Category: Graphic Novels

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Invincible Iron Man Epic Collection volume 10: The Enemy Within 1982-1983


By Denny O’Neil, Roger McKenzie, Peter B. Gillis, Ralph Macchio, Carmine Infantino, Steve Ditko, Paul Smith, Luke McDonnell, Jerry Bingham, Mike Vosburg, Marie Severin & various (Marvel)
ISBN: 978-0-7851-8787-5 (TPB/Digital edition)

Tony Stark is a super-rich supergenius inventor who moonlights as a superhero: wearing a formidable, ever-evolving suit of armour stuffed with his own ingenious creations. The supreme technologist hates to lose and constantly upgrades his gear, making Iron Man one of the most powerful characters in the Marvel Universe.

However, in Iron Man #120-128 (March to November 1979), the unrelenting pressure of running a multinational corporation and saving the world on a daily basis resulted in the weary warrior succumbing to the constant temptations of his (originally sham) sybaritic lifestyle. Thus, he helplessly slipped into a glittering world drenched with excessive partying and drinking.

That dereliction was compounded by his armour being usurped by rival Justin Hammer: used to murder an innocent. The ensuing psychological crisis forced Stark to confront the hard fact that he was an alcoholic …and probably an adrenaline junkie too.

That crux landmark story ‘Demon in a Bottle’ saw the traumatised hero plumb the depths of grief and guilt, bury himself in pity, and alienate all his friends and allies before an unlikely intervention forced him to take a long, hard look at his life and actions…

A more cautious, level-headed and wiser man, Stark resumed his high-pressure lives, but he could not let up and the craving never went away. Then in 1982 author/editor Denny O’Neil made him do it again, with the result that Marvel gained another black superhero at long last…

It was the start of a period of legacy heroes inheriting the mantles, established roles and combat identities from white and mostly male champions, and was certainly a move in the right direction…

This grand and gleaming chronological compendium navigates that transitional period, re-presenting Iron Man #158-177 and Iron Man Annual #5: episodically spanning cover-dates May 1982 through December 1983, as the title experienced an uncomfortable number of creative personnel shuffles before settling on a steady team to tackle the biggest of changes…

It starts with Iron Man #158 as O’Neil, Carmine Infantino, Dan Green & Al Milgrom breeze through the motions as a deranged junior genius attacks modern technology from his literal man-cave by tapping the latent psychic power of his ‘Moms’…

Roger McKenzie, rising art star Paul Smith & inking collective “Diverse Hands” stepped in to relate what occurs ‘When Strikes Diablo’, as the Fantastic Four’s alchemical nemesis infiltrates Stark International to steal the techno-wizard’s resources and obsolete suits, only to unleash a mystic menace beyond all control…

With pressure mounting and threats everywhere, the craving for booze painfully manifests in ‘A Cry of Beasts’ – by O’Neil, Steve Ditko, Marie Severin & Green – as Stark’s party-persona collides with hot, willing babes …until an attack on his factory by the sinister Serpent Squad reminds him of his priorities.

Preceding Iron Man Annual #5, and by O’Neil, Luke McDonnell, Mike Esposito & Steve Mitchell, a brief encounter with newcomer hero Moon Knight sees Stark at odds with rival rich man Steven Grant (one of four people comprising the edgy new crusader) in ‘If the Moonman Should Fail!’

Frenemies at first sight, the Golden Avenger and Fist of Khonshu swallow their differences to save mutual friends held hostage by Advanced Idea Mechanics, after which the extra-length Annual extravaganza sees Iron Man in Wakanda where The Black Panther must defeat mysteriously resurrected nemesis and determined usurper Eric Killmonger…

Crafted by Peter B. Gillis, Ralph Macchio, Jerry & Bingham & Green, the action-packed ‘War and Remembrance!’ reveals an old foe methodically manoeuvring Stark and Iron Man into an inescapable trap, which closes tighter in Iron Man #162 as O’Neil, Mike Vosburg & Mitchell expose ‘The Menace Within!’ as a trusted employee sabotages S.I.…

There seems to be more than one campaign to crush Stark, and – as O’Neil, McDonnell & Mitchell become the regular creative team – ‘Knight’s Errand!’ opens an extended gambit with another hidden plotter turning ruthless capitalism, corporate raiding, advanced weaponry and an obsession with chess into a war for control of the company.

Up first is fast-flying tech terror The Knight who makes short work of Tony’s bodyguard, pilot, friend and confidante James Rhodey, but the real threat comes from a new acquaintance and future companion, covertly hollowing out Stark at close hand. Rising in the rankings after defeating the hovering horseman, Iron Man barely survives the ‘Deadly Blessing’ of The Bishop after his security team digs up leads to the plot in Scotland…

In IM #165, the trail leads to Jamie, Laird of Glen Travail and another deadly duel of devices, but the true purpose is to destabilise Stark by abducting Rhodey in an effort to coerce his capitulation. The resultant ‘Endgame’ seemingly goes Stark’s way, but the battle is fought on many levels by a distanced player secretly commanding the Laird: one with a cruel emotional counterpunch long-prepared to destroy the hero from within…

After a brief interlude offering original art pages from issues #161, 163 & 165, the stories resume and tensions mount on ‘One of Those Days…’ as old foe The Melter attacks Stark’s New York facility. Rhodey is recuperating in Scotland and Stark yet again faces enforced inactivity in the land of sublime alcoholic beverages, so he abruptly abandons his friend and jets home to stop the supervillain. He also learns his brilliant head of security Vic Martinelli has uncovered the identity of one of the hidden players attacking the company: chess grandmaster turned armaments entrepreneur Obadiah Stane…

With Rhodey missing again in Scotland, the newcomer wants all Stark’s creations and in the most hostile of takeovers, has used every trick in the book – from honey traps to guided missiles and abduction to intoxication – to seize the advantage…

‘The Empty Shell’ sees that nefarious planning bear evil fruit as Stark finally cracks under interminable pressure and one last betrayal, leading to a crushing fall “off the wagon” and into the gutter in ‘The Iron Scream’.

Permanently drunk and deprived of all judgement, Stark dons his armour to clash with Machine Man, even as far away, Rhodey makes his own life-threatening break for freedom and home…

As chaos ensues at the Stark plant, a major player debuts in the form of junior employee and minor boffin Morley Erwin, who’s on hand for Stark’s reunion with Rhodey and an aghast witness to one of the smartest men alive willingly crawling into a bottle and trying to drown away his pain…

That process begins in #169 as ‘Blackout!’ sees Stark simply give up when confronted by volcanic B-list villain Magma, and sleep through the moment Jim Rhodes steps up – and into – the role and armour of Iron Man…

The new era properly begins in #170’s ‘And Who Shall Clothe Himself in Iron?’ (cover-dated May 1983) as the former military airman promotes Erwin to the role of tech support adviser to help him pilot the most complex weapon he’s ever used to defeat Magma and save a far from grateful Tony Stark…

In the aftermath, the inventor just walks away: letting a new hero flounder even as, in the shadows, Stane gradually completes his takeover. Alone, isolated and under resourced, Rhodey and Erwin stumble into a heist in ‘Ball and Chain’, after seeking to arbitrate a domestic hostage situation triggered by Asgardian-powered supervillain Thunderball not knowing when no means no…

They are then duty-bound to intervene when Stark – completely off the rails – is arrested. However, his drunken debacle is only the start of their woes, as one the souse’s most murderous enemies tries to exact ‘Firebrand’s Revenge!’ and an entire hotel goes up in flames.

Thankfully Captain America is on hand to give the new guy in the suit a helping hand, but the distraction is just what Stane needs to seal his deal…

Homeless, broke and close to death on the streets, Stark is then accidentally saved by his conqueror, who lays the seeds of his own eventual downfall by dragging the lush to a grand takeover ceremony. Also attending is the new Iron Man who gets a lead to the woman who tempted and crushed Stark: an operative of freelance espionage ring The Sisters of Ishtar. This time both Stane and Rhodey learn that ‘Judas is a Woman’…

During this period every effort to turn Stark around fails: shot down by his self-sabotage. Now however, his friends must pause their personal interventions as the national and international repercussions of Stane’s triumph grows. Refusing to let a ruthless war profiteer benefit from Iron Man tech, Rhodey and Morley take drastic steps: stealing all the old kit and prototypes from Stane International. They are blithely unaware Nick Fury and S.H.I.E.L.D. share those opinions and are making their own clandestine arrangements in ‘Armor Chase’ (inked by Sam de LaRosa)…

A three-way clash escalates in O’Neil, McDonnell, & Mitchell’s Iron Man #175 as all ‘This Treasure of Red and Gold…’ ends up dumped deep in the ocean: purportedly beyond human reach. Nobody seemed to think that maybe water breathers like bellicose Atlantean renegade Warlord Krang might be in the market for a weapons upgrade dropped right in his lap…

Still operating under what can only be described as trial-by-fire period, Rhodey dives right in, triumphs again and even makes a new friend…

Stark’s own deep descent is marginally arrested after befriending an elderly “un-homed” guy on the streets in ‘Turf’, even as far away Iron Man meets the Sisters of Ishtar again and has his first encounter with something not of this Earth…

This tome pauses for now with a transitional tale loaded with portents of bad times to come. After meeting Erwin’s even smarter sister Clytemnestra, Rhodey looks – after a chat with Heroes for Hire Luke Cage & Iron Fist – into forming a rather unique start-up company in ‘Have Armor Will Travel’. The idea only truly gels after he’s hired to bodyguard an officious unflappable official in South America and encounters – and survives – deadly armoured mercenary Flying Tiger. However, in all the furore, our hero barely notices that he’s having headaches almost constantly these days…

To Be Continued…

With covers by Bob Layton, Smith, Jim Starlin, Ed Hannigan & Al Milgrom, Bingham & Brett Breeding, McDonnell, Brent Anderson & Mitchell, the bonus section includes ‘Original art and covers’, the cover for The Many Armors of Iron Man collection by McDonnell, Mitchell, & Frank D’Armata and contemporary House ad from Marvel Age #12.

As comics companies sought to course correct old attitudes and adapt their wares to a far wider and more diverse readership than they had previously acknowledged, some rash rushed decisions were made that did not suit all the fans. Thankfully, that never stopped the editors and publishers from trying and the wonderful results are here and everywhere in comics because of it. Go read and enjoy and see how it all began to change.
© 2017 Marvel Characters, Inc. All rights reserved.

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Miles Morales: The Ultimate Spider-Man Ultimate Collection volume 2


By Brian Michael Bendis, David Marquez, Pepe Larraz, Sarah Pichelli & various (MARVEL)
ISBN: 978-0-7851-9779-9 (TPB/digital edition)

After Marvel’s financial and creative problems in the late 1990s, the company came back swinging. A key new concept involved remodelling and modernising their core pantheon for the new youth culture. The Ultimate imprint abandoned the monumental, slavish continuity which had always been Marvel’s greatest asset, giving its revamped players a separate reality to play in. Varying degrees of radical makeover appealed to a contemporary 21st century audience and proved a godsend as base material for the new Marvel Cinematic Universe.

Peter Parker was once again reduced to a callow, nerdy high-school geek, brilliant but perpetually bullied by his physical superiors. There were even fresh, fashionable, more scientifically feasible rationales for the fore-destined spider bite which imparted those patented, impossible arachnoid abilities.

His uncle Ben Parker still died because of the lad’s lack of responsibility. The Daily Bugle was still there, as was bombastically outrageous J. Jonah Jameson. Now, however, in a more cynical, litigious world, well-used to cover-ups and conspiracy theories, arch-foe Norman Osborn – a corrupt, ruthless billionaire businessman – was behind everything.

Any gesture towards the faux-realism of traditional superhero fare was surrendered to the tried-and-tested soap-opera melodrama which inevitably links all characters together in invisible threads of karmic coincidence and familial consanguinity but, to be honest, it seldom hurt the narrative. After all, as long as internal logic isn’t contravened, subplots don’t have to make sense to be entertaining.

