By Michael O’Donoghue & Frank Springer (Ken Pierce Books)
ISBN: 0-912277-34-3
The 1960s satire boom left many unforgettable classics in film and television, but precious little in the form of comic-strips. One notable exception is this cerebral and innocently smutty masterpiece from Michael O’Donoghue – a brilliant writer and performer who was a co-founder of National Lampoon, as well as an involved citizen in the right place at the right time. His later jobs included working with Woody Allen and being the first head writer on the groundbreaking Saturday Night Live.
In a period of immense upheaval he was in a position to say something about Everything and chose methods that people couldn’t ignore – biting commentary, bizarre sexual practices and naked ladies.
His perfect partner in this endeavour was veteran comics stripper, cartoonist and animation artist Frank Springer, who began his career by assisting George Wunder on Terry and the Pirates before branching out into comic books for practically every company in America.
In 1965 they produced for the Evergreen Review a tongue-in-cheek, subversive assault on old America in the form of a parody of silent movie serials such as the Perils of Pauline. And like contemporary cartoon commentaries Little Annie Fanny and The Adventures of Pussycat they used tactics America couldn’t ignore – politics, sexual themes and the aforementioned naked ladies.
Evergreen Review was an eclectic literary magazine which began in the late 1950s. Despite being a “literary†periodical it was always heavily illustrated and carried many cartoons – often of a controversial, sophisticated or sexually charged nature.
The Review debuted pivotal works by Edward Albee, Samuel Beckett, Jorge Luis Borges, Bertolt Brecht, Charles Bukowski, William Burroughs, Albert Camus, Marguerite Duras, Lawrence Ferlinghetti, Jean Genet, Allen Ginsberg, Gunter Grass, LeRoi Jones, Jack Kerouac, Norman Mailer, Henry Miller, Pablo Neruda, Vladimir Nabokov, Frank O’Hara, Kenzaburo Oe, Octavio Paz, Harold Pinter, Susan Sontag, Tom Stoppard, Derek Walcott and Malcolm X.
It closed in 1973, but returned in 1998 as an online magazine edited by founder Barney Rosset and Astrid Meyer. The new Review features flashbacks to classic editions, and new material by contemporary dissident poets such as Dennis Nurkse, Giannina Braschi and Regina Dereiva.
Evergreen Review ran thirteen instalments of Phoebe, ranging from four to eight pages with such chapter titles as ‘Peril Diver’, ‘Liquidated Assets’ and ‘Pain and Ink’ but the jocularity of the titles mask a very dark and instructive comedy. Many images and scenes involve brutality, humiliation, Nazism and bondage: not out of prurience but to make an antithetical statement.
This is clever, worthy stuff, but if you’re looking for a cheap thrill or can’t see past the surface, leave this book alone. The Review’s publisher Grove Press collected the series as a hardback book in 1968, and this paperback from 1986 reprints that edition.
This is a great lost gem, a powerful example of what comics can contribute to the adult world of debate and reason and a clever read. It’s about time for a third edition…
By Paul Jenkins & various (Marvel Comics)
ISBN 0-7851-1084-4
Paul Jenkins tells an interesting, if predictable, tale to tie-in with the Avengers publishing event that “ended†the forty year run of the Superteam. Of course it was only to replace them with both The New and The Young Avengers. Affiliated comicbooks such as the Fantastic Four and Spectacular Spider-Man ran parallel but not necessarily interconnected story-arcs to accompany the Big Show.
Sometime Avenger Spider-Man is in the neighbourhood when a sultry lady calling herself the Queen attacks New York City, causing massive destruction and mind-controlling a number of civilians. She commandeers a building, taking the workers inside hostage. Captain America is quickly on the scene and seems to know a lot more about her and her insect based powers than he’s letting on.
