Henry Speaks for Himself


By John Liney, edited by David Tosh (Fantagraphics Books)
ISBN: 978-1-60699-733-8 (TPB)

Created by veteran cartoonist Carl Anderson as a silent, pantomimic gag-panel first seen on March 19th 1932, Henry was one of the most venerated and long-lived of American newspaper comics strips.  It was developed for The Saturday Evening Post before being picked up by legendary strip advocate and propounder William Randolph Hearst.  He brought it and the then-69 year old Anderson to his King Features Syndicate in 1934. The first comic strip appeared on December 17th with a full colour Sunday half-page following on March 10th 1935.

The Saturday Evening Post had to content itself with a new feature entitled Little Lulu by Marjorie Henderson Buell. I wonder how that worked out…?

Being a man of advanced years, Anderson employed Don Trachte to assist with the Sundays whilst John J. Liney performed the same role for the Monday to Saturday black and white iteration. This continued until 1942 when arthritis forced Anderson to retire. Trachte and Liney became de facto creators of the feature – although the originator’s name remained on the masthead for the next two decades.

Liney (1912-1982) had started as a staff cartoonist on the Philadelphia Evening Ledger and began selling gag ideas to Anderson in 1936 before landing the full-time assistant’s job. After assuming the illustrator’s role in 1942 he took over sole writing responsibilities for the daily in 1945, continuing Henry until 1979 when he finally retired.

His own name had been adorning the strip since 1970.

Liney was also a passionate teacher and educator on comics and cartooning, with a position at Temple University. Nevertheless, he still found time to write and draw a comicbook iteration of the mute and merry masterpiece from 1946 to 1961.

Major licensing monolith Western Publishing/Dell Comics had been successfully producing comicbooks starring animation characters, film icons and strip heroes since the mid 1930s, and when they launched Henry – first in Four Color Comics #122 and #155 (October 1946 and July 1947) and then in his own 65 issue title from January 1948 – they successfully argued for a radical change in the boy’s make-up.

The newspaper strip had always been a timeless, nostalgia-fuelled, happily humour-heavy panoply of gags and slapstick situations wherein the frankly weird-looking little bald kid romped and pranked in complete silence, with superb cartooning delivering all the communication nuance the vast international audience needed.

Now however, with children seen as the sole consumers, the powers-that-be felt that the little mutant should be able to speak and make himself understood. Liney easily rose to the challenge and produced a sublime run of jolly, wild, weird and often utterly surreal endlessly inventive adventures – some approaching “Stream-of-Consciousness” progressions that perfectly captured the ephemeral nature of kids’ concentration. He also introduced a captivating supporting cast to augment the boy, and his appealingly unattractive, forthright and two-fisted inamorata Henrietta.

This splendid softcover (and ebook) collection gathers some of the very best longer tales from the comicbook run in the resplendent flat primary colours that are so evocative of simpler – if not better – days and begins after a heartfelt reminiscence in the Foreword by Kim Deitch, after which Editor, compiler and devotee David Tosh outlines the history of the character and his creators in ‘Henry – the Funniest Living American’.

He then goes on to explain ‘The Dell Years’ before offering some informative ‘Notes on the Stories’.

The magical story portion of this collection is liberally interspersed with stunning cover reproductions; all impressively returning to the quiet lad’s silent comedy gag roots, a brace of which precede a beautiful double-page spread detailing the vast and varied cast Liney added to mix.

Then from issue #7 (June, 1949) we find ‘Henry is Thinking Out Loud!’ as the boy keeps his non-existent mouth shut and explores the medium of first person narrative, inner monologues and thought-balloons whilst getting into mischief looking for odd jobs to do…

October’s edition, Henry #9, introduced the good-natured, cool but increasingly put-upon Officer Yako in ‘You Can’t Beat the Man on the Beat!’ in an escalating succession of brushes with the law, bullies, prospective clients and darling Henrietta.

That bald boy still hadn’t actually uttered a sound, but by #14 (August 1950) he had found his voice, much to the amusement of his layabout Uncle (he never had a name) who eavesdropped on the assorted kids comparing their ‘Funny Dreams’.

After a quartet of covers Henry #16 (December 1950) found Liney playing with words as ‘Rhyme Without Reason’ found all the characters afflicted with doggerel, meter, couplets and all forms poetic with Liney even drawing himself into the madcap procession of japes and jests, whilst ‘A Slice of Ham’ from issue #22 (December 1951) cleverly riffed on Henry’s ambitions to impress Henrietta by becoming an actor. This yarn includes a wealth of Liney caricatures of screen immortals such as Chaplin, Gable, Sinatra and more, whilst introducing a potential rival for Henry’s affections in cousin Gilda

In #24 (April 1952) Henry ‘Peeks into the Future’ by outrageously pondering on his possible careers as an adult, before plunging into Flintstone or Alley Oop territory – complete with cave city and dinosaurs – as a result of studying too hard for a history test in ‘The Stone Age Story’ from issues #29, February 1953.

After four more clever funny covers, growing up again featured heavily with ‘Choosing Your Career’ (#45, March 1956) as the little fool road-tested a job as a home-made cab driver and accidentally slipped into law enforcement by capturing a bandit.

In #48 (December 1956) Henry attended a fancy dress party and became ‘The Boy in the Iron Mask’, and this completely charming compilation closes by reprising that sojourn in the Stone Age with #49 (March 1957)’s ‘Rock and Roll’

Concluding the comedy capers is fond personal reminiscence ‘Henry and Me’ by David Tosh; a man justifiably delighted to be able to share his passion with us and hopefully proud that this book gloriously recaptures some of the simple straightforward sheer joy that could be found in comicbooks of yore.

Henry Speaks for Himself is fun, frolicsome and fabulously captivating all-ages cartooning that will enthral anyone with kids or who has the soul of one.
Henry Speaks for Himself © 2014 Fantagraphics Books Inc. All comics and drawings © 2014 King Features, Inc. All other material © its respective creators. This book was produced in cooperation with Heritage Auctions.

The Flash: The Silver Age volume 4


By John Broome, Gardner Fox, Robert Kanigher, Carmine Infantino & various (DC Comics)
ISBN: 978-1-4012-8823-5 (TPB)

The second iteration of the Flash triggered the Silver Age of American comicbooks and – for the first ten years or so – in terms of creative quality and sheer originality, was always the book and hero to watch.

Following his meteoric launch in Showcase #4 (October 1956), police scientist Barry Allen – transformed by a lightning strike and accidental chemical bath into a human thunderbolt of unparalleled velocity and ingenuity – was uncharacteristically slow in winning his own title, but finally (after three more cautiously released trial issues) finally stood on his own wing-tipped feet in The Flash #105 (February-March 1959).

He never looked back, and by the time of this second commemorative compilation was very much the innovation mainstay of DC/National Comics’ burgeoning superhero universe. This fourth trade paperback (and digital) collection re-presents Flash #148-163 – spanning November 1964 through August 1966 – robustly confirming the Vizier of Velocity as the pivotal figure in the all-consuming renaissance of comicbook super-heroics.

Shepherding the Scarlet Speedster’s meteoric rise to prominence, the majority of stories are written by the brilliant John Broome and Gardner Fox with pencils from the infinitely impressive and constantly innovating Carmine Infantino. Their slickly polished, coolly sophisticated rapid-fire short stories set in a welcomingly suburbanite milieu – constantly threatened by super-thieves, sinister spies and marauding aliens – displayed our affable hero always triumphant whilst expanding and establishing the broad parameters of an increasingly cohesive narrative universe. The comicbook had gelled into a comfortable pattern of two short tales per issue leavened with semi-regular book-length thrillers, although in this period that format would slowly switch to longer complete tales.

By this time, it was clear that the biggest draw to the Flash was his mind-boggling array of costumed foes, but there was still time and space for straight adventure, complex quandaries and old-fashioned experimentation, as evidenced by the odd yarn that follows Broome’s Captain Boomerang tale in Flash #248.

‘The Day Flash Went into Orbit!’ (illustrated by Infantino & Murphy Anderson) sees the Monarch of Motion caught in the crossfire after the Ozzie felon becomes a helpless patsy for a nefarious hypnotist…

With the back-up tale in this issue Broome proved creative heart and soul still counted for much. Inked by Joe Giella, ‘The Doorway to the Unknown!’ is the moving story of an embezzler who returns from the grave to prevent his brother paying for his crimes: a ghost story penned at a time when such tales were all but banned and a pithy human drama of redemption and hope that deservedly won the Academy of Comic Book Arts Alley Award for Best Short Story of the year. It still brings a worthy tear to my eyes…

Broome also scripted #149’s ‘The Flash’s Sensational Risk!’: an alien invasion yarn co-starring the Vizier of Velocity’s speedy sidekick Kid Flash, whilst Fox penned the Anderson inked ‘Robberies by Magic!’ featuring another return engagement for future-born stage conjuror Abra Kadabra, before going on to produce #150’s lead tale of a bizarre robbery-spree ‘Captain Cold’s Polar Perils!’ Giella returned for Fox’s second yarn, another science mystery as ‘The Touch-and-Steal Bandits!’ somehow transform from simple thugs to telekinetic terrors…

Flash #151 was another sterling team-up epic co-starring the original Scarlet Speedster. Fox once more teamed his 1940’s (or retroactively, Earth-2) creation Jay Garrick with his contemporary counterpart, this time in a spectacular full-length battle against the black-hearted Shade in ‘Invader From the Dark Dimension’, whilst #152’s Infantino & Anderson double-header consisted of our hero stopping ‘The Trickster’s Toy Thefts’ after which Broome’s light-hearted thriller ‘The Case of the Explosive Vegetables!’ offered another engaging comedy of errors starring Barry Allen’s father-in-law to be: absent-minded Professor Ira West.