After a short, spectacularly impressive career, original outsider Peter finally gained a measure of acceptance and was hailed a hero when the Ultimate Comics Spider-Man valiantly and very publicly met his end at Osborn’s hands during a catastrophic super-villain showdown…

Soon after he died, a new champion cast in his image arose to carry on the fight…

Written throughout by Brian Michael Bendis, this collection concerns controversial new kid Miles Morales in material published before mega-crossover events Time Runs Out and Secret Wars merged select remnants of the Ultimate Universe with mainstream Marvel continuity. It specifically re-presents Ultimate Comics Spider-Man #13-28 (October 2012 -December 2013) and sidebar release Ultimate Comics Spider-Man #16.1.

In the aftermath of Parker’s last moments, African American/Latino child prodigy Miles was revealed to have gained similar powers. The freshly empowered 13-year-old quickly adjusted to his astounding new physical abilities whilst painfully discovering the daily costs of living a life of lies and how an inescapable sense of responsibility is the worst of all burdens…

The revelations here begin by spinning back to the relatively recent past when industrialist Osborn repeated the genetic experiment which first bestowed incredible powers on Parker via the accidental bite of artificially mutated spider. Unfortunately, the deranged mastermind failed to anticipate a burglar waltzing in and carrying off his test animal as part of his haul…

After grade-schooler Miles got into prestigious, life-changing Brooklyn Visions Academy Boarding School by the most callous of chances, the boy reluctantly accepted life is pretty much a crap-shoot… and unfair to boot.

Feeling guilty about his unjust success and sorry for the 697 other poor kids who didn’t get his lucky break, he set off to visit his uncle Aaron. The visit had to be secret since his uncle is a “bad influence” …and a career criminal …

Whilst there, a huge spider with a number on its back bit Miles and he began to feel very odd. He also started fading from sight…

Suddenly super-fast and strong, able to leap huge distances and become invisible, Miles rushed to consult geeky pal Ganke, a prodigious nerd already attending Brooklyn Visions. Applying “scientific testing”, the self-proclaimed hero-expert confirmed Miles was now similar to Spider-Man but could also deliver shocking, destructive blasts through his hands.

When Morales headed home, Ganke continued researching and deduced the connection to the wallcrawler, and began pushing his pal into being a costumed crusader just like him. Sadly, after Miles intervened during a tenement fire – and saved a mother and baby – shock set in and he swore never to use his powers again…

Time passed: Miles and Ganke had been dormmates at the Academy for nearly a year when a major metahuman clash rocked the city. Troubled, Miles headed out and witnessed Spider-Man’s murder. Seeing a brave man perish so nobly, he was again consumed by guilt: if he had used his own powers when they first manifested, Morales might have been able to help save a true hero…

As part of the crowds attending Peter Parker’s memorial, Miles and Ganke talked to another mourner Gwen Stacy actually knew Parker and offered life-changing insights to the grieving boys …and a phrase which altered the course of Miles’ life: “with great power comes great responsibility”…

This compilation follows Miles and his close circle of confidantes from crushing but commonplace tragedy and peril into total chaos and carnage as America succumbs to a second Civil War following shattering global crises. In the Land of the Free and Vanguard of Democracy ineffectual leadership and rogue elements in power converge and whole swathes of ordinary Americans secede from the Union…

Now a day resident at Brooklyn Visions Academy Boarding School, Miles spends only weekends at home and is coming to terms with some unpleasant truths. Foremost is that he has secrets to keep from his parents, but also poisoning the air is the fact that his father used to be a street-thug and now passionately hates costumed heroes like the new Spider-Man.

Uncle Aaron – AKA costumed super-thief The Prowler – has been secretly grooming Miles ever since some of his loot bit the kid, making him a super-strong and fast potential asset who can walk up walls, turn invisible and deliver a devastating venom charge through his hands… Illustrated by David Marquez, the action commences as the patiently manipulative creep tricks Miles into attacking Mexican gang-lord and prospective new Kingpin of Crime the Scorpion. However, during a blistering raid on the gangster’s plush new club, in the heat of battle, the novice wall-crawler at last realises Aaron isn’t reforming or making amends, but simply taking out opposition for his own attempt to take over New York’s underworld…

Events come to a tragic head when Aaron accosts Miles at school: blackmailing him by threatening to tell his father all about Spider-Man. It goes badly and results in a devastating showdown. Hardened by years of criminal experience and equipped with an ingenious arsenal of gadgets he murdered underworld armourer The Tinkerer for, Aaron goes crazy, determined to end his rebellious nephew. The fight inevitably escalates, endangering a busload of civilians who all see the neophyte wall-crawler first save them before apparently killing the Prowler in a horrific explosion…

Meanwhile in the wider world: In the wake of the global inundation, ongoing internecine strife amongst the covert ops community, and deadly brushfire wars all over the planet, ousted spymaster Nick Fury regained control of S.H.I.E.L.D.’s army of agents and officially-sanctioned super-squad The Ultimates as well as clandestine task-force The Avengers, just as civilisation started coming apart at the seams…

Metahumans had become governments’ prime and preferred “Weapons of Mass Destruction” and personal superpowers were the focus of a terrifying global arms race. In Asia, emergent federated nation SEAR dissolved into bloody conflict soon after developing a serum that randomly sparked fantastic abilities in ordinary humans. The plan had been to win the human arms race but events quickly overtook the leadership when they tried to further tip the scales by simultaneously releasing a virus to neutralise those genes that triggered natural mutations.

With a plague preventing the birth of any more mutants and lab-produced metahumans roaming the streets, SEAR collapsed from internal dissent and open warfare.

From the conflict, dual metahuman nations were established and both Celestials and Eternals began offering super-powers to anybody brave or greedy enough to want them…

When WWII super soldier Captain America vanished, the gods of Asgard, who had been dragged from their heavenly halls and marooned on Earth, were slaughtered by a new fantastic race called the Children of Tomorrow, whose appearance presaged a deadly fight for control of Earth by The Maker – actually disgraced former superhero Reed Richards. The deranged genius had created a high-tech Dome where enhanced time, forced evolution and ruthless scientific augmentation enabled inhabitants to hyper-develop thousands of years in the space of days.

War against the Dome involved most of Earth’s metahumans, allowing corrupt S.H.I.E.L.D. Agent Flumm to oust Fury and coerce Bruce Banner into attacking the future city. The Hulk’s assault went tragically wrong, however, as The Maker convinced the man-monster to switch allegiances. The American President, distracted by one too many crises, allowed genocidal anti-mutant activists to turn the southwest into their own hunting preserve, inspired by the hate-filled preaching of Reverend William Stryker…

With Sentinels and militias controlling Arizona, New Mexico, Utah and Oklahoma – and carrying out a successful campaign of extermination – Texas declared its independence. Many other States saw rich opportunity and followed suit, even as the President launched the nation’s entire nuclear arsenal at the ever-evolving Dome…

The nuclear fusillade and a metahuman attack could not obliterate the Dome, but the component-intelligence of the living city was badly damaged. In retaliation, Richards unleashed the Hulk and a very special Child of Tomorrow he had cultured without the knowledge of the Dome’s hive-mind. The child detonated with nuclear force in the Capitol, utterly eradicating Washington DC and the American government. Although the Dome was no longer an urgent threat, President Howard – who only the previous day was the earnest but under-qualified new Secretary of Energy – was in well in over his head.

With a nuclear-armed Texas threatening the Union, Sentinels rampaging through the southwest and militant local militias sparking rebellions all over the country, President Howard declared martial law as the nation splintered around him. Flumm was also rapidly losing his grip and could not handle more bad news when word arrived that Captain America had returned from his self-imposed exile…

For fuller comprehension readers are strongly advised to consult companion Ultimate Comics series X-Men and The Ultimates. These will greatly enhance understanding of the parlous state of this alternate universe in its darkest hours…

With the USA ripped apart by a rash of local rebellions and actual State secessions, this binary publishing event – designed to create a jumping-on point for even newer readers – opened for Miles with ‘Divided We Fall’ as the Sentinel of Liberty stops in New York long enough to learn that there’s a new – barely teenaged – wallcrawler.

Keenly aware that the previous Spider-Man died saving him, Captain America overreacts and hunts down Miles, just as the boy is trying to deal with the flak and aftermath of Uncle Aarons death and accusatory final words. Troubled that he may indeed be “just like him” Miles faces hostile media bombardment after being accused of murder – and is unsure whether or not he’s actually guilty as charged…

A lunatic battle against opportunist thief Batroc the Leaper provides cathartic relief for the troubled boy but things get complicated all over again after during a shocking, surprise confrontation with May Parker, Gwen Stacy and Mary Jane Watson changes Miles’ life forever.

Peter Parker’s loved ones have been following the new boy’s short career and now they give the poor kid their full support and approval – as well as the original martyr’s web-shooters and secret formula. At last Spider-Man will be a web-spinner again… unless the furiously outraged and indignant America shuts him down for good…

The clash of wills is only resolved when the rampaging Rhino breaks loose, and Spidey saves the day, forcing the Star Spangled Avenger to compromise and grudgingly permit the kid to carry on… under strict adult supervision and training.

The saga culminates with 4-chapter epic ‘United We Stand’ (illustrated by Marquez & Pepe Larraz) as Civil War explodes west of the Rocky Mountains. In locked-down New York, Spider-Man gets a huge boost when he learns from the cops that he wasn’t responsible for the Prowler’s death. However, even as the ebullient arachnid rushes to enlist in the Ultimates’ push to retake America, his own strait-laced father is arrested for breaking curfew. The horrible ramifications of this misunderstanding will bring the loving, concerned parent to the edge of insanity…

Cap is still trying to make his exuberant underage volunteer go home when a devastating attack by Hydra-backed separatists plunges Miles into the thick of the action. Reassured by the boy’s conviction if not capability, the Sentinel of Liberty at last welcomes the new kid to the team.

Events quickly overtake everybody, however, as President Howard is informed by seditious elements of his own government that he has no official mandate to rule. In the middle of the war, the overburdened leader calls an emergency Recall Election…

With the plebiscite campaign and daily battles on every news channel, the tirelessly combative Captain America is elected to the battered nation’s highest office. He was utterly unaware that he was a candidate, but without breaking step, the hero graciously accepts before getting back to the job of re-Uniting the States…

With President America in the vanguard – as usual – the scene shifts to Casper, Wyoming for the final battle against a million-strong militia manipulated by the secret magical mastermind behind the entire crisis. Sadly, Spider-Man is elsewhere, lost and near death…

The boy had partnered with constantly objecting Spider-Woman Jessica Drew – who obnoxiously insisted he was too young to be there at all. Far worse than his wounds and prospects is Miles’ suspicion that she might have been right all along…

Fighting was fast and furious, and after a spectacular skirmish the Amazing Arachnid saved the President’s life but was knocked unconscious. He awoke wounded and lost in the flat vastness of Wisconsin with a Hydra-controlled Giant-Woman trying to squash him like a bug.

Nobody was there to witness his most impressive victory ever, but even though he was feted all the way back to New York as the victorious Union forces began the long, tedious job of consolidating power whilst attempting Reconstruction and Reconciliation, Miles had bigger problems.

As the juvenile wallcrawler recovered in the aftermath of the second War Between the States, Miles now had even bigger secrets and a far more complex double-life to keep from his folks.

That internecine conflict almost destroyed the Republic but has left the traumatised public in no mood to tolerate mysteries or put up with unexplained, potentially dangerous characters and vigilantes. Moreover, something had happened in his absence and his father was acting really, really strangely…

A new era dawns in jump-on tale ‘Point One’ (illustrated by David Marquez from Ultimate Comics Spider-Man #16.1) as unscrupulous reporter Betty Brant uses her considerable investigative skills to establish a link between The Prowler, the new Spider-Man, the genetic experiments of Norman Osborn and a guy named Morales…

As she digs deeper, following the brief career of the new hero, Brant not only uncovers the remains of the genegineered spider that transformed Miles, but also learns far more than she should have from disgraced Oscorp biochemist Dr. Conrad Marcus, as well as engendering the unwelcome interest of scientific monolith Roxxon Industries and a brutal, relentless shape-shifting monstrosity…

Illustrated by Sara Pichelli, 4-part epic ‘Venom War’ opens in the days of reconstruction following the War. Child prodigy Miles and best-bud/superhero trainer Ganke are back at Brooklyn Visions School. Miles spends weekends at home, as he and his confidante attempt to master Peter Parker’s web-fluid formula and wrist-shooters the inexperienced newcomer “inherited”.