Already suffering from some hidden aspect of her abilities Spider-Man attacks only to be overwhelmed and then infected by The Queen’s kiss. He awakes as her prisoner, and although he escapes he realises that he is somehow mutating…
As Spidey slowly turns into an insectoid monster, Cap is forced to reveal secrets of America’s shameful political past that go all the way back to World War II, and the Queen’s ruthless intentions are revealed. New York and the World have never been closer to absolute disaster…
Wonderfully illustrated by Michael Ryan, Humberto Ramos, Paco Medina, Wayne Faucher and Juan Vlasco, this is a stylish but essentially vacuous tale of monsters, monstrous acts and monstrous betrayals, but there’s never any real tension and it’s very hard to escape the suspicion that Peter Parker’s subsequent metamorphosis was just a way to change his character in such a way as to bring him into line with his movie incarnation.
One of the greatest advantages of these big value black-&-white compendiums is the opportunity they provide whilst chronologically collecting a character’s adventures to include crossovers and guest spots from other titles. When the star is as long-lived and incredibly peripatetic as DC’s King of the Seven Seas that’s an awful lot of extra appearances for a fan to find…
One of the few superheroes to survive the collapse at the end of the Golden Age was a rather nondescript and generally bland looking chap who solved maritime crimes, rescuing fish and people from sub-sea disaster. Aquaman was created by Mort Weisinger and Paul Norris in the wake of Timely Comics’ Sub-Mariner, and debuted in More Fun Comics #73 (1941). Strictly a second stringer for most of his career he nevertheless continued on beyond many stronger features, illustrated by Norris, Louis Cazaneuve and Charles Paris, until young Ramona Fradon took over the art chores in 1954, by which time Aquaman had moved to a regular back-up slot in Adventure Comics. She was to draw every single adventure until 1960.
In 1956 Showcase #4 (see The Flash: Archive Edition Volume 1, ISBN: 1-56389-139-5) rekindled the public’s imagination and zest for costumed crime-fighters. As well as re-imagining Golden Age stalwarts, DC undertook to update and remake some of its hoary survivors such as Green Arrow and Aquaman. Records are incomplete, sadly, so often we don’t know who wrote what, but the initial revamp (“How Aquaman Got His Powers!†– Adventure Comics #260, May 1959) was the work of Robert Bernstein who wrote the majority of the Sea King’s adventures at this time.
From that tale on the hero had a new origin – offspring of a lighthouse keeper and a refugee from the undersea city of Atlantis – and eventually all the trappings of the modern superhero followed: Themed hideout, sidekick and even super-villains! Moreover, greater attention was paid to continuity and the concept of a shared universe.
In this volume are 49 adventures that cover that early period of renewal taking him from wandering back-up bit-player to stardom and his own comicbook. Writers from those years included the aforementioned Bernstein, Jack Miller, George Kashdan, Bob Haney and perhaps other DC regulars, but the art was always by Fradon, whose captivatingly clean economical line always made the pictures something special.
The initial stories are pretty undemanding fare, ranging from simply charming to simply bewildering examples of all-ages action to rank alongside the best the company offered at the time. ‘Aquaman Duels the Animal Master’, ‘The Undersea Hospital’, ‘The Great Ocean Election’, ‘Aquaman and his Sea-Police’, and ‘The Secret of the Super Safe’ kept the hero in soggy isolation, but with an early crossover Aquaman made his full entrance into the DC universe.
DC supported the popular 1950s Adventures of Superman TV show with a number of successful spin-off titles. Superman’s Girlfriend Lois Lane #12 (October 1959) featured ‘The Mermaid of Metropolis’ wherein the plucky news hen (and isn’t that a term that’s outlived its sell-by date?) suffers crippling injuries in a scuba-diving accident. On hand to save her is Aquaman and a surgeon who turns her into a mermaid so she can live a worthwhile life without legs beneath the waves.
I know, I know: but just accepting the adage “Simpler Times†often helps me at times like this. In all seriousness, this silly story, with no writer credited, is a key moment in the development of one-universe continuity. The fact that it’s drawn by Kurt Schaffenberger – one of the most accomplished artists ever to work in American comics – makes it even more adorable, for all its silliness – at least by our so cool modern standards.
