Category: Monsters

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DC Finest: Justice League of America – Starro the Conqueror


By Gardner F. Fox, Mike Sekowsy, Carmine Infantino, Bernard Sachs, Murphy Anderson, Joe Giella & various (DC Comics)
ISBN: 978-1-79950-773-4 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

After the actual invention of the comic book superhero – by which we mean the launch of Superman in 1938 – the most significant event in the industry’s progress was to combine individual sales-points into a group. Thus what seems blindingly obvious to us with the benefit of four-colour hindsight was irrefutably proven: a number of popular characters could multiply readership by combining forces. Plus, of course, a whole bunch of superheroes is far cooler than just one – or even one and a sidekick…

Thus the Justice Society of America is rightly revered as a true landmark in the development of comic books and – when Julius Schwartz began reviving and revitalising the nigh-defunct superhero genre in 1956 – the next key moment would come a few years with the inevitable teaming of reconfigured mystery men. The League launched in The Brave and the Bold #28 (cover-dated March 1960 but actually on sale from December 29th 1959) and cemented the growth and validity of the revived subgenre, triggering an explosion of new characters at every company producing comic books; even spreading to the rest of the world as the 1960s progressed.

Spanning March 1960 to May 1963, this full-colour paperback collection of timeless classics re-presents The Brave and the Bold #28-30, issues #1-19 of the epochal first series of Justice League of America and a crucial early cross-branding event from Mystery in Space #75, with scripter Gardner Fox and illustrators Mike Sekowsky & Bernard Sachs – with the support of Joe Giella, Carmine Infantino & Murphy Anderson – seemingly able to do no wrong. That moment that changed everything for us baby-boomers came in The Brave and the Bold #28, a classical adventure title that had recently become a try-out magazine like Showcase. Just in time for Christmas 1959 ads began running…

“Just Imagine! The mightiest heroes of our time… have banded together as the Justice League of America to stamp out the forces of evil wherever and whenever they appear!…”

When it came that first tale was written by the indefatigable Gardner Fox and illustrated by quirky, understated virtuoso Mike Sekowsky, and inked by Bernard Sachs, Joe Giella & Murphy Anderson. ‘Starro the Conqueror!’ saw Flash, Wonder Woman, Aquaman, J’onn J’onzz – Manhunter from Mars and recent debutante Green Lantern defeat a marauding alien starfish whilst Superman and Batman stood by as a reserve. In those naive days, editors feared their top characters could be “over-exposed” and consequently lose popularity. The team also picked up an average American kid as a mascot. “Typical teenager” Snapper Carr would prove a focus of fan controversy for decades to come, and the yarn was/is supplanted by fact page ‘The “Starfish” Family!’ crafted by clever persons currently unknown…

Confident of his material and the superhero genre’s fresh appeal, Schwartz had two more thrillers ready for the following issues. B&B #29 saw the team defeat a marauder from the future who apparently had history on his side in ‘The Challenge of the Weapons Master!’ (inks by Sachs and Giella) whilst #30 saw the debut of the team’s first mad-scientist archvillain in the form of Professor Ivo who employed and his super android Amazo in ‘The Case of the Stolen Super Powers’ (Fox, Sekowsky & Sachs) to  end the try-out run. Three months later a new bi-monthly title debuted…

Perhaps somewhat sedate by histrionic modern standards, the JLA was revolutionary in a comics marketplace where less than 10% of all sales featured costumed adventurers. Not only consumer imagination was struck by hero teams either. Stan Lee was apparently given a copy of Justice League by his boss Martin Goodman and told to do something similar for the tottering comics company he ran… and look what came of that…

Justice League of America #1 offered a voyage to ‘The World of No Return’, in the insalubrious company of trans-dimensional tour-guide and tawdry tyrant Despero who bedevilled the World’s Greatest Heroes until, once again, plucky Snapper Carr became the key to defeating the villain and saving the day. As previously mentioned, although Superman and Batman were included in the membership their participation was strictly limited as editorial diktat at the start to avoid possible reader ennui and saturation from over-exposure. That ended from this point forward as they joined the regulars in all their games.

The second issue’s ‘Secret of the Sinister Sorcerers!’ presented an astounding conundrum as the villains of Magic-Land sneakily transposed the location of their dimension with Earth’s, causing the Laws of Science to be replaced with the Lore of Mysticism. The true mettle of the costumed heroes (with Superman & Batman fully participating in the proceedings) was shown when they had to use ingenuity rather than their powers to defeat fearsome foes and set two worlds to rights.

JLA #3 introduced despicable despot and slimy sentient trafficker Kanjar Ro who attempted to turn the team into his personal army in ‘The Slave Ship of Space!’, before the next episode was the first of many to feature a new member joining the team. Green Arrow saved the day in science-fiction thriller ‘Doom of the Star Diamond’, but was almost kicked out in #5 as the insidious evil genius Doctor Destiny inadvertently framed him ‘When Gravity Went Wild!’

The glory days of full-on “costumed crazies” was still in the future and most tales of this period involved extraterrestrial or fringe technology-triggered emergencies such as the mad scientist who encountered them next. ‘The Wheel of Misfortune!’ saw the debut of pernicious and persistent master of wild science Professor Amos Fortune, who weaponised luck to challenge the masked marvels, whilst #7 was another alien invasion plot (Agellaxians this time) who used an amusement park as a live-weapons lab, using humans to beta test their tech and eerily transform the swiftly-investigating heroes infiltrating ‘The Cosmic Fun-House!’

Organised crime then collided with cruel happenstance in January 1962’s JLA #8. ‘For Sale… the Justice League!’ offered a smart gangster caper wherein cheap hood Pete Rickets finds a prototype teaching tool and misuses it as mind-control weapon to enslave the superhero team before simple Snapper once again saves the day.

As often remarked, back then origins and character background were not as important as delivering solid entertaining stories and it was not until Justice League of America #9 (cover-dated February 1962 and on sale from December 21st 1961) that the group shared its motivating first case with enthralled readers via the narrative engine of curious Snapper Carr. Nigh-mythic now and oft-recounted. ‘The Origin of the Justice League’ recounts the circumstances of the team’s birth in an alien invasion saga as mighty space warriors seeking to use Earth as a gladiatorial arena in which to decide the future ruler of their distant world Appellax…

It’s followed by the series’ first continued story. ‘The Fantastic Fingers of Felix Faust!’ finds the World’s Greatest Superheroes already battling a marauder from the future – the Lord of Time – when they’re spellbound by a vile sorcerer. Faust has awoken three antediluvian demons (Abnegazar, Rath and Ghast) and sold them the world in exchange for 100 years of unlimited power. Although the heroes eventually outwit and defeat Faust they have no idea that the demons are loose…

Although chronologically and sequentially adrift, next up is  Mystery in Space #75 (May 1962), wherein the worlds-beating team guest-star in a full-length thriller in Adam Strange’s ongoing, off-world epic adventures. Strange is an Earth archaeologist who regularly teleports to a planet circling Alpha Centauri where his wits and ingenuity saved the citizens of Rann from all manner of interplanetary threats and menaces. In ‘The Planet that came to a Standstill!’, Kanjar Ro attempts to conquer Strange’s adopted home, and our gallant hero must enlist the aid of the JLA before once again saving the day himself. This classic team-up was written by Fox, and illustrated by Carmine Infantino & Murphy Anderson.

Then, back in JLA #11 (also cover-dated May 1962) concluding chronological conundrum ‘One Hour to Doomsday!’ sees the JLA pursue and capture initial target The Lord of Time, before becoming trapped a century from their home-era by the awakened, re-empowered demons. This level of plot complexity hadn’t been seen in comics since the closure of EC Comics, and never before in a superhero tale. It was a profound acknowledgement by the creators that the readership was no longer simply little kids – if indeed it ever had been…

Perennial archvillain Doctor Light debuted in #12, attempting a pre-emptive strike on the team by transporting them to carefully selected sidereal worlds where their abilities would be useless, but ‘The Last Case of the Justice League’ proved to be anything but, and in the next issue the heroes saved our entire reality by solving ‘The Riddle of the Robot Justice League’: sinister simulacra created to stop the champions from halting the theft of our life-energy by agents of another cosmic realm. Then ‘The Menace of the “Atom” Bomb!’ in #14 proved to be  a neat way of introducing latest inductee The Atom whilst showing a fresh side to an old villain masquerading as new nemesis Mister Memory…

‘Challenge of the Untouchable Aliens’ in JLA #15 added some fresh texture to the formulaic plot of extra-dimensional invaders out for our destruction before ‘The Cavern of Deadly Spheres’ delivered a deceptive change-of-pace tale with a narrative technique that just couldn’t be used on today’s oh-so-sophisticated audience, but still has the power to grip a reader. Ever challenging and always universal continuity building, more links between heroes were formed in #17’s ‘Triumph of the Tornado Tyrant!’ Here a sentient cyclone that had once battled indomitable Adam Strange (in Mystery in Space #61) set up housekeeping on an desolate world and ponder the very nature of Good and Evil and even roleplay out its deliberations. It soon realised that it needed the help of the Justice League to reach a survivable conclusion…

Teaser Alert: As well being a cracking yarn, this story is pivotal in the development of the android hero Red Tornado…

JLA #18 found the heroes forcibly summoned to a subatomic universe by three planetary champions whose continued existence now threatened to destroy the very world they were designed to protect. ‘Journey to the Micro-World’ found the JLA compelled to defeat opponents who were literally unbeatable and discovering yet again that Batman’s brains were a super power no force could thwart…

One final perplexing puzzle was posed in ‘The Super-Exiles of Earth’ after unstoppable duplicates of the heroes go on a crime-spree, forcing global governments to banish the League into space. Breaking rules and laws whilst battling undercover in their civilian identities, the team prove too much for the mystery mastermind behind the plot and return to public acclaim in a stellar wrap-up to another fabulous feast of four-colour fun.

With iconic covers by Sekowsky, Infantino and Anderson, these tales are a perfect example of all that was best and purest about US comics’ Silver Age: combining optimism and ingenuity with bonhomie and adventure. This slice of better times also has the benefit of cherishing wonderment whilst actually being historically valid for any fan of our medium. Best of all the stories here are still captivating and enthralling transports of delight.

These classical compendia are a dedicated fan’s delight: an absolute gift for modern fans who desperately need to catch up without going bankrupt. They are also perfect to give to youngsters as an introduction into a fabulous world of adventure and magic…
© 1960, 1961, 1962, 1963, 2026 DC Comics. All Rights Reserved.