As a macabre monster raids and wrecks Roxxon HQ, in Manhattan homicide cop and former SHIELD agent Mariah Hill investigates the bloody murder of a journalist. Interviews at the Daily Bugle all point her to the Davis/Morales home in Brooklyn…

Miles’ dad Jefferson Davis has become an involuntary and extremely camera-shy celebrity because of his stand against secessionist organisation Hydra. When a film crew bursts into the family home he understandably goes ballistic and kicks them to the kerb, but his fury is futile in the face of a towering, metamorphic horror called Venom, which chooses that moment to attack the person it thinks is Spider-Man…

The next chapter opens seconds later as the beast lunges. In the family home, Miles suits up and springs into action…

The clash is savage and terrifying. As the TV parasites carry on filming, Jefferson joins the severely overmatched Spider-Man, only to be smashed and broken like a bug…

The Arachnid kid goes crazy but his best efforts – and a fusillade of shots from just-arrived cops – are useless. Only after the shattered lad employs devastating venom blasts does he succeed in driving off the amorphous atrocity…

The shocking struggle is broadcast all over the world. Elsewhere in Brooklyn, two girls cherished by the original webspinner immediately drop what they’re doing and rush to the scene.

Now Gwen Stacy and Mary Jane Watson arrive at the crime scene ready to share their experience in keeping secrets, just as attending detective Mariah Hill reaches the conclusion that the shell-shocked boy crying on the stairs is Spider-Man…

His mother Rio Morales is in the ambulance taking Jefferson to hospital and Miles is in no state to fend off questions from an experienced SHIELD interrogator or even speak to his equally traumatised buddy Ganke, but Gwen and Mary Jane certainly are and quickly shut down the situation and terminate the interview.

As they explain all the ghastly secrets of Venom and its connection to the Parker family, speculation leads the youngsters to the idea that maybe the genetic quirk which made Peter Spider-Man might be repeated in the Morales family…

Deep below their feet, the shapeshifting symbiote reconstitutes. Soon it breaks out of the sewers to consume more humans. The consciousness in charge of the marauding terror hasn’t given up its search for Spider-Man and soon invades the hospital where Rio – a nurse – is waiting for word on her husband…

The shocking conclusion begins with news of the assault reaching Miles. Hill – convinced she is right – gives Miles crucial advice for the battle she knows is coming. By the time Spider-Man reaches the medical centre, Venom has carved a bloody swathe through the patients and doctors and the consequent clash is terrifying to behold…

With bodies dropping everywhere Miles eventually finds a grotesque and dreadful way to stop the beast and expose the villain within, but in the aftermath realises the awful cost has been another person he loves…

As the ruthless boss of Roxxon now makes Spider-Man his only priority, in Brooklyn Miles wakes from a deep sleep and realises his life has changed forever. At last he understands the horror and tragedy which underpins the legend of Spider-Man. This time though, the response to a death in the family is not guilty defiance and an urge to make things right, but a crushing, total surrender…

This collection concludes “One Year Later” with ‘Spider-Man No More’. Miles and his surviving parent have struggled on. The kid has buckled down to study and normal life. He even has a steady girlfriend. In all that time Spider-Man has not been seen…

Things change when Jessica Drew confronts him and delivers a new costume that Miles furiously rejects.

Fate seems to conspire against him, He wants nothing to do with those days but everywhere there are reminders. Ganke still hasn’t forgiven him and at a Chinese restaurant his server is Gwen. Uncomfortably catching up is bad enough but when the eatery is blown up by battling superteens Cloak, Dagger and Bombshell, the pressure for Miles to get involved becomes intolerable…

In the time that he’s been grieving, Roxxon have been busy: abducting kids and employing maverick geniuses Layla Miller, Nathaniel Essex, Samuel Sterns and Arnim Zola to experiment on them to create biddable superhumans. Emulating the efforts of Norman Osborn has borne some profitable fruit but when two of their most successful experiments broke free, it started an avalanche of trouble…

Now people are dying all over again as Cloak & Dagger hunt their creators, but still Miles can’t pick up his burden again… until Jessica shares her own origin with the traumatised champion…

Prowling the city, Spider-Man and Spider-Woman seek the vengeful teens and stumble into Bombshell – another Roxxon project – and an alliance against the Corporation grows. Sadly, CEO Phillip R. Roxxon no longer had faith in his “Brain Trust” and outsourced clean-up to a deadly and infallible fixer designated Taskmaster…

He easily overcame the spider heroes and Roxxon refugees but could not compete with the white hot rage and black vengeance of Cloak & Dagger, and only served to direct the angry youth brigade where they needed to go.

The climactic clash might have been legally indefensible and essentially only a short-term triumph, but it definitively proved Spider-Man would always defend those in need and showed Miles what he was morally capable of…

To Be Continued…

This titanic tome volume also offers a gallery of covers and variants by Jorge Molina, Adi Granov, Sara Pichelli, Rainier Beredo, David Marquez & Justin Ponsor plus original art and assorted stages of cover production by Marquez.

Bendis and his collaborators crafted a hugely impressive and fresh take on alternate Earth team-ups: drenched in warmth and tragedy, brimming with breathtaking action and stuffed with light-hearted, razor sharp humour.

Elevated far above most formularized Costumed Dramas, the story of Ultimate Spider-Man Miles Morales is one of the best superhero sagas of the 21st century: addictive, evocative suspense and easy-going adventure that is the essential Spider-Man. Tense, breathtaking, action-packed, evocative, suspenseful and full of the light-hearted, self-aware, razor sharp humour which blessed the original Lee/Ditko tales, this second Spider-Man is here to stay …unless they kill him too…
© 2019 MARVEL

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Captain Marvel by Jim Starlin: The Complete Collection


By Jim Starlin, Mike Friedrich, Steve Gerber, Steve Englehart & various (Marvel)
ISBN: 978-1-30290-017-5

50 YEARS!! It’s been five decades since this tale was first told! If you don’t know why, you have a real treat in store…

As much as I’d love to claim that Marvel’s fortunes are solely built on the works of Jack Kirby and Steve Ditko, I’m just not able to. Whereas I can safely avow that without them the modern monolith would not exist, it is also necessary to acknowledge the vital role played by a second generation of creators of the early 1970s. Marvel’s eager welcome to fresh, new, often untried talent paid huge dividends in creativity and – most importantly at a time of industry contraction – resulted in new sales and the retention of a readership that was growing away from traditional comics fare. Best of all, these newcomers spoke with a narrative voice far closer to that of its rebellious audience…

One of the most successful of these newcomers was Jim Starlin. As well as the topical and groundbreaking Master of Kung Fu – co-created with his equally gifted confederates Steve Englehart & Al Milgrom – Starlin’s earliest success was the epic of cosmic odyssey compiled here.

Captain Marvel was an alien on Earth, a defector from the militaristic Kree. He fought for Earth and was atomically bonded to professional sidekick Rick Jones by a pair of wristbands allowing them to share the same space in our universe. When one was here, the other was trapped in the antimatter dimension designated the Negative Zone.

After meandering around the Marvel Universe for a while, continually one step ahead of cancellation (the series had folded many times, but always quickly returned – primarily to secure the all-important Trademark name), Mar-Vell was handed to Starlin – and the young artist was left alone to get on with it.

With many of his fellow neophytes, he began laying seeds (particularly in Iron Man, Sub-Mariner and Daredevil) for a saga that would in many ways become as well-regarded as the Jack Kirby Fourth World Trilogy that inspired it. However, the Thanos War, despite many superficial similarities, would soon develop into a uniquely modern experience. And what it lacked in grandeur, it made up for with sheer energy and enthusiasm…

This epic compendium gathers and collates Iron Man #55, Captain Marvel #25-34, Marvel Feature #12 and pertinent extracts from Daredevil #105. It collectively spanning February 1973 to September 1974, and concludes with the landmark Marvel Graphic Novel #1 from 1982: thus re-presenting Starlin’s entire input into the legend of the Kree Protector of the Universe and one of the company’s most popular and oft-reprinted sagas.

The artistic iconoclasm began in Iron Man #55 (February 1973) where Mike Friedrich scripted Starlin’s opening gambit in a cosmic epic that would change the nature of Marvel itself.

Inked by Mike Esposito, ‘Beware… Beware… Beware the… Blood Brothers!’ introduces formidable and obsessive Drax the Destroyer: an immensely powerful apparent alien trapped under the Nevada desert and in dire need of rescue thanks to the wiles of even more potent extraterrestrial invader Thanos…

That comes when the Armoured Avenger blazes in, answering a mysterious SOS, but only after brutally dealing with the secret invader’s deadly underlings…

All this is merely a prelude to the main story which begins unfolding a month later in Captain Marvel #25, courtesy of Friedrich, Starlin, & Chic Stone wherein Thanos unleashes ‘A Taste of Madness!’ and exiles Mar-Vell’s fortunes change forever…

When ambushed by a pack of extraterrestrials, Mar-Vell is forced to admit that his powers have been in decline for some time. Unaware that an unseen foe is counting on that, he allows Rick to manifest (from the Negative Zone) and they check in with sagacious scientific maverick Dr. Savannah. Suddenly, Rick is accused by the savant’s daughter (and Rick’s beloved) Lou-Ann of her father’s murder…

Hauled off to jail, Rick brings in Mar-Vell who is suddenly confronted by a veritable legion of old foes before deducing who in fact his true enemies are…

Issue #26 then sees Rick freed from police custody to confront Lou-Ann over her seeming ‘Betrayal!’ (Starlin, Friedrich & Dave Cockrum). Soon, however, he and Mar-Vell realise they are the targets of psychological warfare: the girl is being mind-controlled whilst Super Skrull and his hidden “Masterlord” are manipulating them and others in search of a lost secret…

When a subsequent scheme to have Mar-Vell kill The Thing spectacularly fails, Thanos takes personal charge. The Titan is hungry for conquest and needs Rick because his subconscious conceals the location of an irresistible ultimate weapon.

Jones awakens to find himself ‘Trapped on Titan!’ (Pablo Marcos inks) but does not realise the villain has already extracted the location of a reality-altering Cosmic Cube from him. Rescued by Thanos’ hyper-powered father Mentor and noble brother Eros, the horrified lad sees first-hand the extent of the genocide the death-loving monster has inflicted upon his own birthworld. Utterly outraged, he summons Captain Marvel to wreak vengeance…

Meanwhile on Earth, still-enslaved Lou-Ann has gone to warn the Mighty Avengers and summarily collapsed. By the time Mar-Vell arrives in #28 she lies near death. ‘When Titans Collide!’ (inks by Dan Green) reveals another plank of Thanos’ plan. As the heroes are picked off by psychic parasite The Controller, the Kree Captain is assaulted by bizarre visions of an incredible ancient being. Fatally distracted, he becomes the malevolent mind-leech’s latest victim…

Al Milgrom inks ‘Metamorphosis!’ as Mar-Vell’s connection to Rick is severed before the Kree is transported to an otherworldly locale where a grotesque eight billion-year-old being named Eon reveals the origins of universal life whilst overseeing the lifelong soldier’s forced evolution into an ultimate warrior: a universal champion gifted with the subtly irresistible power of “Cosmic Awareness”…

Iron Man, meanwhile, has recovered from a previous Controller assault and headed for Marvel Feature #12 to join Ben Grimm in ending a desert incursion by Thanos’ forces before enduring ‘The Bite of the Blood Brothers!’ courtesy of Friedrich, Starlin, & Joe Sinnott, after which the story develops through an extract first seen in Daredevil #105.