Giella settled in for a marathon inker stint as Flash #153 has Broome reprise the much-lauded ‘Our Enemy, the Flash!’ in new yarn ‘The Mightiest Punch of All Time!’

Here villainous Professor Zoom, the Reverse Flash again attempts to corrupt reformed and cured Al Desmond – a multiple personality sufferer who was also Flash-Foes Mr. Element and Doctor Alchemy. The next issue then saw Fox’s medical mystery ‘The Day Flash Ran Away with Himself!’ and Broome’s old-fashioned crime caper ‘Gangster Masquerade!’ which brought back thespian Dexter Myles and made him custodian of an increasingly important Central City landmark: the Flash Museum.

It had to happen – and it finally did – in Flash #155: Broome teamed six of the Rogue’s Gallery into ‘The Gauntlet of Super-Villains!’, a bombastic Fights ‘n’ Tights extravaganza, but one with a hidden twist and a mystery foe concealed in the wings, whilst the following issue revealed Broome’s ‘The Super-Hero Who Betrayed the World!’: an engrossing and exciting invasion saga with the Flash a hunted man accused of treason against humanity…

Fox provided both stories in #157: ‘Who Stole the Flash’s Super-Speed?’ – a return visit for Doralla, the Girl from the Super-Fast Dimension – plus another titanic tussle with the nefarious Top in ‘The Day Flash Aged 100 Years!’ The scripter repeated the feat in #158, beginning with a rather ridiculous and somewhat gross alien encounter in ‘Battle Against the Breakaway Bandit!’ and far more appetising thriller ‘The One-Man Justice League!’, wherein Flash defeats the power-purloining plans of JLA nemesis Professor Ivo without even noticing…

The cover of Flash #159 features his empty uniform and a note saying the hero is quitting, in a tale entitled ‘The Flash’s Final Fling!’ It was written by Fox, and guest-starred Kid Flash and Earth-2 hero Dr. Mid-Nite in a time-busting battle against criminals from the future…

At that time, editors and creative staff usually designed covers that would grab potential readers’ attention and then produced stories to fit. For this issue Julie Schwartz tried something truly novel and commissioned Robert Kanigher (first scripter of the new Scarlet Speedster in Showcase #4) to write a different tale to fit the same eye-catching visual…

Scripted by Broome, ‘Big Blast in Rocket City!’ filled out #159 with another humorous Professor West espionage escapade after which Flash #160 is represented by its cover – highlighting an 80-Page Giant reprint edition.

The first story in issue #161 is where that novel experiment culminated with Kanigher’s gritty, terse and uniquely emotional interpretation in ‘The Case of the Curious Costume’ before the high-octane costumed madness continues with Fox, Infantino & Giella’s portentous Mirror Master mystery ‘The Mirror with 20-20 Vision!’

The tone of the times was gradually changing and scarier tales were sneaking into the bright and shiny Sci Fi world of super-heroics. Flash #162 featured a Fox-penned moody drama entitled ‘Who Haunts the Corridor of Chills?’ in which an apparently haunted fairground attraction opens the doors into an invasion-mystery millions of years old. The resultant clash stretches the Scarlet Speedster’s powers and imagination to the limit…

The next issue – the final entry of this collection – carries two tales by globe-trotting author Broome, beginning with ‘The Flash Stakes his Life – On – You!’ which takes a hallowed philosophical concept to its illogical but highly entertaining extreme after criminal scientist Ben Haddon makes the residents of Central City forget their champion ever existed. That has the incredible effect of making the Flash fade away… if not for the utter devotion of one hero-worshipping little girl who still believes…

By contrast ‘The Day Magic Exposed Flash’s Secret Identity!’ is a sharp non-nonsense duel with a dastardly villain after approbation-addicted illusionist Abra Kadabra again escapes prison and trades bodies with the 64th century cop sent to bring back to face future justice, leaving the Speedster with an impossible choice to make…

These tales were crucial to the development of modern comics and, more importantly, remain brilliant, awe-inspiring, beautifully realised thrillers to amuse, amaze and enthral both new readers and old lags. As always, the emphasis is on brains and learning, not gimmicks or abilities, which is why the stories still work more than half-a-century later.

This is a captivating snap-shot of when science was our friend and the universe(s) a place of infinite possibility. This wonderful compilation is another must-read item for anybody in love with the world of words-in-pictures.
© 1964, 1965, 1966, 2019 DC Comics. All Rights Reserved.

The Broons and Oor Wullie: The Roaring Forties


By R.D. Low & Dudley D. Watkins (DC Thomson)
ISBN: 978-0-85116-804-3 (HB)

The Broons is one of the longest running newspaper strips in British history, having run almost continuously in Scottish newspaper The Sunday Post since its delirious debut in the March 8th 1936 edition: the same issue which launched mischievous and equally unchanging wee laddie Oor Wullie.

Both the boisterous boy and the gregariously engaging working-class family were co-created by journalist, writer and editor Robert Duncan Low in conjunction with DC Thomson’s greatest artist Dudley D. Watkins. Moreover, once the strips began to be collected in reprint editions as Seasonal Annuals, those books became as much a Yule tradition as plum pudding or shortbread.

Low (1895-1980) began at DC Thomson as a journalist, rising to the post of Managing Editor of Children’s Publication and launching, between 1921 and 1933, the company’s “Big Five” story papers for boys: Adventure, The Rover, The Wizard, The Skipper and The Hotspur.

In 1936 his landmark notion was the “Fun Section”: an 8-page pull-out comic strip supplement for national newspaper The Sunday Post. This illustrated accessory launched on 8th March and from the outset The Broons and Oor Wullie were the headliners…

Low’s shrewdest notion was to devise both strips as comedies played out in the charismatic Scottish idiom and broad unforgettable vernacular where, supported by features such as Auchentogle by Chic Gordon, Allan Morley’s Nero and Zero, Nosey Parker and other strips. These pioneering comics then laid the groundwork for the company’s next great leap.

After some devious devising in December 1937 Low launched the first DC Thomson weekly comic. The Dandy was followed by The Beano in 1938 and early-reading title The Magic Comic in 1939.

War-time paper shortages and rationing sadly curtailed the burgeoning strip periodical revolution, and it was 1953 before the next wave of cartoon caper picture paper releases. The Topper started the ball rolling again with Oor Wullie in the logo and masthead but not included in the magazine’s regular roster. In that same year Low & the magnificent Ken Reid created Roger the Dodger for The Beano

Low’s greatest advantage in the early days was his prolific illustrator Dudley Dexter Watkins, whose style – more than any other – shaped the look and form of DC Thompson’s comics output, until the bombastic advent of Leo Baxendale shook things up in the mid-1950s.

Watkins (1907-1969) had started life in Manchester and Nottingham as an artistic prodigy before entering Glasgow College of Art in 1924. Before too long he was advised to get a job at expanding, Dundee-based DCT, where a 6-month trial illustrating prose boys’ stories led to comic strip specials and some original cartoon creations.

Percy Vere and His Trying Tricks and Wandering Willie, The Wily Explorer made him a dead cert for both lead strips in the Sunday Post’s new Fun Section. Without missing a beat, Watkins quickly added The Dandy’s Desperate Dan to his weekly workload in 1937, and The Beano’s placidly outrageous Lord Snooty seven months later.

Watkins soldiered on in unassailable triumph for decades, drawing some of the most lavishly lifelike and winningly hilarious strips in comics history. He died at his drawing board on August 20th 1969.

For every week of all those astonishingly productive years, he had unflaggingly crafted a full captivating page each of Oor Wullie and The Broons, and his loss was a colossal blow to the company.

DC Thomson reprinted old episodes of both strips in the newspaper and the Annuals for seven years before a replacement was agreed upon, whilst The Dandy reran Watkins’ Desperate Dan stories for twice that length of time.

An undeniable, rock-solid facet of Scots popular culture from the start, the first Broons Annual (technically Bi-Annual due to wartime paper rationing) had appeared in 1939, alternating with Oor Wullie – although, due to those same resource restrictions, no annuals were published between 1943 and 1946 – and for millions of readers a year cannot truly end without them.