‘Aquaman Meets Aquagirl’ (Adventure Comics #266) gave a little more information about lost Atlantis whilst testing the waters (sorry!) for a possible sidekick – after all, the Sea King spent most of his time expositorially dialoguing with an octopus! – With Adventure Comics #267 the editors tried a novel experiment.
At this time the title starred Superboy and featured two back-up features. ‘The Manhunt on Land’, saw villainous Shark Norton trade territories with Green Arrow’s foe The Wizard. In a rare crossover, both parts of which were written by Bernstein, the two heroes worked the same case with Aquaman fighting on dry land whilst the Emerald Archer pursued his enemy beneath the waves in his own strip; ‘The Underwater Archers’, illustrated by the great Lee Elias.
In the next issue ‘The Adventures of Aquaboy!’ we got a look at the early years of the Sea King, and following that a permanent sidekick, Aqualad, was introduced in ‘The Kid from Atlantis!’ In quick succession came ‘The Menace of Aqualad’, ‘The Second Deluge!’, ‘The Human Flying Fish!’, ‘Around the World in 80 Hours’, ‘Aqua-Queen’ and the intriguing mystery ‘The Interplanetary Mission’.
Originally appearing in Adventure Comics #275 – a few months after the debut of the Justice League of America in The Brave and the Bold #28 – the story concerned a plot to secure Kryptonite from the sea-floor. Although Superman did not appear, the threads of shared continuity were being gradually interwoven. Heroes would no longer work in assured solitude. It was business as usual with ‘The Aqua-thief of the Seven Seas’, ‘The Underwater Olympics’, ‘Aqualad Goes to School’, ‘Silly Sailors of the Sea’ and ‘The Lost Ocean’, a fairly mixed bag which just served to set the scene for a Big Event.
In Showcase #30 (January-February 1961) Jack Miller and Ramona Fradon expanded the origin of Aquaman in the full-length epic ‘The Creatures from Atlantis’, wherein extra-dimensional creatures conquered the sunken civilisation. From this point on the fanciful whimsy of the strip would be downplayed in favour of more character-driven drama. This was followed by the tense thriller ‘One Hour to Doom’ in Adventure Comics #282. Inked by Charles Paris, this was Ramona Fradon’s last art job for nearly a year and a half, and the second Showcase issue by Miller saw the first Aquaman job for comics veteran Nick Cardy who would visually make Aquaman his own for the next half-decade.
‘The Sea Beasts From One Million B.C.’ (Showcase #31, March-April 1961) is a wild romp of fabulous creatures, dotty scientists and evolution rays that presaged a new path for the King of the Seas. Jim Mooney drew ‘The Charge of Aquaman’s Sea Soldiers’ for Adventure #284, and the back up series then shifted to a new home, replaced by the truly unique Tales of the Bizarro World.
Before that however, there was another Showcase thriller. Miller and Cardy pulled out all the stops for ‘The Creature King of the Sea’; an action-packed duel against a monstrous villain with murder in mind. The hind end of Detective Comics #293 (July 1961) welcomed Aquaman and Aqualad who took only six pages to solve the mystery of ‘The Sensational Sea Scoops’. All this time Cardy, who had initially altered his drawing style to mirror Fradon’s had been gradually reverting to his natural, humanistic mode. By the time the fourth and final Showcase, ‘Prisoners of the Aqua-Planet’ (#33), appeared the Sea King was a rugged, burly He-Man, and his world, no matter how fantastic, had an added edge of realism to it.
Detective #294’s ‘The Fantastic Fish that Defeated Aquaman’ coincided with a guest –spot in a second Superman Family title. ‘The Monster that Loved Aqua-Jimmy’, drawn by Al Plastino, is from Superman’s Pal Jimmy Olsen #55, another product of its time that hasn’t aged well, but the big kid in me still regards it fondly and I hope that others will do it the same courtesy. Meanwhile back at Detective Comics #295 our heroes defied ‘The Curse of the Sea Hermit’ (scripted by George Kashdan), and the next month saw ‘The Mystery of Demon Island!‘
To accompany the more realistic art, and perhaps in honour of their new home, the stories too, became – briefly – less fantasy oriented. ‘Aqualad, Stand-In for a Star’ is credited to Miller and Cardy, though I rather suspect that Batman stalwart Sheldon Moldoff is the actual artist here, but there’s no doubt that Cardy drew both ‘The Secret Sentry of the Sea’ (#298) and ‘Aquaman’s Secret Teacher’ (#299).
