Category: Monsters

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Jamie Smart’s Bunny vs Monkey Book 12: Day of the Heroes!


By Jamie Smart, with Sammy Borras, Paul Duffield & Armin Roshdi (DFB/Phoenix)
ISBN: 978-1-78845-391-2 (HB), 978-1-78845-434-6 (Waterstones Exclusive Edition)

Bunny vs Monkey has been the inspirationally bonkers breakout star of The Phoenix since the premiere issue back in 2012, cataloguing a madcap vendetta gripping animal archenemies set amidst an idyllic arcadia, masquerading as more-or-less mundane but critically endangered English woodlands. Concocted with gleefully gusto – but increasingly with a cerebral cosmic crescendo in mind – by cartoonist/comics artist/novelist Jamie Smart (Fish Head Steve!; Looshkin; Max and Chaffy, Flember, Find Chaffy; Megalomaniacs), these trendsetting, mindbending yarns have been wisely retooled as multi award-winning, bestselling graphic albums available in digest softcover such as this one hardback and sponsored special editions and even as AUDIOBOOKs. Just let that one last one sink in…

All the tail-biting tension and animal argy-bargy began yonks ago after an obnoxious little beast plopped down in after a disastrous British space shot. OR DID IT?

Crashlanding in Crinkle Woods – scant miles from his launch site – lab animal Monkey believed himself the rightful owner of a strange new world, despite every effort of genteel, contemplative, reasonably sensible resident Bunny to dissuade him. For all his patience, propriety and refined breeding, the laid-back lepine could not contain or control the incorrigible idiot ape, who to this moment remains a rude, troublemaking, chaos-causing, noise-loving lout intent on building his perfect “Monkeyopia” and/or being a robot, with or without the aid of evil supergenius Skunky or useless “henches” Metal Steve & Action Beaver…

All those daily wonders and catastrophes were exacerbated by a mixed melange of mildly unconventional Crinkle creatures, none more so than aforementioned monochrome mad scientist Skunky, whose intellect and cavalier attitude to life and consequences presents as a propensity for building dangerous robots, bio-beasts and sundry other super-weapons. He is, at his core, a dangerously inquisitive thinker and tinkerer…

With artistic fiddling about from design deputy Sammy Borras, the unending war of nerves and mega-ordnances assumes a posture of asymmetric – if not arrhythmic and asthmatic – warfare as a series of sequences starring assorted minor artisans sees much of the cast taking a bit of a breather… at least on paper. It all opens with a few fluffy tales of ‘Bunny in… “Home is Where the Heart is”.’ It all begins one not so very ‘Good Morning’ as Monkey’s thoughtlessness and Skunky’s careless use of volcanoes and microwave ovens finally provokes the wracked rabbit to pack up and leave. Still hungry for ‘The Good Life’ our gentle hero seeks an isolated wilderness to be ‘A New Home’ but discovers all the best spots of perfect peacefulness have been previously “bagsied” by enigmatic furry Thoreau Le Fox…

However things turn really odd when Bunny uncovers sacred standing stones and manifests a sentient palatial edifice that floats on air and offers to cater to every whim…

Meanwhile back wherever Crinkle Woods is, Monkey & Skunky are missing their old niceness nemesis and unleash colossal mutant hybrid shark ‘Hammer Honk’ to keep the ADHD-ape amused, even as, far away on “A Day in the Life of Bunny … and his enchanted House!” arachnophobe Bunny adopts an 8-legged housemate in ‘“Brenda”’. Thanks to her passion for digging, before long she has uncovered ‘A New Guest’ who turns out to be the miraculous Grand Spirit of the Woodland… and a bit of a nuisance…

Nothing lasts forever, and the peaceful days end in ‘Underpants!’ when Monkey & Action-Beaver invade the magical kingdom with newly-minted monster Terror-Dactyl in search of entertainment and encounter a very unwelcoming Woodland Spirit…

As if anticipating Bunny’s imminent return, sensible but naïve robot Metal E.V.E. is trying to build him a perfect new home, but the good deed is hijacked by time-warping Skunky who casually turns all involved into ‘Old Folks’ just as disorder is fully restored and the Grand Spirit evicts all the crazy critters and despatches them ‘Home’…

As they all resettle in, focus shifts to superfast sweetheart aye-aye Ai in “Ai’ll Be Back!” – a relay race of rapid-fire adventures that opens with ‘Thants!’ as a REALLY GIANT giant anteater is turned loose during National Ant Day and only Ai can stop the tongue-lashing it begins, after which chaos is unleashed when our misplaced Madagascan finds Skunky’s Graveyard of Failed Scientific Experiments and is bitten by a disembodied undead head, sustaining a nasty ‘Zombiebooboo’…

Whilst Monkey indulges in a spot of robotic ‘Dino-War!’ – and briefly acquires the stern maternal influence he always needed – Squirrel Weenie, Pig Piggerton and Metal E.V.E. become the first of many woodfolk turned ‘Tiny and Whiney’ and stuffed in Skunky’s Jar of Idiots. Sadly one of them is bitey, zombie-contagious Ai and before long the plague of the gambolling dead is everywhere, as seen in apocalyptic vision ‘Guhhhh!’, prompting the evil genius to sideline his attempts to build/grow a superbrain ‘From Scratch’ to sort things out. Of course, said brain ‘Smartypants’ has ideas of its own, and once Monkey meddles some more, the war of Zombies vs Supercomputer! rages out of control until the mighty mind in a jar devises a cure for undead bitey-ness which it then cruelly locks away in ‘The Box’…

However, despite being afflicted with zombie hunger, the aye-aye has enough grit and resolve to step up and sort it, to become ‘Ai, Saviour of the World’…

With what passes for normality restored to the Woods we next pay some attention to ‘Pig + Weenie in “Pig & Weenie Fun Police”’ as after five days of noxious obnoxiousness and Monkey playing with his ‘Fart Face’ chemical weapon, the sweet simpletons found an official vigilante team to stop the horror. However once the job is done it’s hard to stop and soon they are annoying/cheering up Underwater Adventurer Le Fox as he tries to be a ‘Water Grump!’ and unwelcomely refereeing the 563rd Annual ‘Bonk Bonk’ Race, befriending and defending Skunky’s runaway terror ‘Robotron’ before confronting Pig’s potent desire to be a poodle in ‘Arf!’

‘A Day in the Life of “Pig & Weenie Fun Police!”’ sees the variety of purely existential perils involved in cheering folk up, after which a family visit to Jonty, Monty, Ponty and Big Bertha Piggerton broadens Weenie’s horizons and highlights who is ‘The Wrong Pig’ whilst preceding a genuine rescue mission as the Fun Police save beleaguered Bunny from a House of Nightmares in ‘The Winchester’ and overindulge in one final mission to stop Skunky’s recently-mined ‘Shiny Pebbles’ fuelling an arsenal to techno terrors…

Generally regarded as “The Unluckiest Red Panda in the World!!”, next to shine here is ‘Lucky in “Stay Lucky!”’ with a simple fun session with the gang going awry in ‘Card Luck’, and doubled down on in ‘Statuesque’ as Monkey’s latest Bunny-bothering collaterally lands Lucky in the muck, prior to everything changing after encountering mystic monument ‘The Tablet’ in the really deep, dark woods…

‘Brown Duck’ then details a noisome scatological sidestep, but if we all hold our noses it’s soon over and the fallout of a cosmic change sparked by latrine lunacy and toilet terrorism can be registered as a ‘Lucky Chance’ and heralding a flipping of fortune for the pitiable panda…

As she becomes “the Luckiest Red Panda in the World!”, her ‘Attitude Adjustment’ scuppers a potentially lethal attempt to blow Action Beaver into space. Karmically, her new status doesn’t extend to those around her, so when ‘The Decoy’ finds a duplicate of Monkey making mayhem for all and his acts as Cardboard Samurai Monkey creating a cascade of all-conquering ‘Cardboard Creations’ she steps in to shield them. However, confusion and carnage culminate in a cross-chronological panda pair-up as time-travel allows ‘The Next Lucky’ to come back from the future to warn that her fortunes are about to change again…

The animal assemblage concludes for now with a look at enigmatic sage ‘“Le Fox in “Big ol’ Grump!”’ It opens long ago as an impressionable fox cub meets a crusty hibernating bruin who shapes his mental and philosophical growth in ‘Bearing It’… but not as much as the pesky bees buzzing him…

In the present, perpetually irritable Le Fox is caught in Monkey’s latest attempts to annoy Bunny in ‘Natural Mystery’ and retaliates with devasting aplomb, before ‘Ah, Poop!’ sees Skunky unwisely boast to his partner in perfidy that his poo collection is now perfectly complete even as deep underground, Le Fox shares his views on despondency with sad Metal E.V.E. and demonstrates vengeance as a means of ‘Coping’ when Monkey interrupts their musings…

Eternally anarchic Monkey’s meddling with Skunky’s reality-warping Wishinator leads to Le Fox achieving Godzilla-like size and temperament in ‘Wish Big’ but all his rampaging and ‘Stomping About’ is rightly directed at one small hairy nutcase, before a calamitous event heralds big changes for everybody as eerie, appalling Signalmen invade the wood and all those left free must find ‘A Place to Hide’…

As those few survivors seek ways to make Le Fox ‘Smaller’ desperation forms an alliance of former foes, but no one made them joint pilot the ridiculous mega-mecha Bunny vs Monkey-a-tron in a last-ditch duel of colossi, even if it does somehow save the day and create ‘An Understanding’ and peaceful resolutions not even one last unleashed tentacle monster can disrupt…

Wrapping up these sidereal shenanigans, farty fooffawraws and monster bum gags are a few related activities offered under the aegis of the Phoenix Comics Club. Bring paper, pencils and yourself to a compact online course in all aspects of comic strip creation supervised by Jamie Smart and Armin Roshdi. This time the subjects are ‘How to draw the Floating Island’, including tips on The Cosy Cabin, Pond and Sewer Waterfalls before closing with an extensive plug for the Phoenix Comics Club website, complete with instant access via QR codes, plus previews of other treats & wonders to be seen in The Phoenix to wind down from all that philosophical fun and Kaiju kerfuffle…

Another book for your kids to explain to you, Bunny vs Monkey – Day of the Heroes! is weird wit, wild invention, potent sentiment and superb cartooning incautiously crammed into one eccentrically excellent package. These tails never fail to deliver jubilant joy for grown-ups of every vintage, even those who claim they only get it for their kids. Is that you?
Text and illustrations © Fumboo Ltd. 2026. All rights reserved.

Win’s Christmas Gift Recommendation: Just Trust Me… It’s Beyond Your Control But Worth It … 10/10

Bunny vs Monkey – Day of the Heroes! will be released on October 8th 2026 and is favailable for pre-order now.

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H.P. Lovecraft’s The Call of Cthulhu


Adapted by Gou Tanabe, with lettering and touch-up by Steve Dutro & translated by Zack Davisson (Dark Horse)
ISBN: 978-1-50674-140-6 (Tank?bon TPB), 978-1-50674-644-9 (Digital edition)

This book includes Discriminatory Content used for dramatic effect.

As it’s now officially cold and dark at night… or at least dark if not actually cold… it’s an apposite moment to reflect that this year is technically the 100th anniversary of a world-changing classic of literature. Moreover, if you’re one of those people who’s STILL never read a manga tale, or who’s been tempted but discouraged by the terrifying number of volumes such sagas can run to, here’s a delicious feast of fearsome fantasy exploiting centenary and an unmissable opportunity thanks to the killer pedigree of an astounding adaptation. Complete in one eerie epistle, this displays all that’s best about comics out of the East in one darkly digestible big gulp.

Most manga can be characterised by a fast, raucous, even occasionally choppy style and manner of delivery but this volume of emphatically eerie adaptations is atmospheric, suitably scary and marvellously moody: just as you’d hope when recreating classic tales by the undisputed master of supernal terror…

Howard Phillips Lovecraft was frail, troubled and remarkably ill-starred. Born August 20th 1890, he was truly and tragically afflicted with a drive to write, but only achieved any degree of success after he died (in March 1937) closing a brief life of desperate penury. Other than disappointment and despondency, his end came from complications of intestinal cancer that ate him from inside. Once he was gone, his literary star swiftly ascended, and posthumous publications pushed by his many friends and writing colleagues made him a household name who changed the face of fiction forever.