Today in 1883 trailblazing strip creator Frank King (Gasoline Alley) was born, as was trendsetting illustrator Mac Raboy (Captain Marvel Junior, Green Lama, Flash Gordon) in 1914; German comics legend Rolf Kauka (Dagobert, Fix und Foxi) in 1917 and Gerard Way (Umbrella Academy, Doom Patrol, some music and TV and movies ‘n’ stuff) in 1977.

In 1978, DC’s The World’s Greatest Superheroes newspaper strip premiered.

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The Spider’s Syndicate of Crime


By Ted Cowan, Jerry Siegel & Reg Bunn (Rebellion)
ISBN 978-1-78108-905-7 (Album TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

As religions, faiths and nations all over the world celebrate their apparently God-given right to kill each other in monumental numbers and vile ways, I’m again retreating into childhood days and safely fictional conflicts this Easter.

At least the adventures of the macabre and malevolent Spider and his personal redemption arc are as engrossing and enjoyable as I always recalled and will provide the newest, most contemporary reader with a huge hit of superb artwork, compelling, caper-style cops ‘n’ robbers fantasy, and thrill-a-minute adventure with no threat to soul or sanity.

Part of Rebellion’s Treasury of British Comics strand, The Spider’s Syndicate of Crime was the opening salvo of (hopefully) a full and complete reprinting of arachnid amazements. It gathers material from peerless weekly anthology Lion, spanning June 26th 1965 – June 18th 1966 and that year’s Lion Annual which for laborious reasons is designated 1967.

What’s it all about? The Spider is a mysterious super-scientist whose goal is to be the greatest criminal of all time. As conceived by writer/editor Ted Cowan – who among many venerable triumphs created the much-revered Robot Archie feature and also scripted Ginger Nutt, Paddy Payne, Adam Eterno, and more – the flamboyantly wicked narcissist begins his public career by recruiting crime specialists. With moronic master safecracker Roy Ordini and evil inventor Professor Pelham he then attempts a massive gem-theft from a thinly veiled New York’s World Fair. This introduces Gilmore and Trask, the two crack police detectives cursed with the task of capturing the arrogant archvillain.

A major factor in the eerily eccentric strip’s success and reason for the reverence with which it is held is the captivating – not to say downright creepy – artwork of William Reginald Bunn. His intensely hatched linework was perfect for towering establishing shots, arcane angle views and catastrophic chases… and nobody ever drew moodier webbing or more believable weird weapons and monsters. Bunn was an absolute master of his field and much beloved. His work in comics (such as Robin Hood, Buck Jones, Black Hood, Captain Kid and Clip McCord) spanned 1949 to his death in 1971: once the industry found him, he was never without work. He died on the job and is still much missed. For The Spider there was the ultimate accolade as, after opening on two pages per episode, the feature kept winning a bigger page count. Even so, a lot had to happen in pretty short order and Bunn never stinted or short-changed his audience…

Similarly scripted by Cowan, second adventure ‘The Return of the Spider’ sets the tone for the rest of the strip’s run, as the unbelievably colossal vanity of the Spider is assaulted by a pretender to his title. The Mirror Man is a swaggering arrogant super-criminal who uses lethally credible optical illusions to carry out his crimes, and the Spider must crush him to keep the number one most wanted spot – and to satisfy his own vanity. Moreover, pitifully outmatched Gilmore & Trask return to chase the Spider, but must settle for his defeated rival after weeks of devious plotting, bold banditry and spectacular serialized thrills and chills.

‘Dr. Mysterioso’ is the first adventure penned by Jerry Siegel, who was forced to look elsewhere for work after an infamous falling out with DC Comics over the rights to the Man of Steel.

The aforementioned evil genius/criminal scientist of the title is another contender for the Spider’s crown. Their extended battle – paused repeatedly by a crafty subplot wherein the arachnid mastermind’s treacherous, newly-expanded gang of thugs (The Syndicate of Crime) seek to abscond with his stockpiled loot whenever he appears to have been killed – is a retro/camp masterpiece of arcane dialogue, insane devices and rollercoaster antics.

By the time of the final serialised saga here – ‘The Spider v. The Android Emperor’– the page count was up to 4 a week (and now included occasional cover slots): packed with fabulous fantasy and increasingly surreal exploits as the Arachnid Archvillain battles the super science of a monster-making maniac who might (maybe, perhaps?) have survived the sinking of Atlantis, but somehow gets his fun from baiting and tormenting the self-styled king of crime. Big mistake…

Thos initial curated commemoration concludes with a short yarn from the 1967 Lion Annual. ‘Cobra Island’ gives Bunn a chance to show off his skill with brushes and washes as the piece was originally printed in the double-tone format (in this case black and red on white) that was a hallmark of British annuals. It finds the mighty Spider and Pelham drawn to an exotic island where plantation workers are falling under the spell of a demonic lizard being – but all is not as it seems and the very real danger is more prosaic than paranormal…

With an introduction from Paul Grist and full creator biographies, this collection confirmed that the Lord of modern misrule was back at last and should find a home in every kid’s heart and mind, no matter how young they might be, or threaten to remain. Bizarre, baroque and often simply bonkers, The Spider proves that although crime does not pay, it always provides a huge amount of white-knuckle fun…
© 1965, 1966, 1967 & 2021 Rebellion Publishing IP Ltd. All Rights Reserved.

Today in 1885, Mutt and Jeff originator Bud Fisher was born, just like Dylan Dog author Tiziano Sclavi in 1953; auteur Yves Chaland (Spirou, Freddy Lombard) in 1957 and Jamie Hewlett (Tank Girl) in 1968.

The Little King creator Otto Soglow died on this date in 1975, but the day did give us comics-packed youth supplement ‘t Kapoentje’t in Flemish newspaper Het Volk in 1947 whilst later signalling the end of UK weekly Smash! in 1971.

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Megalomaniacs: The Invasion Begins!


By Jamie Smart, with Sammy Borras, coloured by John Cullen (David Fickling Books)
ISBN: 978-1-78845-384-4 (PB)

Everybody loves rampaging monsters right? So what happens when someone too clever for his own good wants a go at the old traditional yarn-spinning and combines thrills and chills with manic intervention, all-ages cheeky vulgarity and excessive invention?

That’s right, kids – you get Megalomaniacs!

The Next Big Thing (that’s irony there, but you won’t get it yet) from multi award-winning cartoon wizard, comics artist and old-fashioned novelist Jamie Smart (Bunny vs. Monkey, Flember Looshkin – the Adventures of the Maddest Cat in the World!!, Max & Chaffy, Fish Head Steve!, Corporate Skull, Space Raoul, and many brilliant strips for The Beano, Dandy and others) is vividly vibrant, compellingly contagious comics nonsense in the grand manner which feels sublimely nostalgic to old attention-stunted duffers like me, who also demand constant engagement and entertainment… and bright shiny colours…

Yet another magnificent graduate of UK kids periodical The Phoenix, this unsavoury-starred silly saga thematically resembles the wonder years of fantasy yarns: delivering a series of wicked spoofs of Silver Age superhero comics liberally ladled with classic B-movie sci fi schmutter…

In the dark of night over go-getting metropolis Bobbletown, the sky is lit with sinister sky-fire as a rain of asteroids delivers fiercely competitive monsters and mechanoids to menace our already-embattled planet. Constantly-warring rival conquerors irregularly arrive, all intent on making our world theirs. The assorted fiercely combative rivals are fantastically powerful beasts, boggles, robots, devils and worse… but are also unfortunately quite teeny-weeny and have some trouble making themselves feared, obeyed or even noticed… at first…

Rendered as complete insert minicomics – complete with dramatically deceptive covers! – the legend of the Megalomaniacs opens with super special prologue chapter ‘They Came From Outer Spaaace!’ and features an “Idiot Human” and “Some Pigs” who become spectators/victims/participants in the advent of our future overlords. Primary peril is laser-emitting, mesmerising Queen Eyeball arriving mere moments before her despised archfoe Lord Skull and who immediately does battle with the mystical space vampire… until rowdy robot ravager Crusher crashes to Earth and joins the fight.

These marauding terrors from beyond the stars are insanely single-minded and awesomely powerful and just keep coming, as seen in ‘Welcome to the Town of Bobbletown’ wherein catastrophically cute Cyber Kitten joins the ever-expanding melee, but is equally unprepared for the beguiled response of the cretinous colossi stomping about and “aww cu-uuute”…

The witless humans are less sanguine when another meteor delivers bug bloodsucker Mozzz who pillages their plasma in ‘Prangs for the Memory!’ prior to icily animated gruesome gelato taste-treat Mister Scoopy bending minds through the massed morons’ tastebuds in ‘Oh, What a Meltdown!’ after which extraterrestrial oik/bovver boy from beyond The Fist belts Lord Skull and late-arriving literal hottie Sun-Girl in ‘Who Will Escape… the Hand of Fate?’

Tiny tyrants trying to topple Earth, the invaders experience ‘A Bad Case of the Sniffles!’ when ambulatory ambulance-filler The Sickness plagues the already-engaged Megalomaniacs in beleaguered Bobbletown, before the beaches disgorge diminutive diabolist demon of the depths K-Thulu in ‘The Wet Terror!’ after which human resistance is mustered by school nerds the Bobbletown Science Club (Rosie, Debbie & Fibius). They contest Crusher, whose plan to ‘Destroy All Science!’ is proved to be a non-starter…

‘Stay Cool!’ sees star-borne snowball Chillax mutate into a so-far-from-massive marauding  snowman after which the duelling dilemmas detail ‘The (Not So) Great Escape!’ as the already entrenched  old foes meet hirsute newcomer The Hound prior to a petite pause as Bonus comic ‘A Wheel-y Good Idea’ sees Lord Skull find a better way to keep his cumbersome coffin close before we segue into ‘Unicool vs The Fist’ wherein a new pointy headed horsey horror who’s good with rainbows blasts down to kick up a fuss…

‘A Beautiful Day on the Farm!’ introduces spoiled-brat smarty-pants Riley who thinks the invaders are perfect pets… until Grandpa becomes the latest meat-chariot for Queen Eyeball.