So What’s the Set Up?: the multigenerational Broon family inhabit a tenement flat at 10 Glebe Street, in the timelessly metafictional Scottish industrial everytown of Auchentogle (sometimes Auchenshoogle); based in large part on the working class Glasgow district of Auchenshuggle. As such, it’s an ideal setting in which to tell gags, relate events and fossilise the deepest and most reassuring cultural archetypes for sentimental Scots wherever in the world they might actually be residing.

As is always the case, the adamant, unswerving cornerstone of any family feature is long-suffering, understanding Maw, who puts up with cantankerous, cheap, know-it-all Paw, and a battalion of stay-at-home kids comprising hunky Joe, freakishly tall Hen (Henry), sturdy Daphne, pretty Maggie, brainy Horace, mischievous twins Eck and the unnamed “ither ane” plus a wee toddler referred to only as “The Bairn”.

Not officially in residence but always hanging around is gruffly patriarchal buffoon Granpaw – a comedic gadfly who spends more time at Glebe Street than his own quaint cottage, constantly seeking to impart decades of out-of-date, hard-earned experience to the kids… but do they listen…?

Offering regular breaks from the inner city turmoil and a chance to simultaneously sentimentalise, spoof and memorialise more traditional times, the family frequently repair to their But ‘n’ Ben (a dilapidated rustic cottage in the nearby Highlands): there to fall foul of the weather, the countryside and all its denizens: fish, fowl and farm-grown…

As previously stated, Oor Wullie also debuted on 8th March 1936 with his collected Christmas Annuals appearing in the even years.

The basic set-up is sublimely simply and eternally evergreen, featuring an imaginative, good-hearted scruff with a talent for finding trouble and no hope of ever avoiding parental retribution when appropriate…

Wullie – AKA William MacCallum – is an archetypal young rascal with time on his hands and can usually be found sitting on an upturned bucket at the start and finish of his page-a-week exploits.

His regular cast includes Ma and Pa, long-suffering local bobby P.C. Murdoch, assorted teachers and other interfering adults who either lavish gifts or inflict opprobrium upon the little pest and his pals Fat Bob, Soapy Joe Soutar, Wee Eck and others…

The Roaring Forties was released in 2002 as part of a concerted drive to keep earlier material available to fans: a lavish hardback compilation (sadly not yet available digitally) which proffers a tantalising selection of strips from 1940-1949, covering every aspect of contemporary existence except a rather obvious one.

Although for half the book World War II was a brutal fact of life, it barely encroached upon the characters’ lives except perhaps in the unexplained occasional shortages of toys, sweets and other scrummy comestibles…

The parade of celtic mirth begins with – and is regularly broken up by – a number of atmospheric photo-features such as a celebration of film stars of the period in ‘A Nicht at the Picters’ (in three glamour-studded showings) and ‘Cartoon Capers’, which reproduces a wealth of one-off gag panels from The Sunday Post by such luminaries as Carmichael, Eric Cook, Campbell and Housley, whilst ‘Whit’s in The Sunday Post Today?’ gathers a selection of the era’s daftest news items.

The endless escapades of the strip stars comprise the usual subject-matter: gleeful goofs, family frolics and gloriously slapstick shenanigans. Whether it’s a visit with family or just trying to keep pace with the wee terror, highlights include plumbing disasters, fireplace fiascos, food foolishness, dating dilemmas, appliance atrocities, fashion freak-outs, exercise exploits and childish pranks by young and old alike…

Punctuated by editorial extras, such as ‘Correction Corner’ – offering an intriguing look into the strips’ creative process – and ‘Dinnae Mention the War’ which reprints a selection of morale-boosting ads and items, are rib-tickling scenes of sledding and skating, stolen candies, torn clothes, recycled comics, visiting circuses, practical jokes, and social gaffes: stories intended to take the nation’s collective mind off troubles abroad, and for every thwarted romance of poor Daphne and Maggie or embarrassing fiasco focussed on Paw’s cussedness, there’s an uproarious chase, riotous squabble and no-tears scrap for the little ‘uns.

With snobs to deflate, bullies to crush, duels to fight, chips to scoff, games to win and rowdy animals (from cats to cows) to avoid at all costs, the timeless gentle humour and gently self-deprecating, inclusive fun and frolics make these superbly crafted strips an endlessly entertaining serving of superbly nostalgic an unmissable treat.

So why not return to a time of local blacksmiths and coalmen, best china and full employment, neighbours you knew by first names and trousers that always fell apart or were chewed by goats? There are even occasional crossovers to marvel at here, with Wullie and Granpaw Broon striving to outdo each other in the adorable reprobate stakes…

Packed with all-ages fun, rambunctious slapstick hilarity and comfortably domestic warmth, these unchanging examples of happy certainty and convivial celebration of a mythic lost life and time are a sure cure for post-modern glums…
© D.C. Thomson & Co., Ltd. 2002.

Beyond Mars – The Complete Series 1952-1955


By Jack Williamson & Lee Elias (IDW Publishing)
ISBNs: 978-1-631404-35-1 (HB)

The 1950s was the last great flourish of the American newspaper strip. Invented and always used as a way to boost circulation and encourage consumer loyalty, the inexorable rise of television and spiralling costs of publishing gradually ate away at all but the most popular cartoon features as the decade ended, but the earlier years saw a final, valiant, burst of creativity and variety as syndicates looked for ways to recapture popular attention whilst editors increasingly sought ways to maximise every fraction of a page-inch for paying ads, not fritter the space away with expensive cost-centres. No matter how well produced, imaginative or entertaining, if strips couldn’t increase sales, they weren’t welcome…

The decade also saw a fantastic social change as a commercial boom and technological progress created a new type of visionary consumer – one fired up by the realization that America was Top Dog in the world.

The optimistic escapism offered by the stars above led to a reawakening in the moribund science fiction genre, with a basic introduction for the hoi-polloi offered by the burgeoning television industry through such pioneering (if clunky) programmes as Tom Corbett, Space Cadet or Captain Video and movies from visionaries like Robert Wise (Day the Earth Stood Still) and George Pal (Destination Moon, When Worlds Collide, War of the Worlds and others).

For kids of all ages, conceptual fancies were being tickled by a host of fantastic comicbooks ranging from the blackly satirical Weird Science Fantasy to the affably welcoming and openly enthusiastic Strange Adventures and Mystery in Space. In the inexorably expiring pulp magazines, master imagineers such as Heinlein, Bradbury, Asimov, Clarke, Sturgeon, Dick, Bester and Farmer were transforming the genre from youthful melodrama into a highly philosophical art form…

With Flying Saucers in the skies, Reds under every Bed and refreshing adventure in mind, the multifarious Worlds of Tomorrow were common currency and newspaper strips wanted in on the phenomenon. Established features such as Buck Rogers, Brick Bradford and Flash Gordon were no longer enough and editors demanded bold new visions to draw in a wider public, not just those steady fans who already bought papers for their favourite futurian.

John Stewart “Jack” Williamson was one of the first superstars of American science fiction writing, a rurally raised, self-taught author with more than 50 books, 18 short story collections and even volumes of criticism and non-fiction to his much-lauded name. Born in Arizona in 1908, he was raised in Texas and in 1928 sold his first story to Amazing Stories.

Williamson created a number of legendary serials such as the Legion of Space, The Humanoids and the Legion of Time. He is credited by the OED with inventing the terms and concepts of “terraforming” and “genetic engineering.” He was one of the first literary investigators of anti-matter with his Seetee novels.

“See Tee” or “Contra Terrene Matter” is also at the heart of the strip under discussion here, completely collected in this magnificent full colour volume and available in positive matter Hardback and the ethereal pulses technique we dub digital publication.

Following a damning newspaper review of Seetee Ship, Williamson’s second novel in that sequence – which claimed the book was only marginally better than a comic strip – the editor of a rival paper was moved to engage Williamson and artist Lee Elias to produce a Sunday page based in the same universe as the books.

Leopold Elias was born in England in 1920, but grew up in the USA after his family emigrated in 1926. He studied at the Cooper Union and Art Students League of New York before beginning his professional comics illustration career at Fiction House in 1943. He worked on Captain Wings and latterly western strip Firehair. His sleek, Milton-Caniff-inspired art was soon highly prized by numerous publishers, and Elias contributed to the lustre of The Flash, Green Lantern, Sub-Mariner, Terry and the Pirates and, most notably, the glamourous Black Cat strip for Harvey Comics.

Elias briefly left the funnybook arena in the early 1950s after his art was singled out by anti-comicbook zealot Dr. Fredric Wertham. He traded up to the more prestigious newspaper strips, ghosting Al Capp’s Li’l Abner before landing the job of bringing Beyond Mars to life.

He returned to comicbooks after the strip’s demise, becoming a mainstay at DC in the 1960s, Marvel in the 1970s and Warren in the 1980s. He died in 1998, having spent his final years teaching at the School of Visual Arts and the Kubert School.