His stories have deeply – often life-changingly! – affected generations across and around the world. One person particularly moved is international literary specialist Gou Tanabe. He previously adapted works of Maxim Gorky and Anton Chekov to manga form. During a career lull in 2005 he was introduced to the works of Lovecraft and began assiduously adapting them between his regular commitments, with The Outsider completed in 2007.

Perfectly capturing the relentlessly oppressive and inescapably sombre sense of inexorably approaching fatality permeating most of Lovecraft’s potent prose, ‘The Call of Chthulu’ was done in 2019, transforming the legendary novella which written in mid-1926, but first published three years later in the February issue of pulp magazine Weird Tales. The story has become a foundational document of the subgenre and mythopoeia (shared universe) called The Cthulhu Mythos: frequently referenced and added to across a plethora of media from comics to games as well as constantly accessed by dozens of authors.

Accomplished in stark and staggering monochrome tinged with a palette of morbid grey textures and triggered by an explosive bursts of creepy colour, the saga opens in multihued torrent of horror ‘A Foreword…’ before first chapter ‘The Horror in Clay’ traces the progress of dutiful nephew Francis Wayland Thurston as he unpicks the trail of his recently deceased grand-uncle George Gammell Angell. That deceased historian, scholar and linguistics professor had become increasingly obsessed by artefacts and elements of an apparently lost civilisation and was seemingly aware of his impending death, and now his heir is similarly tormented by nightmares and deeply disturbed by an clay tablet.

It was made by modern sculptor H.A. Wilcox, a troubled soul also afflicted by pervasive night terrors, who had sought out Professor Angell after entering fugue states, seeing visions of human blood, dank mountains and towers rising from the sea. He heard bizarre sounds like alien words that stayed with him in the waking world and had created a clay tablet with a monstrous thing and phrases in an unknown language on it, all while sleeping…

Thurston had first become intrigued and ensnared at his grand-uncle’s funeral in Providence, Rhode Island, and by the time his patron’s effects had been shipped to Thurston’s home in Boston, the young man was caught and drawn ever inwards to something impossible…

Angell’s papers described something ancient called the Cthulhu Cult and cited early findings by an anthropologist studying rural natives in Western Greenland, whilst Wilcox’s tablet and its inscription depicted something beyond comprehension yet irresistibly beguiling. The phrases “Cthulhu fhtagn” and “R’Lyeh” were all over the files, but what really seduced the researcher was a 1908 report provided by a New Orleans policeman…

Angell’s researches had been surprisingly fruitful and responses – so many of them – came from his learned colleagues and other interested parties from all over the world. Many concerned old aboriginal outposts and enclaves, or brutal, spontaneous bloodlettings and mob violence, savage outrages or suicides of fringe religious groups. There was a high incidence of madness and death amongst overly-sensitive creative artists. Often the mantra “Ph’nglui mglw’nafh Cthulhu R’lyeh wgah’agl fhtagn” – translated as “in his house at R’Lyeh dead Cthulhu waits dreaming” – was connected to such incidents.

The investigations takes a solidly chilling turn when Angell hears ‘The Tale of Inspector Legrasse’ who had survived a manic battle with murder cultists in the Louisiana swamps, uncovered appalling atrocities and confiscated a small greenish-black stone idol of a many eyed tentacled thing…

This raid had utterly crushed the vile ‘Cthulhu Cult’ but in the aftermath, when grilling smug unshakable Castro, the spiritual leader of the killers told Legrasse a fantastic tale of interstellar empires ruled by cosmic gods: beings death could not hold and who – sustained by human sacrificial blood offered by those who worshipped them – waited in the dark cold places of the world for their moment to return. Their lord was a supernal force answering to the name Cthulhu…

The weary cop wanted Professor Angell to help him weed out other instances of the cult but time caught up with them. Now, nearly twenty years later Thurston resolves to follow up and begins by tracking down Wilcox. The artist has become fully immersed in the cult and is clearly an enemy, and may have been the cause of Angell’s sudden death…

Thus Thurston locates and interviews Legrasse himself and, with reports of mass hysteria mounting across the world, takes possession of ‘The Terrible Statue’ the cop has kept all this time. Fired up and now fully obsessed, Thurston follows reports and scours global news outlets and finds a likely case in Australia where a salvaged vessel was found carrying a statue similar to the one Legrasse held, clutched in the arms of sole survivor Gustaf Johansen. He had claimed to have lived through a bizarre sea battle in the South Pacific Gyre….

Piecing events together, Thurston deduces the assault coincided with a recent massive earthquake that shook the world and increased cult incidents, and seeks to interview the repatriated mariner. The journey is convoluted but ultimately lands him in Norway… but too late. From the newly widowed Fru Johansen, Thurston learns that her husband arrived back broken and increasingly raving, only to be recently killed in a unlikely accident…

Thankfully, she has compiled all his papers and log books and wants the shocked scholar to read them…

The tale therein is one of utter insanity, detailing how the tragic complement of schooner Emma succumbed to ‘The Madness from the Sea’ after a monumental storm and maelstrom threw the vessel onto a newly arisen island in the Gyre. Their doom was sealed when Emma was attacked by heavily-fortified steam yacht Alert, manned by piratical barbarians who worshipped a stone idol and screamed the chant “Cthulhu fhtagn”. A protracted battle resulted in the destruction of these maniacs but also the loss of Emma, whose handful of survivors commandeered Alert and washed ashore on the foreboding island.

It was a place of studied horror and ancient terrors, bleak, dark and soul-crushing, where incomprehensibly ancient, uncomfortably warped buildings and structures overwhelmed their senses. This was ‘R’Lyeh’ and their fate was confirmed when vast doors opened to unleash the city’s sleeping guardian. It made short work of the pitiful human wretches and only Second Mate Johansen and Able Seaman William Briden made it back to the barely seaworthy Alert.

However, as seen in Final Chapter ‘Great Old Ones’, some things simply cannot be deterred or avoided, a painful recognition finally accepted by Thurston himself as he closed his investigation and prepared for the inescapable fate remorselessly approaching him…

Tapping into the modern vogue for arcane exploratory adventure (as also favoured and perfected by the likes of literary horrorist brethren Seabury Quinn, Clark Ashton Smith, and latterly August Derleth and Robert E. Howard and popularised by contemporary media from video games to MMORPGs) here Lovecraft delivered what most feel to be his most perfect and potent story. Moreover it has never been better interpreted than by Gou Tanabe – and you can learn more about both through the text feature ‘About the Creators’ that closes this book.

Enthralling, understated and astoundingly effective, this supernatural saga is a milestone of horror fiction, reverently adapted and packaged in manner that will delight avowed aficionados and beguile fear-loving newcomers alike.
CTHULHU NO YOBIGOE LOVECRAFT KESSAKUSHU © 2019 Gou Tanabe. All rights reserved. This English-language edition © 2024 Dark Horse Comics, LLC.

Win’s Christmas Gift Recommendation: Ideal Dread for Dark Nights… 9/10

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Neill Cameron’s How to Make Awesome Comics


By Neill Cameron (The Phoenix Comic Books/David Fickling Books)
ISBN: 978-1-78845-147-5 (TPB)

A lifetime ago in January 2012, Oxford-based publisher David Fickling Books launched a traditional-seeming anthology comic weekly aimed at girls and boys between 6 – 12 which revelled in reviving the good old days of picture-story entertainment intent, whilst embracing the full force of modernity in style and content. Each issue offers humour & adventure strips (most subsequently gathered into a formidable library of stunning Graphic Novels); quizzes; puzzles; educational material and drawing/storytelling tips comprising a joyous parade of cartoon fun and fantasy and, in the years since its premiere, The Phoenix has become a staple of kids’ fun, winning praise from the Great and the Good, child literacy experts and the only people who really count – the utterly engaged kids and parents who read it…

The magazine celebrated its first anniversary by launching a digital edition available globally as an app and continually expands its horizons. These days they offer internet added value via an ongoing tutorial fun-lab dubbed the Phoenix Comics Club…

It is, most importantly, big and bold and tremendous fun.

The publishers are also a fantastically inclusive bunch, ever-eager to get us involved. Conceived and delivered by best-selling Graphic Novelist Neill Cameron (Donut Squad, Mega Robo Bros, Freddy, Tamsin of the Deep, Pirates of Pangea), activity feature ‘How to Make Awesome Comics’ has featured intermittently since issue #0, offering enticing insights and practical tips through the auspices of cartoon know-it-all Professor Panels and his long-suffering collaborator Art Monkey. Its sage pages were first gathered and released in book form in 2014, and now there’s a fully updated and improved version to impart just how to be the best… and why you shouldn’t draw on walls…

As part of the company’s line of comic albums those invaluable observations and exercises were superbly repackaged into a lexicon of hands-on instruction: a not-so-serious foundation course in cartoon wonder-making no aspiring comic book genius can afford to be without.

Broken down into six chapters and (more or less) 21 easily assimilated lessons, the book also makes full use of modern technologies, with exercises, cartoon cheats and spare drawing pages all included as well as downloadable from the internet.

Leaping straight in following the standard equipment check, tuition begins in Chapter 1 with Getting Started, via Lessons 1 & 2: Anyone Can Make Awesome Comics and Awesome Comics can be about Anything. These offer tutorial insights from the Prof ranging from stick-figure first-concepts to fully inked and coloured final work, all augmented by opportunities to create your own strips through the first of many Art Monkey Challenges… plus a Level 1 Bonus Challenge…

Chapter 2 introduces Great Ideas! and in Lessons 3 through 6 covers How to Have Awesome Ideas, How to Have Awesomer Ideas, How to Have Awesomest Ideas before finishing with a treatise on Real Life Awesome (biographical comics) accompanied by an Art Monkey Challenge of dedicated daily fun and complexity…

With work-philosophy fully engaged and imaginations suitably fired up, Chapter 3 then determines What’s a Comic? as Lesson 7 (Warning! Clowns at work!) focuses on the basics with How Awesome Comics Work, whilst L8 details How to Make Funny Comics – with many strip examples!

Then L9 Awesome Words + Awesome Pictures offers some sound lettering tips before this heavy session closes with a welcome pause in which students can peruse a batch of Bonus Comic strips such as ‘Mecha Monkey Meltdown’; ‘Sir Meows-a-Lot and the Bandit Mouse’; ‘Triceracop’; ‘Kung Fu Banana Squad’; ‘BananaBarbarian’ and more…

Returning to learning, Chapter 4 deals with Awesome Drawing, with Lessons 10 to 15 revealing How to Draw Anything Awesomely (like characters & costumes) with L11 pinpointing How to Draw Cartoons Awesomely, before we learn in rapid succession How to Draw Awesome Faces, How to Draw Awesome Robots, How to Draw Awesome Pirates and, of course How to Draw Awesome Monsters. As always that monkey is there to lay down those pesky but so useful challenges…

The really important stuff is Telling Stories as covered in Chapter 5 with How to Tell Awesome Stories, How to Create Awesome Heroes, How to Create Awesome Villains, Creating Awesome Drama before culminating with the big secret in L20’s Awesome Endings…

Finally the practicalities of production and dissemination are revealed in Chapter 6 with How to Make Your Very Own Comics, covering such arcane but crucial topics as folding, pagination and layout; copying and reproduction and getting your work into the hands of your readers…

Packed with superb examples, handy breakdown & layout tips, lots of practical exercises and offering tons of cool ideas plus a library of inspirational examples, this perspicacious primer even includes a wealth of Awesome Appendix of More Awesome Stuff: comprising visual inventories of gallery of stock characters, Cool Robot Accessories and Pirate Moustachery. You will see How to Draw Dinosaurs Step-by-Step, as well as Creepy Creatures and Penguins – also all Step-by-Step – before ending with More Fun Comics challenges for the now-adept student to complete…

There are a host of books, both academic and/or instructional, designed to inculcate a love of comics whilst offering tips, hacks and a hands-on education in crafting your own sequential narratives. There are precious few that do it with as much style, enthusiasm and cunning craft as Neill Cameron’s beguiling release under the all-ages aegis of The Phoenix. This bright & breezy album hones in on and perfectly highlights all the core skills necessary to crafting picture-stories, cleverly drenching them in an aura of rambunctious, addictive fun. With such a boost how can any prospective or neophyte storyteller fail to be galvanised into making their own magic?
Text and illustrations © Neill Cameron, © 2014, 2016, 2026. All rights reserved.