Here enigmatic and emotionless super scientist Madame MacEvil tells her origins and foreshadows her future role in the cosmic catastrophe to come. When Thanos killed her family, the infant Heather Douglas was adopted by Mentor, taken to Titan and reared by psionic martial artists of the Shao-Lom Monastery. Years later when Thanos attacked Titan and destroyed the monks, she swore revenge and took a new name – Moondragon…

Subsequently returned to Earth and reconnected to his frantic atomic counterpart, the newly-appointed “Protector of the Universe” confronts The Controller, thrashing the monumentally powerful brain-parasite in a devastating display of skill countering exo-skeletal super-strength in #30’s ‘…To Be Free from Control!’ after which #31 celebrates ‘The Beginning of the End!’ (inked by Green & Milgrom) as the Avengers – in a gathering of last resort – are joined by psionic priestess Moondragon and Drax. The latter is revealed as one more of Thanos’ victims, but one recalled from death by supernal forces to destroy the deranged Titan…

The cosmic killer is then revealed as a lover of the personification of Death: determined to give her Earth as a betrothal present. To that end he uses the Cosmic Cube to turn himself into ‘Thanos the Insane God!’ (Green inks) who, with a thought, imprisons all opposition to his reign. However, his insane arrogance leaves cosmically aware Mar-Vell with a slim chance to undo every change, and the last hero brilliantly outmanoeuvres, defeats and apparently destroys ‘The God Himself!’ in the cosmically climactic Captain Marvel #33 (inked by Klaus Janson)…

With the universe saved and a modicum of sanity and security restored, Starlin’s run ended on a relatively weak and inconclusive note in #34 as ‘Blown Away!’ – inked by Jack Abel and dialogued by Englehart – explored the day after doomsday…

As Rick strives to revive his on-again, off-again musical career, a new secret organisation called the Lunatic Legion sends Nitro, the Exploding Man to acquire a canister of deadly gas from an Air Force base where old pal Carol Danvers (long before her transformations into Ms. Marvel, Binary, Warbird and ultimately Captain Marvel) is head of Security…

Although the Protector of the Universe defeats his earth-shattering enemy, Mar-Vell succumbs to the deadly nerve agent released in the battle. The exposure actually kills him but he will not realise that for years to come…

In 1982, The Death of Captain Marvel was the first Marvel Graphic Novel and the one that truly demonstrated how mainstream superhero material could breach the wider world of general publishing.

Written and illustrated by Starlin with lettering by James Novak and colours from Steve Oliff, this tale concluded the career of the mighty Kree Champion in a neatly symmetrical and textually conclusive manner – although the tale’s success led to some pretty crass commercialisations in its wake…

As previously stated, Mar-Vell was an honoured soldier of the alien Kree empire dispatched to Earth as a spy, who went native: becoming first a hero and then the cosmically “aware” Protector of the Universe, destined since universal life began to be its stalwart cosmic champion in the darkest hours.

In concert with the Avengers and other heroes, he defeated death-worshipping Thanos, just as that villain became God, after which the good Captain went on to become a universal force for good.

That insipid last bit pretty much sums up Mar-Vell’s later career: without Thanos, the adventures again became uninspired and eventually just fizzled out. He lost his own comic book, had a brief shot at revival in try-out title Marvel Spotlight and then just faded away…

Re-enter Starlin, who had long been linked to narrative themes of death. He offered a rather novel idea – kill Mar-Vell off and actually leave him dead. What no fan realised at the time was that Starlin was also processing emotional issues thrown up by the passing of his own father and the story he crafted echoed his own emotional turmoil.

In 1982, killing such a high-profile hero was a bold idea, especially considering how long and hard the company had fought to obtain the rights to the name (and sure enough there’s always been somebody with that name in print ever since) but Starlin wasn’t just proposing a gratuitous stunt. The story developed into a different kind of drama: one uniquely at odds with contemporary fare and thinking.

Following the Thanos Saga, Mar-Vell defeated second-rater Nitro but was exposed to experimental nerve gas during the fight. Now years later he discovers that, just as he has found love and contentment, the effects of that gas have inexorably caused cancer in his system. Moreover, it has metastasized into something utterly incurable…

Going through the Kree version of the classic Kubler-Ross Cycle: grief, denial, anger, bargaining, depression and acceptance, the Space-Born hero can only watch as all his friends and comrades try and fail to find a cure, before death comes for him…

This is a thoughtful, intriguing examination of the process of dying observed by a being who never expected to die in bed, and argues forcefully that even in a universe where miracles occur by the hour sometimes death might not be unwelcome…

Today, in a world where the right to life and its intrinsic worth and value are increasingly being challenged and contested by special interest groups, this story is still a strident, forceful reminder that sometimes the personal right to dignity and freedom from distress is as important as any and all other Human Rights.

No big Deus ex Machina, not many fights and no happy ending: but still one of the most compelling stories the House of Ideas ever published.

Augmenting the sidereal saga, a number of now-mandatory bonus bits include Starlin’s exploded-view map-&-blueprint of Thanos’ homeworld Titan; original cover art from Captain Marvel #29 plus original art and the 3-page framing sequence for the reprint issue #36.

Other extras follow: the all-cosmic hero cover to fan-magazine F.O.O.M. #19; the all-new covers, back covers and bridging pages for prestige reprint miniseries The Life of Captain Marvel (as well as the humorous introductory ‘Editori-Al’ strips cartooned by Al Milgrom) and much, much more.

A timeless classic of the company and the genre, this is a tale no full-blooded Fights ‘n’ Tights fan can be without.
© 1972, 1973, 1974, 1982, 2016 Marvel Characters, Inc. All rights reserved.

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Black Lightning


By Dennis O’Neil, Gerry Conway, J.M. DeMatteis, Martin Pasko, Paul Kupperberg, Dick Dillin, George Tuska, Rich Buckler, Marshall Rogers, Mike Netzer/Nasser, Romeo Tanghal, Joe Staton, Pat Broderick, Dick Giordano, Gerald Forton & various (DC Comics)
ISBN: 978-1-4012-7546-4 (TPB/Digital edition)

Black Lightning was the first African American superhero to have his own solo DC title. It launched in 1977 and ran for 11 issues.

When former Olympic decathlete Jefferson Pierce returned to the streets of Metropolis’ Suicide Slum to teach at inner city Garfield High School, he was determined to make a real difference to the disadvantaged and often troubled kids he used to be numbered amongst. However, when he interrupted a drug buy on school grounds and sent the dealer packing, he opened everyone around him to mob vengeance and personal tragedy…

When the ruling racketeers – an organised syndicate dubbed The 100 – came seeking retaliation, one of Pierce’s students paid the ultimate price. The traumatised teacher realised he needed the shield of anonymity if he was to win justice and safety for his beleaguered home and charges…

Happily, tailor Peter Gambi – who had raised Jefferson and taken care of his mother after the elder Pierce was murdered – had some useful ideas and inexplicable access to some pretty far-out technology. Soon, equipped with a strength-&-speed-enhancing forcefield belt and costume, plus a mask and wig that completely changed his appearance, a fierce new vigilante stalked the streets of Metropolis…

This second outing gathers a flurry of back-up and guest appearances from May 1979 to October 1980, garnered from various titles the urban avenger prowled in after his solo title folded. They cumulatively comprise World’s Finest Comics #256-259 and #261, DC Comics Presents #16, Justice League of America #173-174, Detective Comics #490-491, 495-495 and The Brave and the Bold #163 plus pertinent material from Who’s Who: The Definitive Directory of the DC Universe #3 (1985) and Who’s Who in the DC Universe #16 (1992).

Following an informative Introduction by character originator Tony Isabella reprising Black Lightning: The In-Between Years, the (relatively) down-to-earth superhero antics recommence in ‘Encounter with a Dark Avenger!’ (courtesy of Denny O’Neil, Dick Dillin & Frank Chiaramonte, as seen in World’s Finest Comics #256).

Here the electric warrior is manipulated into a potentially fatal confrontation with equally fervent urban vigilante Green Arrow. As the heroes clash, neither is aware the 100’s ousted boss Tobias Whale is behind their mutual woes…

That short yarn saw Black Lightning as GA’s guest star and served as a prelude to ‘Death Ransom!’ (WFC #257), beginning Pierce’s second (strictly backup) series. Crafted by O’Neil, George Tuska & Bob Smith, it sees a fateful, brutal clash with The Whale, resulting in a wary ceasefire for the archenemies as they unite to destroy a swiftly rebuilding 100 cartel…

Of course, a scorpion’s gotta sting and the alliance only lasts one issue before Whale betrays Lightning’s trust and another innocent dies in ‘The Blood of the Lamb!’ (O’Neil, Rich Buckler & Romeo Tanghal, from World’s Finest #258)…

Issue #259 offers a labyrinthine conundrum as the hero and a horde of gunmen act on a deathbed tip-off, converging on a seedy welfare hotel that might be ‘The Last Hideout’ (O’Neil, Marshall Rogers, Michael Nasser/Netzer & Vince Colletta) of a legendary criminal and his ill-gotten gains. Sadly, only the masked vigilante cares about collateral casualties…

‘Return of the River Rat!’ (O’Neil, Tanghal & Colletta, WFC #261) ends this back-up run on a mediocre note as school chaperone Jefferson Pierce is fortuitously on hand for a river cruise party, just as an exiled mobster attempts to sneak back into the USA by submarine…

A co-starring role in DC Comics Presents #16 (December 1979) finds the street-smart urban avenger and Superman facing a heartsick, violently despondent alien trapped on Earth for millennia in ‘The De-volver!’ (O’Neil, Joe Staton & Frank Chiaramonte) after which the loner gets a nod of approval from Superhero Big Guns…

Justice League of America #173-174 (December 1979 and January 1980) sees a smart 2-parter with a twist ending as the League seek to induct the mysterious, unvetted vigilante.

After much fervent, self-righteous and smugly privileged debate, they decide to set their still-unsuspecting candidate a little problem to prove his worth.

However, as a vermin-controlling maniac unleashes terror upon Metropolis, the ‘Testing of a Hero’ and ‘A Plague of Monsters’ (Gerry Conway, Dillin & Frank McLaughlin) takes the old recruitment drive in a very fresh direction and delivers disappointment all around…

Still Not Quite Popular Enough, the hero was found tenure in the more moody but grounded Detective Comics, beginning with #490 (May 1980).

Here Martin Pasko, Pat Broderick & McLaughlin reveal how ‘Lightning Strikes Twice Out!’ as a protracted clash with a ruthless Haitian gang led by Mama Mambu leads to Pierce’s kidnap and loss of his powers and gimmicks in concluding chapter ‘Short-Circuit’ (Detective #491).

A corrupt Senator stealing oil shipments to finance a private army and planned takeover of America is foiled in separate-but-convergent investigations conducted by Black Lightning and Batman in ‘Oil, Oil… Nowhere’ (Paul Kupperberg & Dick Giordano from The Brave and The Bold #163, June 1980) after which J.M. DeMatteis & Gerald Forton assume creative control of the Lightning’s path in Detective Comics #494…

‘Explosion of the Soul’ (cover-dated September 1980) sees the streets haunted by a murderous junkie-killing vigilante, with all Pierce’s investigations leading inexorably back to one of his students…

Ending on a dark note of tragedy, ‘Animals’ (DeMatteis & Forton, Detective #494) then sees the Suicide Slum School Olympics turned into a charnel house when a juvenile street gang seizes the girls’ hockey team and demands safe passage and new lives in Switzerland. When Black Lightning intercedes, events escalate and not everyone gets out alive…

Supplemented with a cover gallery by Ross Andru, Giordano, Jim Aparo, Neal Adams & Dillin, with fact-packed background and data pages about ‘Black Lightning’ from Who’s Who: The Definitive Directory of the DC Universe #3 (1985) and an updated entry from Who’s Who in the DC Universe #16 (1992), this is a potent package of fast-paced Fights ‘n’ Tights thrillers no thriller fan could resist.
© 1979, 1980, 2018 DC Comics. All Rights Reserved.

