Ross Andru & Mike Esposito depicts a High School Barn Dance which only narrowly escapes becoming a riot thanks to Grayson’s diligent intervention. Its followed by an all new story from reprint collection Batman #213 (July/August 1969 and a 30th Anniversary reprint Giant) which offers an updated retelling of ‘The Origin of Robin’ courtesy of E. Nelson Bridwell, Andru & Esposito, reinterpreting those epochal events for the Vietnam generation. Gil Kane & Murphy Anderson assume the art-chores with Detective #390’s ‘Countdown to Chaos!’ (August 1969), bringing the support-series stunningly alive for the unfolding “Relevancy era” with Friedrich concocting a canny tale of corruption and kidnapping, leading to a paralysing city ‘Strike!’ for the Caped kid to spectacularly expose and foil in the following issue.

Next up is a modern landmark in the character’s long history as Batman #217’s ‘One Bullet Too Many!’ (December 1969, by Frank Robbins, Irv Novick & Dick Giordano) sees Dick leaves home to attend Hudson University. With the boy gone, Alfred and Bruce move with the times, shuttering both Mansion and Batcave and relocating to the penthouse of the Wayne Foundation Building in the heart of Gotham. It too offers subterranean lair extras and acts as base as Bruce sets up his Victims Inc. Program to aid the suffering survivors of crime. He also formally rededicates Batman to terrifying evildoers whether they be thugs, masterminds, or the new breed of semi-respectable “legitimate” businessmen who are little more than bandits with lawyers. His first mission is to solve the seemingly senseless murder of paediatrician Jonah Feilding.  Although not really a Robin tale, it is included here, and is closely followed by all of Detective #394 from the same month, with lead Batman feature finding ‘A Victim’s Victim!’ (Robbins, Bob Brown & Giella) in the crime-infested race car scene. This neatly segues into back up yarn ‘Strike… Whilst the Campus is Hot!’ (Robbins, Kane & Anderson) as callow freshman Dick Grayson stumbles into a campus riot organised by criminals backing radical activists, forcing the Teen Wonder to ‘Drop Out… or Drop Dead!’ to stop the seditious scheme. DC #398-399 (April & May 1970) then ran a 2-part spy-thriller with Vince Colletta replacing Anderson as inker. ‘Moon-Struck’ has lunar rock samples borrowed from NASA apparently causing a plague among Hudson’s students until Robin exposes a Soviet scheme to sabotage the Space Program in ‘Panic by Moonglow’.

The 400th anniversary issue (June 1970) finally teamed the Teen Wonder with his alternating back-up star in ‘A Burial For Batgirl!’ (Denny O’Neil, Kane & Colletta): a college-based murder mystery which again heavily references political and social unrest then plaguing US campuses, but which still finds space to be smart and action-packed as well as topical, before chilling conclusion ‘Midnight is the Dying Hour!’ wraps up the saga. Never afraid to repeat a good idea, Superman’s Pal Jimmy Olsen #130 (July 1970, by Bob Haney & Anderson) details the exploits of ‘Olsen the Teen Wonder!’ with the junior reporter again aping Batman’s buddy to infiltrate an underworld newspaper.

World’s Finest #195 (August 1970) sees Jimmy & Robin targeted for murder by the Mafia in ‘Dig Now, Die Later!’ (Haney, Andru & Esposito, whilst simultaneously in DC #402 ‘My Place in the Sun’ (Friedrich, Kane & Colletta), embroils Grayson and fellow Teen Titan Roy Harper Speedy in a crisis of social conscience, before our scarce-bearded hero wraps up his Detective run with corking crimebusting caper ‘Break-Out’ in the September issue. From #227 (December 1970) Robin’s romps transferred to the back of Batman, beginning with ‘Help Me – I Think I’m Dead!’ (Friedrich, Novick & Esposito) as ecological awareness catastrophically collides with penny-pinching Big Business on campus, launching an extended epic tracking the Teen Thunderbolt’s exploration of communes, alternative cultures and the burgeoning spiritual New Age fads of the day.

Inked by Frank Giacoia ‘Temperature Boiling… and Rising!’ (#229, February 1971) continues the politically-charged drama, albeit uncomfortably interrupted by a trenchant fantasy team-up with Superman sparked when the Man of Steel attempts to halt a violent campus clash between students and National Guard. The tale shifts to WFC #200 (February 1971) – crafted by Friedrich, Dick Dillin & Giella – where ‘Prisoners of the Immortal World!’ has brothers on opposite sides of the teen scene abducted with Robin & Superman to a distant planet where undying vampiric aliens wage eternal war on each other. A return to more pedestrian perils follows in Batman #230 (March 1971) sees ‘Danger Comes A-Looking!’ for our young hero in the form of a gang of right-wing, anti-protester jocks and a deluded friend who prefers bombs to brotherhood, courtesy of Friedrich, Novick & Giordano. ‘Wiped Out!’ (#231, May 1971) then offers an eye-popping end to the jock squad whilst #234 sees a clever road-trip tale in ‘Vengeance for a Cop!’, when a campus guard is gunned down forcing Robin to track the only suspect to a commune. ‘The Outcast Society’ has its own unique system of justice, but eventually the shooter is apprehended in cataclysmic closing ‘Rain Fire!’ (#235 & 236 respectively).

The Collective experience blooms into psychedelic and psionic strangeness in #239 as ‘Soul-Pit’ (illustrated by new penciller Rich Buckler) finds Grayson’s would-be girlfriend, “Jesus-freaks” and runaway kids all sucked into a telepathic duel between a father and son, played out in the ‘Theatre of the Mind!’ before exposing the ‘Secret of the Psychic Siren!’ and culminating in a lethal clash with a clandestine cult in ‘Death-Point!’ (Batman#242, June 1972). Elliot Maggin, Novick & Giordano then open an age of cosy-mystery capers by setting ‘The Teen-Age Trap!’ (Batman #244, September 1972), with Grayson mentoring troubled kids and finding plenty of troublemakers his own age, before ‘Who Stole the Gift from Nowhere!’ is a delightful old-fashioned change-of-pace yarn where our hero seeks out a hidden wealthy benefactor. Batman #248 offers ‘The Immortals of Usen Castle’ (Maggin, Novick & Frank McLaughlin) wherein another deprived-kids day trip turns into an episode of Scooby-Doo, Where are You?