Win’s Christmas Gift Recommendation: A Seasonal Secret Weapon to Ensure Silent Nights… 8/10

How to Make Awesome Comics! will be released on October 8th 2026 and is available for pre-order now.

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Ugly Mug Issue Nine


By many and various anonymous aligned to The House of Harley, but particularly including Julian Geek, Denny Derbyshire, Ed Pinsent, Alberto Monteiro, John Bagnall, Dave Kilburn, Miranda Smart, Adam Falp & various (House of Harley)
ISBN: 978-1-0669144-1 (A4 Card cover TPB)

In these, my elderly end-times, a year goes by just like 365¼ days, which means that (notionally) I only have to blink or slip into a brief nap/coma for something fun or welcoming to pop up. Of course that can apply to nasty stuff too, but that is SO NOT the case here…

Comics can be a billion dollar business these days, but thankfully remains at its heart & soul a form of expression all about doing something creative for people to react to. Hopefully, they’ll be appreciative and give you lots of money and offer to have your babies… or at least try to swindle you out of your rights. That latter one’s not actually so bad, as it does mean you’re doing something others appreciate…

What I crave – and can now revel in again – is the latest extravaganza from unchecked artistic iconoclasterers The House of Harley; who have completed one more supercharged, in-your-facial-area assemblage of stories, cartoons, thoughts and even characters from people who don’t care if pastors complain, Mumsnet worries or The Telegraph pitches a disingenuous, profit-seeking hissy-fit. Self-chained to this fertile, dynamic pictorial coalface are folk who would draw strips and tell tales even if the act carried the threat of exile, death penalty or mandatory Ed Sheeran tickets. They go on concocting and unleashing the sort of word-wedded images the industry and art form continually refreshes, renews and reinvents itself with.

Every year since they started, shady, covert Art-Quango The House of Harley has unleashed an annual (well duh!) anthological aggregation of short stories, poster-works, diagrammatic diatribes and tableaux, augmented by further exploits of ongoing made-up individuals, new characters and pictorial serials. They also invite guests to aid & abet those efforts by getting what’s needful off their artistic chests, so it’s now well past time you indulged their splendid efforts.

This year’s model puts its foot down on the side of LAW & ORDER, proudly presenting old guard and new models (in Quarter, Half, Single and multi-page narrative outbreaks and graphic outbursts) all set between nostalgia-kicking covers by Julian Geek. Within, strangely fresh yet familiarly comforting fare nestles menacingly between full-colour poster-art homage frontispiece ‘Beware! The Claws of the Cat!’ and closing apocalyptic vision ‘Project Final X’ – both from Jason Atomic.

The interior trigger-edged, truncheon-terse treats unfold after the customary wild contents and introductory section, announcing the reserve forces of returning resident Ugly Mug contributors whilst welcoming new kids on the block Miranda Smart, Adam Falp & Dave Kilburn. The overall effect is shocking insights into “the causes of social collapse” and a potent invitation to the final showdown of our kind…

Stationed within and throughout are works by old lags of the House of Harley studio, seeking to keep things from spinning out of control with tales of enforced health like ‘The Cancer Detection Dogs’, revealing what is ‘Tender to the Touch’ and exactly when ‘Cometh the Hour’ or even a sharing a home visit from ‘Dr. Anadi (With Curses She is Handy)’…

‘Scatter’ is a suburban probe into abandoned rental bikes, ‘Seb, Superimposed’ follows one woman’s personal quest to be drunk and disorderly courtesy, as an extended cartoon chat exposes what happens ‘While the City Slumbers’, and there’s even a spot of recreational downtime in ‘Let’s Bake Up a Batch of Ugly Mugs’…

Shorter call-ups to duty include further forays for Mark E Smith Music Teacher (promoting plastic bags and work experience gigs whilst exposing The Truth about Taylor Swift), and more naked exposures via Life with Freda Nipple (nudist, career woman, penal reformer, rag ‘n’ bone man nostalgist) as well as a Q&A on 2-tier policing with PCSO Dan and Busy Lizzie revealing what is not right about Woody Allen…

Regular guest Ed Pinsent is much represented, pictorially prognosticating thanks to ‘Hex Patterns’, tuning in on R.S.D. Laing, Record Collector after ‘He Suffers a Chemical Reaction’, exposing ‘The Horrible Story of Monster Pig – and How He Became So Fat!’ before climaxing big with the ninth arcane instalment of Pinsent’s beguiling ‘Windy Wilberforce’ serial The Saga of the Scroll (fear not, back issues of Ugly Mug are available to all with the wherewithal) as Harry Excess finds fun and fish in the desert….

Other contributions from those bearing visitor passes include Social Historian Gareth Corduroy (AKA John Bagnall) unearthing the lost working class blessing of ‘The Pit Pool’; a dose of abstract impressionist portraiture in Denny Derbyshire’s ‘Twin Peeks’; Julian Geek’s controversial TV debate stance in ‘321 with Mean Bean and Da Bug’; Miranda Smart’s challenging tableau ‘The Art of Complaining’ and Adam Falp’s vision of ‘Seven Sisters Road’ all counterpointed by Brazilian creator Alberto Monteiro ‘Several Intense Scenes’…

… And about us leprechauns pop up as Dave Kilburn offers contemporary Celtic mythology via a succession of scandalous exploits starring Irish fae folk The Leps (Seamus & Eamonn, St Patrick, His Lordship, The Vulnerable Lord Cecil and others), beginning with ‘The Shillelagh of Temptation’ and supplemented by an untitled boozing binge, a ‘Mid-week drinking’ session and a spot of bonfire building…

Innocuously including and pointedly presenting “robot dogs, radioactive popcorn, broken glass, canoodling couples, different kinds of dealers, stale beer & chips, ADHD, a black-&-white rainbow, pavement potholes, symbolic sheep, naked giants, shopping receipts, miracle cures, crime scene cakes, savage cabbage and the proverbial two birds with one stone”, this doughty dossier delivers more racy, pacey fun fare than any British X-mas Annual of yore. These cunning creations teem with turbulent observation and force, and come armed to the nines with wryly witty visual oomph, making it the ideal example of where we will draw the line and leave our marks…

Buy one. Read one. Do one yourself. You know you want to…
All contents © their respective creators.

Win’s Christmas Gift Recommendation: Wild Fun and the Latest Last Word in Sheer Creativity Perfection… 8/10

For all this and so much more please check out houseofharley.net/shop or their Etsy shop.

If you’re still keen to embrace the dying embers of old world transactionalism, you can support enlightened capitalism and get a copy from a real world retailer like Gosh! Comics, London.

My spiffy review copy came with a bunch of extra goodies “From the Sketchbooks of The House of Harley” – Limited Edition minicomics Boat Race #1, Scratch An Itch #1 and Hands Up #1 – each offering even more contentious Comics & Improper art vouchsafing visual verve and vitality in strict monochrome and/or assorted multi-hued palettes. Maybe yours will too; or perhaps it’s simply that age and rank still hath their privileges…

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Star Comics All-Star Collection volume 1


By Lennie Herman, Sid Jacobson, Stan Kay, Bob Bolling, Warren Kremer, Howard Post, Vince Colletta, Jon D’Agostino, Jacqueline Roettcher & various (Marvel)
ISBN: 978-0-7851-4291-1 (TPB), 978-1-3025-0691-9 (Digital edition)

This book includes Discriminatory Content and especially outdated gender roles produced in less enlightened times.

Once upon a time the US comic book industry aimed at younger readers was utterly dominated by Dell/Gold Key with their TV & Disney licenses, and Harvey Comics who had largely switched from a variety of genres to a wholesome, kid-friendly pantheon by the end of the 1950s. Despite valiant and consistent efforts from DC, Charlton and Marvel to compete, this Big Two owned the pre-school sector until declining morals, television cartoon saturation and rising print costs finally forced them to bow out.

The Wester Publishing companies suffered a slow erosion, gradually losing valuable prime properties like Popeye, Star Trek, assorted Hanna-Barbera and Warner Brothers cartoon stars, plus sundry other treasures until the parent company called it a day in 1984. Harvey had already shut up shop in 1982 when company founder Alfred Harvey retired.

The latter’s vast archived artwork store was sold off and, with properties and rights up for grabs, Marvel Comics (who had already secured those lost Star Trek and Hanna-Barbera titles) was frontrunner for licensing the family firm’s iconic characters. These included Richie Rich, Casper the Friendly Ghost, Sad Sack, Hot Stuff – the Little Devil, Wendy the Good Little Witch and so many others. That bid ultimately foundered, but business savvy Editor-in-Chief Jim Shooter, recognised a huge gap in the market, and subsequently launched a cloned imprint of the Harvey stable which would also encompass new TV/toy properties like Jim Henson’s Muppet Babies & Fraggle Rock; Alf; Madballs; Strawberry Shortcake, Care Bears; Thundercats; Ewoks and every Saturday Morning TV sensation still to come. He resolved to devise and deliver the next generation of worthily wholesome, entry-level comics for entertainment-hungry young minds and their concerned parents…

Marvel’s Star Comics line launched in 1985, edited by ex-Harvey head-honcho Sid Jacobson, with familiar-looking titles sporting an incontestably similar look and feel, which was achieved primarily by hiring former Harvey stalwarts like Jacobson, Lennie Herman, Warren Kremer, Howard Post, Ernie Colon and others.

Millionaire prince and all-around good kid Royal Roy especially invoked the ire of the Harvey heirs who sued for copyright infringement of their astonishingly prolific Richie Rich: a glittering prize who had shone in over 55 separate titles between his debut in 1953 and the bust of 1982. Roy was cancelled after 6 issues – as were many Star series – in a brutal “Survival of the Funnest” policy – and the suit was quietly dropped. None of which affects the fact that those Eighties child stars were, in their own right, superb examples of all-ages fun, excitement and adventure joyously revisited in this collection first released in from 2009: gathering that first wave of titles and latterly expanded on in a coordinated curated kids comics book sequence (remember now: “gotta get ‘em all!”).

Re-presenting Planet Terry #1-2, Top Dog #1-3, Royal Roy #1-2 & Wally the Wizard #1-2 in a veritable nova of bubbly contagious thrills and frolics, the eccentric escapades open with a star who was just a little lost boy in space…

Planet Terry was created by Lennie Herman (who died just before the big Star Comics launch) and the merely magnificent Warren Kremer, whose animation-based art style became the defining look of Harvey Comics during its happy heyday, and starred a young lad searching the universe for the parents he had never known. Introduced in ‘The Search’ (Herman, Kremer & Vince Colletta), little Terry was something of a nuisance, periodically landing on alien worlds, pestering the inhabitants and asking “Has anyone seen my mother and father?”