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Marvel Adventures Iron Man volume 1: Heart of Steel


By Fred Van Lente, James Cordeiro, Ronan Cliquet, Scott Koblish, Amilton Santos, Gary Erskine & various (Marvel)
ISBN: 978-0-7851-2644-7 (Digest PB/Digital edition)

In 2003 the always-experimenting House of Ideas instituted the Marvel Age line: an imprint updating classic original tales and characters for a newer, younger readership. The enterprise was tweaked in 2005, with core titles morphing into Marvel Adventures: Fantastic Four and Marvel Adventures: Spider-Man. The tone was very much that of the company’s burgeoning TV cartoon franchises, in delivery if not name.

Supplemental series included Super Heroes, The Avengers, Hulk and Iron Man. These all chuntered along merrily until 2010 when they were cancelled and replaced by new volumes of Marvel Adventures: Super Heroes and Marvel Adventures: Spider-Man.

Most of the re-imagined tales were collected in gleefully inviting digest-sized compilations and digitised: thus was the case with this engaging ensemble featuring the first four forays starring the gadget-laden Golden Avenger.

In original mainstream continuity, supreme survivor Tony Stark has changed his profile many times since his 1963 debut when, as a VIP visitor in Vietnam observing the efficacy of weaponry he’d designed, the arch-technocrat wünderkind was critically wounded and captured by a local warlord.

Put to work with the spurious promise of medical assistance upon completion, Stark instead built an electronic suit to keep his heart beating and deliver him from his oppressors. From there, it was a small jump to a second career as a high-tech hero in Shining Super-Armour…

Conceived in the wake of the Cuban Missile Crisis, at a time when the economy was booming and “Commie-bashing” was America’s favourite national pastime, the emergence of a suave new Edison using Yankee ingenuity, wealth and invention to safeguard the Land of the Free and better the World seemed an obvious development.

Combining the era’s sacrosanct tenet that technology and business in unison could solve any problem with the universally enthralling imagery of noble paladins battling evil, Invincible Iron Man proved an infallibly successful proposition.

Over subsequent decades Stark has been depicted as a liberal capitalist, eco-warrior, space pioneer, civil servant, statesman, and even spymaster: Director of Earth’s most scientifically advanced spy agency – the Strategic Hazard Intervention Espionage Logistics Directorate.

For most of that period his best friend and frequent stand-in was James Rhodes, a former military man who acted as pilot, bodyguard, advisor, co-conspirator and occasional necessary conscience. “Rhodey” even replaced Iron Man when Stark succumbed to alcoholism and eventually carved out his own chequered career as remorseless mechanised warrior and weapon of last resort War Machine…

Here Rhodey is reduced to a technical support role and joined by a supporting cast member of a much earlier vintage. Secretary and hyper-efficient factotum Pepper Potts has been in the picture since the seventh IM adventure (way back in October 1963): evolving from love-struck typist into a businesswoman and hero in her own right. Here a middle ground is struck and she’s Stark’s trusted Executive Administrator, confidante and general dogsbody…

Culled from Marvel Adventures Iron Man #1-4 (July-October 2007) this machine-tooled tranche of explosive yarns is written throughout by Fred Van Lente, with colours from Studio F’s Martegod Gracia and lettered by Blambot’s Nate Piekos. It also serves up a ‘Cover Gallery’ by comics legend Michael Golden.

As ever, these stories are intended to bring newcomers up to speed on key points and characterisation whilst updating the material and opens with ‘Heart of Steel’ – winningly illustrated by James Cordeiro & Scott Koblish – which once again modifies the technological wizard’s origin in tune with modern sensibilities…

When a huge robotic monster attacks Manhattan, Stark suits up in his latest miracle-armour to tackle the terror. The clash sends his mind racing back six months to the moment when the spoiled multi-billionaire idol and (non-superhero) smug brat was publicly challenged by esteemed scientist Gia-Bao Yinsen.

That venerable sage accused Stark of selling war-weapons to anybody with enough money, thereby letting them be used to destroy the island of Madripoor…

Upset by the confrontation, the young genius shrugged it off until summarily abducted by techno-terrorists Advanced Idea Mechanics. They wanted him to build more death-toys for them and were pretty sure he would cooperate. Tony’s heart was grievously damaged in their attack and only AIM’s doctors could keep him alive…

Locked in a top-of the line lab/workshop, Tony found old Yinsen was also a prisoner and together they devised mobile, weaponised life-support units to fight their way to freedom. Ultimately, Yinsen didn’t make it, but his final words changed Stark’s life forever…

As also illustrated by Cordeiro & Scott Koblish, Iron Man’s greatest enemy is then reintroduced in ‘Enter the Dragon’. When Stark’s Chinese factory is suddenly depleted of its entire workforce, he charges to the rescue, clashing with supreme mech-genius the Mandarin. He is a direct descendent of Genghis Khan who intends topping his ancestor in the world-conquest stakes…

Employing his monumental mechanical wyrm to attack the Great Wall, the maniac makes a pretty good start until Iron Man gets heavy…

Potts takes centre-stage in ‘The Creeping Doom’ (illustrated by Ronan Cliquet & Amilton Santos) as the Stark jet touches down in a desert wilderness to interview genetic engineer and botanist Samuel Smithers. The recluse has a few radical ideas about revolutionising global Agribusiness, but sadly, by the time they arrive, he’s moved beyond the need for investors, having merged with his verdant creations to become a marauding Plantman intent on seizing the world for the floral kingdom.

The only use he has for meaty organic matter is as mulch and compost, but underestimates the sheer animal cunning of his adversaries…

Wrapping up the mechanical marvels is ‘Hostile Takeover’ (with Cordeiro & Gary Erskine making the pictures) wherein Stark Board member Justin Hammer tries to maliciously manipulate stock and gain control of the company.

His method is flawless. Hire the infallible Spymaster to hack Iron Man’s armour, sending Tony’s “bodyguard” on a destructive rampage through the city – with Stark helpless inside it – and just watch the stock price fall until it’s time to make his killing.

Hammer’s big mistake was assuming Pepper and Rhodey are the sort of servile flunkies he preferred to hire for Hammer Industries…

Rocket-paced, spectacularly exciting and enthralling with plenty of sharp wit to counterpoint the drama and suspense; these riotous super-sagas are a splendid example of Iron Man’s versatility to delight Fights ‘n’ Tights fans of all ages and vintage.
© 2007 Marvel Characters, Inc. All rights reserved.

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The Batman Adventures: Mad Love Deluxe Edition


By Paul Dini & Bruce Timm, with Rick Taylor, Tim Harkins & various (DC Comics)
ISBN: 978-1-4012-5512-1 (HB/Digital edition)

Harley Quinn wasn’t supposed to be a star… or even an actual comic book character. As soon became apparent, however, the manic minx always has her own astoundingly askew and off-kilter ideas on the matter… and any other topic you could name: ethics, friendship, ordnance, true love…

Created by Paul Dini & Bruce Timm, Batman: The Animated Series aired in the US from September 5th 1992 to September 15th 1995. Ostensibly for kids, the breakthrough television cartoon revolutionised everybody’s image of the Dark Knight and immediately began feeding back into the print iteration, leading to some of the absolute best comic book yarns in the hero’s many decades of existence.

Employing a timeless, all-embracing visual style dubbed “Dark Deco”, the show mixed elements from all iterations of the character and, without diluting the power, tone or mood of the premise, reshaped the grim avenger and the extended team around him into a wholly accessible, thematically memorable form that the youngest of readers could enjoy, whilst adding shades of exuberance and panache only most devout and obsessive Batmaniac could possibly object to…

Harley was first seen as the Clown Prince of Crime’s slavishly adoring, extreme abuse-enduring assistant in Joker’s Favor, which aired on September 11th 1992. She instantly captured the hearts and minds of millions of viewers.

From then on she began popping up in the incredibly successful licensed comic book and – always stealing the show – soon graduated into mainstream DC continuity.

After a period bopping around the DCU, she was re-imagined as part of the company’s vast post-Flashpoint major makeover: regularly appearing as part of a new, gritty-but-still-crazy iteration of the Suicide Squad. However, at heart she’s always been a cartoon glamour-puss, with big, bold, primal emotions and only the merest acknowledgement of how reality works…

Re-presenting the 1994 one-shot Batman Adventures: Mad Love, this slight and breezy hardcover is made up of mostly recycled material – including writer Paul Dini’s comfortably inviting Foreword and co-plotter/illustrator Bruce Timm’s effusive and candidly informative ‘Mad Love Afterword’.

However, a truly unmissable bonus treat for art-lovers and all those seeking technical insight (perhaps with a view to making comics or animation their day job) is the illustrator’s full monochrome ‘Original Layouts for The Batman Adventures: Mad Love’: displaying how the story materialised page by page. There’s even previous and variant covers to earlier editions and unused painted back cover art plus highly detailed, fully-annotated colour guides for the complete story, offering a perfect “How To”  lesson for aspiring creators…

All that being said though, what we want most is a great story, and that magnificently madcap mayhem commences after Police Commissioner James Gordon heads to the dentist. When Batman easily foils the Joker’s latest manic murder attempt, the mountebank of Mirth pettishly realises he’s lost his inspirational spark.

He’s therefore in no mood for lasciviously whining lapdog Harley’s words of comfort or flirtatious pep talks…

As the Dark Knight reviews his files on the Joker’s girlfriend and ponders on how Harleen Frances Quinzel breezed through college and came away with a psychology degree that bought her a staff position at Arkham Asylum, in the now, the larcenous lady in question has gone too far in the Joker’s lair. The trigger is comforting sympathy and telling her “precious pudden” how his baroque murder schemes could be improved…

Kicked out and almost killed (again), Harleen harks back to her first meeting with the devilishly desirable crazy clown and how they instantly clicked. She fondly recalls how her original plan to psychoanalyse the Joker and write a profitable tell-all book was forgotten the moment she fell under his malign spell. In that moment she became his adoring, willing and despised slave…

She also realises that Batman too-quickly scotched their budding eternal love by capturing the grinning psycho-killer she secretly aided and abetted, both before and after she created her own costumed alter ego…

In fact, Batman always spoils her dreams and brutalises her adored “Mistah J”. It’s long past time she took care of him once and for all…

Driven by desperation and fuelled by passion, Harley Quinn appropriates one of the Joker’s abortive schemes and tweaks it.

Before long, the Gotham Gangbuster is duped, doped, bound and destined for certain doom. Sadly, the triumphant Little Woman hasn’t reckoned on how her barmy beloved will react to learning she has done in mere hours what he’s failed to accomplish over many bitter years…

Coloured by Rick Taylor and lettered by Tim Harkins, the classy, classically staged main feature plays very much like a 1940s noir blend of morbid melodrama and cunning crime caper – albeit with outrageous over-the-top gags, sharply biting lines of dialogue and a blend of black humour and bombastic action. This story easily qualifies as one of the top five bat-tales of all time.

A frantic, laugh-packed, action-driven hoot that manages to be daring, deranged and demure by turns, Mad Love is an absolute delight, well worth the price of admission and an irresistible treasure to be enjoyed over and over again.
© 1994, 2015 DC Comics. All Rights Reserved.

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A Very DC Valentine’s Day


By Cecil Castellucci, Amanda Conner, Andy Diggle, Paul Dini, Ray Fawkes, Phil Hester, Kyle Higgins, Collin Kelly, Alisa Quitney, Jackson Lanzing, Peter Milligan, Ann Nocenti, Steve Orlando, Jimmy Palmiotti, James Robinson, Mark Russell, Mairghread Scott, Tim Seeley, Simon Bisley, Ben Caldwell, Aaron Campbell, Giuseppe Camuncoli, Mirko Colak, Andrew Currie, Javier Fernandez, Julio Ferreira, Julius Gopez, Sanford Greene, Stephanie Hans, Bryan Hitch, Frazer Irving, Kelley Jones, Nic Klein, Emanuela Lupacchino, Guillem March, John McCrea, Jaime Mendoza, Inaki Miranda, Robson Rocha, Thony Silas, Cam Smith, John Timms & various (DC Comics)
ISBN: 978-1401287665 (TPB/Digital edition)

After generations of incorporating seasonal occasions, milestones and themes into their regular chronology, in recent years comics publishers have started releasing special issues and compilations to single out those sale-enhancing moments. For DC, that process really began during their New 52 reboot…

Regrettably eschewing their own vast back catalogue of magnificently-limned genre romance material (still… maybe one day, hey?) the home of Batman, Superman and Wonder Woman released all-new anthologies exploring the many roads to and ways of loving.