Pencilled by Brown, the ‘Case of the Kidnapped Crusader!’ then puts the Student Centurion on the trail of an abducted consumer advocate prior to ‘Return of the Flying Grayson!’ (Maggin, Novick & McLaughlin from #250) painfully reminding the hero of his Circus past after tracking down pop-art thieves. Batman #252 (October 1973) sees Maggin, Dillin & Giordano’s light-hearted pairing of Robin with a Danny Kaye pastiche/avatar for charming romp ‘The King from Canarsie!’, before ‘The Phenomenal Memory of Luke Graham!’ (#254 January/February 1974 and inked by Anderson) causes nothing but trouble for the hero, his college professors and a gang of robbers. Issue #259 provides a fashion spread of new costumes suggested by readers in ‘A New Look for Robin’ before the next tale as year-long adventure drought ends with ‘The Touchdown Trap’ in Detective #445 (February/March 1975) as new scripter Bob Rozakis and artist Mike Grell catapult our hero into a 50-year-old college football feud that refused to die, after which ‘The Puzzle of the Pyramids’ (#447, illustrated by A. Martinez & José Mazzaroli) offers another cunning crime conundrum. Action-packed, chase-heavy human drama ‘The Parking Lot Bandit!’ & ‘The Parking Lot Bandit Strikes Again!’ (DC #450-451, August & September 1975, by Al Milgrom & Terry Austin) gives the titanic teen one last chance to strike a bit of terror into the hearts of evil-doers in his titular home before the next big change comes.

In the midst of another expansion, DC launched a line of double-length titles with Batman Family as possibly its strongest contender. A supersized anthology of new and vintage Bat-fare highlighting a vast themed cast, it paired Robin & Batgirl as a semi-official crimebusting duo. On sale from June 5th 1975, the first issue led with Maggin & Grell’s ‘The Invader from Hell!’ as the ghost of Benedict Arnold attacks Washington DC in a Satan-sponsored sortie to clear his name and rehabilitate his reputation.

With #2 all-reprint, we return for #3 as Maggin, José Luis García-López & Colletta bring the pair to Princetown and a fantastic clash with dinosaurs, future-men and the Spanish Inquisition in thrilling but deceptively peril-free lark ‘Isle of a Thousand Thrills!’ before seasonal shocker ‘Robin’s (Very) White Christmas!’ ( #4, Rozakis, José Delbo & & Colletta) sees Batgirl, Robin and Gotham Police Commissioner Jim Gordon unite to keep Syndicate snitch Tad Wolfe alive and out of the hands of infallible assassin Diamond Lilly.

The eccentrically eclectic collected collation of Teen Wonderments concludes with BF #5’s ‘The Princess and the Vagabond!’ by Maggin, Cary Bates, Swan & Colletta, wherein whilst babysitting foreign dignitary Princess Evalina, Congresswoman Barbara Gordon, her alter ego Batgirl, student guide Dick Grayson and Robin collectively inspire a mismatched romance by foiling the murder plot of sinister agency MAZE…

These stories span a turbulent and chaotic period for comic books: perfectly encapsulating and describing the vicissitudes of the superhero genre’s premier juvenile lead: complex yet uncomplicated adventures drenched in charm and wit, moody tales of rebellion and self-discovery, and rollercoaster, all-fun romps. Action is always paramount, and angst-free satisfaction is pretty much guaranteed. These cracking yarns are something no fan of old-fashioned Fights ‘n’ Tights fiction should miss.
© 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 2026 DC Comics. All Rights Reserved.

Today in 1926 saw the birth of American cartoonist George Booth (Spot, Local Item), with artist/inker Mike Royer (Magnus, Robot Fighter, Silver Star, Jack Kirby’s Fourth World, Kamandi) arriving in 1941 and iconic groundbreaking French fantasist Philippe Druillet (Lone Sloane saga, Yragaël, La Nuit, Salammbô, Nosferatu) in 1944. Romanian artist Sandu Florea (Batman: Battle for the Cowl, Justice Society of America, X-Men, Dou? palo?e) came along in 1946 and abstract expressionist/Underground Commix pioneer David Geiser (Demented Pervert, Uncle Sham, Edge City) one year later; colourist Adrienne Roy in 1953 and Belgian stylist Benoît Sokal (Inspector Canardo, Syberia) in 1954.

In 2007 we lost American cartoonist, sculptor, author and illustrator Howie Schneider (Eek & Meek, Chewy Louie).

Adam Strange Archives volumes 1 – 3


By Gardner F. Fox, Carmine Infantino, Mike Sekowsky, Bernard Sachs, Joe Giella, Murphy Anderson, Gil Kane & various (DC Comics)
ISBN: 978-1-4012-0148-7 (HB)

This book includes Discriminatory Content produced in less enlightened times.

For many of us the Silver Age of comics is the ideal era. Varnished by nostalgia (because that’s when most of us caught this crazy childhood bug) the clear, clean-cut, uncomplicated optimism of the late 1950s and early 1960s produced captivating heroes and villains who were still far less terrifying than the Cold War baddies who troubled our parental units. The sheer talent and professionalism of the creators working in that temporarily revitalised comics world resulted in triumph after triumph to brighten our young lives and which – remarkably – still shine today with quality and achievement.

One of the most compelling stars of those days was an ordinary Earthman who regularly commuted to another world for spectacular adventures, armed with nothing more than a ray-gun, a jetpack and his own ingenuity. He was Adam Strange, and like so many of that era’s comics triumphs, he was the brainchild of Julius Schwartz and his close team of creative stars.

Showcase was a try-out comic conceived to launch new series and concepts with minimal commitment of publishing resources. If the new character sold well initially, a regular series would follow. The process had already worked with phenomenal success. The revised Flash, new concept Challengers of the Unknown and at-last-promoted-to-solo-status (Superman’s Girlfriend) Lois Lane had all won their own titles and Editorial Director Irwin Donenfeld now wanted his two Showcase editors to create science fiction themed stars to capitalise on the twin zeitgeists of the “Space Race” and the popular fascination with movie monsters and aliens.

Jack Schiff came up with the futuristic crime fighter Space Ranger (who debuted in issues #15-16) and Schwartz went to reliable cohort Gardner Fox, Mike Sekowsky & Bernard Sachs to craft the saga of a modern-day explorer in the most uncharted territory yet imagined.

Showcase #17 (cover-dated November/December 1958 and on sale from September 18th) launched as Adventures on Other Worlds, and told of American archaeologist Strange who, whilst fleeing from enraged natives in Peru, jumps a 25 ft chasm only to be hit by a stray teleport beam from a planet orbiting Alpha Centauri. He materialises in another world, filled with giant plants and monsters and is rescued by a beautiful woman named Alanna who teaches him her language through uncanny science!

Premier yarn ‘Secret of the Eternal City!’ reveals that Rann is a planet recovering from atomic war, and the beam was in fact a simple flare, one of many sent in an attempt to communicate with other races. In the four years (speed of light, right? As we all knew, Alpha Centauri is about 4.3 light-years from Sol) that Zeta-Flare travelled through space, cosmic radiation converted it into a teleportation beam. Until the radiation drained from his body, Strange would be a very willing prisoner on a fantastic new world.