Found wandering in a life-pod which raised and educated him, the only clues PT had to his past are a name bracelet and an empty picture frame. However, this time when he returns to the obnoxious planet Bznko, Terry accidentally drives off a menace which bores folks to death with bad jokes, so the inhabitants give him a junked lady robot as a reward. This proves to be a blessing in disguise as Robota inadvertently leads the lonely lad to ‘A Clue’ when they later crashland on a mining asteroid and meet aged Enoch Diggs who recognises the lifepod the infant Terry was originally found in…

‘Some Answers’ are forthcoming as the dithery prospector reveals he once worked on Confederation Cosmos Cruiser Space Warp, where the captain’s wife was going to have a baby. Needing a sterile environment for the newborn infant, the crew placed him in the emergency lifeboat, but his jubilant father accidentally triggered it whilst celebrating his son’s birth and the infant was rocketed into deep space. Although they searched everywhere, the heartbroken spacemen never located the pod and assumed baby Terry was lost forever…

Although Enoch can’t remember the names of Terry’s parents, he suggests another old shipmate might, and the re-energised searchers rush to another asteroid to find him. Sadly, they instead encounter ‘The Malt Shop Menace’, before recruiting another voyager when Robota saves a brutish monster…

Omnus gratefully joins their decidedly odd and growing family. Little do they know that a sinister conspiracy is at work to keep the whereabouts and secret of the Space Warp lost forever…

In #2 (by Herman, Kremer & Jon D’Agostino) the quest continues as the outcasts encounter sabotage and opposition before landing their freshly repaired ship on the lost world of the Gorkels where the trio clumsily fulfil an ancient prophecy in ‘The Saga of Princess Ugly’. In return for repairing Terry’s downed vessel, he, Robota and Omnus must rescue an abducted Princess by battling hostile jungles, shapeshifting beasts, killer vines, a whirlpool and a volcano all controlled by archvillain Vermin the Vile in ‘Too Close (enough) for Comfort’ before saving the girl from ‘The Doom of the Domed City’ and uncovering the final resting place of the elusive Space Warp…

Also by Herman, Kremer & D’Agostino, Royal Roy debuted on his birthday in ‘The Mystery of the Missing Crown’, wherein the Prince of wealthy Ruritanian Cashalot discovers that the traditional, venerable Royal Highness Crown has gone missing on the very day of his investiture. Whilst King Regal and Queen Regalia understandably panic, super suave, ultra cool bodyguard Ascot diligently investigates as assorted resplendent relatives dither and interfere, so Roy and his pet crocodile Gummy keep their heads and maintain their poise by ‘Picking up the Scent’. They soon expose a supernatural agency at work after ‘A Midnight Visit’ by ghostly ancestor William the Warhorse…

Topping off that opening issue was a snappy, snazzy short fun yarn starring reptilian Gummy in ‘Crocadog’ prior to #2 hosting ‘The Grand Ball’. Scripted by Stan Kay, it occupied most of Roy’s attention as the underage but still eligible Prince took a fancy to simple commoner Crystal Clear whilst ambitious – and mean – social climber Lorna Loot spent all her time – and considerable cash – unsuccessfully attempting to beguile the boy by turning herself into a contemporary Cinderella in ‘A Strange Stranger’…

‘Maneuvers!’ then sees Roy fulfil his hereditary duties by joining Cashalot’s army on dawn exercises. As ruler-in-waiting of a rich but peaceful nation, the plucky lad isn’t too surprised to find that the entire armed forces consists of one reluctant prince and a keen but aging general…

Top Dog featured a far more modern and mundane situation, depicting the lives of average American boy Joey Jordan and a mutt he brought home one day. Herman, Kremer & Jacqueline Roettcher’s ‘The Dog-Gone Beginning’ revealed how, whilst looking for his lost baseball, the kid had accidentally spotted a dog reading the newspaper and talking to himself. Exposed, the canny canine begged the boy to keep his secret else all the four-footed wonder could expect was a short and painful life being poked, prodded and probed by scientists…

Once the lad swore to keep his secret, Top Dog agreed to come live with Joey in ‘House About a Dog, Mom?’ Whilst the boy tries to teach the pooch to bark – one of the few languages he can’t speak! – Joey’s accommodating family gradually get used to the seemingly normal dog and his boy.

However, when Mervin Megabucks (the richest, meanest kid in town) overhears them playing and chatting, the spoiled brat refuses to believe Joey is a ventriloquist and when the junior Jordan refuses to sell, Mervin steals Top Dog as the perfect addition to his palatial high-tech house. However, even torture won’t make the purloined pooch speak again, and when Joey stages ‘The Big Breakout’, Mervin’s mega-robots prove no match for dogged determination leaving the peewee plutocrat brat baffled, bamboozled and dog-less…

Top Dog #2 exposes ‘Spies!’ after the restless dog of a thousand talents seems to harbour a dark side. Going out on nightly jaunts, the marvellous mutt apparently leads a double life as a security guard at a Defence Plant, triple-crossing everybody by photographing military secrets for a foreign power. It’s actually a diminutive enemy agent in a dog costume but Vladimir’s handlers hadn’t reckoned on a real dog looking (and speaking) just like their hairy infiltrator. Thus they accidentally give the purloined plans to the chatty all-American canine.

After spectacularly trapping the sinister spies without revealing his own astounding intellect, Top Dog is framed in #3 by Joey’s best friend Larry who’s been feeling neglected and rejected since the brilliant bow-wow moved in. With a feral hound dubbed ‘The Mad Biter’ on the prowl and attacking people, it’s simple to send our perspicacious pup to the Pound, where he encounters lots of bad dogs who probably deserve to be ‘Caged’.

Faithful Joey never gives up and after bailing his canine comrade out, they convince the guilt-ridden perjurer to see the light by via an impromptu midnight ‘Ghost Story’. Even with Larry recanting his lies, neighbourhood families don’t trust Top Dog, but that all changes once the maligned mutt tracks down the real Biter and engages him in ‘A Fight to the Finish’…

The final initial entry was written and illustrated by Archie Comics veteran Bob Bolling who concocted a fabulous medieval wonderland for Wally the Wizard to play in. In #1’s ‘A Plague of Locusts’, mystical Merlin’s older, smarter brother Marlin is having trouble with a stubbornly inquisitive apprentice. Wally wants to know everything NOW, has no discipline and is full of foolish ideas and misconceptions. As a serious scientist, Marlin has no time for silly superstitions, so after the lad accidentally releases a time-travelling demon from an age-old prison, the mage refuses to believe him.

Gorg however swears faithfully to repay the favour before disappearing…

Despatched to deliver a potion to King Kodger, Wally also helps a dragon save his hatchling from a deep well, only just reaches the sovereign in time and has a feed on the Royal Barge where he once again fails to impress beauteous Princess Penelope…

Meanwhile in Bloodmire Castle, wicked plotters Vastar the Vile, his sister Sybilious the Bilious and wicked warlock Erasmo conspire to conquer the kingdom by unleashing a huge metal locust to consume all in its path. Noble knights led by invincible Sir Flauntaroy are helpless before the brazen beast and Wally realises only Marlin can save them. Sadly, the boy gets lost on route to fetch him, but happily for everybody, the dragon and demon the rationalist sorcerer refuses to believe in are ready to pay their debts to the apprentice…

Sid Jacobson, Howard Post & D’Agostino handled the second issue wherein Wally enters the annual apprentice’s games, with Marlin now suddenly transformed into a traditional magic-making mage. In fact, Marlin, as a three-time champion of ‘The Magic-a-Thon!’ is secretly regretful that Wally is too inexperienced to compete… a fact his disciple discerns and tries to fix. Desperately cramming for a week and eventually (with the coaching of his proud master) Wally sets off to compete but a lovelorn barbarian accidentally cleaves the kid’s crib notes in twain, leaving him able to create only half-spells and conjure up mere semi-monsters…

Undaunted, Wally continues and perseveres, even after a huge storm deprives him of the demi-directions and his back-up pouch of herbs and potions. He is determined to win using nothing but his wits, guts and unflagging optimism…

This clutch of classic children’s tales also includes the enchanting covers and the original house-ads which introduced the characters to the Kids in America and four decades later is still a fabulous blast of intoxicating wonder and entertainment readers of all ages cannot fail to love. With children’s comics back in force again after too long a fallow period, it’s apt, sensible and fun to acknowledge the timeless classics we used to draw upon and which drew kids in. Historical compilations like this one belong on the shelves of every funnybook-loving parent and even those lonely couples with only a vague twinkle in their eyes…
© 1985 and 2009 Marvel Characters, Inc. All rights reserved.

Today in 1928 Lyman Young’s strip epic Tim Tyler’s Luck launched, followed by Al Capp’s Li’l Abner in 1934.

This day in 1919 prolific illustrator and inker Jim Mooney (Tommy Tomorrow, Supergirl, Omega the Unknown, Robin, Batman, Pussycat, Man-Thing, Spider-Man, Thundercats, Elvira, Mistress of the Dark) was born, as were artist/inker Gene Day (Star*Reach, Star Wars, Master of Kung Fu) in 1951; all-rounder Donna Barr (Desert Peach, Stinz) in1952; UK artist Rob Davis (Judge Dredd, Doctor Who, Nelson) in 1954; artist Bret Blevins (New Mutants, Sleepwalker, Bozz Chronicles) in 1960; both Billy Tucci (Shi, Sgt. Rock: The Lost Battalion) and cartoonist Shannon Wheeler (Too Much Coffee Man, Postage Stamp Funnies) in 1966 and Malaysian artist Billy Tan Mung Khoy AKA Billy Tan (Uncanny X-Men, Green Lantern, Tomb Raider) in 1970.

Passing on this day were Jack Cole (Plastic Man, Betsy and Me) in 1958; British editor creator John Geering (Sparky, The Topper, Cracker, Plug, Nutty, The Beano, The Dandy on Puss ‘n’ Boots, Smudge, Bananaman, DangerMouse, Count Duckula) in 1999 and Tintin colour artist Josette Baujot in 2009.

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Namor, the Sub-Mariner Epic Collection volume 5: The Invasion of New York 1972-1974


By Bill Everett, Steve Gerber, Mike Friedrich, Marv Wolfman, Howard Chaykin, Steve Skeates, Bill Mantlo, Dan Adkins, Alan Weiss, Sam Kweskin, Don Heck, George Tuska, Win Mortimer, John Tartaglione, Jim Mooney, Frank Giacoia, John Sinnott, Syd Shores, Don Perlin, Frank Chiaramonte, Frank Bolle, Vince Colletta, John Romita Sr., Gil Kane, Marie Severin, Franc Reyes & various (MARVEL)
ISBN: (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

In his most primal incarnation (other origins are available but may differ due to timeslips, circumstance and screen dimensions) Prince Namor, the Sub-Mariner is the proud, noble and usually upset offspring of the union of a water-breathing Atlantean princess and an American polar explorer. That doomed romance resulted in a hybrid being of immense strength and extreme resistance to physical harm, able to fly and thrive above and below the waves. Over decades, a wealth of creators added to the fishy tale and today’s Namor is hailed as Marvel’s First Mutant as well as the original “bad boy Good Guy”. He was created by young, talented Bill Everett, for non-starter cinema premium Motion Picture Weekly Funnies: #1 (October 1939) so – technically – Namor predates Marvel, Atlas and Timely Comics.

The Marine Miracleman first caught the public’s avid attention as part of an elementally appealing fire vs. water headlining team-up in the October 1939 Marvel Comics #1 (which renamed itself Marvel Mystery Comics from #2 onwards). The amphibian antihero shared honours and top billing with The Human Torch, having debuted (albeit in a truncated, monochrome version) in the aforementioned promotional booklet designed to be handed out to moviegoers earlier in the year. Our late-starter antihero rapidly emerged as one of the industry’s biggest draws, winning his own title at the end of 1940 (cover-dated Spring 1941).

His appeal was baffling but solid and he was one of the last super-characters to vanish at the end of the first heroic age.

In 1954, when Atlas (as the company then was) briefly revived its “Big Three” line-up – the Torch and Captain America being the other two – Everett returned for an extended run of sublimely dark, mordantly moody, creepily contemporary fantasy fables. Even so, his input wasn’t sufficient to keep the title afloat and eventually Sub-Mariner sank again. In 1961, as Stan Lee & Jack Kirby were reinventing superheroes with their Fantastic Four, they revived and reimagined the awesome, all-but-forgotten aquanaut as a troubled, angry semi-amnesiac. Decidedly more bombastic, regal and grandiose, this returnee despised humanity: embittered and broken by the loss of his subsea kingdom, which had been (seemingly) destroyed by American atomic testing. His urge for rightful revenge was infinitely complicated after he became utterly besotted with the FF’s Susan Storm…

Namor knocked around the budding Marvel universe for years, squabbling with star turns such as The Hulk, Avengers, X-Men and Daredevil before securing his own series as one half of Tales to Astonish. From there he graduated in 1968 to his own solo title again.

Cumulatively spanning cover-dates June 1972 to September 1974, this subsea selection trawls Sub-Mariner #50-72, signalling the end of another era and rising dominance of genre fare in the superhero-saturated market of that period. Also dredged up and tipped in is a tentative attempt to revive his solo star status as seen in Marvel Spotlight #27 (April 1976) just as horror-heroes began to wither away in the light of shiny space operas and resurgent superheroes as we all unwittingly bided our time until the advent of Star Wars unleashed a wave of Science Fiction sagas. Here, however, we see the triumphant glorious last hurrahs of originator Everett in salty sagas and dry land dramas…

Previously, Namor had endured months of escalating horror as old enemies including Prince Byrrah, Warlord Krang, Attuma, Dr. Dorcas and sinister shapeshifter Llyra perpetually assaulted his sunken kingdom. They were soundly defeated, but these constant clashes led to the murder of Namor’s bride-to-be Lady Dorma. He had been betrayed by his most trusted ally and, heartsick, angry and despondent, abdicated the throne, choosing to pursue the human half of his hybrid heritage as a surface dweller. The decision was fraught with more potential grief, leading to battles with surface world authorities; deranged psionic hermit Stephan Tuval and mind-tyrant Turalla; monster-maker Aunt Serr, M.O.D.O.K. and AIM. Namor seldom fought alone and initial clashes with old friends like Diane Arliss and Walt Newell (part-time undersea Avenger Stingray), Spider-Man, Daredevil and Human Torch Johnny Storm ultimately resulted in refreshed alliances, culminating in a poignant but brief reunion with his long-lost father Leonard McKenzie, a man Namor had for his entire life believed killed by Atlanteans in 1920.