As alliances form, shift and inevitably shatter, ‘What a Hot-Head!’ greets explosive new guy Bombybo who scuppers his own bid for stardom by making a fireworks shop his lair even as Cyber Kitten and The Hound endure a rematch in ‘The Fur and the Fury!’ and the mechanical misanthrope gets a bizarre, gender-challenging upgrade into deadly debutante Posh Crusher! in ‘How Delightful!’ whilst ‘Bob, the Invisible Blob!’ debuts and almost bows out when Chillax ambushes him…

Things get nasty in ‘Slime for a Bite!’ as Zombie Mary stumbles into town in search of new – but necessarily living – fwends: an offer Lord Skull and Chillax are delighted to decline, before the star voyagers discover the delights of go karts in ‘Mega Racers’ and the Mayor of Bobbletown gets organised enough to mount a resistance effort…

Things get really dicey in ‘How My Invasion Began by The Goofy Carrot!’ when the smartest vegetable in the universe co-opts the local observatory, whilst ‘Sun-Girl!’ stops humanity’s mass-escape to Croydon but still finds ‘Time to Shine!’ after barbarous oaf Gurf literally hits town and Zombie Mary shambles back still craving ‘Fwends!’ to boss about in the local human school.

Still keen to corner the paralyzing fear concession, Lord Skull overdoes things with his ‘Spooky Scheming!’ and is overwhelmed when the Mayor retaliates in ‘Bobbletown Fights Back!’ With an astronomer doing science-y things with lasers, the advent of astral interloper The Sandwich is missed by most, but not the hairy space horror Terry Beard who determines that ‘Everyone Looks Better… With a Beard!’ His Megalomaniac cohort disagree but what do they know, really?

The closest thing to space Satan surfaces next as corrupting conjuror Shazm-o! goes to birthday party and confirms the sense of the adage ‘Don’t Try This At Home!’

‘The Pigeon’s Barely in the Episode!’ – but Riley is – and observes Eyeball’s elevation to bad beast Oculus (the All-Seeing Eye!) in time to team up with other, lesser alien outcasts, prompting ‘A Brief Recap – Riley, Saviour of the World!’ as the united contestants war against the peepy blinder. Sadly, they soon learn ‘None Shall Escape… the All-Seeing Eye of Oculus!’ and it’s all up to Riley and her favourite heavy kitchen utensil to save the day and the world…

The crisis may have passed but there are still tales to tell such as late-maturing saga ‘If You Cheese!’ as Riley and her chastened new pals meet animated fearsome fromage Stink-o just before Halloween Special ‘What Spooks the Spooksters?’ sees all concerned, very concerned indeed, when deadly drop-in Pumkinella starts marshalling her arcane forces, after which the terrors temporarily terminate in ‘Meanwhile, Back on the Farm!’ as body-hogging Queen Eyeball (nee Oculus) merges with Grandpa again to form the mesmerising Meatbag, but forgets to stay away from the pigs at feeding time…

As always, wrapping up these sidereal shenanigans and cosmic contumely are opportunities to gt involved via activities offered under the aegis of the Phoenix Comics Club. Bring paper, pencils and you to a compact online course in all aspects of comic strip creation supervised by Jamie Smart detailing ‘How to draw Lord Skull’, ‘Zombie Mary’ and ‘The Goofy Carrot’ , before closing with an extensive plug for the aforementioned Phoenix Comics Club website complete with instant access via a QR code, plus previews of other treats and wonders available from M Smart and The Phoenix, to wind down from all that cosmic furore…

Another book for your kids to explain to you, Megalomaniacs is a zany zenith of absurdist all-ages (and species) cage-fighting delight, whacked up on weird wit, brilliant invention and superb cartooning, all crammed into one eccentrically excellent package. Make your move now if you think you’re hard to please enough…
Text and illustrations © Fumboo Ltd. 2026. All rights reserved.

Today in 1917, certified comics genius Sheldon Mayer (Sugar and Spike, all things DC) was born as were Doggyguard creator Michel Rodrigue in 1961, Mark (Northguard) Shainblum and James (London’s Dark, Starman) Robinson in 1963, and Brad (Identity Crisis) Meltzer in 1971.

Reading wise, in 1961 Eric Roberts’ Winker Watson debuted today in The Dandy, David Sutherland’s Billie the Cat launched in 1967’s weekly Beano, and TV Action (the reboot of Countdown) began in 1972. In 1973, Zach Mosely’s The Adventures of Smilin’ Jack ended today, followed one year later by Go Nagai’s final instalment of robot revenge manga Cutey Honey. In 1997, 46 US strip creators traded places for a day in the unbelievably tricky but cool publishing event Comic Strip Switcheroo (AKA  the Great April Fools’ Day Comics Switcheroonie)…

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Pandora in Puzzlevale: (volume 2) Call of the Crow


By Paul Duffield, Poqu, Siobhan McKenna & various (DFB/Phoenix)

ISBN: 978-1-78845-3769 (TPB)

These days, kids are more likely to find their formative strip narrative experiences online or in specially tailored graphic novels than the anthological, pick ‘n’ mix of pictorial periodicals that defined my long-dead youth. Such was not always the case, but at least comics like The Phoenix are still plugging away, blending the best of the old days with modern appurtenances of all types, just like this splendid sequel saga, culled from the sagacious periodical’s pages.

Pandora in Puzzlevale: The Secret Town debuted a comic strip mystery that progressed as our plucky protagonist solved assorted tests and conundra to recover the parents who had vanished from her side as they all enjoyed a little road trip.

It began as the aspiring crimebuster and Detective Crow C fan was dragged from her comic long enough to realise the tedious drive to their holiday home had been paused. Although the route to the much-anticipated “secrets-themed” village seemed straightforward, the road was long, winding and confusing. When heavy mists descended and the satnav packed in, Mum & Dad pulled up at a petrol station for directions. Engrossed in reading, Pandora eventually looked up to discover she was all alone. Her parents were gone…

Her catalogue of confusion and casebook of ratiocinative deduction filled up quickly as she was drawn into a schema apparently designed to test her physical and mental abilities. That meant taking up precarious residence in a strange hamlet with all odd cons: somewhere everyone had a secret that they wouldn’t share unless Pandora played their games…

In case you’re still wondering, this book – like its predecessor – is all about active participation. By accessing these pages and selecting an action at a critical moment in each episode, you/Pandora are directed to another page to experience the ramifications of that choice. The final objective is still to find the folks uncover the nested truths of the village… and escape Puzzlevale… but it’s you who will be doing the work.

In-world, seemingly helpful people are plentiful in the mist-shrouded village – like fortune tellers, tea shop staff, rambling bystanders and potential witness/gossip Granny Garnett and enigmatic rhymer Rita Idyll, but most welcoming and useful is a were-wolfly hotel clerk. Max/Monster Max is positively friendly but in truth everyone’s motives and accounts are unverifiable and not to be trusted, so Pandora is ultimately left to fend for herself.

At least in this very strange and mutable place, she increasingly has Magically Real Detective Crow by her side and steering her path, and relative stability in a room at local hotel The Veil. Pandora’s methodology includes clue finding, location identification, map-making, maze-defeating, symbol deciphering, wordsearch weaving, witness statement verifying, code-breaking, rune reading, message translating, riddle-solving, character assessing, crossword completing, key & lock retrieving, object unearthing, back-story compiling and comparison testing as well as frequent odd behaviour explanation, with facts meticulously forming a working hypothesis and dictating her plan of action: all jotted down in her trusty, ever-present notebook. She needs all that and more, this time…

After a moody recap, the next morning sees Pandora and her crow companion reviewing the case and wishing the ever-encroaching mists would let up, before a querulous, decision-loaded morning learning the hotelier’s secrets from Max’s sister ensues. This belatedly occurs in The Grand Gardens of Blatherwick Manor. However, getting to the silent sibling means foiling snooty question master/butler Reeves, and steadfast truth obstacle/fount of knowledge Lord Blatherwick…

As unceasing enigmas unfold. Pandora and former fictional detective Crow Boy join new ally (or is she?) Aunty Amethyst in overcoming intellectual and physical challenges, but there are so many! She still hasn’t solved the old ones, like why do the buildings shift, and why do so many wear masks and all-concealing costumes? It isn’t long before she decides “when in Rome…”

Pandora’s quest is divided into 25 sequential ‘Mysteries’ undertaken across four chapters – ‘Trapped in Puzzlevale’, ‘A Family Secret’, ‘Bridging the Divide, and ‘To Raven City’ – each with its own set of tests and challenges contributing to a Big Picture solution, but even after Pandora completes them, she’s left with more to solve and another weird path to follow…

Now with an abrupt hard-earned elevation to official status, magical transformation and the end in clear sight, how can this be anything but To Be Continued…

Pandora in Puzzlevale: Call of the Crow is the second in a serialised sleuth-fest offering a dazzling display of cartoon virtuosity and brain-busting challenges co-composed by writer/art director Paul Duffield, graphic staging scenarist Poqu & illustrator Siobhan McKenna. Their compelling blend of Story! Games! & Action! offers beguiling mystery to be unravelled in the manner of multiple-choice decisions and all there in the irresistible shape of entertaining pictures. How much cooler can a book get?

Well, quite a lot actually, since this tome devotes posterior pages to related activities and features offered under the aegis of the Phoenix Comics Club. Here are tips by Duffield & McKenna on ‘Drawing Crow Boy’, ‘Building blocks’ to ‘Final details’ as well as how to craft puzzles, whilst Poqu shares constructing ‘Secret woodland’, before we conclude with a full list of solutions, clues and hints in closing glimpses at ‘The Final Mystery’ and ‘Pandora’s Notes’…

Bring paper, pencils and your intellectual A-game, and have the time of your life…
Text and illustrations © The Phoenix Comic, 2026. All rights reserved.

Today in 1893 Josette Frank was born. Go look her up now. She earned it. In 1901 Carl Barks was born. Absolutely him too.

If you’re not all worthied out, Hy Eisman (who walked in giants’ footsteps on Popeye and Katzenjammer Kids) arrived in 1927 as did writer/entrepreneur/ publisher/agent Mike Friedrich in 1947.

We lost attorney, psychologist and Wonder Woman co-creator Elizabeth Holloway Marston today in 1993 – so look her up too – as well as Dick Giordano who died in 2010. Italian spaghetti westerner Leone Cimpellin AKA “Ghilbert” (Red Carson, Casey Ruggles, Jonny Logan) bit his last bullet in 2017.

In 1982 Eagle relaunched in Britain. It was pretty good, had lots of cool contributors, but just wasn’t the same…

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DC Finest: The Demon – Birth of the Demon


By Jack Kirby with Mike Royer, Bob Haney, Bob Rozakis, Len Wein, Gerry Conway, Jim Aparo, John Calnan, Mike Golden, Steve Ditko, José Delbo, Bob McLeod, Dick Giordano, Dave Hunt & various (DC Comics)
ISBN: 978-1799507437 (HB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Jack “King” Kirby shaped the very nature of comics narrative. A compulsive storyteller, Jack was an astute, spiritual man who had lived through poverty, gangsterism, the Depression and World War II. He had seen Post-War optimism, Cold War paranoia, political cynicism and the birth and death of peace-seeking counter-cultures. He was open-minded and utterly wedded to the making of comics stories on every imaginable subject. He began at the top of his game, galvanising the comic book scene from its earliest days with long-term creative partner Joe Simon: creating Blue Bolt, drawing Captain Marvel and adding lustre to Timely comics with creations such as Red Raven, Hurricane, Captain America and The Young Allies.