The glorious meeting of the minds is preceded here by an effusive and informative Introduction from Bruce Canwell – ‘When “Retro” Was Followed by “Rocket”’ – packed with cover illustrations, original art pages and illustrations that set the scene and share lost secrets of the strips genesis and ultimate Armageddon.

With Dick Tracy strip maestro Chester Gould as adviser for the early days, Beyond Mars ran exclusively and in full colour in the New York Daily News every Sunday from 17th February 1952 to May 13th 1955: a gloriously high-tech, high-adventure romp based around Brooklyn Rock in 2191 AD.

This bastion was a commercial space station bored into one of the rocky chunks drifting in the asteroid belt “Beyond Mars” – the ideal rough-and-tumble story venue on the ultimate frontier of human experience.

Although as the series progressed a progression of sexy women and inspired extraterrestrial sidekicks increasingly stole the show, the notional star is Spatial Engineer Mike Flint, an independent charter-pilot based on the rock, and the first tale begins with Flint selling his services to plucky Becky Starke who has come to the furthest edge of civilisation in search of her missing father. A student of human nature, she cloaks that motivation as a quest for a city-sized, solid diamond asteroid floating in the deadly “Meteor Drift”…

Soon Mike and his lisping ophidian Venusian partner Tham Thmith are contending with Brooklyn Rock’s crime boss Frosty Karth, a fantastic raider dubbed the Black Martian, a super-criminal named Cobra and even more unearthly menaces in a stirring tale of interplanetary drug dealers, lost cities, dead civilisations…

There’s even a fantastic mutation in the resilient form of a semi-feral Terran boy who can breathe vacuum and rides deep space on a meteor!

With that tale barely concluded the crew, including the rambunctious space boy Jimikin, fell deep into another mystery – Brooklyn Rock has gone missing!

However, Flint has no time to grieve for the family and friends left behind as he intercepts an inbound star-liner and discovers both an old flame and a smooth-talking thug bound for the now-missing space station. One of them knows where it went…

Unknown to even this mastermind, the Rock, stolen by pirates, is out of control and drifting to ultimate destruction in a debris field, but no sooner is that crisis averted than the heroes are entangled in a “First Contact” situation with an ancient alien from beyond Known Space. Perhaps that might actually be more correctly deemed becoming snared by the devilish devices he/she/it left running…

Ultimately, Mike, Tham, Jimikin and curvaceous Xeno-archeologist Victoria Snow narrowly escape alien vivisection from robotic relics before the tragic, inevitable conclusion…

Snow’s brother Blackie is a fast-talking ne’er-do-well, and when he shows up, old enemy Karth takes the opportunity to try and settle some old scores, leading Flint into a deadly trap on Ceres and a slick saga of genetic manipulation, eugenic supermen and bonanza wealth…

Meanwhile on an interplanetary liner, a new cast member “resurfaces” in the shape of crusty old coot – and Mercurian ore prospector – Fireproof Jones, just in time to help Flint and Sam mine their newfound riches.

As ever, Karth is looking to make trouble for the heroes but he wins some for himself when his young daughter suddenly turns up on the Rock, accompanied by gold-digging Pamela Prim. Suddenly, the murderous raider Black Martian returns to plague the honest pioneers of the Brooklyn frontier…

Glamour model Trish O’Keefe causes a completely different kind of trouble when she lands, looking for her fiancé. Naturally, Tack McTeak isn’t the humble space-doctor he claims to be but is a cerebrally augmented criminal mastermind, and his plans to snatch the biggest prize in space lead to a sequence of stunning thrills and astonishing action.

The scene switches to Earth as the cast visit “civilisation” and find it far from hospitable, so the chance to battle manufactured monsters and the mysterious Dr. Moray on his private tropical island is something of a welcome – if mixed – blessing.

By this time, the writing must have been on the wall, as the strip had been reduced to a half page per week. Even so, the creators clearly decided to go out in style. The sheer bravura spectacle was magnificently ramped up and all the tools of the science fiction trade were utilized to ensure the strip ended with a bang. Moray’s plans are catastrophically realised when the villain employs an anti-gravity bomb to steal Manhattan; turning it into a deadly Sword of Damocles in the sky…

The series abruptly ended when the New York Daily News changed its editorial policy: dropping all comics from its pages. The decision was clearly unexpected, as the saga finished satisfactorily but quite abruptly on Sunday 13th March 1955.

Beyond Mars is a breathtaking lost gem from two master craftsmen that successfully blended the wonders of science and the rollicking thrills of Westerns with broad, light-hearted humour to produce a mind-boggling, eye-popping, exuberantly wholesome family space-opera the likes of which wouldn’t be seen again until Star Wars put the fun back into futuristic fiction.

Thankfully, after years of frustrated agitation by fans, the entire saga has been collected into a this beautiful oversized (244 x 307 mm) hardback edition that no lover of futuristic fun and frolics can afford to be without.
© 2015 Tribune Content Agency LLC. All rights reserved. Introduction © 2015 Bruce Canwell.

Will Eisner’s Hawks of the Seas


By Will Eisner & various
ISBN: 1569714274 (Dark Horse)

ISBN: 0-87816-022-1 (HB) ISBN: 0-87816-023-X (TPB) (Kitchen Sink Press)

It is pretty much accepted today that Will Eisner was one of the prime creative forces that shaped the comicbook industry, but still many of his milestones escape public acclaim in the English-speaking world. This is one long overdue for fresh efforts and digital immortality.

From 1936 to 1938 Eisner worked as a jobbing cartoonist in the comics production firm known as the Eisner-Eiger Shop, creating strips to be published in both domestic US and foreign markets.

Using the pen-name Willis B. Rensie he wrote and drew the saga of the mysterious American adventurer known only as “The Hawk”, who sailed the 18th century Caribbean seas with his piratical band. An intellectual and dreamer, the freebooter had been taken as a slave, and now dedicated his life to destroying the slave trade and punishing injustice.

With a stalwart and scurvy crew of characters at his back, this charismatic blend of Robin Hood, Sir Francis Drake and the Count of Monte Cristo captivated readers all over the world in single-page instalments of swashbuckling thrills delivered via spectacular bravura art and narrative ingenuity: appearing in newspapers and weekly magazines as far apart as England, South America, France, and Australia.

After years as a lost classic, it was gathered into an awesome collected edition (measuring 376 x 270) by Dennis Kitchen, thanks mainly to happenstance and the good graces of another comics legend, Al Williamson. He had been a huge fan of the strip when it ran in Paquin – a weekly strip anthology magazine he’d read growing up in Bogota, Colombia.

Years later, now revered professional artist Williamson acquired an almost complete run of publisher’s proof sheets – in Spanish – which when translated and re-lettered would form the basis of this volume. Fellow well-wishers in France, England and Australia also contributed pages for an almost complete run.

Almost lost again, Hawks of the Seas was re-issued in 2003 by Dark Horse as part of their Will Eisner Library (although at a more modest and bookshelf-friendly size) and stands as a fascinating insight into this creator’s imaginative power, moral and philosophical fascinations and spellbinding ability to tell a great story with magical pictures. It’s also a thumping good tale of pirates and derring-do that will captivate kids of all ages, so let’s some savvy publisher makes the necessary moves soon.

Forget Jack Sparrow: get on the trail of The Hawk…
© 1986 Kitchen Sink Press. 2003 Will Eisner. All rights reserved.

The Adventures of Blake and Mortimer: The Yellow “M”


By Edgar P. Jacobs, translated by Clarence E. Holland (Cinebook)
ISBN: 978-1-905460-21-2

Master storyteller Edgar P. Jacobs pitted his distinguished duo of Scientific Adventurers Captain Francis Blake and Professor Philip Mortimer against a wide variety of perils and menaces in stunning action thrillers which merged science fiction, detective mysteries and supernatural thrillers in the same timeless and universally engaging Ligne Claire style which had done so much to make intrepid boy reporter Tintin a global sensation.

The strip debuted in Le Journal de Tintin #1 (26th September 1946): an anthology comic with editions in Belgium, France and Holland. The new anthology was edited by Hergé, with his eponymous star ably supplemented by a host of new heroes and features…

Le Marque Jaune was the third astounding exploit of the peerless pair, originally serialised from August 6th 1953 to November 3rd 1954, before being collected as the sixth drama-drenched album in 1956.

This moody stand-alone extravaganza was the first in the modern Cinebook sequence with the True Brits for once on home soil as they struggle to solve an eerie mystery and capture an apparently superhuman criminal…

The tale begins a few days before Christmas on a night raining cats and dogs. The guards at the Tower of London are dutifully going about their appointed tasks when a sudden power cut douses all the lights.

By the time Beefeaters and Yeomen can find alternative lighting the damage is done. The Jewel Room is ransacked, the Imperial Crown missing and the wall is defaced: emblazoned with a large letter M in a bold circle of yellow chalk.