When that tragic hostage to fortune was murdered by post-human horror Tiger Shark & Llyra, twice-orphaned, traumatised Namor lost his memory again, and was exploited as cannon fodder by Doctor Doom before eventually breaking free to retrench in bitter confusion and ponder his future…

Thus , a fresh start begins in #50 as Everett resurfaces to ask ‘Who Am I?’, with the bewildered amphibian reeling in confusion at the beach until his heroic instincts kick in and he saves a drowning teenager from seaweed and pollution. His actions are completely misunderstood and she savagely attacks him, before swimming off right out to sea…

Lesson learned, Namor concentrates on his own woes and sets off for Antarctica, eventually fetching up in the Ross Sea to explore the crumbling remains of the original Atlantis. His reveries are shattered when he is attacked by mutant crab creatures guarding the tomb of his beloved long-lost cousin and WWII partner in crimefighting Namora…

Confronting sinister leader Salamar the Sustainer, Namor discover a bizarre scheme to exploit the vast oil reserves under the ocean floor, and learns old foes are shaping events: treacherous cousin Byrrah and seemingly unkillable Llyra. He also meets again that abrasive teenager and discovers she is Namora’s wayward daughter…

As all hell breaks loose, former prince and newfound cousin Namorita make a break for it in a hail of blaster fire as ‘Armageddon… at Fifty Fathoms Full!’ (scripted by Mike Friedrich) exposes a scaly hidden hand behind the carnage. Byrrah is allied with the alien Brotherhood of Baddoon, who want the (radioactive!) oil reserves, albeit not for the reasons they share with the usurper. Ultimately, the aliens, Byrrah, and Salamar’s savage crab people can’t agree and the seagoing cousins are participants in a shattering showdown that results in environmental catastrophe…

Seeking to confirm Namorita’s account of how Namora died whilst dumping her with his old girlfriend Betty Dean Prentiss, Sub-Mariner cruises into a clash with ultra-nationalist Japanese mutant and future X-Man Sunfire as ‘The Atomic Samurai!’ – ever receptive to deranged patriotic ranting – falls under the sway of war criminal demagogue Dragon-Lord, last of the samurai. He plans to unleash his new Nipponese army and deadly defoliants upon America, a tactic that might destroy the oceans…

After a spectacular new incidence of the classic Golden Age “Fire vs Water” duel, Everett took full creative control for follow-up ‘…And the Rising Sun Shall Fall!’ wherein Sunfire sees sense and switches sides to save the seas, leading to all-out war in concluding half-chapter ‘Now Comes… the Decision!’,: a brief battle that leaves room in #54 for a “Mighty Marvel Mini Classic!” with Friedrich & Alan Weiss detailing how ‘Namor the First, Prince of Atlantis battles The Mer-Mutants’: a light but lovely puff piece involving a mermaid acting as a subsea honey trap for her hungry kin…

NtSM #55 sees Namor at last wave goodbye to “Nita” & Betty before revisiting Antarctica and enduring an unexpected and brutal encounter with scavenging wrecker ‘The Abominable Snow-King!’ The literally monstrous Torg’s ambition is to pit enslaved sea life against humanity but sinks once the Sub-Mariner gets involved, after which Friedrich & veteran illustrator Dan Adkins steer the abdicated Prince back to his forsaken kingdom in ‘Atlantis, Mon Amour!’ Sadly, he’s too late to stop his former subjects making a tragic fear-fuelled mistake that results in atrocity and genocide after aquatic alien refugee beg for aid…

When Everett returned he opened the doors to Marvel’s Atlas era-past with a tempestuous yarn that would eventually affect the entire continuity. ‘…In the Lap of the Gods’ reintroduced 1950s sensation Venus, whose impact would ripple out across the MU and ultimately reveal her hidden history as part of the Agents of Atlas sub-franchise.

It begins in a shattering storm as Namor rescues a lovely mystery woman stranded on a rock and stumbles into a long-running grudge match between the Hellenic gods of Love and War. A contemporary tale of dissent and unrest, the story reunites him with Namorita, who, in his absence, has become a college student and activist. Moreover, her favourite lecturer – Humanities Professor Victoria N. Starr – also has a concealed alter ego and lethal stalker: malign divinity and former pantheon mate Ares…

Having held at bay one angry god, Namor returns to Atlantis, resolved to restore the undersea nation to forefront of civilisation but his program of changes is stalled when ‘Hands Across the Waters, Hands Across the Skies…’ (Everett supervising, steering and inking dialoguer Steve Gerber & layout artist Sam Kweskin) uncovers a survivor and witness to the recent massacre of alien ambassadors by Atlanteans. Tamara of the Sisterhood claims to offer forgiveness and seek understanding, but many of the perpetrators would rather there were no testimony or recriminations to deal with. Most tellingly, the superstrong survivor and her pet monster have their own plans and soon the prince is sucked into more pointless battle…

With John Tartaglione inking Everett’s plot, Gerber & Kweskin forecast ‘Thunder Over the Seas!’, a tale of tragic miscomprehension as Namor again clashes with the surface world. As the Sub-Mariner’s new advisor, Tamara is targeted by Atlantean scout Lorvex – who is driven wild by her exotic beauty and rarity. Obsessively stalking and assaulting her, Lorvex drives her into Russian trawler nets where the rubicund refugee becomes a prized possession after the vessel and its contents are impounded by the US Coast Guard. Now Tamara is a cause célèbre and topic of heated debate at the United Nations…

Having dealt with Lorvex, Namor seeks out his new friend, and crashes into chaos as the war of words over the alien mermaid triggers the usual bellicose response amongst humans. By the time surface-dwelling Namorita summons her cousin to rescue Tamara, founding Avenger Thor has stepped in to keep the peace. Sadly it’s too late to stop ‘The Invasion of New York!’ (Everett, Gerber, Kweskin & Jim Mooney), with Lorvex exploiting the campaign to regain position and secretly abduct Tamara from UN custody. Enraged and resigned, Sub-Mariner acts decisively and violently to end the crisis, and accepts at last the fate he has been really fighting, finally accepting once more the throne and responsibilities of ruling Atlantis.

It was an open secret that Everett was dying at this time, but his Marvel friends and employers allowed him to work on until he couldn’t. Thus Sub-Mariner #61’s The Prince and the Pirate!’ – credited to Gerber, Everett, Win Mortimer & Mooney – opens with the old master pictorially revealing revelry in the subsea kingdom as Namor’s coronation ends before a new storyline starts on page 4 as Namorita and human guardian Betty Prentiss are abducted along with an entire passenger plane. The voyagers are victims of deranged geneticist Dr. Hydro who mutates them all (bar already amphibian Nita) into human-merman hybrids to populate his army of environmental conquest. When Namor tracks the ongoing abductions and invades mobile island Hydrobase to save his cousin, he is soundly defeated by the maniac’s super science. Moreover, the failed assault inspires Hydro to invade Atlantis and make it his new stronghold from which to convert the rest of humanity…

The drama plays out in #62 as Gerber, Sam Kweskin & Frank Giacoia explore ‘A Realm Besieged!’ before Tamara in Atlantis and Nita on Hydrobase thwart Hydro’s schemes; leaving the Sub-Mariner to ponder what to do with the hundreds of innocent, unwilling scaly amphibian freaks that neither Atlanteans or surface-dwellers want anything to do with…

Steve Gerber was a uniquely gifted writer who combined a deep love of Marvel’s continuity minutiae with dark irrepressible wit, incisive introspection, barbed socio-cultural criticism, a barely reined-in imagination and boundless bizarrely wilful surrealism. His stories were always at the extreme edge of the company’s intellectual canon and never failed to deliver surprise and satisfaction, especially when he couched his sardonic sorties in thinly veiled attacks on burgeoning cultural homogenisation and commercial barbarity.

With critical success Man-Thing he was holding up a mirror to many cordoned-off and taboo subjects and weaving history from scattered snippets of Marvel’s continuity. With his final stint on Sub-Mariner, Gerber expanded that universe exponentially, building by exploring pre-cataclysm history, aided by Howard Chaykin in back-up series ‘Tales of Atlantis!’ Here the first chapter – inked by Joe Sinnott – sees antediluvian, human-built Atlantis losing its war with rival superpower Lemuria and Emperor Kamuu and his bride Zartra prepare for the bloody end…

Over Everett’s posthumous plot, Gerber, Kweskin & Syd Shores produce #63 as ‘…And the Seas Shall Explode!’ sees seemingly dead Dr Hydro return to destroy the Atlanteans by triggering a volcano under their city and compelling Namor to take no chances and offer no mercy to save his subjects once and for all, Tales of Atlantis resumes as Gerber, Chaykin & Sinnott reveal how the fate of the first Atlantis is sealed by ‘Cataclysm!’ As hand-to-hand combat peaks, the city sinks beneath the seas, but its heritage is saved, carried away by missionary sorceress Zered-Na and her devout disciples; for which you need to scope out Gerber’s other contemporaneous assignments: Son of Satan in Marvel Spotlight and Man-Thing in Adventures into Fear. We’ve covered them elsewhere so feel free to scroll away in the search engines…

Here, though, and wading off at a weird tangent, Gerber, Don Heck & Don Perlin play with satire and pop culture in #64’s ‘Voyage into Chaos!’ When intolerant Atlanteans intern the aimless, despondent amphibian victims of Dr. Hydro, furious, ashamed Namor responds with a fit of fury, just as cool heads are needed to assess another astounding incursion. Soon, a quartet of strange visitors from magical dimension Zephyrland – Ariel the Musician, Ibbar the Scolar, Kabal the Wizard & Zargus the Warrior – are petitioning the Sub-Mariner to hop in their Golden Submarine and help them liberate their enslaved homeland from bestial, tone-deaf horror Virago the She-Beast. Willing and even eager to go for many reasons Namor joins them but is ambushed and defeated as soon as arrives in the land of golden meanies…

Third Tales of Atlantis episode ‘In the Wake of the Warriors!’ reveals how, five millennia later, nomadic clans of water-breathing Homo Mermanus settle in the ruins of the sunken city-continent and clash constantly, thanks to the enmity of sworn enemies Widow-Queen Elanna and King Stegor. They cannot see waves of destiny pushing their battle-hardened children towards an incredible coalition. Successive instalments ‘The Lurker in the Ruins!’ (Gerber, Mooney & Frank Chiaramonte in #65 and concluding chapter ‘The Sword in the Throne!’ inked by Sinnott in #66) ended the series abruptly as those children – destiny- touched Kamuu and Elanna’s daughter Zartra – after meeting ghosts and battling demons, unite the tribes to create the dynasty of sunken Atlantis that will lead millennia later to the coming later of Namor…

Back in the now, the series was struggling, sparking a rapid radical rebrand as Prince Namor, the Savage Sub-Mariner and #65 offering ‘The Cry of the She-Beast!’ as Gerber, Heck & Perlin detail how Virago crushes resistance at home, physically humiliates Namor and launches an attack across dimensions upon Atlantis. Her departure sparks a successful but so-costly revolution in Zephyrland and (with valiant Namor clinging to her hurtling Golden Submarine) provokes a shocking resurrection after splashing down on Earth in #66. ‘Rise, Thou Killer Whale’ (Gerber, Heck & Perlin) sees Virago driven away from Atlantis at great cost, only to stumble upon the tomb of defeated – but apparently only dormant – Orka the (humanoid) Killer Whale – who unites with a clearly kindred spirit to devastate the sunken city with an armada of crazed cetaceans…

The catastrophic clash leads to the Sub-Mariner again falling, but this time amidst toxic nerve gas dumped by surface dwellers. The chemical poisons alter his body chemistry, making it impossible to breathe air or maintain body moisture. Moreover, as the cloud of death expands currents wash it over Atlantis, plunging all within the perimeter – Virago and Orka included – into comas in landmark tale ‘Seawinds of Change!’ (Gerber, Heck & Frank Bolle).