In 1942 Simon & Kirby moved to National/DC and hit even more stellar highs with The Boy Commandos, Newsboy Legion, Manhunter and The Sandman before the call of duty saw them inducted into the American military.

On returning from World War II, they reunited, forming a studio working primarily for the Crestwood/Prize publishing outfit. Here they invented the entire genre of Romance comics. Amongst that dynamic duo’s other concoctions for Prize was a noir-ish, psychologically underpinned supernatural anthology Black Magic and its short-lived but fascinating companion title Strange World of Your Dreams. All their titles eschewed traditional gory, heavy-handed morality plays and simplistic cautionary tales for deeper, stranger fare. Until the EC comics line hit their peak, S&K’s were far and away the best and most mature titles on the market.

Kirby understood the fundamentals of pleasing his audience and always strived diligently to combat the appalling state of prejudice about the comics medium – especially from industry insiders and professionals who despised the “kiddies world” they felt trapped in. When the 1950s anti-comics comics witch hunt devastated the industry, Simon & Kirby parted ways. Jack went back to DC briefly and created newspaper strip Sky Masters of the Space Force before partnering with Stan Lee at what remained of Timely Comics to create the monolith of stars we know as Marvel. After more than a decade there he felt increasingly stifled and side-lined and in 1970 accepted an offer of complete creative freedom at DC. The jump resulted in a root and branch redefinition of superheroes in his quartet of interlinked Fourth World series.

When those controversial, grandiose, groundbreaking titles were cancelled, Kirby looked for other concepts to stimulate his vast creativity and still appeal to an increasingly fickle and divided market. General interest in the Supernatural was peaking, with books and movies exploring the unknown in gripping and stylish new ways, and the Comics Code Authority had already released its censorious choke-hold on mystery and horror titles, thereby saving the entire industry from implosion when the superhero boom of the 1960s fizzled away.

At DC’s suggestion, Kirby had already briefly returned to his supernatural experimentation in a superb but poorly received and largely undistributed monochrome magazine. Spirit World launched in the summer of 1971, but as before, editorial cowardice and back-sliding scuppered the project before it could get going. You can see what might have been in a collected edition re-presenting the sole published issue and material from a second, unreleased sequel in Jack Kirby’s Spirit World…

With most of his ideas misunderstood, ignored or side-lined by the company, Kirby opted for more traditional fare. Never truly defeated though, he cannily blended his belief in the marketability of the mystic unknown with flamboyant super-heroics to create another unique and lasting mainstay for the DC universe: one whom lesser talents would make a pivotal figure of the company’s continuity.

This compilation collects The Demon #1-16 (1972-1973), classic team-ups from The Brave and the Bold #109 & 137 and key appearances from Batman Family #17, Detective Comics #482-485 and Wonder Woman volume 1 #280-282, cumulatively spanning cover dates August/September 1972 through August 1981, providing a comprehensive introduction to one of Kirby’s most broadly reinterpreted and reimagined characters.

Inked by Mike Royer, The Demon #1 introduces a howling, leaping monstrosity (modelled after a 1939 sequence from Hal Foster’s Arthurian epic Prince Valiant) in ‘Unleash the One Who Waits’. This shocking force of un-nature battles beside its master Merlin as Camelot dies in flames, a cataclysmic casualty of the rapacious greed of sorceress Morgaine Le Fey. Out of that apocalyptic destruction, a man arises and wanders off into the mists of history…

In our contemporary world (or at least the last quarter of the 20th century) demonologist and paranormal investigator Jason Blood has a near-death experience with an aged collector of illicit arcana. This culminates in a hideous nightmare about a demonic being and the last stand of Camelot. He has no idea that Le Fey is still alive and has sinister plans for him…

And in distant Moldavia, strange things are stirring in crumbling Castle Branek, wherein lies hidden the lost Tomb of Merlin…

Blood is wealthy, reclusive and partially amnesiac, but one night he agrees to host a small dinner party, entertaining acquaintances Harry Mathews, psychic UN diplomat Randu Singh and his wife Gomali plus their flighty young friend Glenda Mark.

The soiree does not go well. Firstly, there is the painful small talk, and the sorcerous surveillance of Le Fey, but the real problems start when an animated stone giant arrives to “invite” Blood to visit Castle Branek. This shattering voyage leads to Merlin’s last resting place but just as Blood thinks he may find some answers to his enigmatic past, Le Fey pounces. Suddenly he starts to change, transforming into the horrific beast of his dreams…

Issue #2 – ‘My Tomb in Castle Branek!’ – opens with wary villagers observing a terrific battle between a yellow monster and Le Fey’s forces, but when the Demon is defeated and Blood arrested, only the telepathic influence of Randu back in America can help him. Le Fey is old, dying, and needs Merlin’s grimoire, the Eternity Book, to extend her life.

Thus, she manipulates Blood – who has existed for centuries, completely unaware that Merlin’s hellish attack dog the Demon Etrigan is chained inside him – to regain his memories and awaken the slumbering master mage. It looks like the last mistake she will ever make…

Kirby’s tried-&-trusted approach was always to pepper high concepts throughout blazing, breakneck action, and #3 was one of the most imaginative yet. ‘Reincarnators’ finds Blood back in the USA, aware at last of his tormented history, and with a small but devoted circle of friends. Adapting to a less lonely life, he soon encounters a cult able to physically regress people to a prior life… and use those time-lost beings to commit murder. The Demon #4-5 comprise one single exploit, wherein a simple witch and her macabre patron capture the reawakened, semi-divine Merlin. ‘The Creature from Beyond’ and ‘Merlin’s Word’s …Demon’s Wrath!’ introduce cute little monkey Kamara the Fear-Monster (later used with devastating effect by Alan Moore in Saga of the Swamp Thing #26-27) and features another startling “Kirby-Kritter”: Somnambula, the Dream-Beast…

It seems odd in these blasé, anything goes modern times but The Demon was a deeply controversial book in its day – cited as providing the first post-Comics Code depiction of Hell, and one where problems were regularly solved with sudden, extreme violence. ‘The Howler!’ in issue #6 is a truly spooky yarn with Blood hunting a primal entity of rage and brutal terror that transforms victims into murderous lycanthropic killers, whilst #7 debuts a spiteful, malevolent young fugitive from a mystical otherplace.

‘A Witchboy!!’’ introduces Klarion and his cat-familiar Teekl – utterly evil little sociopaths in a time where all comic book politicians were honest, cops only shot to wound and “bad” kids were only misunderstood: thus, another Kirby first…

An extended epic, ‘Phantom of the Sewers’ skilfully combines movie and late-night TV horror motifs in the dark and tragic tale of actor Farley Fairfax, cursed by the witch he once spurned. Unfortunately, Glenda is the spitting image of the departed Galatea, and when, decades later, the demented thespian kidnaps her (in ‘Whatever Happened to Farley Fairfax?!!’) to raise the curse, it could only end in a flurry of destruction, death, consumed souls and ‘The Thing That Screams’…

In case you were wondering: the first musical adaption of The Phantom of the Opera (by Ken Hill) was in 1976, and the one you’re thinking of launched in 1986. The King was always ahead of the curve and subtly influential…

This 3-part thriller is followed by another moody, multi-part masterpiece (The Demon #11-13). ‘Baron von Evilstein’, ‘Rebirth of Evil!’ and ‘The Night of the Demon!’ comprise a powerful parable about worth and appearance, featuring the ultimate mad scientist and the tragic, misunderstood monster he so casually builds. It’s a truth that bears repeating: ugly doesn’t equal bad…

An opportunity to widen the horror-hero’s appeal came next in The Brave and the Bold #109: as Bob Haney & Jim Aparo unship superb supernatural thriller ‘Gotham Bay, Be My Grave!’ wherein the Caped Crusader and Kirby’s Kritter Etrigan the Demon fractiously unite to battle an unquiet spirit determined to avenge his own execution after nearly a century…

Despite the King’s best efforts The Demon was not a monster hit – unlike his science-fiction disaster drama Kamandi – and by #14 it’s clear the book was in its last days. Not because the sheer pace of imagination, excitement and passion diminished – far from it – but because the well-considered, mood-drenched stories were suddenly replaced by rocket-fast, eldritch romps populated with returning villains. First back was Klarion in ‘Return of the Witchboy!’ who creates a deadly doppelganger to replace Jason Blood and kill his friends in ‘The One Who Vanished!!’ (#14-15) before the series succumbed to irresistible economic forces with #16 (cover dated January 1974) in a climactic if hasty showdown with ‘Immortal Enemy’ Morgaine Le Fey…

Etrigan and cohort resurfaced in 1977 and B&B #137 (October) as Haney, John Calnan & Bob McLeod subjected Batman, Jason Blood’s friends and The Demon to war with resurrected Chinese wizard Shahn-Zi at ‘The Hour of the Serpent!’ before in a guest shot led to short revival. In Batman Family #17 (cover-dated April/May 1978), the Man-Bat serial saw Bob Rozakis & Mike Golden celebrate a happy event as the Chiropteran Crusader awaited the natal event of his firstborn child only to learn ‘There’s a Demon Born Every Minute!’ with devil babies infesting the maternity ward the hero welcomes the arrival of Etrigan (eventually) before teaming up to again thwart the diabolical schemes of malign Morgaine Le Fey.

Implicit invite accepted, Gotham resident The Demon took up residence in anthological blockbuster Detective Comics beginning with #482 (February/March 1979). Here Len Wein, Golden & Dick Giordano opened a tense quest for ‘The Eternity Book’ of Merlin. As Steve Ditko added his unique vision to the optics, the chase caught Etrigan clashing with mad mystic academic Baron Tyme in DC #483’s ‘Return to Castle Branek!’ before hurtling to a chaotic, cataclysmic conclusion in #484’s ‘Tyme Has No Secrets!’ and furious finish in #485’s ‘The Fatal Finale!’