The shocking travesty is but the latest in an outrageous series of incredible crimes by a mysterious malefactor the newspapers have taken to calling The Yellow M

Incensed and humiliated by the latest outrage, the Home Office assigns MI6 to the case and their top man Blake is seconded to assist Chief Inspector Glenn Kendall of Scotland Yard. So serious is the matter that Blake instantly cables his old comrade Professor Mortimer, dragging the bellicose boffin back from a well-deserved vacation in Scotland.

London is ablaze with rumour and speculation about the super-bandit. The crafty old warhorses adjourn to the Centaur Club in Piccadilly to discuss events, but as they settle in for a chinwag, Mortimer gets a fleeting impression that they are being spied upon…

Suddenly they are interrupted by four fellow members also hotly debating the case. Sir Hugh Calvin is a judge at the Central Criminal Court; Leslie Macomber edits the Daily Mail and Professor Robert Vernay is a prominent figure in the British Medical Association. They are all hotly disputing Dr Jonathan Septimus – of the Psychiatric Institute – who propounds a theory that the phantom felon is a prime example of his pet theory of “The Evil Influence of Cellular Development”…

The enlarged group continues the verbal back-and-forth into the small hours, and when they finally break up Vernay follows his habit of walking home. He does not make it. The police find only his hat and a chalked letter in a circle…

The flamboyant rogue seems to be everywhere. When Blake and Mortimer interview Macomber, Calvin and the terrified Septimus next day, the invisible enigma somehow gets close enough to leave his mark on the MI6 officer’s coat, before sending a mocking cable warning the Mail’s Editor that more and worse is coming…

That night Macomber is abducted from his office in plain view of his staff and Kendall is found in a dazed state after failing to protect Judge Calvin from a mystery intruder…

Septimus concludes that he is next and convinces Blake to get him out of London. The pair board a train for Suffolk with a complement of detectives, but even these precautions are not enough. The psychiatrist is impossibly plucked from the Express before it is wrecked in a horrific collision with another train.

In London, cerebral Mortimer has been researching another angle with the assistance of Daily Mail archivist Mr. Stone. The veteran investigator has found a decades-old link between the missing men…

It all revolves around a controversial medical text entitled “The Mega Wave” and a scandalous court case, but when the Professor tries to secure a copy of the incredibly rare volume from the British Museum Library, he is confounded by the Yellow M who invisibly purloins the last known copy in existence…

That evening Mortimer shares his thoughts with the returned Blake, unaware that his house has been bugged. Hours later, a mysterious cloaked intruder breaks in but has a fit after passing some of Mortimer’s Egyptian souvenirs. The noise arouses the household and the masked burglar is confronted by Blake, Mortimer and burly manservant Nasir. Incredibly, the villain defeats them all with incredible strength and electrical shocks, even shrugging off bullets when they shoot him…

Exploding through a second story window, the M laughs maniacally as they continue futilely firing before running off into the London night. In their shock the adventurers return to the drawing room and trip over the intruder’s listening devices…

Later, the recovered Kendall visits just as a package arrives. It contains an anonymous note from someone wishing to share information and directs Blake to a late-night rendezvous at Limehouse Dock. The message also contains a desperate note from the missing Septimus begging Blake to comply…

Well aware that it’s a trap and over Mortimer’s strenuous protests, Blake and Kendall lay plans to turn the meeting to their advantage. Left at home, the Professor is surprised by a late visit from Stone. The remarkably efficient researcher has found a copy of The Mega Wave and rushed over to show Mortimer.

As Blake manfully braves the foggy waterfront and walks into deadly danger, Mortimer is reading the tome, deducing who is behind the plot and perhaps even how the malign miracles are pulled off…

In Limehouse, the empty commercial buildings become a spectacular battleground as Blake and the police confront the masked man. The villain easily holds them all at bay with incredible feats of speed and strength, before breaking out of the supposedly impenetrable blue cordon and escaping.

However, in his destructive flight he tumbles into the frantic Mortimer who is dashing to warn his old friend. Changing tack, the boffin gives chase, doggedly following the superhuman enigma through parks and sewers. Eventually the pursuit leads underground and he finds himself in a hidden basement laboratory being assaulted by mind-control devices devised by the sinister mastermind actually behind the entire campaign of vengeance and terror…

As the smirking villain gives an exultant speech of explanation, triumph and justification, Mortimer sees the fate of the abducted men and meets the human guinea pig who has been terrorising London at the behest of a madman. It is the very last person he ever expected to see again, but even as he reels in shock, Blake and Kendall are on his trail, thanks to the efforts of an avaricious cabbie with a good memory for faces…

As Christmas Day dawns, Blake and Kendall lead a raid on the hidden citadel to rescue Mortimer, but the wily savant has already taken dramatic steps to secure his own release and defeat his insane, implacable opponent…

Fast-paced, action-packed, wry and magnificently eerie, this fabulously retro weird science thriller is an intoxicating moody mystery and a sheer delight for lovers of fantastic fiction. Blake & Mortimer are the graphic personification of the Bulldog Spirit and worthy successors to the likes of Sherlock Holmes, Allan Quatermain, Professor Challenger, Richard Hannay and all the other valiant stalwarts of lost Albion: All valiant champions with direct connections to and allegiance beyond shallow national boundaries…

In 1986 this story was reformatted and repackaged in a super-sized English translation, the last of six volumes with additional material (mostly covers from the weekly Tintin added to the story as eye-catching splash pages): part of a European push to win some of the lucrative Tintin and Asterix market here. They failed to find an audience and there were no more translations until January 2007 when Cinebook released this tome to far greater approval and much success. We’re now at 25 translated volumes and counting…

Gripping and fantastic in the truest tradition of pulp sci-fi and Boy’s Own Adventures, Blake and Mortimer are the very epitome of dogged heroic determination; always delivering grand, old-fashioned Blood-&-Thunder thrills and spills in timeless fashion and with astonishing visual punch. Any kid able to suspend modern mores and cultural disbelief (call it alternate earth history or bakelite-punk if you want) will experience the adventure of their lives… and so will their children.

This Cinebook edition – available in paperback album and digital formats – also includes a selection of colour cover sketches and roughs, plus a biographical feature and chronological publication chart of Jacobs’ and his successors’ efforts.
Original editions © Editions Blake & Mortimer/Studio Jacobs (Dargaud-Lombard s.a.) 1987 by E.P. Jacobs. All rights reserved. English translation © 2007 Cinebook Ltd.

Showcase Presents Tales of the Unexpected volume 1


By Otto Binder, France E. Herron, Jack Miller, Dave Wood, Bernard Baily, Bob Brown, Nick Cardy, Bill Ely, Bill Draut, Jack Kirby, Mort Meskin, Sheldon Moldoff, Jim Mooney, Ruben Moreira, George Papp, John Prentice, George Roussos, Leonard Starr & various (DC Comics)
ISBN: 978-1-4012-3520-8

American comicbooks started rather slowly until the invention of superheroes unleashed a torrent of creative imitation and established a new entertainment genre. Implacably vested in World War Two, the Overman swept all before him (occasionally her or it) until the troops came home and the more traditional themes and heroes resurfaced and eventually supplanted the Fights ‘n’ Tights crowd.

Whilst a new generation of kids began buying and collecting, many of the first fans also retained their four-colour habit but increasingly sought older themes in the reading matter. The war years had irrevocably altered the psychological landscape of the readership, and as a more world-weary, cynical young public came to see that all the fighting and dying hadn’t really changed anything, their chosen forms of entertainment (film and prose as well as comics) increasingly reflected this.

As well as Western, War and Crime comics, celebrity tie-ins, madcap escapist comedy and anthropomorphic funny animal features were immediately resurgent, but gradually another of those cyclical revivals of spiritualism and a public fascination with the arcane led to a wave of impressive, evocative and shockingly addictive horror comics.

There had been grisly, gory and supernatural stars before, including a pantheon of ghosts, monsters and wizards draped in mystery-man garb and trappings (the Spectre, Mr. Justice, Frankenstein, The Heap, Zatara, Dr. Fate and dozens of others), but these had been victims of circumstance: The Unknown as a power source for super-heroics. Now the focus shifted to ordinary mortals thrown into a world beyond their ken with the intention of unsettling, not vicariously empowering, the reader.

Almost every publisher jumped on an increasingly popular bandwagon, with B & I (which became magical one-man-band Richard E. Hughes’ American Comics Group) launching the first regularly published horror comic in the Autumn of 1948. Technically speaking, however, Adventures Into the Unknown was pipped at the post by Avon who had released an impressive single issue entitled Eerie in January 1947; later reviving the title by launching a regular series in 1951. All the meanwhile, parents’ favourite Classics Illustrated had long been milking the literary end of the genre with adaptations of the Headless Horseman, Dr. Jekyll and Mr. Hyde (both 1943), The Hunchback of Notre Dame (1944) and Frankenstein (1945) among others.