In 2018, three one-shots – Young Monsters in Love #1, Young Romance: The New 52 Valentine’s Day Special #1 and Harley Quinn Valentine’s Day Special #1 – were tangled together as a celebratory tome which might entice less traditional fans…

We begin with Young Monsters in Love #1, which hit stores on February 7th 2018 carrying an April cover-date. It opens with a tale of Man-Bat wherein Kyle Higgins, Kelley Jones & colourist Michelle Madsen expose the bestial inner monologue of Kirk Langstrom’s ‘“Nocturnal Animal”’ as the self-mutated science renegade seeks to rekindle his romantic relationship with ex-wife Francine…

Tim Seeley, Giuseppe Camuncoli & Cam Smith also explore that theme of stability lost as Frankenstein, Agent of S.H.A.D.E. reviews his centuries-long relationship with “The Bride” in ‘Pieces of Me’ whilst Clark Kent and his son Jon learn a few hard truths about love and loss in ‘Buried on Sunday’. It’s a potentially shattering lesson for the Man of Steel and Superboy who seek to ensure that Solomon Grundy does not wallow in the eternal despair of bereavement as sensitively detailed by Mairghread Scott, Bryan Hitch & Andrew Currie…

Disgruntled Teen Titan/peripatetic ghost buster Raven discovers ‘The Dead Can Dance’ on a long-deferred Prom Night(mare) by Collin Kelly, Jackson Lanzing & Javier Fernandez, after which Paul Dini & Guillem March expose the cruel traumas of elementary school bullying when Deadman saves a lonely boy crushed and nearly killed by the annual purgatory of card-giving in ‘Be My Valentine’…

Swamp Thing loves and loses another frail and fragile human contact in the beautifully eerie ‘Heart-Shaped Box’ by Mark Russell & Frazer Irving, before Steve Orlando & Nic Klein push the parameters of amour and self-sacrifice when queer cop Maggie Sawyer seeks to stop a potential bloodbath as Monsieur Mallah & The Brain (of the Brotherhood of Evil) seek a way to further their impossibly complex relationship by looking backwards in ‘Visibility’…

Andrew Bennet (I, Vampire, by Alisa Quitney & Stephanie Hans) then experiences painful revelation when forced to accept a new role for his ever-maturing disciple in ‘The Turning of Deborah Dancer’, whereas Etrigan – The Demon – brutally challenges the entire infernal host to reach Jason Blood’s lost love in ‘To Hell and Gone’ by Phil Hester &Mirko Colak.

Amidst the madness of WWII, the warped wooing closes with a distressing brush-off letter to the Creature Commandos’ man-made vampire in ‘Dear Velcoro’, by James Robinson & John McCrea.

Heralding a shift from dark dilemmas to costumed courting – courtesy of the contents of Young Romance: The New 52 Valentine’s Day Special #1 (originally cover-dated April 2013) – our soap-opera sagas start with Catwoman reminiscing over her first meeting and troubled history with Batman in Ann Nocenti, Emanuela Lupacchino & Jaime Mendoza’s ‘Think it Through’…

Aquaman & Mera uncover unrequited love and reunite unquiet separated spirits in ‘The Lighthouse’ (by Cecil Castellucci & Inaki Miranda) before Batgirl Babs Gordon lets her guard down with a certified bad boy in Ray Fawkes & Julius Gopez’s ‘Dreamer’.

Superhero teammates Apollo & Midnighter revisit their first “ mad moment” mid-mission in ‘Seoul Brothers’ by Peter Milligan & Simon Bisley, whilst paragon legacy hero Nightwing makes all his old mistakes again with new foe/ally/love interest Ursa in ‘Another Saturday Night’ by Kyle Higgins & Sanford Greene…

One of the biggest and most touted draws of the New 52 was the sidelining of Lois Lane and shocking romantic entanglement of Superman and Wonder Woman. Here, Andy Diggle, Robson Rocha & Julio Ferreira depict the ultimate power couple in the early, exploratory stages of that relationship and learning via a shocking game of ‘Truth or Dare’ …until spiteful sirens and a possessed god of love violently object…

The final third of this torrid tome sees lunatic love bandit Harleen Quinzel hog the limelight and steal the show with an extended epic from the Harley Quinn Valentine’s Day Special #1: released on February 11th 2015 and once again cover-dated for the month of All Fools…

Written by Amanda Conner & Jimmy Palmiotti, and collaboratively illustrated by John Timms, Ben Caldwell, Aaron Campbell, Thony Silas and colourists Paul Mounts & Hi-Fi, ‘Just Batty Over You’ offers an hallucinogenic rollercoaster ride of passions and perplexing playfulness as The Joker’s former main squeeze espies and is enthralled by super-sexy Bruce Wayne who is a prize in a charity dating auction…

She determines to make him hers and the abduction part goes off pretty much as required. However, complicating the scheme is Harley’s own meandering grip on reality, Bruce’s many jobs and secrets, so very much over-applied and shared narcotic inducement, hench-folk who can only see the billionaire’s vast dollar-value and the perpetual interference of briny costumes activists The Carp and Sea Robin, who really want everybody to heed their message of marine environmental crisis…

Daft, delightful and delivered with perfect timing and elan, this lustful lark caps a supremely frothy and inconsequential diversion to charm casual and fully committed thrill seekers in equal amounts.
© 2013, 2015, 2018 DC Comics. All Rights Reserved.

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Billy Batson and the Magic of Shazam!: Family Affair


By Mike Kunkel, Art Baltazar, Franco, Byron Vaughns, Ken Branch & Stephen DeStefano & various (DC Comics)
ISBN: 978-1-49650-290-2 (HB/Digital edition)

After the runaway success of Jeff Smith’s magnificent reinvention of the original Captain Marvel (Shazam! The Monster Society of Evil ) it was simply a matter of time before that iteration won its own title in the monthly marketplace. What was a stroke of sheer genius was to place the new Billy Batson and the Magic of Shazam! under the bright and shiny aegis of the company’s young reader imprint – in what used to be the Cartoon Network spin-off section.

This collection re-presents the first dozen issues, spanning cover-dates September 2008 through March 2010 and opens on a most familiar world, slightly askew of the mainstream DC Universe. These frantically ebullient and utterly contagious tales of the orphan Batson and his obnoxious, hyperactive little sister Mary – both gifted by an ancient mage with the powers of the gods – could play out in wild and woolly semi-isolation hampered by nothing except page count…

Billy Batson is a homeless kid with a murky past and a glorious destiny. One night he followed a mysterious figure into an abandoned subway station and met the wizard Shazam. The ancient guardian of good granted him the ability to turn into an adult superhero called Captain Marvel.

Gifted with the wisdom of Solomon, strength of Hercules, stamina of Atlas, power of Zeus, courage of Achilles and speed of Mercury, the lad was despatched into the world to do good: a noble if perhaps immature boy in a super man’s body.

Accompanied by talking tiger-spirit Mr. Tawky Tawny, Billy tracked down his missing little sister, but whilst battling evil genius Dr. Sivana (US Attorney General and would-be ruler of the universe) he impetuously caused a ripple in the world’s magical fabric through which monsters and ancient perils now occasionally slip through. Currently, the reunited orphans are trying to live relatively normal lives, but finding the going a little tough…

Firstly, without adults around, Billy often has to masquerade as his own dad and when he’s not at school he’s the breadwinner, earning a living as a boy-reporter at radio/TV station WHIZ. Moreover, little Mary also has access to (most of) the Power of Shazam, and she’s a lot smarter than he is in using it… as well as a real pain in Billy’s neck.

Animator and storyteller Mike Kunkel, inspired creator of the simply lovely Herobear and the Kid, leads off this collection: writing, drawing and colouring a breakneck, riotous romp over the first four issues reintroducing the new Marvel Family to any new readers and, by virtue of that pesky rift in the cosmic curtain, recreating the Captain’s greatest foe: Black Adam. In case you’re wondering, Steve Wands did the lettering…

The villain was once the mightiest man alive but was banished for abusing Shazam’s gift. However, after the damage to reality Billy caused, he’s back but nowhere near the Man he was…

This time the evil predecessor of the World’s Mightiest Mortal is a powerless but truly vile brat: a schoolboy bully who returns to Earth after millennia in limbo, ready to cause great mischief – but he cannot remember the magic word that activates his evil adult self…

This hilarious tale has just the right amount of dark underpinning, as the atrocious little thug stalks Billy and Mary, trying to wheedle and eventually torture the secret syllables from them. When – inevitably – Black Adam regains his mystic might and subsequently liberates the petrified Seven Deadly Evils of Mankind from their imprisonment on the wizard’s Rock of Eternity, the stage is set for a classic confrontation.

Along the way to that climactic clash there’s oodles of sheer hilarity as Billy’s troubles are magnified by increasing demands on his time by overzealous teachers and Principal Strikta wanting to conference with his “dad”, whilst his journalistic partner and mentor Ms. Fidelity seems romantically attracted to his older body – which is still piloted by Billy’s pre-teen mind…

It’s no comfort at all that Mary is still thinking up better and cleverer ways to use the powers they share and that she might be the Wizard’s favourite, but the real problem is Theo Adam…

The returned terror might be stuck in his child form, but when he joins Billy in class, it soon becomes clear that the bully is sticking painfully close just in case one of the emergencies he’s orchestrated allows him to overhear Billy shouting out that word…

Inevitably all Billy’s worries come true and Black Adam regains his powers, leading the resurrected Seven Deadly Evils against humanity. Happily, although outpowered, out-fought and at his lowest moment, Billy comes up with a plan…

Pitched perfectly at the young reader, with equal parts danger, comedy, sibling rivalry and the regular outwitting of adults, this first storyline screams along with a brilliantly clever feel-good finish, perfectly setting up the next all-action comedic challenge…

From issue #5 (September 2009) writing team Art Baltazar & Franco (Franco Aureliani) – collectively responsible for the incomparably compulsive madness of Tiny Titans and Superman Family – took over the legend-spinning, and artists Byron Vaughns & Ken Branch limn the first bombastic tale as convict Doctor Sivana unleashes a stolen atomic automaton against the two kids he hates most in the world in ‘Mr Who? Mr. Atom!’.