The riotous revelries conclude with an often overlooked team-up. For Wonder Woman #280 (volume 1, June 1981), Gerry Conway, José Delbo & Dave Hunt detail how Air Force officers Diana Prince and Steve Trevor investigate the prestigious Delphi Foundation after demon Baal-Satyr abducts their friend Etta Candy. They uncover senatorial corruption and insidious infiltration by witchboy Klarion and use arcane connections to link up with Randu Singh, Blood and his infernal alter ego prior to a rescue raid on ‘The Castle Outside Time!’ (WW #281), enduring more hellish treatment prior to #282’s triumphant, resurgent ‘Return and Redemption’…

With covers by Kirby, Royer, Tatjana Wood, Aparo, Rich Buckler, Ross Andru & Dick Giordano, this is a sublime slice of Right Place, Wrong Time entertainment: a wondrously economical collection every comics fan of today should have and cannot help but enjoy.
© 1972, 1973, 1977, 1978, 1979, 1981, 2026 DC Comics. All Rights Reserved.

Today comic strip master Sy Barry arrived in 1928, whilst Graham Nolan didn’t turn up until 1962 and much-missed Italian artist Massimiliano Frezzato (I custodi del Maser, Margot) in 1967.

We lost Barney Baxter cartoonist Frank Miller in 1949, and the amazing Arnold (Deadman, Doom Patrol, Guardians of the Galaxy) Drake in 2007 but could enjoy Treasure Chest comics from 1946 and Hank Ketchum’s (US) Dennis the Menace from 1951.

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Nuts


By Gahan Wilson (Fantagraphics Books)
ISBN: 978-1-60699-454-2 (HB/Digital edition

This book includes Discriminatory Content produced in less enlightened times.

Born on February 18th 1930 and dying November 21st 2019, Gahan Allen Wilson was an illustrator, cartoonist, essayist and author who always had his eyes and heart set on the future. According to Gary Groth, the artist/author grew up reading comic strips as much as fantasy fiction.

It always showed.

The mordantly macabre, acerbically wry and surreal draughtsman tickled funnybones and twanged nerves with his darkly dry graphic confections from the 1960s onwards; contributing superb spoofs, sparklingly horrific and satirically suspenseful drawings and strips and panels as a celebrated regular contributor in such major magazines as Playboy, Collier’s, The New Yorker and others. He also wrote cutting edge science fiction for Again Dangerous Visions, The Magazine of Fantasy & Science Fiction, The Twilight Zone Magazine and Realms of Fantasy as well as contributing criticism, book and film reviews for them all.

In an extremely broad and long career he wore dozens of creative hats, even embracing the modern digital universe by creating – with Byron Preiss – his own supernatural computer game Gahan Wilson’s the Ultimate Haunted House.

When National Lampoon first began its devastatingly satirical (geez, do modern folk even recognize satire anymore?) all-out attack on the American Dream, Wilson was invited to contribute a regular strip to their comics section. His sublimely semi-autobiographical, darkly hilarious paean to lost childhood ran from 1972 and until 1981 and was collected as Nuts, another superb compilation from this publisher that you should own and share. Few people – me included – knew that during that period he also, apparently more for fun and relaxation than profit, produced his own syndicated Sunday strip feature. For two years – beginning on March 3rd 1974 – Gahan Wilson Sunday Comics appeared in a small cross-section of newspapers from Boston to Los Angeles and, as with all his work, it bucked a trend.

At a time when most cartoonists were seeking a daily continuity strip, building a readership and eking jokes out with sensible parsimony, Wilson let himself go hog-wild, generating a half-dozen or so single-shot gags every Sabbath, blending his signature weird, wild monsters, uncanny aliens and unsavoury scenes with straight family humour, animal crackers, topical themes and cynically socio-politically astute observations.

Looking at them here it’s clear to me that his intent was to have fun and make himself laugh as much or even more than his readership: capturing those moments when an idea or notion gave him pause to giggle whilst going about his day job…

I’m not going to waste time describing individual cartoons: there are just too many and despite being a fascinating snapshot of ancient life, they’re almost all still outrageously funny in the way and manner that Gary Larson’s Far Side was a scant six years later.

I will say that even whilst generating a storm of humorous, apparently unconnected one-offs, consummate professional Wilson couldn’t restrain himself and eventually the jokes achieved an underlying shape and tone with recurring motifs (clocks, beasts, wallpaper, etc), and features-within-the-feature such as The Creep and Future Funnies…

Here, generally a single-page complete graphic epigram “star” a grotty little chubby homunculus dubbed The Kid. This fabulous monochrome (and occasionally colour) collection gathers that complete serial for collectors and potential addicts in a perfect package that readers will dip into over and over again.

Taking his lead from popular sickly-sweet strips about or starring little children and the brilliant but definitely not jejune Peanuts (which was populated, to all intents and purposes, with teeny-weeny neurotic middle-aged midgets), Wilson sought to do the exact opposite and attempt to access the fear, frustration, confusion and unalloyed joy of being a young, impressionable, powerless, curious and demanding…

… and magnificently succeeded.

Dense, claustrophobic, intense and trenchantly funny, these self-contained strips range from satire to slapstick to agonising irony, linking up over the years to form a fascinating catalogue of growing older in the USA: a fearfully faithful alternate view of childhood and most importantly, of how we adults choose to recall and process those distant days…

Each strip begins with the question “Remember how…?” or “One of the…” or some equally folksy enquiry before unveiling bafflement, bewilderment, night-terrors or a deeply-scarring embarrassment which haunts us till doomsday, all wrapped in a comradely band-of-brothers, shared-coping-mechanism whimsy that is both moving and quintessentially nostalgic.

Topics include the unremitting horror of germs; sudden death; being ill; inappropriate movies; forced visits; grandparents; things adults do that they don’t want you to see; unexplained noises; the butcher’s shop; accidents and rusty nails; things in closets; doctors and needles; dying pets; Santa Claus; seasonal disappointments; summer camp; sleep; bodily functions; school and lessons (two completely different things); fungus; bikes and toys; haircuts; comic books; deaths of relatives; hot weather; candy; overhearing things you shouldn’t; stranger danger; hobby-kits and glue; daydreaming; babies and so many other incomprehensible daily pitfalls on the treacherous path to maturity…

Peppered also with full page, hilariously annotated diagrams of such places of enduring childhood fascination as ‘The Alley’, ‘The Kit for Camp Tall Lone Tree’, ‘Mr. Schultz’s Cigar Store’, ‘The Movie Theater Seat’, ‘Table Set Up For Making Models’, ‘The Doctor’s Waiting Room’, ‘The Closet’, ‘The Sick Bed’ and ‘The Private Drawer’, this glorious procession also covers occasions of heartbreaking poignancy and those stunning, blue moon moments of serendipity and triumph when everything is oh-so-briefly perfect…

Complete with a 3-D strip and ‘Nuts to You’ – a comprehensive appreciation and history by Gary Groth – this funny, sad, chilling and sublimely true picture-passport to growing up is unmissable cartoon gold.
© Fantagraphics Books. All Nuts strips © 2011 Gahan Wilson. All rights reserved.

Today in 1917, Golden Age writer/editor Ruth Roche was born, followed by forgotten genius Joe Maneely in 1926, Gahan Wilson in 1930, Johnny Hart in 1931 and both comic book artist Doug Mahnke and cartoonist Mark Bodé in 1963.

We lost Belgian megastar and Marcinelle School founder Willy Maltaite (“Will”) in 2000 and lifelong multi-style achiever Bob Oksner in 2007.

Comics wise, UK standby Radio Fun (published since 1938) folded today in 1961 and Power Comic Fantastic launched today in 1967.

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Chimera


By Lorenzo Mattotti (Fantagraphics Books and Coconino Press)
ISBN-13: 978-1-56097-763-6 (TPB)

The sixth release – I hesitate to call it a volume, as the format, though bold and wonderful, is far more than a magazine but not quite a book – from the eclectic European publications imprint designated The Ignatz Collection, this fabulous item features an uncharacteristic and unforgettable look at the monochrome work of one of the world’s most talented colour artists.

Today in 1954, Lorenzo Mattotti was born in Brescia, Italy. He grew up and studied at the Faculty for Architecture in Venice before beginning a career as a comics storyteller in 1975 in French magazine Circus. Whether alone or with long-time collaborator Fabrizio Ostani (AKA Jerry Kramsky – they often used the single pen-name “Kleidebistro”) Mattotti’s incredible, nigh-abstract designs and pictorial narratives rapidly won him a huge following, with work appearing in Métal Hurlant, L’Écho des Savanes (France), Rumbo Sur (Spain), Frigidaire, Secondamano and Alter Alter (Italy), Raw (USA) and The Face (UK) among many others.

In 2002 Mattotti and Kramsky produced Docteur Jekyll & Mister Hyde (based on the Robert Louis Stevenson classic) for Casterman, and the English translation won Mattotti an Eisner Award the following year. As an illustrator, Mattotti has worked for Vanity Fair, The New Yorker, Cosmopolitan, Vogue and Le Monde, and has produced a number of startling and beautiful children’s books. His absolute masterpiece thus far is – to my mind at least – Fires.

Behind a deeply unsettling gate-fold wraparound cover, but printed throughout on reassuringly solid cream-coloured card-stock, lurks a startling journey from idyllic cloud-gazing through vaguely erotic musings on gods and giants to the depths of a terrifying and oppressive forested hell. Rendered in bravura line-and-dry-brush style that ranges from seductive and cajoling, through airy tumult to raw, fierce, bestial rage and horror, Mattotti uses the reader’s eyes to pull the viewer on a chaotic descent reminiscent of Mussorgsky’s “A Night on Bald Mountain” (in the manner of Disney’s Fantasia version, with just a shade of Watership Down thrown in).

Comics aficionados might also recognize a touch of the panning-in technique used by the great André Barbe where small pictorial changes lead to a total transformation, not only to the graphic representations but also to the mental or spiritual state of the object and observer. But where Barbe wanted to languidly surprise and seduce you, Mattotti is here to make you squirm…

Even if the “how” isn’t your major concern, the whole pictorial experience of Chimera is one headlong rush, and a supreme lesson in the power and virtuosity of dark lines against the light. This is probably the only white-knuckle ride you can put on a bookshelf… so why don’t you?

Story and art © 2005 Lorenzo Mattotti. Book edition © 2005 Fantagraphics Books and Coconino Press.

Also Today but in 1910, Noel (Scorchy Smith) Sickles was born. He shares the day with Mattotti, inker Bruce D, Berry (1924), and John Romita Senior in 1930.

In 1943 morale-boosting Miss Lace debuted in Milt Caniff’s Male Call strip, and in Britain once the shooting stopped in 1948, The Beano unleashed Biffo the Bear for the first time.