The next month saw a milestone. After two decades of continuous adventuring the Sea King finally got a comicbook of his own. Aquaman #1 (January-February 1962) was a 25 page fantasy thriller that introduced one of the most controversial supporting characters in comics lore. The pixie-like Water-Sprite Quisp was part of a strange trend for cute imps and elves that attached themselves to far too many heroes of the time, but his contributions in ‘The Invasion of the Fire-Trolls’ and succeeding issues were numerous and obviously calculated.
‘The Mystery of the Undersea Safari!’ in Detective Comics #300 was the last before he moved again, this time to World’s Finest Comics. However prior to that residency commencing his own second issue appeared. ‘Captain Sykes’ Deadly Missions’ is a lovely looking thriller with fabulous monsters and a flamboyant pirate blackmailing the Sea King into retrieving deadly mystical artefacts.
‘Aquaman’s Super-Sidekick’ by Miller and Cardy started the World’s Finest run (#125) in fine style, and Aquaman #3 provided full-length thrills and more exposure for the lost city in ‘The Aquaman from Atlantis’ a tale of traitors and time-travel. WF #126 saw the heroes foil thieves with ‘Aquaman’s Super Sea Circus’ and for better or worse Quisp returned in #4’s ‘Menace of the Alien Island’.
A more welcome returnee was Ramona Fradon who took over the World’s Finest strip with #127’s ‘Aquaman’s Finny Commandos’. The next issue saw ‘The Trial of Aquaman’ end in his favour just in time to endure ‘The Haunted Sea’ in his own fifth issue, before encountering ‘The Menace of the Alien Fish’ in WF#129.
This bumper volume concludes with Aquaman #6 and the never more true ‘Too Many Quisps’, a case of painfully mistaken identity and a sentiment it’s hard not to agree with… but still beautifully illustrated by Mr. Cardy.
DC has a long and comforting history of gentle, innocuous yarn-spinning with quality artwork. Ramona Fradon’s Aquaman is one of the most neglected runs of such accessible material, and it’s a pleasure to discover just how readable they still are. And when the opportunity arises to compare her wonderful work to the early superhero work of such a stellar talent as Nick Cardy this book becomes a fan’s must-have item. More so when all the stories are still suitable for kids of all ages, Why not treat yourself and your youngsters to a timeless dose of whimsy and adventure? You won’t regret it.
By Pat Mills & Kevin O’Neill (DC Comics)
ISBN: 0-930289-10-2
In the years immediately following the release of Crisis on Infinite Earths DC Comics was a paragon of experimentation and quality, as this decidedly post-punk, English flavoured offering from 2000AD mainstays Pat Mills and Kevin O’Neill well shows. Not so long after this release artist O’Neill won the singular accolade of having his entire style of drawing – not a panel, not a story, but every single mark he left on paper – banned by the dried up but not quite dead Comics Code Authority!
Not that it stopped the rise of his remarkable talent.
In the far, far future robotic animals have evolved to fill the niches of the declining planet. Civilised humanity has absconded to the stars and Mek-Animals roam the savage Earth. Armageddon is the ruler of the ape-like Mekaka, proud and ambitious, but his tribe are losing faith. They live on scavenged power and the mammoth-like Wheeldebeasts have not been seen for five years.
But this season they will return, led by the terrible God-Beast Amok, and the Mekaka will kill him and rule the world. But complications arise when joy-riding humans Jool and Ngila crash on this which world most humans have forgotten.
They have knowledge but no survival instincts…
This story, later serialised in 2000AD, is pure savage satire and fantastic fantasy; and an undoubted highpoint in DC’s abortive Graphic Novel line of the 1980s. Its scope and power are mesmerising and its return to print long, long overdue. Let’s hope someone gets the message and whilst I’m dreaming, what about a sequel?