The destructive giant robot rampage was simply a ploy to cover his escape from prison. Although the mighty marvels overcome the onslaught thanks to input from its creator, Billy has a bigger problem to solve. He has a tremendous crush on Ms. Fidelity but she barely notices him whenever his heroic alter ego is around and even when he’s not…

‘To Be King’ then pits the champions of Fawcett City against primordial super-caveman King Kull: a physical and mental giant trying to reconquer the planet he ruled in millennia past. Older fans of gentle fantasy will be enthralled and delighted here by the singular art of Stephen DeStefano, who won hearts and minds with his illustration of Bob Rozakis’ seminal series Hero Hotline and ’Mazing Man – both painfully, criminally overdue for graphic novel collections of their own…

The King’s defeat is singular and shocking, but the young warriors are unaware that Sivana has again benefitted from their actions and is now weaponizing Kull’s remains…

Encroaching disaster is everywhere. At the Rock of Eternity, Shazam is helpless to prevent the Seven Evils from slowly awakening again and senses another hidden enemy in play. Calling on long-sidelined shapeshifting tiger totem Mr. Tawky Tawny, he inadvertently tips off evil genius Sivana and leads him to the Batson’s home. The wicked misfit even captures the tiger-man and uses him to power a newer, deadlier Mr. Atom in the Byron Vaughns illustrated ‘Deception Reception’…

With (the original) Captain Marvel on the ropes, ‘Come Together!’ sees Sivana press his attack, deploying enslaved Kull to back up his killer bot, before being again outsmarted by Mary Marvel whose grasp of physics saves the day and the tiger…

Another classic villain is revived as Shazam’s observations of Earth hone in on a deadly arsonist just as Billy begins acting strangely …like a jerk or perhaps pubescent schoolboy…

As Mary talks things over with recuperating houseguest Tawky-Tawny, they realise they haven’t seen Billy for some time, only his increasingly obnoxious adult alter ego. The crisis comes to head in ‘Fire Fire Everywhere!’ as the hero appallingly overreacts to the firebug, employing excessive force and accidentally creating an Arson Fiend…

‘The Legacy of Mr. Banjo!’ also channels a Golden Age bad guy as Billy and Mary stumble into a bank robbery perpetrated by Axe, the teenage son of the Axis agent and using his mystic music to mesmerise mortals into parting with their money. Although Billy is wilful enough to shrug off the spell it takes a pep talk from Ms. Fidelity to give him the edge needed to free Mary and stop Axe…

One good thing about the clash is that Billy is clearheaded now and realises he must not say his magic word ever again…

With Mary and Tawky-Tawny in tow, Billy heads for Shazam’s citadel and  proper diagnosis. The result is the freeing of an evil duplicate in ‘Mirror Mirror’, but the stupendous battle between hero and reflection is just a prelude to the final clash as the fight exposes the long-hidden secret villain in ‘Mr. Mind Over Matter!’ and Billy and his sister must stop both the wicked worm and its Monster Society of Evil with brains not brawn…

Billy Batson and the Magic of Shazam!: Family Affair is ideal for bringing kids into comics: funny, thrilling, stylishly illustrated and perfectly in tune with what young minds want to see. Moreover, with another major motion picture adaptation set to premiere in March, it’s a timely moment to get reacquainted with the Big Red Cheese …and the Little Babybel…

Incorporating a full cover gallery and a Kunkel variant, plus a key code for those pages written in the ‘Monster Society of Evil Code’ this is an addictive treat for all readers who can still revel in the power of pure wonderment and still glory in an unbridled capacity for joy.
© 2008, 2009, 2020 DC Comics. All Rights Reserved.

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Tales of the Batman: Carmine Infantino


By Carmine Infantino, Gardner Fox, John Broome, Cary Bates, Gerry Conway, Don Kraar, Mike Barr, Geoff Johns & various (DC Comics)
ISBN: 978-1-4012-4755-3 (HB/Digital edition)

Born on May 24th 1925, Carmine Michael Infantino was one of the greatest comic artists America ever produced: a multi-award-winning innovator who was there when comic books were born, reshaped the industry in the Silver Age and was still making fans when he died in 2013.

As an illustrator he co-created and initially visualised Black Canary, Detective Chimp, Pow-Wow Smith, the Silver Age Flash, Elongated Man, Deadman, Batgirl, Dial H for Hero and Human Target and revitalised characters such as Adam Strange and Batman. He worked for numerous companies, and at Marvel ushered in a new age by illustrating the licensed Star Wars comic book whilst working on titles and characters such as The Avengers, Daredevil, Ms. Marvel, Nova, Star-Lord and Spider-Woman…

His work on two separate iterations of the Batman newspaper strip is fondly remembered and whilst acting as Art Director and Publisher of National DC, he oversaw the most critically acclaimed period in the company’s history, ushering in the “relevancy” era and poaching Jack Kirby from Marvel to create the Fourth World, Kamandi, The Demon and others…

Very much – and repeatedly – the right man at the right time and place, Infantino shaped American comic book history like few others, and this bumper compendium comprehensively covers his contributions to the lore of Batman: collecting the stunning covers from Detective Comics #327-347, 349, 351-371, 500 and Batman #166-175, 181, 183-185, 188-192, 194-199 plus the Bat-Saga stories he drew for Detective #327, 329, 331, 333, 335, 337, 339, 341, 343, 345, 347, 349, 351, 353, 357, 359, 361, 363, 366-367, 369, and 500.

Also included are the contents of The Brave and the Bold #172, 183, 190, 194 and DC Comics Presents: Batman #1: an artistic association cumulatively spanning May 1964 to September 2004.

I’m assuming everybody here loves comics and that we’ve all had the same unpleasant experience of trying to justify that passion to somebody. Excluding your partner (who is actually right – the living room floor is not the place to leave your $£#!D*&$£! funnybooks) even today, many people have an entrenched and erroneous view of strip art, resulting in a frustrating and futile time as you tried to dissuade them from that opinion.

If so, this collection might be the book you want next time that confrontation occurs. It offers breathtaking examples of the prolific association of one the industry’s greatest illustrators with possibly the artform’s greatest creation.

Many of these “Light Knight” sagas stem from a period which saw the Dynamic Duo deftly reshaped for global Stardom – and subsequent fearful castigation from fans – as the template for the Batman TV show of the 1960s. It should be noted, however, that the producers and researchers took their creative impetus from stories of the era preceding the “New Look Batman” – as well as the original l940s movie serial…

So, what happened?

By the end of 1963, editor Julius Schwartz had spectacularly revived much of National/DC’s line – and the entire industry – with his modernisation of the superhero, and was then asked to work his magic with the creatively stalled and nigh-moribund Caped Crusaders.

Bringing his usual team of top-notch creators with him, Schwartz stripped down and back to the core-concept, downplaying aliens, outlandish villains and daft transformation tales to bring a cool modern take on combatting criminals. He even oversaw a streamlining and rationalisation of the art style itself.

The most apparent innovation was a yellow circle around the Bat-symbol, but far more importantly, the stories also changed. A subtle aura of genuine menace re-entered the comfortable and absurdly abstract world of Gotham City.

Infantino was key to the changeover that reshaped a legend – but this was while still pencilling Silver Age superstar The Flash – so, despite generating the majority of covers, Infantino’s interior art was limited to alternate issues of Detective Comics with the lion’s share of narrative handled by Bob Kane’s then-uncredited deputies Sheldon Moldoff, Joe Giella, Chic Stone & others, plus occasional guest artists such as Gil Kane…

Punctuated throughout by his chronologically sequenced covers, Infantino’s part in the storytelling revolution began then and kicks off here with Detective #327 – written by John Broome and inked by Joe Giella at the very peak of their own creative powers.

‘The Mystery of the Menacing Mask!’ is a cunning “Howdunnit?”, long on action and moody peril, as discovery of a criminal “underground railroad” leads Gotham Gangbusters Batman and Robin to a common thug seemingly able to control them with his thoughts…

‘Castle with Wall-To-Wall Danger!’ (Detective #329 with Broome and Giella in their respective roles) follows: a captivating international thriller with the heroes braving a deadly death-trap in Swinging England in pursuit of a dastardly thief.

A rare full-length story in #331 co-starred Elongated Man Ralph Dibny. He was Detective Comics’ new back-up feature: a costumed sleuth blending the charm of Nick (The Thin Man) Charles with the outré heroic antics of Plastic Man.

The ‘Museum of Mixed-Up Men’ (Broome & Infantino) united the eclectic enigma-solvers against a super-scientific felon, whilst in #333 Batman & Robin fought a faux goddess and genuine telepaths in the ‘Hunters of the Elephants’ Graveyard!’, written by Gardner Fox and inked by Giella.

The same team revealed the ‘Trail of the Talking Mask!’ in #335, giving the Dynamic Duo an opportunity to reinforce their sci-fi credentials in a classy high-tech thriller guest-starring private detective Hugh Rankin (of “Mystery Analysts of Gotham City” fame) before ‘The Deep-Freeze Menace!’ (Detective #337 delivered a fearsome fantasy chiller pitting Batman against a super-powered caveman encased in ice for 50,000 years…

DC’s inexplicable (but deeply cool) long-running love-affair with gorillas resulted in a cracking doom-fable as ‘Batman Battles the Living Beast-Bomb!’ (#339) highlighted the hero’s physical prowess in a duel of wits and muscles against a sinister, super-intelligent simian.

Up until this time the New Look Batman was forging his more realistic path, as the TV series was still in pre-production. The Batman TV show (premiering on January 12th 1966 and running for three seasons of 120 episodes in total) aired twice weekly for its first two seasons, resulting in vast amount of Bat-awareness, no end of spin-offs and merchandise – including a movie – and the overkill phenomenon of “Batmania”.

No matter how much we might squeal and foam about it, a huge portion of this planet’s population Batman will always regard that “Zap! Biff! Pow!”  buffoonish costumed boy scout as The Real Deal…

Regrettably this means that the comic stories published during that period have been similarly excoriated and maligned by most Bat-fans ever since. It is true that some tales were crafted with overtones of the “camp” comedy fad – presumably to accommodate newer readers seduced by the arch silliness and coy irony of the show – but no editor of Schwartz’s calibre would ever deviate far from the characterisation that had sustained Batman for nearly 30 years, or the then-recent re-launch which had revitalised the character sufficiently for television to take an interest at all.

Nor would such brilliant writers as John Broome, Bill Finger, Gardner Fox and Robert Kanigher ever produce work which didn’t resonate on all the Batman’s intricate levels just for a quick laugh or cheap thrill. The artists tasked with sustaining the visual intensity included Infantino, Moldoff, Stone, Giella, Murphy Anderson and Sid Greene, with covers from Gil Kane and Joe Kubert supplementing Infantino’s stunning, trend-setting, fine-line masterpieces.

Most of the tales here reflect those gentler times and editorial policy of focusing on Batman’s reputation as “The World’s Greatest Detective”, so colourful, psychotic costumed super-villains are in a minority, but there are first appearances for a number of exotic foes who would become regular menaces for the Dynamic Duo in years to come.

Broome & Infantino detailed the screen-inspired, comedically-catastrophic campaign of ‘The Joker’s Comedy Capers!’ in #341, with the mayhem and mystery continuing in Detective Comics #343 (September 1965) with ‘The Secret War of the Phantom General!’: a tense thriller pitting our hard-pressed heroes against a hidden army of gangsters and Nazi war criminals.

Detective #345 brought forth a terrifying and tragic new villain in ‘The Blockbuster Invasion of Gotham City!’ (scripted by Fox), as a monstrous giant with the mind of a child and the raw, physical power of a tank is driven to destructive madness at sight of Batman and only placated by the sight of Bruce Wayne…

‘The Strange Death of Batman!’ (Fox, in Detective #347) fired the opening shot of habitual B-list villain the Bouncer in a bizarre experimental yarn which has to be seen to be believed, whereas it’s business as usual when monstrous, microcephalic man-brute returns in ‘The Blockbuster Breaks Loose!’: a blistering, action-fuelled thriller from Fox, Infantino & Giella first seen in Detective #349. This tale sports a cover by Infantino’s colleague Joe Kubert whilst also hinting at the return of a long-forgotten foe…

Detective #351 premiered game-show host turned felonious impresario Arthur Brown in a twisty, puzzle-packed battle of wits detailing ‘The Cluemaster’s Topsy-Turvy Crimes!’ (Fox, Infantino & Sid Greene) after which the action accelerates as ‘The Weather Wizard’s Triple-Treasure Thefts!’ (Fox/Giella in #353) bring a torrent of trouble to Gotham and the Dynamic Duo battle in spectacular opposition to the Flash’s meteorological arch-enemy. This was one of the earliest times a Silver Age DC villain moved out of his usual haunts…

Detective #357 then delivers a clever secret identity saving puzzler when – apparently – ‘Bruce Wayne Unmasks Batman!’ (Broome, Infantino & Giella) as a prelude to big changes in the Batman mythos…

After three seasons (perhaps two and a half would be more accurate) the Batman show ended in March, 1968. It had clocked up 120 episodes since the US premiere. The era ended but the series had instilled an undeniable effect on the world, the comics industry and – crucially – on the characters and history of its four-colour inspiration. Most notable was a whole new caped crusader who would become an integral part of the DC universe.