In 1977 we lost the wonderful John Rosenberger (The Fly, The Jaguar, Young Dr Masters, Lady Cop, Supergirl, Lois Lane) and in 2002, sublime Kurt Schaffenberger (Captain Marvel, Shazam, Lois Lane, Superboy, Supergirl, Superman, Super Friends). All of these stars are worth your time and attention whether here or best yet in their actual collected works, so go do that.

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The Legend Testers 60th Anniversary Edition


By Graham Baker, Jordi Bernet, with Alf Wallace & various (Rebellon Studios/ treasury of British Comics)
ISBN: 978-1-83786-654-0 (TPB/Digital edition), 978-1-83786-681-6 (Webshop edition)

This book includes Discriminatory Content produced in less enlightened times.

British comics always enjoyed an extended love affair with what can only be described as “unconventional” (for which substitute “bizarre” or “creepy”) stars. So many notional role models we grew up reading were outrageous or just plain “off”: self-righteous voyeur / vigilantes like Jason Hyde, sinister foreign masterminds like The Dwarf or Black Max, affable criminals such as Charley Peace, arrogant ex-criminals like The Spider or outright racist Overmen like manic white ideologue Captain Hurricane…

Prior to game changers Action, 2000AD and Misty, our comics fell into fairly ironclad categories. Back then, you had genial and/or fantastic preschool fantasy; many, many licensed entertainment properties; action; adventure; war (especially ones “We” were in or had started); school dramas; sports; and straight comedy strands. Closer examination could confirm that there was always a subversive merging, mixing undertone, especially anarchic antiheroes like Dennis the Menace or our rather strained interpretation of costumed crime-busters. Just check out Phantom Viking, Kelly’s Eye or early Steel Claw stories…

Over and again British oddness would combine with or react to long-standing familiarity with soft oppression, leading to sagas of overwhelming, imminent conquest and worse. With our benighted shores existentially threatened, entertainment sources responded with a procession of doughty resistors facing down doom from the deepest depths of perfidy and menace… especially as churned up by the scary results of foolish modern SCIENCE!

That’s not to say we didn’t appreciate less outrageous adventurers as with this notional precursor (or synchronistic zeitgeist?) to TV’s Time Tunnel, with a brace of straightlaced but tough-as-nails He-Men heroes Rollo Stones and Danny Charters who dared the unknown weekly in the name of SCIENCE! – and history of course…

Cover-dated February 5th 1966, Smash! launched as just another standard Odhams anthology weekly until abruptly re-badged as a “Power Comic” at the end of the year. It combined homegrown funnies and British originated thrillers with resized US strips to capitalise on the superhero bubble created by the Batman TV series. Power Comics was a sub-brand used by Odhams to differentiate those periodicals which contained reprinted American superhero material from the company’s regular blend of sports, war, western, adventure and funny strips – like Buster, Valiant, Lion or Tiger. During the Swinging Sixties, Power weeklies did much to popularise budding Marvel Universe characters in this country, which were still poorly served by distribution of the original US imports.

The increasingly expensive American reprints were dropped in 1969 and Smash! was radically retooled with the traditional mix of action, sport and humour strips. Undergoing a full redesign, it was relaunched on March 15th 1969 with all-UK material (mostly drawn by overseas artists) and finally disappeared into Valiant in April 1971 after 257 issues. Seasonal specials remained a draw until October 1975 when Smash Annual 1976 properly ended the era. From then on, the new Fleetway brand had no room for the old guard – except as re-conditioned reprints in cooler, more modern books…

Thanks to economic vagaries and spiralling costs in publishing, the mid 1960s and early 1970s were particularly wild and desperate for comics: inspiring a wave of innovation most fondly remembered for more of those aforementioned darkly off-kilter heroes, beguiling monsters and charismatic villains.

Gathering serialised episodes from Smash! 2nd April 1966 to 8th July 1967, this complete compilation delivers fantastic threats and menaces in a traditional weekly manner, as a pair of dedicated and competent white blokes diligently push back the boundaries of ignorance. As was usual for these times, what was popular on screens large & small affected what arrived on the picture-packed pages Probably committee created with majority input from supervising editor Alf Wallace (Missing Link, Johnny Future) and sub-editor/scripter Graham Baker with new kid Jordi Bernet involved from the get-go, this series is one of many lost delights crafted by world stars in waiting and the observant will see Bernet improving and pushing himself on every page…

Jordi Bernet Cussó was born in Barcelona in 1944, son of a prominent, successful humour cartoonist. When his dad died suddenly 15-year-old Jordi took over his strip Doña Urraca (Mrs. Magpie). A huge fan of Alex Raymond, Hal Foster and especially Milton Caniff, Jordi yearned for less restrictive horizons and left Spain in the early 1960s and moved into dramatic storytelling.

He worked for Belgium’s Le Journal de Spirou, and Germany’s Pip and Primo, before finding a home in British weeklies. Bernet worked for UK publishers between 1964 and 1967, and as well as Odhams/Fleetway/IPC anthologies Smash!, Tiger and War Picture Library, produced superb pages for DC Thomson’s Victor and Hornet. He even illustrated a Gardner Fox horror short for Marvel’s Vampire Tales #1 (1973), but mainstream America was generally denied his mastery (other than translated Torpedo volumes and a Batman short story) until the 21st century reincarnation of Jonah Hex… which he truly made his own.

His most famous strips include thrillers Dan Lacombe (written by his uncle Miguel Cussó), Paul Foran (scripted by José Larraz) the saucy Wat 69 plus spectacular post-apocalyptic barbarian epic Andrax (both with uncle Cussó again). When fascist dictator Franco died, Bernet returned to Spain and began working for Cimoc, Creepy and Metropol, collaborating with Antonio Segura on adult fantasy Sarvan and dystopian SF black comedy Kraken, as well as with Enrique Sánchez Abuli on the gangster and adult themed tales that made him one of the world’s most honoured artists. These culminated with the incredibly successful crime saga Torpedo 1936.

For now though and way back then, following a heartwarming reminiscence and proud career resume from the series illustrator himself, we launch at full pelt with inaugural serial ‘Death Castle’ which ran from 2nd April (Smash! #9) to 25th June 1966.

In that wild innovative era, the creators were looking to be fresh and new so here logos and layout and even the narrative tone changed from week to week as the storytellers shuffled to make something fresh instantly compelling out of old themes and plots. That even included on-again, off-again individual chapter titles like ‘Man into Monster’ and ‘The 5 Faces of Evil!’ before settling down and just opting to tell tense, gripping yarns…

The premise is simple: in the 40th century the Central Knowledge Museum is a vast research and storage repository of all things historical. Now top investigators Rollo Stones and Danny Charters have used its time machine to confirm the veracity of the last artefact and corrected (by first person observation) the mistaken data that has come down with it, their boss Marcson has a new mission for them. It’s June 7th 3900 AD and with no more history mysteries, he asks them to start testing the large collection of unknown and myth-based items in their cupboard.

Apart from the potential death and danger, it’s practically foolproof. The machine only works if the objects the newly-appointed Legend Testers are holding are in some way authentic, as with the supposed werewolf skull that catapults them both back to feudal Europe and an encounter with a magical coalition of diabolical monsters.

In short order Rollo & Danny survive on wits and fists against a citadel of devils comprising sorcerer Necro, vampire Draca, sadistic torturer/inventor Love, Balbin, Prince of Trolls. bodyguard brute Happy (the werewolf in question) and notional leader Count Cadavo. Each in turns tries to break the strangers with their personalised hordes of monster minions but in the end the myths are confirmed at the cost of the vile villains’ unlives…

One of the most complex and trippy exploits of the era, ‘Eterno’ ran in issues between 2nd July and 20th August. This time the suspect object pulled our investigators back beyond humankind to a previous civilisation that was destroyed by a vampiric alien that consumed their planetary life energies. Millions of years later, humankind evolved and developed a very similar existence which drew Eterna back to Earth and the Testers on his heels to that time and place. As the monster and his robots began preparing to absorb a second course of earthlings Rollo & Danny were in the right place and time to end the terror forever…

Channelling the contemporary cinematic trend for Grecian myths and heroes, the boys spend half a year authenticating ‘The Crown of Zeus’ (27th August – 24th December), enduring an avalanche of peril and near-death escapes to categorically verify their chunk of diadem – and by extension the ancient lives of gods and monsters. After facing cyclopes, centaurs, gorgons, Cerberus, the Minotaur, Lernaean ghosts and hydras, man-eating horses, Pegasus, Poseidon, Proteus, Janus, sky-propping Atlas, petty-minded Bacchus, satyrs and earth-shaking Titans the lads learn just how the gods died…

At least demi-gods Hercules and Hermes (AKA “Quicksilver”) were on their side until it was all over and the time machine called them home…

The days of Camelot called when the Testers touched fragments of ‘The Crystal Orb of Merlin’ (December 31st 1966 to 4th March 1967) but sparked chronal catastrophe as the wise wizard’s talisman was stolen by anti-Arthurian despot Black Shield, who used it to arm his troops with 20th century weapons from pistols and hand grenades to tanks and an atomic bomb. The conclusion left everyone gasping and still does today…

Published from 11th March to 15th April, ‘The King of the Beasts’ saw Rollo & Danny divine how an idyllic land of talking animals living in harmony and seclusion was destroyed by greed and ambition, after which aliens are the order of the day when Marcson hands the investigators a piece of metal not of this Earth. A simple touch then takes them to 12th century Europe where ‘The Metal Men’ (22nd April – 3rd June) are seeking to strip-mine the world for life-generating minerals. The Testers’ interference only results in their rendition to embattled, civil war-torn planet Meturn, but too late to do any good as the metalloids descend into mutually assured destruction. Thankfully, the confusion allows the boys to frantically steal the last space bus out of town…

The temporal turbulence terminates rather timidly with ‘The Crown of Kebi’ (10th June to 8th July 1967) as Marcson sends his gone-to guys to an utterly unknown destination where again greed and ambition trigger the end of a fabulous civilisation. Rollo & Danny’s very conspicuous arrival makes them unwitting tools of shady priest Walu on the island kingdom of Kebi, but their scruples mean he soon prefers them dead to alive. After tricking them into a voyage into “the underworld” beneath a mountain, the boys battle beastly apes, demon dwarves and worse, but their refusal to be suitably sainted and sent to heaven ultimately stymies the witch doctor and sinks the island nation…

Closing this epic outing of spookily spectacular saga is a compelling ‘Covers gallery’ of thrilling (albeit limited-colour) clashes courtesy of Bernet and the editorial paste up squad, plus the now traditional creator briefings.

For British, Commonwealth and European readers of a certain age and prone to debilitating nostalgia, the comic works gathered in this titanic tribute gig are an exciting, engaging, done-in-one delight that’s undemanding and rewarding; and a rare treat these days.