Thankfully, whilst dying Namor heads for the surface to be found by old ally Triton of The Inhumans, who brings Namor to former foes the Fantastic Four. Smartest Man Alive Reed Richards swiftly diagnoses and rapidly constructs a bodysuit to provide constant artificial respiration – over Namor’s churlish and violent protests – and he heads home to finish his fight. Sadly, what he finds in #68 (January 1974, Mooney inks) leaves him ‘On the Brink of Madness!’ Only Tamara, Nita and Hydro’s amphibians escaped the nerve agent’s effects and now must calm down the bereft monarch. To stabilise the crisis, they relocate to vacant Hydrobase and direct Namor to a human scientist whose forcefield researches might provide a means to protect dormant Atlanteans from predators and further harm.

After seeking spiritual guidance from patron god Father Neptune, Namor sets off, but when the king without a kingdom seeks out Dr Damon Walthers, he discovers the genius’ works stolen by his assistant. Shot from the sky by neophyte supervillain Force, their initial clash is inconclusive but does draw the attention of passing student Peter Parker…

Meanwhile in Zephyrland, the war goes badly and the survivors consider calling in Sorcerer Supreme Stephen Strange…

George Tuska & Vince Colletta illustrate Prince Namor, the Savage Sub-Mariner #69 as Gerber rapidly wraps up his hanging plot threads in anticipation of a sudden cancellation. ‘Two Worlds …and Dark Destiny!’ sees Dr Strange offer aid, a pointless battle between spider hero and fishman and a final encounter with Force that leaves Namor victorious, in control of Walthers’ forcefield tech and Atlantis safely stored “under glass” until a cure can be found – an inauspicious but satisfactory stopping point. Confoundingly the series still had three issues to run with Marv Wolfman, Tuska & Colletta depicting ‘Namor Unchained!’ in #70 whilst adding further safeguards to sleeping Atlantis, until targeted by now-independent mutated fishmen grown by Dr. Dorcas under the guidance of an ambitious aquatic atrocity. The brutal duel delivers more deaths and butchery as #71 clamours ‘Comes the Pirahna!’ and the series finally sank with #72 (dated September 1974 and on sale from 18th June) as Steve Skeates, Dan Adkins & Colletta catered an alien encounter as Namor faced obnoxious humans and a lost interstellar shapeshifter in ‘From the Void It Came…’

The antihero resurfaced in Giant-Sized Super-Villain Team-Up #1 (cover-dated March 1975), revived as one half of a tag-team with fellow misunderstood autocrat Doctor Doom whilst seeking a cure for his people and his own condition. That sustained momentum led to the last tale here, a solo exploit taken from Marvel Spotlight #27 (April 1976) as Bill Mantlo & Mooney revealed ‘Death is the Symbionic Man!’ Incorporating Prime Earth’s military industrial villain Captain Simon Stryker (of alternate Earth epic Deathlok the Demolisher) the pacy yarn saw Sub-Mariner hunted for potential spare parts and powers by the messianic maniac and battling Stryker’s most deadly killer-cyborg yet…

Bonus material includes covers by Everett, John Romita, Rich Buckler, Sal Buscema, Al Weiss, Jim Starlin, Larry Lieber, Joe Sinnott, Gil Kane, Frank Giacoia, Mike Esposito, Vince Colletta, & Al Milgrom, supplemented with original art pages and personal commissions by “Wild Bill”. Also on view are House ads; the editorial page from #67 wherein Gerber explained the costume change plus Romita’s original designs for the new outfit. Special treats comprise Everett’s unused cover watercolour rough for Marvel Comics (1939) #2; the Everett cover and Franc Reyes frontispiece of Marvel Index #7b (1978); a stellar Venus pinup from Marvel Spotlight #2 (1972) and – following the announcement of Everett’s death – a visual memorial from editor and friend Thomas, limned by Marie Severin & Giacoia as it appeared in Sub-Mariner #65 (September 1973).

In comics, the best thing about “the Mighty falling” is that so often another time throws up fresh ideas and creators who will regenerate faded concepts. It a cycle as timeless and relentlessly repeating as the tides. The venerable Sub-Mariner always comes back stronger and more appetising, and you owe it to yourself to be ready for the next wave by getting to know these classics. Many early Marvel Comics are more exuberant than qualitative, but this volume, especially from an story-lover’s point of view, is a wonderful exception: historical treasures with narrative bite and indescribable style and panache that fans will delight in forever.
© 2025 MARVEL.

Today in 1923 French creator Jean Graton (Michel Vaillant) was born, sharing natal celebrations with comics genius Eddie Campbell (Alec, Bacchus, From Hell) in 1955 and colourist Christie Scheele in 1957.

Losses include cartoonist Virgil Partch in 1984; Belgian writer Henri Gillain (Il y a un sorcier à Champignac, Le Trésor d’Alaric, Nègre Blanc) in 1999; Mad mainstay Jerry DeFucchio in 2001 and Filipino artist Mar Amongo (DC anthologies, Noli Me Tangere, The Tiger’s Fang, Talons of Time) in 2005.

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Showcase Presents Martian Manhunter volume 2


By Jack Miller & Joe Certa & various (DC Comics)
ISBN: 978-1-4012-2256-7 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

As the 1950’s opened, comic book superheroes were nearing the lowest point of a steep decline, having given way to a steady stream of genre-based he-men and “Ordinary Joes” in extraordinary circumstances. By the time “Red-baiting”, witch-hunting Senate hearings and media investigations into causes of juvenile delinquency had finished, the industry was further depleted by the self-inflicted excision of any kind of reference to mature themes or content. The self-imposed Comics Code Authority took all the hard edges out of the industry output, banning horror and crime comics whilst leaving their ghostly, sanitised anodyne shades to inhabit the adventure, western, war and fantasy titles that remained.

US comics could have the bowdlerised concept of evil and felonious conduct, but not the simplest kind of repercussion: a world where mad scientists plotted to conquer humanity without killing anybody, and escaped imprisonment whilst cowboys shot guns out of opponents’ hands and severed gun-belts with a well-aimed bullet, without ever drawing blood. Moreover, no civil or government official or public servant could be depicted as anything other than a benevolent saint…

With corruption, venality and menace removed from the equation, comics were forced to supply suspense and tension to their works via mystery and imagination – but only as long as it all had a rational, non-supernatural explanation…

A sci fi series with cop show trappings, John Jones, Manhunter from Mars depicted the clandestine adventures of stranded alien J’onn J’onzz; an eccentric, frequently formulaic (weren’t they all?) yet never disappointing B-feature strip, it debuted in Detective Comics #225 (November 1955), at the height of America’s Flying Saucer fever. Excluding mutant adventurer Captain Comet (premiering in Strange Adventures #9, cover-dated June 1951) and beating by a year the new Flash – who launched in Showcase #4 (October 1956) – Jonzz was arguably the first superhero of the Silver Age.

Hardly evolving at all – except for finally going public as a superhero in Detective #273 (November 1959) – the police-based strip ran there until #326 (1955 to 1964), before migrating over to The House of Mystery and a whole new modus vivendi, beginning with #143. He stayed there until #173, finally fading away during the Great Superhero Cull of 1968-70.

In Showcase Presents Martian Manhunter volume 1 ‘The Strange Experiment of Dr. Erdel’ revealed how a reclusive Earth genius built a robot-brain which could access Time, Space and the Fourth Dimension, and accidentally plucked an alien scientist from his home on Mars. After a brief conversation with his unfortunate guest, Erdel succumbed to a heart attack whilst attempting to return J’onn J’onzz to his point of origin.

Marooned on Earth, the Martian discovered that his new home was riddled with the ancient and primitive cancer of Crime and, being decent and right-thinking, resolved to use his natural abilities (which included telepathy, psychokinesis, intangibility, shape-shifting, invisibility, super-strength, speed, flight, vision, super-breath, invulnerability and so many others) to eradicate the evil, To facilitate the crusade he adopted human form and became a detective, working clandestinely as an “ordinary” policeman. His only concern was the commonplace chemical reaction of fire which sapped Martians of all their mighty powers. With his name Americanised to John Jones he enlisted as a Police Detective in Middletown and worked tirelessly to improve his new home; fighting evil secretly using his inherent powers and advanced knowledge with no human even aware of his existence.

This second & final Silver Age selection reprints in moody monochrome Detective Comics #305-226 (July 1962-April 1964) and the Manhunter’s entire House of Mystery career exploits (#143-173, spanning July 1964 to March/April 1968), almost all of which were written by Jack Miller and illustrated by the indefatigable Joe Certa.

One of the longest tenures and partnerships in DC comics’ history (although creator records are sadly incomplete), Miller – and perhaps occasionally Bob Haney – produced a wealth of scripts for veteran illustrator Certa, who had previously worked for the Funnies Incorporated comics “Shop” and all over the industry. His other credits included Captain Marvel Junior and assorted genre titles for Magazine Enterprises (Dan’l Boone, Durango Kid); Lev Gleason’s crime comics, Harvey romance titles and others. At DC he drew nautical sleuth Captain Compass and genre anthology tales for such titles as Gang Busters and House of Mystery. Certa also drew the newspaper strip Straight Arrow and ghosted the long-lived boxing legend Joe Palooka. In the 1970s, he moved to Gold Key, working on mystery tales, TV adaptations and all-ages horror stories.

This traditional all-ages delight opens with ‘J’onn J’onzz vs. Futureman’ from Detective Comics #305, wherein a cop from the 30th century follows a Martian lawbreaker back to 1962 and mistakes J’onzz for his fugitive quarry. When malign B’enn B’urnzz then aligns with ruthless earth criminals, the stage is set for a spectacular super-power showdown…

In #306 crooks using fantastic robot animals are given an unexpected boost when a blazing meteor saps the Manhunter’s life force and almost augurs ‘The Last Days of J’onn J’onzz’, whilst a bewildering display of disguises and quick-changes are necessary to save John Jones’ police partner Diane Meade when the detective – ‘Alias Scarface Scanlon’ – goes undercover to expose a criminal safe-house in #307.

DC #308 revealed how a visit to a feudal European county finds the Alien Avenger embroiled in a coup and battling ancient magic on ‘The Day John Jones Vanished!’ after which he foils an alien invasion whilst wearing the form of a reclusive human in ‘The Man Who Saved Earth’ before overcoming a cunning crook with a shrinking ray in #310’s ‘The Miniature Manhunter!’ Vacationing Diane is on Jade Island when it becomes the beachhead for ‘The Invaders from the Space Warp’ (DC #311) but to defeat uncanny extra-dimensional thieves, J’onzz also needs the aid of friendly alien R’ell and his uncanny talking pet. When the war was over, however, bizarre beastie Zook is trapped in our world forever…

A new era opened in #312 as the cute E.T. became ‘J’onn J’onzz’ Pesky Partner’. Zook could change shape and generate extreme heat and cold but had the mind of a five-year old, and thus posed a frequent threat to our hero’s secret identity by slavishly trailing him as he stalked villains…

The kid learned quickly though and by #313, wherein ‘The Wizard who Conquered J’onn J’onzz’ almost killed the Martian with a stolen magic wand, Zook had adapted to a life of seclusion on Earth as J’onzz’s secret weapon. The extra-dimensional ET proves his worth in #314 when a shape-shifting Saturnian steals the detective’s identity in ‘J’onn J’onzz vs. John Jones’, and helps defeat a villain as powerful as Manhunter himself, and does so again in #315 when his uncanny senses penetrate the various identities of a crooked stage performer who is ‘The Man of 1000 Disguises!’

Bizarre mutagenic meteors were commonplace at this time and another one transferred the hero’s abilities to ‘The Bandits with Super-Powers’ in DC #316, but Zook and a now Martian-powered Diane prove up to the task of thwarting them, after which J’onzz, Diane & Zook have their hands full facing ‘The Challenge of the Alien Robots’ delivered by greedy human bandit Jasper Dowd in #317. When the terrific tyke takes a blow to the head he briefly acts as ‘J’onn J’onzz’ Enemy – Zook’ before being restored by another bash on the bonce, after which the vacationing detective strolls through a time warp and into a war of succession in mediaeval Auvergne, eventually restoring rightful ruler Prince Charles to his stolen throne as ‘J’onn J’onzz – Wizard of 1463!’.