… And an incredibly unlucky one apparently, as no sooner has Adam started acclimatising than an alien race named The Eternals invade, seeking a mineral that can grant them immortality. The Terran tourist’s courage and sharp wits enable him to defeat the invaders, only to have the radiation finally fade, drawing him home before the adoring Alanna can administer a hero’s reward. Thus were established the narrative principles of this beguiling series. Adam would intercept one of the many follow-up Zeta-beams sent by Rann over the years, hoping for some joyful times with his alien sweetheart, only to be confronted with a planet-menacing crisis. The very next of these came in the same debut issue. ‘The Planet and the Pendulum’ saw him obtain the crimson spacesuit and weaponry that became distinctive trademarks in a tale of alien invaders which also introduced the subplot of Rann’s warring city-states, each desperate to progress and all at different stages of recovery and development. Rann was a world of constant danger both domestic and from the skies above: non-stop peril for which brains, not brawn, were the best solution. Sadly, Strange was only able to stay on the atom-war scarred planet for as long as it took teleporting Zeta Beam radiation to dissipate, whence he would fade away to reappear on Earth until the next beam hit him – a procedure just as fraught and risky. Adam found true love with Alanna and unparalleled adventure, but the universe seemed determined to keep them apart.

The next issue featured the self-explanatory ‘Invaders from the Atom Universe’ and ‘The Dozen Dooms of Adam Strange’ wherein our reluctant hero must outwit the dictator of Dys who plans to invade Alanna’s city of Rannagar. With this tale Sachs was replaced as inker by Joe Giella, although he would return as soon as #19’s Gil Kane cover, the first to feature the title Adam Strange over the unwieldy logo “Adventures on Other Worlds”. ‘Challenge of the Star-Hunter’ and ‘Mystery of the Mental Menace’ are classic puzzle tales wherein the Earthman must outwit a shape-changing alien and an all-powerful energy-being. These were the last in Showcase (cover-dated March/April 1959). With the August issue (on sale from Jue 4th) Adam Strange took over the pole position and cover spot of venerable anthology title Mystery in Space.

As well as a new home, the series also found a new artist. Carmine Infantino, who had worked magic with The Flash, applied his clean, classical line and superb design sense to create a stark, pristine, sleekly beautiful universe that was spellbinding in its cool but deeply humanistic manner, and genuinely thrilling in its imaginative wonders. MIS #53 began an immaculate run of exotic high adventures with ‘Menace of the Robot Raiders!’ by Fox, Infantino & Sachs, followed in glorious succession by ‘Invaders of the Underground World’ and ‘The Beast from the Runaway World!’

With #56 Murphy Anderson became lead/semi-regular inker, and his precision brush and pen made the art a thing of unparalleled beauty. ‘The Menace of the Super-Atom’ and ‘Mystery of the Giant Footprints’ are sheer visual poetry, but even ‘Chariot in the Sky’, ‘The Duel of the Two Adam Stranges’ (MIS #58 & #59, inked by Giella) and ‘The Attack of the Tentacle World’, ‘Threat of the Tornado Tyrant’ and ‘Beast with the Sizzling Blue Eyes’ (MIS #60-62, inked by Sachs) were – and remain – streets ahead of the competition in terms of thrills, plot complexity, spectacle and imagination.

Anderson returned with #63, marking the introduction of some much-needed recurring villains (the Vacuumizers of Vantor) who employed ‘The Weapon That Swallowed Men!’, #64’s chilling ‘The Radio-active Menace!’ and, ending this initial volume, ‘The Mechanical Masters of Rann’; all superb short-story marvels that appealed to their young readers’ every sense – especially that burgeoning sense of wonder.

The deluxe Archive format made a fitting home for these extraordinary exploits that are still some of the best written and drawn science fiction comics ever produced. Whether for nostalgia’s sake, for your own entertainment or even to get your own impressionable ones properly indoctrinated, you really need this book in your home.
© 1958, 1959, 1960, 1961, 2003 DC Comics. All Rights Reserved.

Adam Strange Archive volume 2

By Gardner Fox, Carmine Infantino, Joe Giella, Murphy Anderson & various (DC Comics)
ISBN13: 978-1-4012-0780-9 (HB)

This book includes Discriminatory Content produced in less enlightened times.

The Silver Age “thinking man’s hero” returned for more alluring Love & Jetpacks action in this second compilation of adventures on other worlds, reprinting tales from Mystery in Space #66-80 (cover-dated March 1961 to December 1962).

Adam Strange, more than any other character, epitomises the Silver Age of Comics. A calm clearheaded Earth archaeologist and scientist who coolly conquered all adversity through rational effort. It was witty, sophisticated, gloriously illustrated and fantastically imaginative, and there was always Alanna: beautiful, capable but somehow unattainable. The happy-ever-after was always just in reach, but only after one last triumphant exploit…

After the bravura boldness of the first Adventures on Other Worlds the far-flung fantasy continued with ‘Space Island of Peril’ by Fox, Infantino & Giella, a duel with an alien super-being who planned to throw Rann into one of its suns, followed in #67 by the deceptively eerie ‘Challenge of the Giant Fireflies!’, as Adam’s adopted home was menaced by thrill-seeking creatures who live on the surface of Earth’s sun.

Next, Anderson returned as inker-in-residence for ‘The Fadeaway Doom!’ wherein Rannian General Kaskor (another menace who would constantly vex Adam and many planets) made a unique attempt to seize power by co-opting the Zeta Beam itself. Then ‘Menace of the Aqua-ray Weapon!’ saw the Kirri – a primordial species from Rann’s primeval past – return to take possession of their old world, whilst #70 revealed how ‘The Vengeance of the Dust Devil!’ threatened not just Rann but also Earth itself!

Inked by Giella, ‘The Challenge of the Crystal Conquerors!’ was a sharp game of bluff and double-bluff with Adam’s other home planet at stake, whereas MIS #72 delivered a radical departure from the tried-&-true formula. ‘The Multiple Menace Weapon!’ found Adam deliberately diverted to Rann of the year 101,961AD to save his own distant descendants before being dumped back to deal with a threat to his own time and place. This was followed by action-packed mystery thriller ‘The Invisible Raiders of Rann!’ after which the puzzles continued with #74’s complex conundrum ‘The Spaceman who Fought Himself!’, inked by back-for-good Murphy Anderson, and leading into Mystery in Space #75 and a legendary team-up with the freshly-minted Justice League of America. Here Adam & Alanna save two worlds threatened by despicable slaver and star pirate Kanjar Ro in ‘Planet That Came to a Standstill!’ – indisputably one of the best tales of DC’s Silver Age and a key moment in the development of cross-series continuity.

After that 25 page extravaganza it was back to 14 pages for #76’s ‘Challenge of the Rival Starman!’ as Adam becomes involuntary tutor and stalking-horse for an alien Champion, prior to ‘Ray-Gun in the Sky!’– an invasion mystery that invited readers to solve the puzzle before our hero did. ‘Shadow People of the Eclipse!’ then pitted the Earthman against a bored alien thrill seeker. MIS #79’s ‘The Metal Conqueror of Rann!’ found him fighting a much more personal battle to bring Alanna back from the brink of death. This second deluxe tome closes with ‘The Deadly Shadows of Adam Strange!’ wherein nemesis in waiting Mortan wreaks a bizarre personal revenge on the Champion of two Worlds…

Don’t dawdle now. Catch that next Zeta beam for more amazing adventures…
©1961, 1962, 2006 DC Comics. All Rights Reserved.