As long as we’re keeping score, this was also the period in which Joe Simon & Jack Kirby identified another “mature market” gap and invented Romance comics (Young Romance #1, September 1947) but they too saw the sales potential for spooky material, resulting in the seminal Black Magic (1950) and boldly obscure psychological drama anthology Strange World of Your Dreams (1952).

The wholesome family company that would become DC Comics bowed to the inevitable and launched a comparatively straight-laced anthology that nevertheless became one of their longest-running and most influential titles with the December 1951/January 1952 launch of The House of Mystery. Its success led to a raft of such creature-filled fantasy compendiums in the years that followed such as Sensation Mystery, My Greatest Adventure, House of Secrets and, in 1956 – during a boom in B-Movie science fiction thrillers – Tales of the Unexpected

A hysterical censorship scandal which led to witch-hunting hearings (check out Senate Subcommittee on Juvenile Delinquency, April-June 1954 on your search engine of choice) was derailed by the industry adopting a castrating straitjacket of draconian self-regulatory rules. Horror titles produced under the aegis and emblem of the Comics Code Authority were sanitised and anodyne affairs in terms of Shock and Gore, even though the market’s appetite for suspense and the uncanny was still high. Stories were dialled back into marvellously illustrated, rationalistic, fantasy-adventure vehicles which dominated until the 1960s when super-heroes (which had begun to creep back after Julius Schwartz reintroduced the Flash in Showcase #4, 1956) finally overtook them.

This mammoth monochrome compilation (still tragically unavailable in colour or in digital editions) offers a stunning voyage to the fantastic outer limits of 1950s imagination, collecting the first 20 issues of the charmingly enthralling anthology – produced under the watchful eyes of the Comics Code Authority – which spans cover dates February/March 1956 to December 1957 and starts with a quartet of intriguing, beautifully rendered pocket thrillers.

Sadly for me and you, records are spotty and many of the authors remain unsung (although possible candidates include Dave Wood, Bill Finger, Ed Herron, Joe Samachson, George Kashdan, Jack Miller and Otto Binder and I’ll just guess whenever I’m more than half-certain) but the pictorial pioneers at least can be deservedly celebrated…

Behind a captivating cover by Bill Ely, Tales of the Unexpected #1 opens our uncanny excursions with ‘The Out-of-The-World Club’, drawn by the astoundingly precise John Prentice, detailing the unearthly secret of a night-spot offering truly original groovy sounds, whilst ‘The Dream Lamp’, limned by Leonard Starr, takes a bucolic glance at a device which seems able to perform impossible feats.

Jack Miller, Howard Purcell & Charles Paris then ironically reveal ‘The Secret of Cell Sixteen’ which fools yet one more prisoner in the Bastille, after which the debut issue ends with a bleak alien invasion fable in ‘The Cartoon that Came to Life’ by Otto Binder & Bill Ely.

Issue #2 offered the uncredited conundrum of ‘The Magic Hats of M’sieu La Farge’ (art by Ruben Moreira) involving ordinary folk impelled to perform extraordinary feats when wearing the titfers of famous dead folk, whilst ‘The Fastest Man Alive’ (drawn by Bill Draut & Mort Meskin) discloses how an obsessive rivalry brings destruction upon a man forever relegated to second best behind his exceptional greatest friend…

‘The Record of Doom’ (Ely art) apparently drives listeners to suicide until a canny cop uncovers the truth, but ‘The Gorilla who Saved the World’ (Starr) is as incredible and alien as you’d expect in a tale of sharp sci-fi suspense…

Issue #3 opened with Purcell’s ‘The Highway to Tomorrow’ wherein a motorway through Native American sacred lands almost results in a new uprising, after which Meskin’s ‘The Man Nobody Could See’ revisits the old plot of an invisible criminal. ‘I Lost My Past’ (art by Mort Drucker) recounts an implausibly complex scheme to cure an amnesiac before ‘The Man with 100 Wigs’ (Miller & Prentice), provides a genuinely compelling mystery about a petty thief who steals a sorcerer’s chest filled with hairpieces that impart bizarre powers to the wearer…

The mix of cop stories, aliens and the arcane acts clearly struck a popular chord as, with Tales of the Unexpected #4, the comic was promoted to monthly. ‘Seven Steps to the Unknown’ (Ely) continued the eclectic winning formula through a perilous puzzle regarding a group of complete strangers inexplicably linked and targeted for murder, whilst ‘The Day I Broke All Records’ – illustrated by Sheldon Moldoff – follows a top athlete who gains something “extra” after finding an elixir once favoured by unbeatable Roman gladiator Apulius

Then a murderer is brought to justice after becoming obsessed with ‘The Flowers of Sorcery’ (Starr) whilst ‘The House Where Dreams Come True’ (Prentice) offers a far kinder tale of human generosity to melt the heart of the most jaded reader.

In #5 ‘The Man Who Laughed at Locks’ (Moreira) discloses the inevitable fate of a cheat when rival inventors clash; ‘I Was Bewitched for a Day’ (Ely) reveals how easily domestic reality can be overturned, and Moldoff portrays the bewilderment of an Art Investigator faced with ‘The Living Paintings’ before Miller & Prentice again triumph with the tale of an actor literally possessed by his role in ‘The Second Life of Geoffrey Hawkes’

TotU #6 opens with ‘The Telecast from the Future’ (drawn by George Papp) wherein a technician foolishly convinces himself that his gear hasn’t really opened a peephole into tomorrow, whilst Ely’s ‘Dial M for Magic’ focusses on a prestidigitator’s club that auditions an amazing applicant who doesn’t just do “tricks”…

‘The Forbidden Flowers’ (Moldoff) then exposes a killer who thinks himself safe, after which Moreira’s ‘The Girl in the Bottle’ leads an unsuspecting oceanographer into fantastic peril… and another incredible criminal scam.

Golden Age great Bernard Baily joins the rotating art crew with #7 as ‘The Pen that Never Lied’ visits a number of people, dispensing justice through unvarnished truth, after which ‘Beware, I Can Read your Mind!’ (Moldoff) depicts a telepath discovering the overwhelming cost of his gift.

When a miner finds a talking talisman, it promises anything except ‘The Forbidden Wish’ (George Roussos). Tragically it was the only thing the weak-minded man wanted…

The issue closes with the art debut of the astounding Nick Cardy who lovingly detailed the fate of a murderous thug who refused to listen to the sage advice of ‘The Face in the Clock!’

Tales of the Unexpected #8 opens with fantastic fantasy as ‘The Man Who Stole a Genie’ (Meskin) slowly succumbs to greed and mania, whilst ‘The Secret of the Elephant’s Tusk’ (Ely art) follows the trail of death resulting after a poacher kills a sacred pachyderm. Roussos’ ‘The Four Seeds of Destiny’ chillingly reveals the doom that comes to a TV reporter who stole relics from a Pharaoh’s tomb before ‘The Camera that Could Rob’ (Starr) proves that, even for a thief with an unbeatable gimmick, mistreating a cat never ends well…

In issue #9 ‘The Amazing Cube’ (possibly scripted by George Kashdan and definitely limned by Baily) sees an unscrupulous gambler falling foul of his own handmade dice, whilst a killer conman gets his comeuppance courtesy of ‘The Carbon Copy Man’ (Papp). ‘The Day Nobody Died’ by Roussos is a classic of moody mystery wherein a doctor pursues a dark stranger and regrets catching him, after which a little lad saves the world from alien invasion and know-it-all adults in Starr’s ‘The Man Who Ate Fire’.

The tone of the time was gradually turning and oppressive occultism was slowly succumbing to the Space Age lure of weird science as TotU #10 proved with ‘The Strangest Show on Earth’ (art by Jim Mooney) wherein a bankrupt showman stumbles over a Martian circus. Sadly, the bizarre performers had their own agenda to adhere to…

‘The Phantom Mariner’ (Moldoff) follows an obsessed sea captain to his inescapable fate, before a scientist faces a deadly dilemma after creating ‘The Duplicate Man’ (Ely) and Meskin reveals how an antique collector’s compulsion endangers his life in ‘I Was Slave to the Wizard’s Lamp’

A criminal inventor pays the ultimate price for his venality in the Baily-limned ‘Who Am I?’ which opened Tales of the Unexpected #11, whilst ‘I Was a Man from the Future’ (Cardy) sees an American mountaineer stumble through a time-warp into adventure and romance in 15th century France and ‘The Ghost of Hollywood’ (Ely) confounds a special effects designer determined to debunk it.

Starr then closed out the issue with ‘The Man Who Hated Green’, as an artist embarks on an extraordinary campaign of terror…

Issue #12 began with Cardy’s tale of a quartet of escaped convicts terrorising three little old ladies and subsequently cursed by ‘The Four Threads of Doom’, after which ‘The Witch’s Statues’ (Meskin) proves to be more scurrilous scam than sinister sorcery.