By Brad Meltzer, Geoff Johns & various (DC Comics)
ISBN: 978-1-84576-789-1
Once the publishers realised the sales potential of super-team crossovers it was a foregone conclusion that such collaborations would become a regular part of comicbook life. One of the most crammed of these was the JLA/JSA annual team up in Justice League of America #147-148 in 1977, which included the additional team of 30th century champions the Legion of Super Heroes.
Thirty years later the modern incarnations of those heroes did it again in ‘The Lightning Saga’, a crossover that progressed through the post-52Justice League # 8-10 and Justice Society #5-6.
When minor villain Trident is captured he is found to be under the mind-control of the alien Starro the Conqueror. Further examination reveals that he is also from the 30th century. In fact he is a hero known as Karate Kid, part of a team of teen-aged champions that Superman joined when he was just starting out. Revelations follow swiftly as JSA-er Star Man – a mysterious hero suffering from mental illness – reveals that he too is a time-lost member of the Legion of Super Heroes.
For an unspecified reason, seven members have travelled back in time, becoming lost and amnesiac. The combined 21st century teams must track them down and discover what mission could be so vital that it would be worth risking the entire future for?
As the lost Legionnaires are recovered old-time readers might well be fooled by a brilliant red herring newer fans won’t pick up on, but rest assured the conclusion isn’t one you’ll see coming.
Terse, far-reaching, tense and filled with humour and tragedy, this action-extravaganza continues the policy of reuniting all the disparate strands of DC continuity back together after the separations of the two decades following Crisis on Infinite Earths, and does it in a stylish and thrilling manner.
This volume also includes ‘Walls’ by Brad Meltzer and Gene Ha from Justice League #11: a gritty tale of survival as Red Arrow and Vixen are buried alive under a collapsing building and #12’s ‘Monitor duty’ by Meltzer, Ed Benes & Eric Wight, which depicts a typical but never normal day in the life of the team.
Intense and very high maintenance, the modern JLA is epic in every way but might not be to everyone’s taste. Still, if tense dramas and soap-opera ethics are your thing this is a very impressive read, ‘though not perhaps, one for the casual browser.
By Gerard Jones, Pat Broderick and Bruce Patterson (DC Comics)
ISBN: 978-1-56389-045-1
Green Lantern has been a star of DC in one form or another since the company’s earliest days, but often that’s led to some rather extreme revamps and odd takes on what seems to be an extremely pliable character with an invaluable shtick. This book collects the second relaunch (issues #1-8) of the Hal Jordan incarnation.
The Silver Age GL debuted in Showcase #22 in 1959, got his own title in the summer of 1960 and blazed his way through the decade before being cancelled in 1972 with issue #89, at the peak of what many consider the finest run of stories the series – and the industry – have ever produced.
He hung around as a back-up in the Flash and as part of the JLA until he regained his own title (#90) in 1976. Via many tales and stunts he hung on until issue #181 when Hal resigned and was replaced in the role by John Stewart. During Crisis on Infinite Earths, Guy Gardner became Earth’s Green Lantern and from issue #201 Hal rejoined and the comic became Green Lantern Corps. It ran until #224 before being cancelled again and the Green Lantern series became a component feature of Action Comics: at that time a weekly anthology package.
In June 1990 he returned again. The new Green Lantern title had elder statesman Hal undergo a mid-life crisis, forsaking the ring to discover himself through honest toil and a normal life. However Guy Gardner and the dangerous world of super-heroing won’t let him deny his destiny…
At this time there were only three Green Lanterns and they are all Earth men. John Stewart has been investigating in space only to be trapped on Oa, decimated home of the Guardians of the Universe, by the most terrifying threat imaginable… Meanwhile, places where Hal used to live in his earlier career are being plucked from the face of the Earth.
With lots of soul-searching and a smidgen of humour to balance the cosmic wonder and high action content, this is a very satisfying reboot for a fundamental DC lynchpin. The seeds of many future epics (most specifically the highly experimental Green Lantern: Mosaic) all begin in this readable little thriller. So if you’re looking for solid slice of Costumed Adventure this is a great place to start.