Adam Strange Archive volume 3

By Gardner F. Fox, Carmine Infantino, Murphy Anderson, John Giunta, Sid Greene, Joe Giella & various (DC Comics)
ISBN: 978-1-4012-1661-0 (HB)

For us remaining Baby-Boomer brats, Adam Strange, more than any other character, epitomises the Silver Age of Comics. An Earthman visiting other worlds, filled with monsters, fabulous marvels and non-stop peril for which brains, not brawn, were the only solution. Strange was an interplanetary ambassador very much of his era. However, as his elegant genre-adventures gave way to a superhero avalanche, the creative dream team of Fox, Infantino & Anderson, (latterly aided and abetted by Sid Greene & Giella) were called away to shepherd more urgent and new-fangled costumed creations…

From Mystery in Space #92 (June 1964 and on sale from April 30th) incoming editor Jack Schiff supervised Strange’s exploits until his final appearance in #102 (September 1965). Space Ranger had joined the book’s line-up and immediately taken over the cover-spot, with Adam & Allana’s forays (not included here) crafted by Fox, Dave Wood, Jerry Siegel, Lee Elias & Dick Dillin, until they were ousted by incoming experiment Ultra, the Multi-Alien

This third and final hardback outing gathers the last vestiges of that Silver Age excellence – comprising Mystery in Space #81-91, and includes a team-up from Hawkman #18 and a pertinent short story from Strange Adventures #157.

Jim Starlin’s introduction ‘Adam Strange: The Coolest Dude Around’ precedes a deluge of daring delights from Fox, Infantino & Anderson, beginning with MIS #81 and testing our hero to his limits as Alva Xar – the dictator who caused Rann’s nuclear armageddon – returns after 1000 years to threaten both Adam’s home planets in ‘The Cloud-Creature that Menaced Two Worlds!’

Then a terrestrial criminal’s scheme to conquer Earth is thwarted as a result of Adam ending a ‘World War on Earth – and Rann!’ before #83 pits the sagacious star man against a desperate ‘Emotion Master of Space!’ whilst relentless Rhyntharian Dust-Devil Jakarta returns, shrugging off ‘The Powerless Weapons of Adam Strange!’ (Giella inks). Triumphing anyway, Strange & Alanna are almost annihilated by the ‘Riddle of the Runaway Rockets!’ – which sees a revived primordial robot rampage under the vivid veridian skies – before ‘Attack of the Underworld Giants!’ (inked by John Giunta) foreshadows big changes to come via a fantastic vision…

An intriguing diversion from sci fi sister anthology Strange Adventures #157 (October 1963) follows. ‘Rescue by Moonlight!’ (Fox, Infantino, Giunta & Anderson) is a Space Museum yarn (anthological done-in-one tales centred around Earth’s official interstellar knowledge repository) wherein 25th century descendent Alan Strange foils the theft of exotic mineral “parastil”.

Mystery in Space had headlined Strange since #53, but with #87 (November 1963) Schwartz capitulated to and capitalized on the growing superhero boom: adding Hawkman (and Hawkgirl!) in a back-up slot that included full cover-privileges. Not included here, initial yarn ‘The Amazing Thefts of the I.Q. Gang!’ subtly impacted our hero’s lead tale as ‘The Super-Brain of Adam Strange!’ (with Sid Greene as final regular inker) sees the Earthman hyper-evolved by Zeta-radiation and an unlikely menace to all…

An ethereal do-gooder went well astray in ‘The Robot-Wraith of Rann!’ and Adam subsequently proved irresistible to the ‘Siren of the Space Ark!’ before Infantino & Anderson reunited for Fox’s extra-length length End-of the-World(s) epic ‘Planets in Peril!’ in #90. However, after teaming Adam and the Hawks to save two worlds, the glory days concluded quietly with ‘Puzzle of the Perilous Prisons!’ (MIS #91, May 1964), offering a return engagement with archfoe Mortan and a nasty case of evil duplicate girlfriend…

Strange’s later divergent direction was ignored by Fox & Anderson in early 1967 when they crafted Hawkman #18 wherein the Winged Wonder joined Strange against malevolent Manhawks to locate the ‘World That Vanished!’ The planet in question was Thanagar and when it went, it took Hawkman’s beloved wife Shayera with it…

This volume concludes with biographies of the creators, but not sadly the conclusion of that fable as Adam wasn’t in it. If you hate to be kept hanging you’ll need to find a different reprint edition carrying that one.

Also available in a monumental omnibus edition, but not in any format ordinary earthlings can lift or afford, these tales are desperately in need of a digital age refit and restoration.
© 1963, 1964, 1967, 2008 DC Comics. All Rights Reserved.

Today in 1915 literary agent, writer, editor and architect of the Silver Age of comic books Julius Schwartz was born. He shares his birthday with British cartoonist Jack Edward Oliver (Fresco-Le-Ray, The Champ, Master Mind, Vid Kid, Cliff Hanger) in 1942 and in 1976 Brazilian illustrator Adriana Melo (Star Wars, Iron Man, Fantastic Four, Silver Surfer, Rose & Thorn, Birds of Prey, Sinestro, Witchblade).

The date also marks the launch of Frank Willard’s pioneering Moon Mullins strip in 1923 and Jim DavisGarfield in 1978.

T.H.U.N.D.E.R. Agents Classics volume 6


By Wallace Wood, Steve Ditko, Steve Skeates, Gil Kane, Ralph Reese, Dan Adkins, George Tuska, Reed Crandall, John Giunta, Ogden Whitney, Chic Stone, Paul Reinman, Jack Abel & various (IDW)
ISBN: 978-1-63140-182-4 (HB) eISBN: 978-1-62302-879-4

This book includes Discriminatory Content produced in less enlightened times.

The meteoric lifespan and output of Tower Comics is one of the key creative moments in US comic book history. Bombastic, brilliant but brief, the era of The Higher United Nations Defense Enforcement Reserves was a benchmark of quality and sheer unadulterated fun for fans of both the then-still-reawakening superhero genre and the global spy-chic obsession of those distant times. Throughout the early 1960s, the Bond movie franchise was going from strength to strength, with blazing action and heady glamour totally transforming the formerly low-key, seedy and darkly patriotic espionage genre. The buzz was infectious: soon a Man Like Flint and Matt Helm were carving out their own piece of the action as TV shanghaied the entire bandwagon with the irresistible Man from U.N.C.L.E. (premiering September 1964), bringing the whole shtick into living rooms around the world.