If that appeals, go hit this book, it’s how history – and SCIENCE! – should be made.
© 1966, 1967, & 2026 Rebellion Publishing IP Ltd. All Rights reserved.

Today in 1883, French artist, printmaker, illustrator, painter, caricaturist, sculptor and comic dabbler Gustave Doré died. However, one year later comics strip genius George (Jiggs & Maggie, Bringing Up Father) McManus was born. In 1952 Klaus (Daredevil, Batman) Janson joined the party, but probably missed the 1930 debut of Hergé’s Quick & Flupke in Le Petit Vingtième and launch of UK weekly Sparky in 1965.

In 1988, UK icon Battle Picture Weekly shut up shop and in 2001 Makoto Yukimura’s manga masterpiece Planetes began.

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Popeye Classics volume 1


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-61377-557-8 (HB) eISBN: 978-1-62302-264-8

This book includes Discriminatory Content produced in less enlightened times.

There are few comic characters that have entered communal world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the saga of Ham Gravy and Castor Oyl on January 17th 1929, nobody suspected the giddy heights that walk-on would reach…

Happy birthday, Sailor Man!

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career. It survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist Bud Sagendorf.

After Segar’s tragic, far too premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip even as animated features brought Popeye to the entire world. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments. Nonetheless, the strip continues to this day, with new Sunday episodes written and drawn by R. K. Milholland, whilst daily episodes are reprints by that man Sagendorf.

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his supplies – introduced the kid to the master. Segar became his teacher and employer as well as a father-figure and, in 1958, Sagendorf took over the strip and all merchandise design duties, becoming Popeye’s prime originator…

When Sagendorf took over, his loose, rangy style and breezy inspired scripts brought the strip back to the forefront of popularity. Bud made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena for 24 years. Sagendorf died in 1994 after which Underground cartoonist Bobby London took over.

Bud had been Segar’s assistant and apprentice, and from 1948 onwards he wrote and drew Popeye’s comic book adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics. When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not, a joker who wanted kids to be themselves – but not necessarily Good – and someone who took no guff from anyone. Naturally, as his popularity grew, Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows, but time and popularity eroded that power.

Such was not the case in Sagendorf’s comic book yarns…

Collected in their entirety in this beguiling full-colour hardback or digital edition are the first four 52-page quarterly funnybooks produced by the Young Master, spanning February/April 1948 to November 1948/January 1949.

These stunning, seemingly stream-of-consciousness stories are preceded by an effusively appreciative Introduction – ‘Society of Sagendorks’ – by inspired aficionado, historian and publisher Craig Yoe accompanied by a fabulous collation of candid photos and letters, plus strip proofs, original comicbook art and commissioned paintings, an Activity Book cover and greetings card designs contained in ‘A Bud Sagendorf Scrapbook’.

Popeye‘s fantastic first issue launched in February 1948 with no ads and duo-coloured (black & red) single page strips on the inside front and back covers. The initial instant episode finds mighty muscled, irrepressible “infink” Swee’ Pea enquiring ‘Were There Ever Any Pirates Around Here?’ before doing a bit of digging, after which full-coloured extended fun begins with ‘Shame on You! or Gentlemen Do Not Fight! or You’re a Ruffian, Sir!’

As everyone knows, the salty swab earns a lucrative living as an occasional prizefighter and here upcoming contender Kid Kabagge and his cunning manager Mr. Tillbox use a barrage of psychological tricks to put Popeye off his game. The key component is electing Olive Oyl President of the deeply bogus Anti-Fisticuff Society to convince her man to stop being a beastly ruffian and abandon violence. That only works until the fiery frail learns she’s been gulled…

Swee’ Pea then stars in ‘Map Back! Or Back Map!’ as sinister unprincipled villain Sam Snagg tattoos an invisible secret diagram onto the baby’s body(!) before falling foul of the boy’s garrulous guardian when trying to reclaim the kid and divine the location of Spinachovia’s hidden treasures. Wrapping up the full-length action is ‘Spinach Revolt’ as Popeye’s perfidious pater Poopdeck Pappy kicks up a fuss about constantly having to eat healthy food…

As the first Superman of comics, Popeye was not a comfortable hero to idolise. A brute who thought with his fists and had no respect for authority, he was uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him); an aggressive troublemaker, who wasn’t welcome in polite society… and wouldn’t want to be. Time changed Popeye and made him tamer but the shocking sense of unpredictability, danger and anarchy he initially provided was sorely missed… so in 1936 Segar brought it back again…

A memorable and riotous sequence of Dailies introduced ancient, antisocial crusty reprobate Poopdeck Pappy. The elder mariner was a hard-bitten, grumpy lout quite prepared – even happy – to cheat, steal or smack a woman around if she stepped out of line. He was Popeye’s prodigal dad and once the old goat was firmly established, Segar set Olive and her Sailor Man the Herculean task of “Civilizing Poppa”. Even at the time of this tale that’s still very much a work in progress…

Fed up with eating spinach, Pappy hides his meals and steals the wherewithal to secretly subsist on a diet of candy, cakes and sodas. He even inveigles the lad next door into being the mule in his scurrilous scheme, but cannot evade the digestive consequences of his actions…

The premiere outing ends with a brace of single pagers detailing how Swee’ Pea deals with persistent salesmen and a day’s fishing before issue #2 commences…

Master moocher Wellington J. Wimpy again has cause to declare ‘Sir! You are a cheapskate!’ before Swee’ Pea & Popeye are swept up in a controversial debate. In ‘That’s What I Yam! or ‘I Yam! I Yam’, the sailor believes his baby boy tough enough to wander around town unsupervised but has reasons to revise his opinion after the kid vanishes. Moreover, when he does resurface, the titanic tyke is subject to strange transformations and behaviours. It’s as if a class of trainee hypnotists have all been using the kid as a practise subject but forgot to bring him out of his trance afterward…

Pappy stars in ‘Easy Money’, with the greedy reprobate realising how much cash his sterling son earns for each boxing bout. Determined to get on the gravy train too, the oldster shaves off his beard and impersonates Popeye. By the time his boy catches wise, Pappy has conned Olive and Wimpy into his scheme and set up a punishing bout with a huge purse, so somebody is going to have to fight…

The issue ends with a two-tone short showing the hazards of bathing Swee’Pea and another full colour back cover gag as a bullying neighbour realises the folly of trying to spank Popeye’s boy…

Popeye #3 leads with an epic 32-page spooky maritime epic as the superstitious sailor reluctantly agrees to transport 250 “ghosk” traps to ghastly, radish – and phantom – infested ‘Ghost Island’: a cunning yarn of mystery and over-zealous imagination starring many cast regulars and preceded by a hilarious map of the route replacing the inside-front-cover gag…

Following up is an implausible account of Popeye apparently becoming a violent bully, beating up ordinary citizens in ‘Smash! or You Can Tell She’s My Girl, Because She’s Wearing Two Black Eyes!’ Happily, a doctor at the sailor’s trial is able to diagnose the incredible truth before things go too far, after which Swee’Pea indulges in too much sugar in the red & black bit and learns the manly way to play with dolls on the colour back cover…

The fourth and final inclusion in this outrageous, timelessly wonderful compilation begins with Wimpy up to his old tricks whilst Popeye hunts ducks, before another extended odyssey finds the Sailor Man and hangers-on Swee’Pea, Olive & Wimpy heading West on safari to capture a rare Ipomoea from sagebrush hellhole ‘Dead Valley’…

It’s a grim wilderness Popeye has endured before: an arid inferno no sane man would want to revisit unless a scientist hired him to. Sadly, that’s not the opinion of local bandit boss Dead Valley Joe who assigns all his scurvy gang the task of dissuading or despatching the uppity easterners before they uncover the region’s incredible secret…

Back home again, Olive Oyl receives a surprise ‘Gift from Uncle Ben!’ Sadly, the strange flying beast called a Zoop prefers Swee’Pea’s company, and her warm generosity in donating the beast takes a hard knock when a stranger offers a million bucks for it…

One final brace of Swee’ Pea shorts then sees the wily kid orchestrate free baseball views for his pals before indulging in food politics to win over a stray cat and wrap up in amiable style these jolly, captivating cartoon capers.

There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy bloke and mainlining tinned spinach, that’s okay: the animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into Thimble Theatre and wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure…

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. This book is definitely one of the latter and if you love lunacy, laughter and rollicking adventure you must now read this.
Popeye Classics volume 1 © 2013 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2013 King Features Syndicate. ™ & © Heart Holdings Inc.

Today in 1851 pioneering US illustrator A/B. Frost (Br’er Rabbit) was born, and in 1877 Australian artist Cecilia May Gibbs (Gumnut Babies/Bush Babies/Bush Fairies, Bib and Bub, Snugglepot and Cuddlepie, Tiggy Touchwood).

In 1920 epic UK weekly comic Film Fun began with the first of its 2225 issues. Never appearing therein was erotic cartoonist Georges (Blanche Épiphanie) Pichard who was born in the same year.

One year later Cuban Spy vs Spy/Mad magazine mastermind Antonio Prohias was born. As was Spanish artist Alfonso Azpiri (Black Hawk [UK Tornado], Bethlehem Steele, Lorna) in 1947 and Ann Nocenti in 1957 and the astonishing Genndy Tartakovsky in 1970.

Sadly we lost Belgian Pascal Garray in 2017, a quiet star who worked for years largely unheralded on The Smurfs, and Benoît Brisefer/Steven Sterk/Benny Breakiron.

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DC Finest: Superman – The Invisible Luthor


By Jerry Siegel & Joe Shuster, Jack Burnley, Paul Lauretta, Wayne Boring, Jack Burnley, Paul Cassidy, Ed Dobrotka, Leo Nowak, Fred Ray, John Sikela, Dennis Neville, Don Komisarow, lettered by Frank Shuster, Betty Burnley Bentley, the Superman Studio & various (DC Comics)
ISBN: 978-1-77950-332-3 (TPB)

This book includes Discriminatory Content produced in less enlightened times

Nearly 90 years ago, Superman rebooted planetary mythology and kickstarted the entire genre of modern fantasy heroes. Outlandish, flamboyant, indomitable, infallible and unconquerable, he also saved a foundering industry by birthing an entirely new genre of storytelling: the Super Hero. Since April 18th 1938 (the generally agreed day copies of Action Comics #1 first went on sale) he has grown into a mighty presence in all aspects of art, culture and commerce, even as his natal comic book universe organically grew and expanded. Within three years of that debut, the intoxicating blend of eye-popping action and social wish-fulfilment that had hallmarked the early exploits of the Man of Tomorrow had grown: encompassing crime-busting, reforming dramas, science fiction, fantasy and even whimsical comedy. However, once the war in Europe and the East captured America’s communal consciousness, combat themes and patriotic imagery dominated most comic book covers, if not interiors.