By Jules Feiffer (Fantagraphics Books)
ISBN13: 978-1-56097-835-0
Jules Feiffer has always been much more than “just a comic-book guy†even though his credits in the field sound and are suitably impressive. As well as working with Will Eisner on The Spirit, he created his own Sunday strip ‘Clifford’ (1949-51) before settling at the Village Voice.
Novelist, playwright, animator, children’s book creator (why isn’t there a single word term for those guys?) and screenwriter, he turned his back on cartooning in 2000, but the 42 year run of his satirical comic strip in The Village Voice ranks as some of the most telling, trenchant, plaintive and perspicacious narrative art in the history of the medium.
The strip, originally entitled Sick, Sick, Sick, then Feiffer’s Fables, before simply becoming Feiffer was quickly picked up by the Hall Syndicate and garnered a devoted world wide following, with many collections appearing over the years since the first book in 1958. His incisive examination of American society and culture, as expressed through politics, art, Television, Cinema, work, philosophy, advertising and most especially in the way men and women interact, informed and shaped opinions and challenged accepted thought for generations. They were bloody funny and wistfully sad too – and still are today.
Fantagraphics Books are collecting the entire run and this first volume of 568 pages covers the period from its start in October 1956 to the end of 1966.
Explainers is a “dipping bookâ€. It’s not something to storm your way through but something to return to over and again. Fieffer’s thoughts and language, his observations and questions are fearsomely eternal – it is terrifying how many problems of the 1950s and 1960s still vex us today – and the Battle of the Sexes still breaks out somewhere every night. Moreover his expressive drawing is a masterclass in style and economy all by itself.
If you occasionally do Thinking and sometimes wonder about Stuff, this book should be your guide and constant companion… and it will make you laugh.
Probably the best comedy comic coming out of America at the moment, Boneyard relates the odd life of Paris, a sensitive young man who has inherited his grandfather’s cemetery in the distinctly odd town of Raven Hollow. Along with the actually grounds came the residents, many of whom are still distressingly ambulatory and some who become the closest thing to Family that Paris has ever known.
As well as Glump the demon, assorted monsters, skeletons, gargoyles, witches, werewolves and swamp creatures there’s also Abbey, a beautiful vampire who Paris really, really likes.
In the previous volumes (ISBN13: 978-1-56163-427-9 and ISBN 1-56163-487-5) the young lad only just settled in before thwarting The Devil himself, which drew him to the attention of the even more sinister US Internal Revenue Service. An eleventh hour offer from the luscious Roxanne Allen to buy the Boneyard was revealed as another nefarious plot, but Glump had a plan to save the day…
The irascible little demon’s plan is now reluctantly put into play and the assorted ladies of Boneyard doff their clothes for a “Swim Suit Issue†(in salacious Swamp Siren Nessie’s case that actually means putting more stuff on) but Glump – who has never abandoned his dream of world conquest – has more on his mind than just seeing chicks undressing…
And when Roxanne reveals her true identity to Abbey the fur – and fangs – fly…
There’s great merit in combining horror and comedy, and Richard Moore has shown that this vein is still largely untapped. This volume collects issues #9-11 and the Swimsuit issue of the brilliant comic series, combining cartooning with a wicked sense of slapstick and screwball humour. When filtered through a lens of cynical modernism, and with a slowly developing romance, this becomes an absolute masterpiece of a funnybook.
This edition is printed in colour for all those fools who wouldn’t buy it when it was first released in the original black and white.
By Gardner Fox, Carmine Infantino & various (DC Comics)
ISBN13: 978-1-4012-0780-9
The Silver Age “thinking man’s hero†returns in this second compilation of adventures on other worlds, reprinting tales from Mystery in Space #66-80.
For me, Adam Strange, more than any other character, epitomises the Silver Age of Comics. An Earth archaeologist who, whilst fleeing from enraged natives in Peru, jumped a 25 ft chasm only to be hit by a stray teleport beam from a planet orbiting Alpha Centauri. He materialised on another world, filled with monsters, fabulous civilisations and non-stop peril for which brains, not brawn, were the only solution.