Thus veteran Archie Comics editor Harry Shorten was commissioned to create a line of characters for a new distribution-chain funded publishing outfit: Tower Comics. He brought in creative maverick Wallace (he hated the contraction “Wally”) Wood, who called on many of the biggest names in the industry to craft material for the broad cross-section of genres the new company demanded; as well as T.H.U.N.D.E.R. Agents and spin-offs Undersea Agent, Dynamo and NoMan, there was a magnificent anthology war-comic Fight the Enemy and wholesome youth-comedy Tippy Teen.

Samm Schwartz & Dan DeCarlo handled the funny stuff – which outlasted everything else – whilst Wood, Larry Ivie, Len Brown, Bill Pearson, Steve Skeates, Dan Adkins, Russ Jones, Gil Kane, Ditko & Ralph Reese contributed scripts for themselves and the industry’s other top talents to illustrate on the adventure line. With a ravenous appetite for superspies and costumed heroes growing in comic book popularity and amongst the general public, the idea of blending the two concepts seemed inescapable…

T.H.U.N.D.E.R. Agents #1 appeared with no fanfare or pre-publicity on newsstands in August 1965. Beguilingly, all Tower titles were in the beloved-but-rarely-seen 80-Page Giant format, offering a huge amount of material in every issue. All that being said, these tales would not be so revered if they hadn’t also been so superbly crafted. As well as Wood, the art accompanying compelling, subtly more mature stories was by some of the greatest talents in comics: Reed Crandall, Gil Kane, George Tuska, Mike Sekowsky, Dick Ayers, Joe Orlando, Frank Giacoia, John Giunta, Ogden Whitney, Steve Ditko and more, as well as budding stars including Ralph Reese, Steve Skeates and Dan Adkins…

For those who came in late: When philanthropic benevolent super-genius Professor Emil Jennings perished in an assault by forces of the mysterious Warlord, late-arriving UN troops salvaged some of his greatest inventions. These included a belt that increased the density of the wearer’s body until it became as hard as steel; a cloak of invisibility and a brain-amplifier helmet. These uncopiable prototypes were divided between several agents: the basis of a unit of super-operatives to counter the increasingly bold attacks of multiple global terror threats such as the aforementioned Warlord. First chosen was affable, honest, but far from brilliant file clerk Len Brown. To the astonishment of everyone who knew him, he was assigned the belt and codename Dynamo.

T.H.U.N.D.E.R. Agent NoMan was previously decrepit Dr. Anthony Dunn who chose to have his mind transferred into an unaging android body and then gifted with the invisibility cape. If his artificial body was destroyed, Dunn’s consciousness could transfer to another android body. As long as he had a spare ready, he could never die. The helmet went to John Janus: a seemingly perfect UN employee and mental and physical marvel. He easily passed all tests necessary to wear the Jennings helmet. Sadly, he was also a double agent, the Warlord’s mole poised to betray T.H.U.N.D.E.R. at the earliest opportunity. All diabolical plans went awry once he donned the helmet and became Menthor since the device awakened his brain’s full potential, granting him telepathy, telekinesis and mindreading powers, but it also drove all evil from his mind. Such was the redemptive effect that Janus actually gave his life to save his comrades: an event which astounded readers at the time. In the wake of that tragedy, the Helmet vanished, passing through many hands but always escaping T.H.U.N.D.E.R.’s attempts to retrieve it.

Guy Gilbert was leader of crack Mission: Impossible-styled special forces commando unit T.H.U.N.D.E.R. Squad until asked to beta-test an experimental super-speed suit. As gung-ho, duty-obsessed Lightning, he proudly did so, even if every use of the hyper-acceleration gimmick shortened his life-span. As the concept and the niche universe expanded, other augmented agents appeared – like human jet Raven or subsea spin-off U.N.D.E.R.S.E.A. Agent (AKA Davy Jones of the United Nations Department of Experiment and Research Systems Established at Atlantis

This concluding compilation of classic costumed-spycraft re-presents the compelling contents of T.H.U.N.D.E.R. Agents#15-20 (cover-dates July 1967 to November 1969) – with the incomparably cool concept and characters going from strength to strength as a spirit of eccentric experimentation and raucous low comedy increasingly manifested in the wake of the defeat of the Warlord (actually exposed as only one of a subterranean race intent on world conquest) and rise of independent, lone wolf supervillains, sinister crime cabals such as SPIDER or international/political foes like China’s Red Star

As always the action opens with a Dynamo solo tale. ‘Collision Course!’ – by an unknown author and depicted by Wood – sees superhuman Andor resurface. A misunderstood modern Prometheus, he was abducted by the Warlords as a baby and spent decades being turned into a biological superman devoid of sentiment or compassion. However, they lost control of their living weapon once he met fellow mortals. Since their shattering defeat, the pitiful outsider’s attempts to rejoin mankind had been constantly thwarted and derailed. Here, following a clash with Dynamo and SPIDER, Andor is a blind (but still immensely powerful) Samson living as a hobo with a cunning grifter. Sadly. he’s again exploited by the underworld – in the form of ruthless criminal freelancer Iron Maiden – and precipitates another shattering duel with the super strong G-man as well as SPIDER’s own hyper-strong, enhanced operative Brutus Kanassus.

When the dust and rubble settles, Andor is gone again, but is now again a slave of Uru, the last surviving subterranean warlord…

Steve Skeates & Chic Stone then detail the next step in Lightning’s life. Dying because of the speed suit he volunteered to wear, Agent Gilbert is placed into cryostasis, but ‘While Our Hero Sleeps…!’ archfoe Warp Wizard wickedly swipes the body. He, however, utterly underestimates the skills and determination of Guy’s former T.H.U.N.D.E.R. Squad colleagues Dynamite AKA Daniel John Adkins, Katheryn “Kitten” Kane & William “Weed” Wylie to save him, before Bill Pearson & Ogden Whitney despatch NoMan’s scattershot free-floating consciousness on a ‘Starflight to the Assassin Planet!’ Here the invisible agent faces uncanny extraterrestrial terrors and saves earth from impending invasion…

Dynamo’s best efforts are not enough in ‘Hail to the Chief!’ (by an unknown author, Giunta, Wood & Adkins) wherein his commanding officer Sam Short mistakenly believes he’s being pensioned off. Obsessed with proving himself, “the Old Man” is captured by SPIDER and almost kills both of them before this day is saved. T.H.U.N.D.E.R. Agent Weed (a character Wood regarded as his “spirit animal”) closes the show with a delicious comedy thriller by author unknown and George Tuska.

When a big dumb thug is bitten by a radioactive mole and gains regulation theme-based excavation powers, his small, cunning pal decides ‘Dig We Must’ and has them become costumed crooks robbing from below ground. Their exploits utterly outfox the super-augmented T.H.U.N.D.E.R. Agents but wily Weed has the perfect plan to trap The Mole and Dapper Dan

Cover-dated October 1967, T.H.U.N.D.E.R. Agents #16 opens with a Dynamo mini-epic illustrated and possibly written by Steve Ditko at the peak of his creative powers and political paranoia. Here the mighty hero and missing frenemy Andor are both beset with a ‘Dream of Doom!’ sent by the last subterranean.