Following a downturn in the industry, Jack Kirby briefly returned to National/DC at this time: producing a mini-bonanza of mystery tales and drawing Green Arrow, all whilst preparing his newspaper strip Sky Masters of the Space Force.

He also re-packaged for Showcase an original team concept kicking around in his head since he and Joe Simon had closed the innovative but unfortunate Mainline Comics. Blending explosive adventure with the precepts of mystery comics, Challengers of the Unknown became the template for the entire Silver Age superhero resurgence…

After years of working for others, Simon & Kirby had established their own publishing company, producing comics for a more sophisticated audience, only to find themselves in a sales downturn and awash in public hysteria generated by the aforementioned anti-comic pogrom of US Senator Estes Kefauver and psychologist Dr. Fredric Wertham.

Simon quit the business for advertising, but Kirby soldiered on, taking his skills and ideas to a number of safer, if less experimental, companies. Here his run of short fantastic suspense tales commences with ‘The All-Seeing Eye’ (possibly scripted by Dave Wood?) wherein a journalist responsible for many impossible scoops realises that the ancient artefact he employs is more dangerous than beneficial…

The issue ends with Ely’s rousing thriller ‘The Indestructible Man’ wherein a stuntman with innate invulnerability decides to get rich quick, no matter who gets hurt…

In #13, an amnesiac retraces his lost past by seeking out ‘Weapons of Destiny’ (perhaps Binder with Ely art), whilst Meskin’s ‘The Thing from the Skies’ initially proves a boon but ultimately the downfall for a murdering conman. A ghostly ‘Second Warning’ (Papp) saves a tourist when he visits battlefields of WWII, after which France E. Herron & Cardy’s ‘I Was a Prisoner of the Supernatural’ reveals how an actor escapes a deal with the devil before Herron & Kirby steal the show with a grippingly devious crime-caper in ‘The Face Behind the Mask’

Tales of the Unexpected #14 starts with Meskin’s ‘The Forbidden Game’ as an embezzler plays fast and loose with a wagering wizard, and is followed by ‘Cry, Clown, Cry’ (Baily) which sees a baffled son ignore his father’s injunction not to follow the family tradition to be a gag-man…

Papp pictures the fate of a swindler who wants folk to believe he is ‘The Man Who Owned King Arthur’s Sword’ and Moldoff finishes up proceedings as a crook is haunted by ‘The Green Gorilla’ manifested by his misdeeds.

Kirby led off in #15, his ‘Three Wishes to Doom’ proving that even with a genie’s lamp crime does not pay, after which ‘The Sinister Cannon’ (Baily) employed by an insidious alien infiltrator proves far more than it appears. ‘The Rainbow Man’ (Roussos) is a scientific bandit who overestimates the efficacy of his camouflage discovery and ‘The City of Three Dooms’ – by Meskin – wraps up things with a mesmerising time-travel romp featuring Nazi submariners on a voyage to infinity…

There’s an inexplicable frisson in Kirby’s ‘The Magic Hammer’ which opens #16 as the King of Comics here relates how a prospector finds a mallet capable of creating storms and goes into the rainmaking business… until the original owner turns up…

That superb vignette is augmented by ‘I Was a Spy for Them’ (Meskin) as a canny physicist turns the tables on the star men who captured him, a crooked archaeologist gains unbeatable power from an ancient ring but becomes ‘The Exile from Earth’ (Dave Wood & Moldoff), and Moreira illustrates ‘The Interplanetary Line-Up’, wherein an actual Man from Mars gatecrashes a science fiction writer’s fancy dress party…

In #17 ‘Who is Mr. Ashtar?’ (Kirby) chillingly follows a hotel detective who just knows there’s something off about the new guest in Room 605, whilst ‘Beware the Thinking Cap’ (Ely) describes the rise and fall of a crook who finds the device which inspired all the geniuses of history. Baily illustrates how a lifer in jail uses a unique method of escape in ‘The Bullet Man’, and the issue ends on ‘The Impossible Voyage’ (Mooney) as a couple of alien pranksters take earth suckers for a ride on what only looks like a fairground attraction…

Mooney takes lead spot in #18 as ‘The Man Without a World’ rejects Earth only to learn that a life in space is no life at all, after which Meskin’s ‘The Riddle of the Glass Bubble’ threatens to end all life until a little kid finds an unlikely solution. Cardy opens ‘The Amazing Swap Shop’, where humans trade “junk” for impossibly useful gadgets before Kirby shows how a clever human saves us all by outwitting ‘The Man Who Collected Planets’.

By now thoroughly gripped in UFO fever, Tales of the Unexpected #19 began with ‘The Man from Two Worlds’ (Cardy) wherein nasty Neptunians attempt to abduct an Earth scientist by guile, whereas ‘D-Day on Planet Vulcan’ (Mooney) envisages embattled ETs begging our help to end a world-crushing crisis, after which a meteor turns a hapless technician into ‘The Human Lie Detector’ (Ely) and a dotty old eccentric surprises everybody by ending ‘The Menace of the Fireball’ (with art by Bob Brown).

This terrific tome concludes with issue #20 where ‘The Earth Gladiator’ (Cardy) struggles to save his life and prove Earth worthy of continued existence, an engineer scuppers ‘The Remarkable Mr. Multiplier’ (Ely) before his invention wrecks civilisation and Baily illustrates that not every alien incursion is malign or dangerous in ‘I Was Marooned on Planet Earth’

Moreira then brings the cosmic catalogue to a close with ‘You Stole Our Planet’ wherein gigantic space creatures arrive with a strong claim of prior ownership…

Although certainly dated and definitely formulaic, these complex yet uncomplicated suspenseful adventures are drenched in charm, gilded in ingenuity and still sparkle with innocent wit and wonder. Perhaps not to everyone’s taste nowadays, these fantastic exploits are nevertheless an all-ages buffet of fun, thrills and action no fan should miss.
© 1956, 1957, 1958, 2012 DC Comics. All Rights Reserved.

The Rolling Stones in Comics


By Céka, Marin Trystam, Patrick Lacan, Dimitri Piot, Kyung-Eun Park, Domas, Clément Baloup, Dominique Hennebaut, Amandine Puntous, Lapuss, Bast, Patès, Filippo Néri & Piero Ruggeri, Anthony Audibert, Bruno Loth, Aurélie Neyret, Sanzito, Sarah Williamson, Joël Alessandra & Carine Becker, Mao Suy-Heng & various: translated by Montana Kane (NBM)
ISBN: 978-1-68112-198-7 (HB)

Graphic biographies are all the rage at the moment and this one – originally released on the continent in 2017 – is another instant classic likely to appeal to a far larger mainstream audience than comics usually reach. It certainly deserves to…

Like its thematic companion and predecessor featuring The Beatles, The Rolling Stones in Comics is designed to evoke the same nostalgic excitement via cannily repackaged popular culture factoids, contemporary quotes and snippets of celebrity history – accompanied by a stunning assemblage of candid photographs, posters and other memorabilia – in brief, themed essays with cartoon vignettes chronologically highlighting key moments in the development of a band comprising remarkable men of wealth and taste…

Scripted throughout by author and advertising copywriter Céka (with the strips illustrated by an army of top talent) the saga begins with a brief biography of Michael Phillipe Jagger, Keith Richards, Brian Jones, Bill Wyman and Charlie Watts in featurette ‘The Stones, Before the Stones’, before Marin Trystam takes us back to Kent in June 1960 where two youngsters with a love of American Blues albums meet on a train in ‘Blessed Be the Vinyl’

‘Make Way, Here Come the Blues Boys!’ then details the music scene in England at that time and offers a definition of R&B, after which Patrick Lacan takes us back further in time to reveal the slave roots of a name and the ‘Rollin’ Stones Blues’, whilst ‘Rags Before Riches’ recalls the band’s early poverty, scarce gigs and squalid first creative den, vividly realised in Dimitri Piot’s strip depiction of life in August 1962 at ‘102, Edith Grove’.

The early line-up solidifies in 1963 as ‘Crank Up the Amp!’ covers the contributions of Charlie and Bill, with Kyung-Eun Park limning Brian Jones’ attempts at being a manager in ‘Screw You!’ before Publicist Supreme and Soho Svengali Andrew Loog Oldham takes the band in hand in photo-essay ‘The Man Who Created the Stones’, with Domas recapturing in comics form a defining moment from September 1963 when Stones met Beatles in ‘I Wanna Be Your Man’

With Oldham as manager, the climb begins in earnest as the band meet the man who infamously turned down the Beatles and seal a record deal in ‘Make Mine Decca’, whilst illustrator Clément Baloup reveals the secrets of Ian Stewart… ‘The Sixth Stone’.

The story of how Jagger and Richards evolved from musicians into songwriters is covered in ‘Singer, Songwriter’, with Dominique Hennebaut capturing that struggle pictorially with the harsh debut of ‘The Glimmer Twins’, after which the dark side manifests in a recapitulation of felonies and misdemeanours in ‘Drug City’, as Amandine Puntous illustrates the police raid on the band now known as ‘The Redlands Affair’.