Back in the 20th century, #320 saw Detective Jones and Zook solve ‘The Case of the Golden Eagle’ to restore a lost treasure to France, after which #321 has the Martian and his pal battling the fantastic shape-shifting threat of ‘The Cosmic Creature’, and in #322 an old Batman villain migrates from Gotham to Middletown becomes intent on being ‘The Man who Destroyed J’onn J’onzz’. Professor Arnold Hugo had enlarged his intellect – and cranium – to become a cerebral supervillain whose devices enabled him to steal the alien’s powers. However, the wily mastermind did not realised that ludicrous-looking “pet” Zook was privy to his fallen friend’s weaknesses too…

For Detective #323 Manhunter flew solo on ‘The Hobby Missions’ wherein a charity auction for his services is suborned by a vicious criminal seeking lost artefacts bestowing awesome power, whilst in #324 the hero tackles a bizarre rampaging monster and is trapped in its hideous form as ‘The Beast who was J’onn J’onzz’ until Zook intervenes. Then, a crook’s time-ray banishes the Manhunter to Ancient Greece where he helps ‘The Hero of 500 B.C.’ crush incredible creatures… until Zook saves him.

Big changes were in the air at DC, and by the end of 1963 Julius Schwartz, who had revived much of their line – and the entire industry – with his modernization of the superhero, was asked to work his magic with the creatively stalled, nigh-moribund Caped Crusader. Bringing his regular team of top-notch creators with him, Schwartz stripped down the core-concept, downplaying all the aliens, outlandish villains and daft transformation tales, bringing a cool modern take to the capture of criminals and even overseeing a streamlining rationalisation of the art style itself. The most apparent change to us kids was a yellow circle around the Bat-symbol but, far more importantly, the stories changed. A subtle aura of genuine menace had re-entered the comfortable and absurdly abstract world of Gotham City.

The “New Look” Batman debuted in Detective Comics #327 and changed the shape of the industry, but as part of the makeover the increasingly fantastical Martian Manhunter was no longer welcome in his first home. In a rare move for the time, former Bat-Editor Jack Schiff, who was taking J’onzz with him to his new post, opted to shake up everything and end the era in style. Detective Comics #326 (April 1964) saw ‘The Death of John Jones, Detective’ with the veteran cop dispatched to investigate the theft of The Idol-Head of Diabolu to discover the outré relic is actually a terrifying portal to countless trans-dimensional terrors. When it transforms its purloiner into a deadly menace, it also unleashes a dreadful beast which apparently kills the valiant cop before Manhunter can end the twin threats. However. In the aftermath the unleashed Idol-Head is lost, but swears to unleash a new menace at every first full moon, forcing the Manhunter to surrender his human identity and leave Middletown, determined to track down the mystic menace whatever the cost…

The pioneering Silver Age superhero moved to House of Mystery from #143, June 1964 – finally getting to feature on the covers – where, in keeping with the title and context of his new home, he became a wandering monster-hunter.

But don’t panic, chums, Zook came with him…

J’onzz’ new adventures began as the Idol disgorged ‘The Giant-Maker’, a beast that mutated men – and poor Zook – into rampaging colossi and freed the wicked wizard Malador from millennia of bondage until Manhunter stops the dual dangers, whilst one full moon later in HoM #144 the peripatetic skull opened a voracious spacewarp sucking people into ‘The Weird World of Gilgana’ before J’onzz plunged in to seal the breach. Next month revealed the ‘Secret of the Purple People’ as the Idol allowed metamorphic Venomee to ravage Egypt until Zook and the Martian stopped them, and #146 saw the weary wanderers find and lose the Diabolu head to fantastic cat-beast Aroo but still save Earth from life-sucking, monstrous Chulko in ‘The Doom Shadow’…

In #147 the Idol vomits forth living, malevolent musical instruments to mesmerise humans as ‘The Orchestra of Doom!’, whilst #148 unleashes ‘The Beings in the Color Rings’ to warp reality in ghastly ways. An unwary beachcomber becomes ‘The Man-Thing That Unearthed Secrets’ in #149, changing into a succession of incredible creatures compulsively retrieving lost mystic artefacts, before #150 finds artist’s brushes ensorcelled and permitted to craft ‘The Supernatural Masterpieces!’ with calamitous results. Then, ‘The Doom from Two Worlds’ splits J’onzz and Zook as the Martian confronts horrors in a trans-dimensional nightmare world whilst his pal is left to defend Earth from a rapacious fire-demon prior to HoM #152’s‘Iwangis – Creature King’ spotlighting a brutal stone giant leading an army of monsters against humankind…

There’s a brief busman’s holiday in #153 as Professor Hugo again rears his outlandish, honkin’ big head to awaken and enslave ‘The Giants Who Slept 1,000,000 Years’ and precipitate an orgy of destruction and profit, whilst in #154 convict Orry Kane uses a stolen magic looking-glass to manifest ‘The Mirror Martian Manhunter’ – a distorted, devilish doppelganger requiring the Manhunter to exercise wits as well as his powers to exorcise it…

Diabolu’s Idol-Head returned in #155, unleashing ‘The Giant Genie of Gensu’ to grant the wishes of evil men, but again comic book fashions were changing and the Manhunter was about to be relegated to a B-Feature once more. In the mid-Sixties, the whole world went crazy for costumed crusaders and every comic book publisher keenly sought new ways to repackage an extremely exciting yet intrinsically limited concept. Perhaps its ultimate expression came with the creation of teenaged everyman Robby Reed who battled crime and disaster in his little town with the aid of a fantastic wonder-tool in Dial H for Hero.

Taking the lead spot from House of Mystery #156 (January 1966), this outlandish new hero pushed J’onzz into the back half for ‘Look What Happened to J’onn J’onzz!’: a position he maintained until #173 (March-April 1968) when the comic book disappeared for a few months to re-emerge as DC’s first of many modern anthological supernatural mystery titles addressing the global growth of interest in actual horror stories. In that truncated tale a sinister snake-beast almost absorbs and consumes the Martian (irony, or what?), whilst in #157 Professor Hugo is back to mesmerise and humiliate his alien nemesis in ‘Manhunter, World’s Greatest Clown!’ HoM #158 ended the long-running and increasingly tired saga by revealing ‘The Origin of the Diabolu Idol-Head’ after plunging Manhunter back in time to Ancient Babylonia where he finally learns how to destroy it, after which J’onzz marked the occasion by returning to his roots and foiling an invasion by ‘The Devil Men of Pluto’ in #159.

Apparently helpless against rising trends, ‘Manhunter’s New Secret Identity’ debuted in #160 (July 1966) with the hero tapping into the global superspy fad and assuming the identity of a glamorous international playboy and suspected criminal to penetrate the inner echelons of sinister secret society Vulture. Soon he is popping up all over Europe, hot on the trail of mysterious leader Faceless (AKA Mr. V) and forced to undertake increasingly suspect tasks and missions threatening to compromise his ethics and integrity if not end his life…

He was almost immediately rumbled in #161 when ‘The Unmasking of Marco Xavier!’ sees him battling Vulture’s top op Abba Sulkar with only a tragic accident saving his stolen face. A devious courier mission for Xavier in #162 allows Manhunter to raid ‘The Lair of Mr. V!’ but Faceless proves to be a truly capable foe who easily eludes him, whilst in #163 an alliance between Vulture and a fugitive Mercurian results in the Martian becoming ‘The Doomed Captive!’ … until the hero’s brains triumph over the bad guys’ brawn and super-science. In #164 the undercover agent is placed in an impossible position when Faceless orders a hit on J’onn J’onzz and expects his playboy pal to carry it out. ‘Marco vs. Manhunter!’ offered a bewildering display of the hero’s disguise dexterity, whilst the next devilish ploy of Professor Hugo provides an unwelcome break as the rogue genius uses nuclear blackmail and atomic science to transform the hero into ‘The Deadly Martian’…

When the infiltration campaign had begun Zook was abandoned in America, but he pops up again in #166 after Marco is dispatched to the US to secure the secret of turning men into monsters in ‘Vulture’s Crime Goliaths!’ On arrival back in Europe, Faceless tasks his playboy pawn with ingratiating himself to the enemy. ‘Marco Xavier, Manhunter’s Ally!’ proves to be a complex and ultimately unrewarding mission whereafter Zook calls J’onzz back home to tackle the alien predations of ‘Thantos – the 3-in-1 Man!’ (#168) before ‘The Manhunter Monster!’ has our hero infiltrate Mr. V’s secret lab before becoming stuck in the form of the gang’s latest horrific bio-weapon…

Events in the real world were starting to affect comic books, and after #170’s ‘The Martian Double-Cross!’ – which saw “Xavier” wrongly deduce Manhunter’s weakness and only narrowly survive his failure – House of Mystery underwent radical remodelling to display a slightly darker tone. The writing was on the wall for exuberant, angst-free adventurers. With #171, Zook was back for good (or not) and in ‘The Martian Marauders’ the odd couple faced an expeditionary force of invaders from the Martian’s homeworld, before #172 found the hero mind-swapped and prisoner in the body of a Vulture assassin even as the killer wore his alien frame in ‘Manhunter’s Stolen Identity!’

In those distant days series ended abruptly, without fanfare and often in the middle of something – and such was the fate of Robby Reed – but for J’onn J’onzz at least, HoM#173 (March/April 1968) managed – admittedly in an abbreviated manner – to wrap up the undercover agent’s mission in the climactic and explosive ‘So You’re Faceless!’…

And that was that. The series was gone, the market was abandoning Fights ‘n’ Tights fiction, and on the horizon a host of war, western, barbarian and horror comics were emerging…

Exciting, fun, engaging and silly in equal amounts (heck, even I couldn’t resist a jibe or too and I genuinely revere these daft, nostalgia-soaked gems) J’onn J’onzz has been subsequently re-imagined many times since these innocent odysseys first ran, but never with the clearcut, unsophisticated, welcoming charm displayed here.

Although absolutely dated and definitely formulaic, these complex yet uncomplicated adventures are drenched in charm and still sparkle with innocent wit and wonder. Perhaps not to everyone’s taste nowadays, these “retro” exploits of the Manhunter from Mars are still an all-ages buffet of fun, thrills and action no fan should miss.
© 1962-1968, 2009 DC Comics. All Rights Reserved.

Today in 1920 comics veteran Ken Bald (Dark Shadows, Dr. Kildare, Captain America, Sub-Mariner, Blonde Phantom, The Destroyer, Namora, Sun Girl, Miss America, Millie the Model, Patsy Walker) was born, joined by Italian strip star Dino Battaglia (Mark Fury, Till Eulenspiegel, Inspector Coke) in 1923 and Ziggy strip creator Tom Wilson in 1931.

In 1923 Otto Mesmer’s first strip of animated movie icon Felix the Cat premiered, as did Tom Armstrong’s still-going-strong strip phenomenon Marvin today in 1982. But the date also marks the deaths of Dutch cartoonist “WiBo” AKA Wim Boost (Volkskrant) in 2005 and Frank and Ernest creator Bob Thaves in 2006.

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Spacehawk


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

This book includes Discriminatory Content produced in less enlightened times.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

And that was that.

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

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

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

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

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

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Hal Foster’s Prince Valiant volume 14: 1963-1964


By Hal Foster (Fantagraphics Books)
ISBN: 978-1-60699-970-7 (HB)

This book includes Discriminatory Content produced in less enlightened times.

Prince Valiant in the Days of King Arthur premiered on Sunday February 13th 1937: a fabulous rainbow coloured weekly peek into a world where history met myth to produce something greater than both. Pioneering creator Hal Foster developed the feature after a groundbreaking and astoundingly popular run on the Tarzan of the Apes comic strip.

Prince Valiant offered action, adventure, exoticism, romance and a surprisingly high quota of laughs in its engrossing depiction of noble knights and wicked barbarians played out against a glamorised, dramatized, mythologised Dark Ages backdrop. The never-ending story follows a refugee lad of royal blood, driven from ancestral Scandinavian homeland Thule, who grows up to roam the world, attaining a paramount position amongst the fabled heroes of Camelot.

Foster wove his complex epic romance over decades, tracing the progress of a feral wild boy who became a paragon of chivalric virtue: knight, warrior, saviour, avenger and ultimately family patriarch through a constant storm of wild, robust and joyously witty wonderment. The restless champion visited many far-flung lands, siring a dynasty of equally puissant heroes, enchanting generations of readers and thousands of creative types in all the arts.