Emboldened by recapturing the Warlord’s living weapon, Uru modifies and heals Andor before unleashing him against humanity, but has again underestimated his tool’s strength of will, affinity for his own kind and all too human feeling for Agent Kitten…

Fast paced and furiously violent, this is a classic example of astounding Ditko’s gift for combat staging as well as his signature graphic psychedelia in action. The era was intensely fruitful for artists as seen in a follow-up by Gil Kane & Jack Abel who limn another uncredited yarn as NoMan learns ‘One of Our Androids is Missing!’ Plunged into a frantic and convoluted global chase whilst again succumbing to psychological traumas triggered by being an undying ancient in a mobile plastic coffin, he soon recovers his emotionless equilibrium after fellow agent Linda Rogers uncovers a plot by the Red Chinese to steal one of his artificial carcases. They intend on turning it into a bomb with the sole purpose of tricking the Soviet Union into leaving the United Nations and blaming T.H.U.N.D.E.R. for the crime. It doesn’t work…

With Lightning notionally cured and declared fit for duty, Skeates & Stone amp up the superpower arms race as old enemy Professor Forkliff uses SPIDER resources to dope the speedster with super hallucinogens before unleashing his own enhanced speed freak – ‘The Whirligig!’ – to crush T.H.U.N.D.E.R. Sadly for them, Gilbert does everything – even recover from a bad trip – at top speed…

The entire Agents roster assembles for anonymously scripted Tuska tale ‘The End of the T.H.U.N.D.E.R. Agents?’ after SPIDER finds a way to negate all their advanced technology and entombs them all… until Weed, Kitten & Dynamite prove that a great plan and deathwish determination is all that’s really needed to send evil packing…

Dynamo closes the issue with a psychologically harrowing tale revealing how constant missions have burned him out. Enduring random descents into mindless fugue states, he is a hero lost to reality. Mature, disturbing, chilling and decades ahead of its time, ‘A Slight Case of Combat Fatigue’ comes courtesy of old soldier Wood and reset the tone as superheroes and spies began to pall in the public’s attention…

T.H.U.N.D.E.R. Agents #17 (December 1967) began with Dynamo in lighter mode as ‘Return of the Hyena!’ (by that mystery scribe, Wood & Reese) saw the husky but not highbrow hero repeatedly made a jackass by a cunning costumed criminal who indulged himself in a battle of wits with an enemy he deemed completely unarmed. Happily. Brawn and determination… and sneaky rogue Agent Weed… balanced the scales of justice enough to cage the beastly bandit, after which Whitney renders an uncredited modern monster mash wherein NoMan learns ‘The Locusts are Coming!!’ before saving embattled missile bases from marauding robotic raiders led by ambitious but unruly King Locust.

With readers tastes changing, Tuska took the weakest but wily-est Agent deep into genre territory for ‘Weed Out West!’ Scouting out SPIDER sightings in Antelope Haunch, Oklahoma, he finds shady doings at the local cowboy film shoot and soon embroils butch back-up Dynamo in uranium smuggling rings, murder plots and wedding plans before the entire T.H.U.N.D.E.R. Agents cadre unites the arch enemy foe in show-stopping closer ‘Put Them All Together, They Spell S.P.I.D.E.R.!’ (by anonymous & Stone). Here Dynamo leads the charge after an ordinary undercover mission exposes the cabal’s secret leaders (“The Council”) as a coalition comprising old enemies Demo, Dr. Sparta, Mastermind, Mayven and The Tarantula, led by the utterly unknown Spider Secretary General, just as the group turn on each other.

That debacle began when SPIDER recovered the all-powerful Menthor Helmet but could not peacefully decide on who should wear it and ended when the good guys explosively arrived to mop up the remains of the heated debate…

Nearly a year passed before #18 was published (cover-dated September 1968), but the contents were worth the wait. It began with another Ditko classic as ‘Dynamo and the Amazing Mr. Mek!’ saw the super-agent clash with a little nebbish suddenly granted uncanny power over machines and mechanisms. Sadly, he had no problem robbing banks but baulked when SPIDER abducted him to inflict massive global terror and death. Those unshakeable, ironclad scruples cost Mek his life and baffled his foes, but not as much as ‘The Sinister Schemes of Professor Reverse!’ (illustrated by Whitney) baffled and bamboozled NoMan when the bonkers boffin began regressing animals, humans and top military personnel into ancient ancestor iterations such as cavemen and tyrannosaurs…

Next, thanks to an unknown writer and the astounding Reed Crandall, classical fantasy rendered in the classical manner finds Dynamo trapped in an Italian volcanic eruption to somehow awaken in ancient Rome. Experiencing firsthand the grandeur, glory and petty injustices, only a miracle saves him from ‘The Arena!’ and sees him returned to his proper place and station in time to solve ‘The Secret of the Abominable Snowman!’ Crafted by unknown & Stone, here hapless Len Bown must uncover how satellite and space-race launches are being sabotaged from Tibet. Close investigation beside saucy British spy Carnaby Mod soon uncovers a plot by “commie” robotics genius The Red Lama, but there are still mysteries of the upper slopes to unravel even when all the shooting and thumping stops…

The big spy bubble had burst by this point and the spin-off titles had all folded by the time T.H.U.N.D.E.R. Agents #19 (November 1968) was released. All art with no ads, it felt like a rapid using up and closing down exercise which began with the Wood pencilled, Ralph Reese written & inked ‘Half an Hour of Power!’ as SPIDER scientist Dr. Orgo unleashes an army of super androids – including perfect duplicates of all T.H.U.N.D.E.R. Agents and personnel – and poor Len goes on a rampage uncertain who to hit and who to save…

Feeling suspiciously like Dynamo inventory material, it’s followed by another rowdy riot as ‘Dynamo vs. The Ghost!’ (art by Paul Reinman) sees a traitor abscond with T.H.U.N.D.E.R.’s latest breakthrough: a belt enabling the wearer to phase molecules and pass through walls. So can Dynamo – in his own way – but it’s equipment misuse that ends the blockbusting chase that follows in horrific tragedy…

Reese scripts Dynamo’s clash with the ‘All-Girl Gang!’ for Tuska to illustrate, as sinister spymaster Satana operates a squad of female agents no ordinary man can handle. Of course, T.H.U.N.D.E.R. Agent Kitten Kane is an expert in disguise, infiltration and close combat too…

NoMan then confronts ‘A Matter of Transmitters’ (anonymous & Reinman) as SPIDER’s captive scientist Dr. Einzwei subverts T.H.U.N.D.E.R.’s teleport systems and captures all the super-agents as they innocently travel to work. Of course, NoMan has more than one body to report in with and the web soon untangles…

One year later, a final issue appeared. Cover-dated November 1969, T.H.U.N.D.E.R. Agents #20 pretty much signalled the end of spy fever and a dialling back of superheroic shenanigans. The issue was filled with reprint masterpieces but did offer an editorial in ‘Dear T.H.U.N.D.E.R. Fan’ by Wood & Adkins and new 4-page recap of the way it all began in ‘The Origin of T.H.U.N.D.E.R. Agent Dynamo’, drawn by Chic Stone, both of which are included here to sign off the first era of spies in spandex.