In comic book terms alone Superman was soon a true master of the world, utterly changing the shape of the fledgling industry as easily as he could a mighty river. There was a popular newspaper strip, a thrice-weekly radio serial, games, toys, foreign and overseas syndication and as the decade turned, the Fleischer studio’s astounding animated cartoons.

Moreover, the quality of the source material was increasing with every four-colour release as the energy and enthusiasm of originators Jerry Siegel & Joe Shuster went on to inform and infect the burgeoning studio which grew around them to cope with the relentless demand.

These tales have been reprinted many times, but this latest compilation might arguably be the best yet, offering the original stories in reading – if not strictly chronological publishing – order and spanning cover-dates July 1940 to September 1941. It features landmark sagas from Action Comics #26-40 and Superman #6-11, plus pivotal appearances in New York’s World Fair No. 2, World’s Best Comics #1 and World’s Finest Comics #2 & 3 (all with eye-catching groundbreaking covers by Jack Burnley). Although most early tales were untitled, here, for everyone’s convenience, they have been given descriptive appellations by the editors, and I should also advise that as far as we know it’s written entirely by Seigel, with the majority of covers by Fred Ray (unless I say otherwise!).

This incredible panorama of torrid tales opens with gangsters attempting to plunder jewels from exhibits at the biggest show on earth. Taken from premium package New York World’s Fair #2, ‘Superman at the 1940 World’s Fair’ is credited to Siegel & Schuster, but actually illustrated by Burnley who also provided the first ever pairing of the Man of Tomorrow with Dynamic Duo Batman and Robin on the cover to drag readers in…

Siegel & Shuster had created a true phenomenon and were struggling to cope with it. As well as monthly and bimonthly comics a new quarterly publication, initially World’s Best and ultimately World’s Finest Comics – springing from the success of the publisher’s New York World’s Fair comic-book tie-ins – would soon debut with their indefatigable hero featuring prominently in it. Superman’s daily newspaper strip began on 16th January 1939 (Yes! Today but back then!), with a separate Sunday strip following from November 5th: garnering millions of new devotees. The need for new material and creators was constant and oppressive, so expansion was the watchword at the Superman and Shuster studios.

On the primary pages though, Action Comics#26 (July 1940) introduced ‘Professor Cobalt’s Clinic’ (limned by Pauls Lauretta & Cassidy with Siegel inking and Frank Shuster lettering) wherein Clark Kent & Lois Lane expose a murderous sham Health Facility with a little Kryptonian help, whilst the following month dealt a similar blow to corrupt orphanage the ‘Brentwood Home for Wayward Youth’. September’s issue found Superman at the circus, solving the mystery of ‘The Strongarm Assaults’, a fast-paced thriller beautifully illustrated by the astonishingly talented and versatile Burnley. Whilst thrilling to all that, kids of the time could also have picked up the sixth issue of Superman (cover-dated September/October 1940). Produced by Siegel and the Superman Studio, with Shuster increasingly overseeing and only drawing key figures and faces, this contained four more lengthy adventures. Behind its Shuster & Cassidy cover, ‘Lois Lane, Murderer’, and ‘Racketeer Terror in Gateston’ by Cassidy had the Man of Action saving his plucky co-worker from a dastardly frame up and rescuing a small town from a mob invasion. An infomercial for the Supermen of America club and the secrets of attaining ‘Super Strength’ as shared by Burnley, Shuster & Cassidy follows. These lead to more adventure and action from Lauretta & Cassidy as ‘Terror Stalks San Caluma’ and ‘The Construction Scam’ sees the Man of Tomorrow foil a blackmailer who’s discovered his secret identity before spectacularly fixing a corrupt company’s shoddy, death-trap buildings.

Action Comics #29 (October 1940) again features Burnley art in a gripping tale of murder for profit. Human drama in ‘The Life Insurance Con’ was followed by deadly super-science as the mastermind Zolar created ‘The Midsummer Snowstorm’, allowing Burnley a rare opportunity to display his fantastic imagination as well as his representational acumen and dexterity. Then Superman #7 (November/December1940) marked a creative sea-change as occasional cover artist Wayne Boring became Schuster’s regular inker, whilst seeing the Man of Steel embroiled in local politics when he confronts ‘Metropolis’ Most Savage Racketeers’; quells manmade disasters in ‘The Exploding Citizens’; stamps out City Hall corruption in ‘Superman’s Clean-Up Campaign’ (illustrated fully by Boring) and puts villainous high society bandits ‘The Black Gang’ where they belong… behind iron bars.

For Action # 31 Burnley draws another high-tech crime caper as crooks put an entire city to sleep and only Clark Kent isn’t ‘In the Grip of Morpheus’ after which ‘The Gambling Rackets of Metropolis’ (AC #32) finds Lois almost institutionalised until the Big Guy steps up to crush an illicit High Society operation that has wormed its nefarious way into the loftiest echelons of Government, a typical Siegel social drama magnificently illustrated.

Cover-dated January/February 1941, Superman #8 was another spectacular and wildly varied compendium containing four big adventures ranging from fantastic fantasy in ‘The Giants of Professor Zee’ (Cassidy & Boring); topical suspense in spotlighting ‘The Fifth Column’ (Boring & Komisarow) and common criminality in ‘The Carnival Crooks’ (Cassidy) before concluding with cover-featured ‘Parrone and the Drug Gang’ (Boring), wherein the Metropolis Marvel duels doped-up thugs and corrupt lawyers controlling them.

Action Comics #33 & 34 are both Burnley extravaganzas wherein Superman goes north to discover ‘Something Amiss at the Lumber Camp’, before heading to coal country to save ‘The Beautiful Young Heiress’; both superbly enticing character-plays with plenty of scope for super-stunts to thrill the gasping fans.

Superman #9 (March/April 1941) was another four-star thriller with all art credited to Cassidy. ‘The Phony Pacifists’ is an espionage thriller capitalising on increasing US tensions over “the European War” whilst ‘Joe Gatson, Racketeer’ recounts the sorry end of a hot-shot blackmailer and kidnapper. ‘Mystery in Swasey Swamp’ combines eerie rural events with ruthless spies whilst the self-explanatory ‘Jackson’s Murder Ring’ pits the Caped Kryptonian against an ingenious gang of commercial assassins. The issue also improves health and well-being with another Shuster & Cassidy ‘Supermen of America’ update and exercise feature ‘Super-Strength’ by Shuster.

The success of the annual World’s Fair premium comic books had convinced editors that an over-sized anthology of their characters, with Superman and Batman prominently featured, would be a worthwhile proposition even at the exorbitant price of 15¢ (most 64-page titles retailed for 10¢ and would do so until the 1960s). At 96 pages, World’s Best Comics #1 debuted with a Spring 1941 cover-date and Fred Ray frontage, before transforming into the soon-to-be-venerable World’s Finest Comics from issue #2 onwards. From that landmark one-&-only edition comes gripping disaster thriller ‘Superman vs. the Rainmaker’, illustrated by Boring & Komisarow, after which Action Comics #35 headlines a human-interest tale with startling repercussions in Boring & Leo Nowak’s ‘The Guybart Gold Mine’, before even Superman is mightily stretched to cope with the awesome threat of ‘The Enemy Invasion’ rendered by Boring & Shuster: a canny, foreboding taste of things to come if – or rather, when – America entered World War II.

Superman #10 (May/June 1941) opens with eponymous mystery ‘The Invisible Luthor’ (Nowak), follows with ‘The Talent Agency Fraud’ (Cassidy, Nowak, Siegel & the Studio), steps on the gas in ‘The Spy Ring of Righab Bey’ and closes with ‘The Dukalia Spy Ring’ (both by Boring, Siegel & the Studio): topical and exotic themes of suspense as America was still at this time still officially neutral in the “European War”. Conversely, Action Comics #37 (June 1941) returned to tales of graft, crime and social injustice in ‘Commissioner Kent’ (Cassidy) as the Man of Steel’s timid alter-ego is forced to run for the job of Metropolis’ top cop, before World’s Finest Comics #2 (Summer 1941) unleashes Cassidy & Nowak’s ‘The Unknown X’ – a fast-paced mystery of sinister murder-masterminds, before AC #38 (and Nowak & Ed Dobrotka) provide a spectacular battle bout against a sinister hypnotist committing crimes through ‘Radio Control’…

Other than a Cassidy pinup, Superman #11 (July/August 1941) was an all Nowak affair, beginning with ‘Zimba’s Gold Badge Terrorists’ wherein thinly disguised Nazis “Blitzkrieg” America, after which “giant animals” go on a rampage in ‘The Corinthville Caper’. Seeking a cure for ‘The Yellow Plague’ then takes Superman to the ends of the Earth whilst ‘The Plot of Count Bergac’ brings him back home to crush High Society gangsters. All by Nowak but accompanied by a Cassidy pinup.

Horrific mad science creates ‘The Radioactive Man’ in Action #39 (Nowak & Shuster Studios), whilst #40 featured ‘The Billionaire’s Daughter’ (by John Sikela) wherein the mighty Man of Tomorrow needs all his wits to set straight a spoiled debutante before we closing with ‘The Case of the Death Express’: a tense thriller about train-wreckers illustrated by Nowak from the Fall issue of World’s Finest (#3).

Stories of corruption and social injustice were gradually moving aside for more spectacular fare, and with war in the news and clearly on the horizon, the tone and content of Superman’s adventures changed too: the scale and scope of the stunts became more important than the motive. The raw passion and sly wit still shone through in Siegel’s stories but as the world grew more dangerous the Man of Tomorrow simply had to become stronger and more flamboyant to deal with it all, with Shuster and his team consequently stretching and expanding the iconography for all imitators and successors to follow.

These Golden Age tales are priceless enjoyment at an absurdly affordable price. My admiration for the stripped-down purity and power of these stories is boundless. Nothing has ever come near them for joyous, child-like perfection. You really should make them part of your life. In fact, how can you possibly resist them?
© 1940, 1941, 2025 DC Comics. All Rights Reserved.

Today in 1939 Jean Van Hamme (XIII, Thorgal, Largo Winch) was born, which you now know was the same moment – allowing for time zone differentials – that the Superman newspaper strip launched. It ended in 1966 but Van Hamme’s still going…

In 1960 UK comic Judy debuted, and ten years later so did Garth Ennis.