The glorious epic spawned films, an animated series and all manner of toys, games, books and collections. Prince Valiant was – and remains – one of the few adventure strips to have run continuously from the thunderous 1930s to the present day (well north of 4000 episodes and still going strong) – and, even here at the end-times of newspaper strips as an art form, it continues in hundreds of US and international papers and globally through the internet.

Foster soloed on the feature until 1971 when John Cullen Murphy (Big Ben Bolt) succeeded him as illustrator whilst the originator remained as writer and designer. That ended in 1980, when he finally retired and Cullen Murphy’s daughter Mairead took over colouring and lettering whilst her brother John assumed the writer’s role. In 2004 the senior Cullen Murphy also retired, since when the strip has soldiered on under the auspices of other extremely talented artists such as Gary Gianni, Scott Roberts and latterly Thomas Yeates & Mark Schultz.

This luxuriously oversized (362 x 264 mm) full-colour hardback (tragically, the series is still unavailable digitally) re-presents pages spanning January 6th 1963 to December 27th 1964, (individual Strips #1352 to 1455) and comes with all the regular bonus trimmings. Comics book A-Lister Roger Stern (Superman; Avengers; Spider-Man; Doctor Strange; Incredible Hulk; Captain America) discusses and critically appraises the influential force of the newspaper strip on comic books in picture packed Foreword ‘Swiping Mr. Foster: A Legacy in Four Colors’, offering many potent comparisons and shameless swipes, after which Brian M. Kane expands the argument about Valiant’s lasting influence in ‘Might for Right: A Code of Honor for Sentinels of Liberty’.

The erudite scholar returns at this tome’s close: spotlighting the glorious range of the master storyteller in closing article ‘Land and Sea: Hal Foster’s Fine Art Paintings’ via a gallery of land-&-seascapes, nature studies and illustrative tableaux. Captivating as they are, though, the real wonderment is, as ever, the unfolding epic preceding them…

What Has Gone Before: following a failed and ruinous quest for the Holy Grail by the Round Table Knights, Valiant has compelled their return to Camelot and courtly duties. In the months following he visited the Great Tor at Glastonbury, met St Patrick and assisted a Papal mission from Rome assigned to erect a cathedral there. Wars erupted and plots were foiled, and an extended familial rift with long-suffering wife Aleta healed. A visit to Valiant’s Thule homeland brought more battle and death… and personal injury. With firstborn son Arn in tow, recuperation was concluded during a visit of the entire clan to Aleta’s ancestral kingdom in the Misty Isles, as Viking reiver Boltar escorted them to counter (other) Mediterranean pirates and brigands…

At their destination, the family defeated a colonising invasion by rival ruler Thrasos during which the queen delivered twin daughters, to make Valiant a proud father of four. His peace was shattered when fleeing prisoners of war abducted Arn and his commoner pals Paul & Diane, forcing Valiant and Viking shipwright Gundar Harl into frantic pursuit to prevent their being sold as slaves. However, by the time they caught up, cunning, capable Arn had already dealt with the problem. Even with the crisis averted peace was impossible to find. When pilgrims bound for the Holy Land were shipwrecked on the Misty Isles, Val was duty-bound to offer aid, and used his presence as escort to found a trade mission promoting the produce and wares of his island home. He also brought Arn, whose days of childhood indolence gave way to learning his proper place in the world…

Many rousing exploits marked their trail from Jaffa to the Dead Sea, and Damascus to Baghdad, before the pilgrimage ends in Aleppo where Boltar waits to ferry father and son back to a recovered and much wealthier Aleta. However, a brief period of glorious relaxation ends as King Arthur summons them to save Gaul from invading Goth hordes. With safe passage across Europe ended, England’s ruler also needed his greatest hero to carry a message to the Pope. As Aleta’s forces secured a sea route to Albion, Valiant & Arn’s perilous mission drew much action but ultimately no satisfaction from the embattled Pontiff. Undaunted, Valiant devised an alternative trade route between the Holy Father and increasingly imperilled Christian Britain: visiting what would become Spain and France, encountering a lost land where monks were guarded by monsters, dodging Goths and ousting a usurper all whilst reinstating the true ruler…

By the time the scattered family were reunited in England, the country endured a new kind of assault, as a charismatic priest was manipulated by his scurrilous scholar attendants/business managers to foment a religious revolution. After cleverly ending that near-insurrection, Val rejoined his family at the site of a church under construction near the fens where he grew up. The lure of his sire’s past beguiles Arn, who explored the boggy waterways and was soon hopelessly lost. Over tense weeks, he experienced the same privations his father had, before being rescued. Carrying huge wealth destined for Arthur’s coffers, the family thankfully took ship for Camelot, unaware that greedy, ambitious eyes were watching…

The illuminating wonders here resume with those eyes fatally blinking. Opportunistic fellow voyager Ethwald abducts Arn by guile, holding him to ransom for treasure Valiant safeguards for the king. Ethwald fears the knight’s prowess but is certain a father will do nothing to endanger his heir. He grievously underestimates the deadly wiles of outraged mother Aleta…

The majority of this two-year tome deals with the anticipation and results of a mass invasion by Angles and Saxons, but the slowly-building saga is built of many shorter episodes – adventures both tragic and even broadly comedic – in its ever-expanding tapestry. After returning to Camelot, the family are feted until Valiant is again called to defend the realm. Arn meanwhile, steadily advances from Page to Novice and begins official combat training. Soon he is made Batchelor-at-Arms and, when the vassal king of Wales dies, is drawn into war. The former Prince Cidwic hungers for fame, glory and riches, and – deploying his fierce Welshmen and a mercenary Pictish & Caledonian warband – besieges Carlisle in an attempt to annexe Scottish territories. The city is defended by a small contingent of cavalry and engineers led by Sir Kay, but as Arthur readies a rescue fleet to aid them, Valiant forms and leads a unit of swift-riding messengers from the Novices & Batchelors to keep lines of communication open. His youngest recruit is Arn…

When Cidwic regroups and fortifies his position, the boy plays a crucial role in supporting Kay’s forces and in the would-be conqueror’s eventual downfall. As diplomacy and reconciliation take over, Arthur rewards the boy with more responsibility: befriending new King Cuddock, Cidwic’s 12-year old son. As they bond and duty grows into true friendship, the king’s uncle Ruddah seeks to frame Arn for murdering the boy king, and learns to his eternal regret that youth does not equate to stupidity…

Plot foiled, Valiant & Arn make their slow way back to Court, partaking of many local jousts and tourneys that filled the autumn season and served to keep fighting men in peak form. As they compete, they encounter two impoverished, less than noble knights whose response to defeat leaves much to be desired and exposes the sordid underbelly of professional jousting. On reaching Camelot, a joyous family reunion almost ends in shame and bloodshed when cunning schemer Modred attempts to traduce Aleta’s honour and reputation by trapping her and Launcelot in a compromising situation. His vile scheme exposed, the villain flees and encounters a Saxon war party infiltrating the region around the Vale of the White Horse. The long dreaded war with the invaders is starting…

War-wise Arthur deems them to be scouting the land and sends his best men to observe them, with Arn and other knights-in-training as messengers. Sadly, Owen is still starry-eyed and vainglorious, and his inexperience leads to Arn’s capture. Thankfully, the prisoner is sharp-witted and well-disguised: convincing the Saxons he is a son of infamous pirate Boltar, while turning his situation to Britain’s advantage by memorising the plans of the vast invasion force marshalling overseas. Of course, his actions suggest to the keenly watching rescue party that the son of Valiant has turned traitor… before the boy orchestrates his escape and reports back to Arthur…

Although moving to a war footing, life at Court continues largely as before and prompts a personal crisis when a grand tournament intended to hone the fighting spirit of the nation’s champions sparks intrigue, and murder.. Visiting his kinsman Launcelot, Count Brecey of Brittany finds Aleta most pleasing and determines to make her his. That she is a queen with four children he can profitably marry off when he marries her is a huge additional benefit. Accustomed to taking whatever he wants, the overprivileged coward operates through his personal assassin Hugo, but that deadly wight proves no match for Valiant and his mighty warhorse Arvak, and as a web of sinister schemes unravels, Brecey abducts Aleta and runs for the coast. Thanks to the efforts of his victim and her hotly-pursuing spouse and first son, the Count doesn’t get far and – when caught – compounds his villainy with the worst kind of cowardice…

As summer approaches, Arthur’s preparations intensify, and the entire Court awaits news of a vast fleet of Angles, Jutes, Danes and Saxons. Tensions mount as word comes of established colonies, previously defeated by and sworn to Arthur, recant their oaths of allegiance and pick up the swords they had abandoned for peace and acceptance. The lure of imminent plunder is everywhere and the King is forced to remind is noble subjects of their promises to supply fighting men when the nation needs them. Valiant & Gawain are despatched to Cornwall where three local kings are at war with each other and “unable” to honour their word, whilst Arn travels to North Wales where his friend Cuddock is genuinely embattled, plagued by raids of marauding Scotti. As he will soon discover, the raiders are sponsored by the Saxon overlord as a distracting diversion…

Although one Cornish ruler is steadfast and readily provides promised forces for the army, weak, ambitious, greedy Kings Grundemede and Alrick-the-Fat need a sharp lesson in realpolitik and practical conjuring (learned long ago when young Valiant was attached to the wizard Merlin) before they grudgingly comply. Their missions successful, both the Cornish and Welsh embassages return with their new reinforcements to Camelot to make final preparations for the encroaching Saxon invasion. Thanks to Arn’s prior intelligence, the warlord’s colonising raiders head for Badon Hill, the ideal site for Arthur’s stout defence…

This astounding clash takes seven weeks to tell, but at the end England is barred to them for generations and the victorious armies return to their own lands. Switching from epic action to wry romantic comedy, Foster then plays with his stars as Aleta and the visiting queen of Alrick-the-Fat indulge in combat matchmaking; each seeking to wed heroic Sir Charles of Cornwall to their respective noblewoman protégés. However, their escalating wiles and schemes make a catastrophic impression on Aleta’s twins Karen & Valeta, who apply what they’ve seen to their own relentless pursuit of boy-king Cuddock, recuperating from nobly-earned wounds and far too naive to endure being the subject of the girls’ first crush…

Employing the clever conceit of lost historical scrolls, the narrative jumps forward some months before resuming with Valiant’s entire family en route to ancestral homeland Thule with bombastic brigand Boltar. That voyage is interrupted by news of marauders assembled by Skogul Oderson, who has united numerous warring tribes into a formidable force to ravage Thule. As the year ends, the far northern chieftain is spectacularly beaten, never counting on Valiant and wilderness scout Garm organising scattered self-serving homesteaders into a lethally effective guerrilla force to slowly whittle away the raider’s numerical advantage through guile, lethally inventive use of terrain and psychological warfare. The final instalment here presages even greater adventure as Boltar’s son and Arn discuss a return to the lost continent they had visited: a land latterly dubbed “the New World.”

To Be Continued…

A mind-blowing panorama of passion and visual precision, Prince Valiant is a potent procession of boisterous action, exotic adventure and grand romance; blending tremendous epic fantasy with dry wit and broad humour, soap opera melodrama with dark violence. Lush, lavish and captivating lovely, it is an true landmark of comics fiction which no fan can miss.
All comics © 2015 King Features Syndicate. All other content and properties © 2016 their respective creators or holders. This edition © 2016 Fantagraphics Books. All rights reserved.

Today in 1921 cartoonist and King Features editor Bill Yates (Professor Phumble) was born, followed in 1933 by uber enthusiast Shel Dorf (who founded the San Diego Comics Convention) and in 1945 French creator François Bourgeon (Les passagers du vent, Cyann Saga, Les Compagnons du crépuscule). In 1945; cartoonist supreme Bill Watterson (Calvin and Hobbes) in 1958; British writer Ian Edgington (Scarlet Traces, X-Men, Predator, The Red Seas, Aliens) in 1963 and mangaka Ken Akamatsu (Love Hina) in 1968.

In 2004 this date, Tim Rickard’s comic strip Brewster Rockit: Space Guy! first launched, but we lost astounding master Frank Bellamy (Fraser of Africa, Dan Dare, Thunderbirds, Garth) in 1976, Belgian Paul Cuvelier (Corentin, Line, Epoxy) in 1978 and manga artist Shinji Wada (Waga Tomo Frankenstein, Sukeban Deka, Ninja Hish?) in 2011.

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


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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