With covers by Wood, Kane, Ditko, Reese, Crandall & Stone, these stories all favour fast pace, wry wit, sparse dialogue, explosive action and breathtaking visuals. T.H.U.N.D.E.R. Agents was decades ahead of its time and informed everything in Fights ‘n’ Tights comics that came after it. These are truly timeless superhero comic classics which improve with every reading, so do yourself a favour and add these landmark super-sagas to your collection.
T.H.U.N.D.E.R. Agents Classics volume 6 © 2015 Radiant Assets, LLC. All rights reserved.

Today in 1927 master craftsman and inveterate storyteller Wallace Wood (EC Comics, Mad Magazine, T.H.U.N.D.E.R. Agents, Daredevil, Power Girl, Cannon, Sally Forth, The Wizard King, Witzend, Mars Attacks) was born, sharing the natal anniversary with Hi and Lois artist Chance Browne in 1948, scripter/artist Hilary Barta (Starslayer, Plastic Man) in 1957, artist Pat Olliffe (Untold Tales of Spider-Man, Spider-Girl, Captain Britain and MI:13) in 1965 and Italian illustrator Mirka Andolfo (Hex Wives, Wonder Woman, The Amazing World of Gumball, Ms. Marvel) in 1989.

This date in 1919 Billy DeBeck’s Barney Google and Snuffy Smith strip premiered, as did Sgt. George Baker’s Sad Sack in 1942 in the first issue of service magazine Yank – the Army Weekly.

The Shazam! Archives volume 1


By Bill Parker, C. C. Beck & Pete Costanza with various (DC Comics)
ISBN: 978-1-56389-053-6 (HB)

This book includes Discriminatory Content produced in less enlightened times.

At their most impressive, superhero comics combine the gravitas of mythology with all the sheer fun and exuberance of a child’s first rollercoaster ride. The perfect example of this is the original happy-go-lucky hero we can’t call Captain Marvel anymore.

First seen in late December 1939, Whiz Comics (#2 – there was no #1) cashed in on the comic book sales phenomenon of Superman; the big red riot eventually won his name after narrowly missing being Captain Flash or Captain Thunder. He was the brainchild of Bill Parker & Charles Clarence Beck, initially dispensing the same kind of summary rough justice as his contemporaries. However, the character soon distanced himself from the pack – Man of Steel included – by employing and enjoying an increasingly light, surreal and comedic touch, which made him the bestselling comics character in America. Ultimately, he proved that he could beat everybody but copyright lawyers; during his years of enforced inactivity the trademarked name passed to a number of other publishers before settling at Marvel Comics and they are never, never, never letting go. You can check out and compare their cinematic blockbuster version with the DC Extended Universe’s Shazam! flick too…

Publishing house Fawcett had first gained prominence through an immensely well-received magazine for WWI veterans entitled Captain Billy’s Whiz-Bang, before branching out into books and general interest magazines. Their most successful publication – at least until the Good Captain hit his stride – was the ubiquitous boy’s building bible Mechanix Illustrated and, as the comic book decade unfolded, the scientific and engineering discipline and “can-do” demeanour underpinning MI suffused and informed both art and plots of the Marvel Family titles.

As previously stated, the big guy was created by writer/editor Bill Parker and brilliant young artist Charles Clarence Beck who, with his assistant Pete Costanza, handled most of the art on the series throughout its stellar run. Other writers included William Woolfolk, Rod Reed, Ed “France” Herron, Joe Simon, Jack Kirby, Joe Millard, Manley Wade Wellman and fabulously prolific Otto Binder.

Before eventually evolving his own amiable personality, the Captain was a serious, bluff and rather characterless powerhouse, whilst his juvenile alter ego was the true star: a Horatio Alger archetype of impoverished, boldly self-reliant, resourceful youth overcoming impossible odds through gumption, grit and sheer determination…

Homeless orphan and good kid Billy Batson is selected by an ancient wizard to be given the powers of six gods and heroes to battle injustice. He transforms from scrawny precocious kid to brawny (adult) hero Captain Marvel by speaking aloud the wizard’s name – an acronym for six legendary divine patrons: Solomon, Hercules, Atlas, Zeus, Achilles and Mercury.

This magnificent full-colour, deluxe hardback compendium re-presents Captain Marvel’s first 15 exploits from Whiz Comics #2 to 15 (February 1940 to March 1941). There was no #1, two issue #5’s and two editions in March (but I’ll try to explain all that as we go along), with joy, verve and invention paramount in this particular knock-off crusader; one of a countless number imitators and descendants to cash in on the sales phenomenon of Superman…

Author, journalist and fan Richard A. Lupoff covers in great detail the torturous beginnings of the feature in his Foreword before the magic proper starts with a priceless glimpse at the hero’s seemingly-accursed design stage. To establish copyright, publishers used to legally register truncated black-&-white facsimile editions – dubbed “Ash-can Editions” – in advance of their launch issues. For magazine publisher Fawcett, production of their first comic book proved an aggravating process as this registration twice uncovered costly snags which forced the editors to redesign both character and publication.

Contained herein are cover reproductions of Flash Comics #1 starring Captain Thunder (obliviously scheduled for release mere days after DC’s own Flash Comics title hit the stands), and Thrill Comics #1 which repeated the accident just as Standard’s Thrilling Comics launched. Also on view is monochrome art for the first half of the story of “Captain Thunder” which would eventually be re-lettered and released as the lead in anthology title Whiz Comics #2, finally safely released cover-dated February 1940. Like many Golden Age series, the stories collected here never had individual titles, and DC’s compilers have cleverly elected to use the original comics’ strap-lines or cover blurbs to differentiate the tales…

‘Gangway for Captain Marvel!’ – drawn in a style reminiscent of early Hergé – finds homeless orphan newsboy Billy Batson lured into an abandoned subway tunnel to a meeting with infinitely ancient wizard Shazam. At the end of a long life confronting evil, the white-bearded figure grants the lad the powers and signature gifts of six gods and heroes; bidding him to continue the good fight.