The comic book premiere of that aforementioned character came in ‘The Million Dollar Debut of Batgirl’ (Detective Comics#359, cover-dated January 1967). Fox provided art team supreme Infantino & Greene a ripping yarn to introduce Barbara Gordon (mousy librarian and daughter of the Police Commissioner) into the superhero limelight. Thus, by the time the third season began on September 14th, 1967, she was well-established among comics fans at least…

A different Batgirl – Betty Kane (teenaged niece of the 1950s Batwoman) – was already a nearly-forgotten comics fixture, but for reasons far too complex and irrelevant to mention, she was conveniently ignored to make room for a new, empowered woman in the fresh and fashionable tradition of Emma Peel, Honey West and the Girl From U.N.C.L.E.

“Babs” was considered pretty hot too, which is always a plus for television…

Whereas she fought The Penguin on the small screen, her print origin features the no less ludicrous but at least visually forbidding Killer Moth in a clever yarn that still stands up today.

Editor Schwartz always preferred to play-up mysteries and crime conundrums in Detective Comics and #361’s ‘The Dynamic Duo’s Double-Deathtrap!’ was one of Fox’s best, especially as drawn by the now increasingly over-stretched Infantino & Greene. The plot involves Cold War spies and a maker of theatrical and stage paraphernalia; I shall reveal no more to keep you guessing when you read it…

Detective #363 was a full co-starring vehicle as the Dynamic Duo challenged the new Batgirl to deduce Batman’s secret identity whilst tracking down enigmatic Mr. Brains in ‘The True-False Face of Batman!’, leading to a taut suspense thriller stretching across Detective #366 & 367 – an almost unheard-of event in those cautiously reader-friendly days…

As devised by Fox, Infantino & Greene, ‘The Round Robin Death Threats’ involves a diabolical murder-plot threatening to destroy Gotham’s worthiest citizens, with the tension peaking and drama concluding in high style with ‘Where There’s a Will… There’s a Slay!’: a dark and deadly denouement barely marred by that dreadful title…

It was just a symptom of the times – as is Detective #369 (November 1967) – which somewhat reinforces boyhood prejudices about icky girls in otherwise classy thriller ‘Batgirl Breaks Up the Dynamic Duo!’…

Here, Robin seemingly abandons Batman for a vivaciously curvaceous new partner, and the best of clandestine reasons, ignominiously signalling – other than for the occasional cover – the end of Infantino’s tenure as a bat-illustrator.

His next Bat-contribution came in anniversary landmark Detective Comics #500 (March 1981): part of a huge creative jam-session specifically examining the legend of the immortal hero in ‘What Happens When a Batman Dies?’

Scripted by Cary Bates and inked by Bob Smith, this extracted chapter from a greater saga co-stars restless revenant Deadman as the Gotham Guardian hovers in a coma between this world and the next, yet still manages to find a way to save himself…

The cover is another collaborative effort with Dick Giordano, José Luis García-López, Joe Kubert & Tom Yeates all joining forces.

What follows is a quartet of tales from The Brave and the Bold, with Jim Aparo providing covers whilst Infantino handled interior art. Issue #172 (March 1981, inked by Steve Mitchell) paired the Caped Crimebuster with Firestorm in Gerry Conway scripted ‘Darkness and Dark Fire’, with the World’s Greatest Detective seeking to solve the mystery of the Nuclear Man’s periodic mental blackouts, after which #183 (February 1982, written by Don Krarr and inked by Mike DeCarlo) sees the crimebuster allied with The Riddler to prevent ‘The Death of Batman!’

Scripter Mike Barr & inker Sal Trapani worked with Infantino on B&B #190 (September 1982) and #194, January 1993), respectively challenging the Dark Knight to visit planet Rann and find ‘Who Killed Adam Strange?’ before subsequently working with the Flash against Doctor Double-X and the Rainbow Raider when they ‘Trade Heroes – And Win!’…

One final Infantino fling comes from DC Comics Presents: Batman #1 (September 2004), courtesy of writer Geoff Johns, with inks by Giella and a retro cover from Ryan Hughes, as ‘Batman of Two Worlds’ gets real metaphysical with narrative boundaries as the modern Batman and Robin investigate murder on the set of the 1960s Batman TV show in a bizarrely engaging romp with a mystery villain to expose…

The visual cavalcade then ends on a nostalgic high with ‘Batman and Robin Retail poster’ – AKA the front cover of this titanic tome – possibly the most iconic bat-image of the entire era.

Whether you tend towards the anodyne light-heartedness of Then, the socially acceptable psychopathy of assorted movie franchises or actually just like the comic book character, if you can make a potential convert sit down, shut up and actually read these wonderful adventures for all (reasonable) ages, you might find that the old adage “Quality will out” still holds true. And if you’re actually a fan who hasn’t read this classic stuff and revelled in the astounding timeless art, you have an absolute treat in store…
© 1964, 1965, 1966, 1967, 1981, 1982, 1983, 2004, 2014 DC Comics. All Rights Reserved.

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The All-New Atom volumes 3 & 4: The Hunt for Ray Palmer & Small Wonder


By Gail Simone, Rick Remender, Mike Norton, Pat Oliffe, Dan Green & Trevor Scott & various (DC Comics)
ISBN: 978-1-4012-1782-2 (TPB Hunt) 978-1-4012-1996-3 (TPB Wonder)

After the events of Identity Crisis and 52, superhero physicist Professor Ray Palmer disappeared, leaving his world behind him. But life goes on, and his teaching chair at Ivy University was offered to a young prodigy from Hong Kong. The neophyte just happened to be Palmer’s pen-friend and confidante: privy to his predecessor’s secrets ever since he was a child.

Dr. Ryan Choi unwillingly inherited his predecessor’s super-hero career as well – under some rather suspicious circumstances – battling super-villains, monsters and seemingly random chronal catastrophes that are making Ivy Town a viper’s nest of bizarre occurrences.

With this third volume (collecting issues #12-16 of All-New Atom) the so-likable legacy hero joins an eccentric team of heroes to track down his missing mentor in a story-arc that coincided with events of unfolding mega-crossover Countdown to Final Crisis…

Written by the brilliant Gail Simone and illustrated by Mike Norton, Dan Green & Trevor Scott, the The Hunt for Ray Palmer starts with ‘Never Too Small to Hit the Big Time’ as size-shifting homicidal maniac Dwarfstar returns, swiftly followed by a procession of Palmer’s oddly unique Rogues’ Gallery.

Temporal anomalies are devastating the city and Choi’s only chance to sort it all is the creepily coincidental alliance offered by infamous “time-thief” Chronos…

‘Second Genesis’ finds Choi and the wily villain lost in the South American jungles, encountering the tiny alien barbarians Palmer once lived with (see Sword of the Atom link please) before the new Tiny Titan links up with Donna Troy, Jason Todd and the Monitor – all major protagonists in the aforementioned Countdown to Final Crisis.

Choi joins forces in their search of the entire multiverse, with a first stop in ‘Heavens to Bitsy’ taking them from the super-scientific civilisation located on the bottom of Choi’s pet dog (not his underside, but the bit by the tail…) and from there to the post-existence paradise where all dead superheroes go. The manic manoeuvring features classy and clever cameos from a host of departed DC stars…

However, nothing is as it seems and by the time the new “challengers of the unknown” reach neutral ground and a rendezvous with Green Lantern Kyle Rayner, it’s clear that something or someone is sabotaging them. ‘Loss Leader’ sees Choi abruptly yanked from the quest and returned to Earth to save Ivy Town from the effects of the swifty escalating and accelerating time-storm one: of the funniest and grossest hero exploits ever recorded – or as Choi puts it, ‘Ewwww’…

The book concludes on a hilariously action-packed high note with ‘Forward! Into the Past!’ as further hints on the identity of the mastermind behind the All-New Atom’s troubles are revealed when Ivy Town takes a reality-warping, mind-bending trip back into the Summer of Love.

Ghosts, aliens, monsters, naff villains and Hippies abound, and there’s a guest-shot for those clearly inadequate guardians of the Time Stream, the Linear Men…

This fun-filled frantic frolic is a joyous return to clever, light-hearted adventure of the Good Old days (whenever they were) and these collected tales are everything a jaded superhero fan needs to clear the palate and revive flagging interests.


The All-New Atom volume 4: Small Wonder sees the adventures of the legacy Tiny Titan come to an abrupt halt with this final collection of mind-bending, time-busting yarns, collecting issues #17, 18 and 20-25 but sadly and inexplicably omitting #19 – a rather tasty subterranean thriller fill-in from Keith Champagne & Jerry Ordway.

Whether the switch from gleefully, wistfully whimsical scripter Gail Simone to darker, more hard-edged Rick Remender indicated the series was failing or perhaps actually caused its eventual demise is a matter of speculation – but it was probably neither and just another example of rapidly changing popular taste shredding sales below a viable cut off point…

Following the events of publishing events Identity Crisis and 52, size-changing part-time superhero Professor Ray Palmer vanished, leaving his world behind him. But life went on regardless, and his position at Ivy University was offered to a young prodigy from Hong Kong: Palmer’s confidante and someone privy to his predecessor’s secrets since childhood. Ryan Choi inherited his Palmer’s super-hero identity too – under rather suspicious circumstances.

The kid battled super-villains, monsters and seemingly random chronal catastrophes that were making Ivy Town a viper’s nest of bizarre occurrences and nexus of improbability.

Gail Simone started proceedings with 2-parter ‘The Atom and the Amazon’ – illustrated by Mike Norton, Andy Smith, Trevor Scott & Keith Champagne: a bravura blend of action, adventure and surreal comedy wherein expanding villainess Giganta sexually harasses the junior professor into a date whilst the mysterious forces and agencies infesting Ivy Town jockey for position before an impending emergent crisis…

Things come to a head when Federal Department of Metahuman Affairs agent Diana Prince steps in and asks Choi to wear a wire on his assignation…

When a creep with a detachable brain provokes a confrontation, Wonder Woman steps in and events spiral out of control until Ryan uses a brilliant seldom-seen ploy to calm things down. Sadly, the pacification is only temporary, as the brain-thing incites the entire city to attack the heroes, before The Atom saves the day …and is rewarded by the most outrageous offer he has ever heard…

Simone ended her run with ‘A Few Small Affairs’ wherein the sinister mastermind behind so many of Choi’s problems traps the diminishing hero in a perfect prison: a paradisiacal hallucination…

Meanwhile in consensus reality, demons, monsters and aliens rampage through Ivy Town…

To see how he stops that mess you’ll need to get this book, but that’s not the end of the affair. That comes in epic encounter ‘Inside Out’ by Rick Remender, Pat Olliffe & John Stanisci, pitting the out-of-his-depth Tiny Titan against truly horrendous odds and seemingly insurmountable hazards.

In ‘The Positive Aspects of Negative Thinking’, Choi learns that his explorations of the micro-cosmos have infected him with a virus and unleashed a monstrous carnivore on the city that only he can deal with. ‘How to Disappear Completely’ then leaves him shocked and reeling when the beast devours his best friend Panda.

Consumed with a need to make amends, Choi is utterly unaware that arch-enemies Chronos and Dwarfstar are preparing to attack, and is horrified and derailed to discover that the micro-monster has since disintegrated dozens of citizens. Meanwhile, his bodily infection is causing him to uncontrollably shrink in violently painful spasms…

Donning a high-tech containment suit, Choi struggles on in ‘Strange New World’: becoming lost in the Microverse before joyfully discovering that the townsfolk “consumed” by the monster were in fact simply reduced to sub-atomic proportions and entrapped in an extremely hostile new universe.

That elation is tempered however when he realises that time passes much faster there, and if the horrors inhabiting the place don’t eat them first, they will all die of old age before he can save them…

Guest-starring time-displaced hero Booster Gold, ‘Forecast Fascist Future’ focuses on Chronos and his partner in time-crime, a mysterious lady from Choi’s past, before the myriad plot-threads of the series converge and Ray Palmer returns to save the day: revealing some shocking truths to – and about – his successor in ‘Time’, a gripping conclusion to a bold epic and conclusive proof that the Tiny Titans should have been awarded more time to continue their adventures…

Alas they didn’t and the series passed away, but at least lovers of fun, fantastic fantasy Fights ‘n’ Tights fiction have these volumes to enjoy, if they can find them. Let’s all hope that DC get around to rereleasing all of them digitally ASAP…
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