Witty, sophisticated, gloriously illustrated and fantastically imaginative: And there was always the woman named Alanna, beautiful, but somehow unattainable. The happy-ever-after was always just in reach, but only after one last adventure…
After the bravura of the first Adventures on Other Worlds (see Adam Strange Archives volume 1, ISBN: 1-4012-0148-2) the far-flung fantasy continued with ‘Space Island of Peril’ by Gardner Fox, Carmine Infantino and Joe Giella, a duel with an alien super-being who plans to throw Rann into its sun, followed in #67 by the deceptive ‘Challenge of the Giant Fireflies’ when Adam’s adopted home is menaced by thrill-seeking creatures who live on the surface of our sun.
Murphy Anderson returned as inker-in-residence for ‘The Fadeaway Doom’ wherein Rannian General Kaskor made a unique attempt to seize power by co-opting the Zeta Beam itself. ‘Menace of the Aqua-ray Weapon!’ had a race from Rann’s primeval past return to take possession of their old world, whilst #70 saw ‘The Vengeance of the Dust Devil’ threaten not just Rann but also Earth itself.
‘The Challenge of the Crystal Conquerors’ (inked by Giella) was a sharp game of bluff and double-bluff with the planet at stake but #72 was a radical departure from the tried and true formula. ‘The Multiple Menace Weapon’ found Adam diverted to Rann in the year 101,961AD to save his descendents before dealing with the threat to his own time and place. This was followed by the action-packed mystery thriller ‘The Invisible Raiders of Rann!’
The puzzles continued with #74’s complex thriller ‘The Spaceman who Fought Himself!’, inked by the back-for-good Murphy Anderson, leading to MiS #75 and a legendary team-up with the freshly-minted Justice League of America against the despicable 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 the involuntary tutor and stalking-horse for an alien Champion. ‘Ray-Gun in the Sky!’ is an invasion mystery that invited readers to solve the puzzle before our hero did, and ‘Shadow People of the Eclipse’ pitted the Earthman against a bored alien thrill-seeker. Issue #79’s ‘The Metal Conqueror of Rann’ saw him fighting a much more personal battle to bring Alanna back from the brink of death.
The book closes with ‘The Deadly Shadows of Adam Strange’ wherein an old enemy returns to wreak a bizarre personal revenge on the Champion of two Worlds.
These short-story thrillers from a distant time still hold great appeal and power for the wide-eyed and far-seeing. The deluxe Archive format makes a fitting home for the extraordinary exploits of Adam Strange: by far and away 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 these books on your shelves.
By Berni Wrightson (Fantagraphics Books)
ISBN: 0-930193-68-7
This review is continued from Back for More (ISBN: 0-93158-22-30-X) and The Mutants (ISBN: 0-937848-00-X) both of which I recently covered, and serves to show that you should always check your facts and the most unassailable area of your bookshelves before sounding off.
In 1988 Fantagraphics Books gathered the superb contents of those two rare tomes into one splendid compendium (although a few portfolio drawings seem absent to my tired eyes) and even included a rather pedestrian movie-parody from a contemporary humour magazine to boot.
Although Beneath the Dignity of the Apes (scripted by Marv Wolfman) is less than stellar, the merits of Mother Toad, The Task, Limstrel, The Game That Plays You, A Case of Conscience, The Legend of Sleepy Hollow (co-illustrated by Jeff Jones and Alan Weiss), Stake Out, The Reaper of Love, Out on a Limb, Conjure Woman, Maudlin Love Comix, Nosferatu, Ghastly Horror Comix, the Last Hunters, Feed It!, Wrightson’s Revolting Rhymes, Breathless, King of the Mountain, Man, Ain’t she Sweet? and Uncle Bill’s Barrel, not to mention the aforementioned selection of drawings, taken from Web of Horror and other sources are exceptional efforts from a major talent, having lost little of their punch or ghastly appeal.
Also I know that both eBay and Amazon have copies for sale if you’re tempted…
A new edition wouldn’t be a waste of time either…