In 13 delightfully clean and simple pages Billy gets his powers, has his secret origin revealed (he’s actually heir to a fortune embezzled by his crooked uncle Ebenezer Batson), wins a job as a roaming radio reporter for Amalgamated Broadcasting and defeats the demonic schemes of criminal science maniac Doctor Thaddeus Bodog Sivana, who is holding the airwaves of America hostage. The mighty, taciturn and not yet invulnerable Marvel is only sparingly used to do the heavy lifting. It is sheer comic book poetry…

The March issue had no cover number but was listed as #3 in the indicia and featured ‘The Return of Sivana’ as the insane inventor unleashes a mercenary army equipped with his super-weapons upon the nation, attempting to become Emperor of America. His plan is duly thwarted by Billy acting as a war correspondent, and the mighty muscles of Marvel…

The third (April-dated) Whiz Comics had “Number 3” on the cover but was designated #4 inside and proudly proclaimed ‘Make Way for Captain Marvel!’ before boldly leaping into full science fiction mode as Billy is shanghaied to Venus in Sivana’s mighty rocketship. The boy is forced to reveal his amazing secret to the demented inventor whilst battling incredible monsters and giant frog-men dubbed “Glompers”, with the magnificently guileless and gallant Marvel seemingly helpless against the savant’s seductive new ally – Queen Beautia – as that deadly duo prepare to invade Earth.

Only seemingly though…

‘Captain Marvel Crashes Through’ (#4 on the cover, but #5 inside) details how bewitching Beautia, aided by Sivana’s technology, runs for President. However, the sinister siren has a soft heart, and when Billy is captured (and encounters the first of a multitude of diabolically clever gadgets designed to stop him saying his magic word), she frees him, thus falling foul of the gangsters who were backing her. Happily, Captain Marvel is there to save the day…

An inexplicable crime-wave shakes the country in ‘Captain Marvel Scores Again!’ (the wild numbers game finally ends here as there’s a #5 on the cover and the same inside) as a different sinister scientist uses a ray to turn children into thieves. Even Billy is not immune…

‘Captain Marvel and the Circus of Death’ (July 1940) sees Sivana return with fantastic Venusian dino-monsters which our Good Captain is hard-pressed to handle. Incidentally, this was the first issue where the Big Red Cheese is seen definitely flying as opposed to leaping – something Superman is not acknowledged as doing until late 1941. It means nothing, I’m just saying emulation goes both ways…

For ‘Captain Marvel and the Squadron of Doom’, young Billy travels to the North Pole for a radio story and discovers a secret organisation thawing out frozen cavemen to act as their army of conquest, after which he and his mature magical avatar foil a murderous spiritualist causing mass-drownings to bolster his reputation and fortune in ‘Saved by Captain Marvel!’

Whiz #9’s ‘Captain Marvel on the Job!’ finds man & boy foiling a revolution, recovering foreign crown jewels and flummoxing a madman with a shrinking ray, after which Sivana and Beautia return in ‘Captain Marvel Battles the Winged Death’: a blistering yarn involving espionage and America’s latest secret weapon. In this tale, the Empress of Venus finally reforms, becoming a solid American citizen…

‘Hurrah for Captain Marvel!’ finds Batson investigating college hazing and corrupt sporting events whilst in #12 (January 1941), the World War looms large as “Gnatzi” maritime outrages bring Billy to London where he uncovers the spy responsible for sinking refugee ships in ‘Captain Marvel Rides the Engine of Doom!’

‘Captain Marvel – World’s Most Powerful Man!’ then features Sivana’s latest atrocity as the madman disrupts hockey matches, blitzes banks and incapacitates the US army with a formula that turns men into babies. Even Billy isn’t immune, but at least Beautia is there to help him…

War was looking increasingly unavoidable and many superheroes jumped the gun to start fighting before the US officially entered the fray. ‘Captain Marvel Boomerangs the Torpedo!’ is a superb patriotic cover for Whiz #14 (March 1941) even though the actual story involves Sivana’s capture and subsequent discovery of a thought process which allows him to walk through walls – and cell bars. Luckily, the World’s Mightiest Mortal also possesses the Wisdom of Solomon and deduces a solution to the unstoppable menace…

This superb collection concludes after another stirring cover ‘With the British Plane Streaking to a Fiery Doom, Captain Marvel Dives to the Rescue!’ (#15 and also cover-dated March), fronting an unrelated adventure which reveals the astounding and tragic origin of Dr. Sivana, his unbelievable connection to Beautia, and also introduces her brother Magnificus – almost as mighty a fighter as Marvel – after Billy is kidnapped and trapped once more on Venus…

DC/National Periodical Publications had filed suit against Fawcett for copyright infringement as soon as Whiz Comics #2 was released. The companies slugged it out in court until 1953, when, with the sales of superhero comics decimated by changing tastes, Captain Marvel’s publishers decided to capitulate. The name lay unclaimed until 1967 when M.F. Enterprises released six issues of an unrelated android hero before folding. Marvel Comics finally secured rights to the name in 1968.

DC eventually acquired Fawcett’s comic book properties and characters and in 1973 revived the Good Captain for a new generation, gambling that his unique charm would work another sales miracle during one of comics’ periodic downturns. Retitled Shazam! due to the incontestable power of lawyers and copyright legislation, the revived heroic ideal enjoyed mixed success before being subsumed into the company’s vast stable of characters…

Nevertheless, the first Captain Marvel is a true icon of American comic history and a brilliantly conceived superhero for all ages. This titanic tome only scratches the surface of the canon of delights produced over the near 90 years of his tumultuous existence, and is an ideal exemplar introduction to the world of adventure comics: one that will appeal to readers of any age and temperament.
© 1940, 1941, 1992 DC Comics. All Rights Reserved.

Today in 1867, French artist, cartoonist, creator and designer of Bibendum (the Michelin man) O’Galop AKA Marius Rossillon was born. He shares birthday with Charles ClarenceC.C.Beck (Captain Marvel/Billy Batson, Spy Smasher, Fatman, the Human Flying Saucer) in 1910; mega-letterer Ray Holloway in 1920; strip cartoonist/animator Paul Gringle (Rural Delivery, Out Our Way) in 1922, Charlton comics art mainstay Rocke Mastroserio in 1927 and Dutch creator Jan Kruis (Jan, Jans en de Kinderen) in 1933.

Events include Ken Reid’s final Jonah strip in The Beano this day in 1963 – although the strip was revived in The Dandy 30 years later – and last of Gus Edson & Irwin Hasen’s newspaper feature Dondi in 1986, with Tom Batiuk/Chuck Ayers’ strip Crankshaft debuting one year later.

Today in 1846 Swiss satirist and the world’s first true comics creator – Rodolphe Töpffer (Histoire de Mr. Vieux Bois/The Adventures of Obadiah Oldbuck) – died, as did Shoe and Pluggers cartoonist Jeff MacNelly in 2000, and the mighty, massively influential cartoonist, historian and publisher Jack Edward Jackson AKA Jaxon (Rip Off Press co-founder; crafter of God Nose, Los Tejanos, Comanche Moon, The Secret of San Saba, The Alamo: An Epic Told from Both Sides and dozens more) in 2006.