The band’s growing status as rebels of youth culture is dissected ‘Rock and Role?’, with Lapuss capturing a few shameful truths about the seductive power of wealth and the “Richest Hippie in England” in cartoon vignette ‘Rebel in a Bentley’, after which the tragic life and death of Brian is explored in ‘Light Hair and Dark Thoughts’, before Bast illuminates the 1969 demise of the ‘Fallen Angel’

The arrival of Mick Taylor and the search for a new sound is covered in ‘Back to the Future’, and Patès accompanying strip explains the intricacies of guitar chord techniques for Keith’s invention of ‘Open Tuning’, even as ‘The End of the Sixties’ manifests in more death and tragedy as Filippo Néri & Piero Ruggeri recapture the shocking debacle of rock festival ‘Altamont’

After Drugs and Rock and Roll, the Sex part of the unholy trinity comes under the spotlight in photo-essay ‘Some Girls’, whilst Anthony Audibert illustrates the bizarre practices of Jagger’s filmic debut in Nick Roeg’s ‘Performance’, before winding back to making music withy explorations of ‘Harmonica, Sitar, etc.’, as Bruno Loth traces the ultimate love story in ‘Keith and his Electric Guitars’.

The bad times are spotlighted in ‘Smog Over Stone Land’, with Aurélie Neyret encapsulating the release of “the Greatest Slow Song of All Time” in ‘Summer of ‘73’ before another momentous personnel change occurs as detailed in ‘Bye Bye The Kid, Hello Ronnie!’, after which Sanzito illumines the most important aspect of the newcomer’s contribution in ‘Dr. Wood’

Individual – and often ignominious – career paths are traced in ‘Oh, Solo Mio’, and Sarah Williamson draws us into the infamous Jagger/Jeff Beck Nassau album in ‘Erase It!’, before reconciliation and the era of live touring is tackled in ‘Thrills and Chills’, with Joël Alessandra & Carine Becker capturing the band’s rituals and coping mechanisms in strip catalogue ‘Sex, Drugs and… Ping Pong’.

The death of Ian Stewart and resignation of Bill Wyman are marked in ‘The Rolling Stones, Minus Two’, after which Sanzito explores the mind of Wyman in ‘Stone Alone’, whilst silent, diffident Jazz wizard Charlie Watts gets his solo moment in essay ‘Who’s the Guy in the Back?’ and Patès illustrative tribute to ‘The Silent Stone’, before the saga culminates in a status check and a few prognostications in ‘The Stones, Are STILL Rolling’, and Mao Suy-Heng’s strip glorifying the ‘Century Tour’.

This engrossing time capsule concludes on a suitably whimsical note as ‘Nine Fun Facts About This Legendary Band!’ offers engaging anecdotes and factlets to delight – but surely not surprise? – everyone who loves to hear of classic Rock & Roll hedonism. The Rolling Stones in Comics is an astoundingly readable and craftily rendered treasure for comics and music fans alike: one that resonates with anybody who loves to listen and look. Sometimes, you can actually get what you want…

It’s only ink on paper but I like it… and so will you. Satisfaction guaranteed.
© 2017 Editions Petit as Petit. © 2019 NBM for the English translation.

Most NBM books are also available in digital formats. For more information and other great reads see http://www.nbmpub.com/

Voyage to the Deep


By Sam J. Glanzman. Paul S. Newman, Lionel Ziprin & various (It’s Alive!/IDW)
ISBN: 978-1-68405-450-3 (HB)

If you have any kind of vintage to you, you’ll have heard of Irwin Allen’s techno-fantasy Voyage to the Bottom of the Sea: as a movie or in its later television incarnation. The franchise was a huge global hit in the 1960’s and spawned lots of the usual spin-offs in games, toys and comicbooks.

You might not be aware that between the comics adaptation of the movie (in Four-Color # 1230, November 1961) and the 16-issue series based on the TV sensation (published between December 1964 and May 1969), another undersea phenomenon saved the world a few times, equally inspired by atomic age wonders of the briny depths and (arguably) that movie…

The details are revealed in Steve Bissette’s informative Introduction ‘The Proteus Prophecies (The Cold War SFusion of Voyage to the Deep)’: tracing the history of submersible vehicles, nuclear subs – in fact and fiction – and the richly-mined seam of subsea adventure in comics. A handy sidebar – ‘The Voyage of Voyage’ – then traces the efforts of director Irwin Allen as he brought Voyage to the Bottom of the Sea to screens large and small and thus created a comics sub-genre (sorry; couldn’t resist).

Once upon a time Dell Comics and Gold Key were the same publishing monolith, Western Print and Litho. As Whitman Publishing, they produced their own books and comics for decades through their Dell and Gold Key imprints, rivalling and often surpassing DC and Timely/Marvel at the height of their powers. Famously, they never capitulated to the wave of anti-comics hysteria which resulted in the crippling self-censorship of the 1950s.

Dell Comics never displayed a Comics Code Authority symbol on their covers. They never needed to: their canny blend of media and entertainment licensed titles were always produced with a family market in mind and the creative staff took their editorial stance from the mores of the filmic Hayes Code and its analogues in the burgeoning television industry.

Just like the big and little screen, the product enticed but never shocked and kept contentious social issues implicit instead of tacit. It was a case of “violence and murder are fine, but never titillate.”

Moreover, most of their adventure comics covers were high quality photos or paintings – adding a stunning degree of veracity and verisimilitude to even the most outlandish of concepts for us wide-eyed waifs in need of awesome entertainment. For decades, the company seemed the only first choice for a licensed comicbook, and to be honest, the results seldom disappointed.

They also employed some of the best artists in America as well as the wider world…

After far too many years as a secret darling of the comics cognoscenti, in his last years Sam J. Glanzman was finally awarded his proper station as one of American comics’ greatest and most remarkable creators – thanks in no small part to the diligent efforts of editor Drew Ford, (initially at publishing house Dover, and later his own It’s Alive! imprint) which revived groundbreaking graphic novel sequence A Sailor’s Story, astonishing semi-autobiographical series USS Stevens and other non-superhero classics and enshrined them on bookshelves across the world.

Apart from his time in the Navy, Glanzman drew and wrote comics from the 1940s until his death in 2017, most commonly in the classic genres – war, western, mystery, adventure and fantasy – where his raw, powerful and subtly engaging style and wry wit made his work irresistibly compelling to generations of readers

On titles such as Kona, Monarch of Monster Island, Combat, Jungle Tales of Tarzan, Hercules, The Haunted Tank, The Green Berets and cult classic The Private War of Willie Schultz, Glanzman always produced magnificently rousing yarns which fired the imagination and stirred the blood. That unceasing output always sold well and won him a legion of fans (most vocally amongst fellow artists), if not from the insular and over-vocal fan-press. Most of the above cited are also now or soon to be available in archival editions (mostly brilliantly cleaned-up and remastered by Now Read This’ own Allan Harvey) and – if I live long enough – I’ll be urging you to get them too via reviews like this one…

One of Glanzman’s early jobs for Dell was the movie adaptation of Voyage to the Bottom of the Sea, so with his maritime experience and gritty style he must have been the only choice to limn the adventures of another fantastic super submarine: Proteus in Voyage to the Deep

Scripted by Paul S. Newman and Lionel Ziprin, four fully-restored, mammoth issues of fantastic science fantasy begin with the eponymous ‘Voyage to the Deep’ as #1 introduces the next wave of submersible technology in the fluid form of Proteus: a twin-skinned atomic submarine that can alter its shape to counter the appalling pressure of the sea bottom.

Commanded by Admiral Jonathan Leigh, and skippered by Captain Duke Peters, the exploratory prototype is soon seconded into drastic action after an unseen Enemy inimical to all life tampers with the planet’s molten core and tips the planet off its axis. By attacking the Marianas Trench, the shift displaces all the world’s oceans, sparking colossal tsunamis to wipe out civilisation.

With humanity drowning and undiscovered monsters awakening, Proteus attempts to rectify the apocalyptic damage to the sea floor. They have only one chance, if only the crew can hold their nerve…

Remember I said Dell never acknowledged Comics Code Authority dictates? Be prepared for an astounding and compelling slice of doomsday fiction with a truly staggering body count…

With the battered Earth barely recovering from its close call, the second issue (May-July 1963) saw the doughty submariners facing ‘The Ice Menace’ as a follow-up attack finds humanity facing global extreme snowfalls. Dreading the prospect of a new ice age, Leigh’s super-sub heads to the North pole on a data-gathering mission and the maritime genius devises a way to reverse the Enemy’s geological sabotage and save mankind once more…

The threat had not ended and #3 (August-October 1963) reveals the Proteus being refitted just in time to hunt down ‘The Anti-Matter Threat’ hidden somewhere on Earth and slowly building to a critical mass…

The constant war of nerves concludes but did not end with the ‘Mysterious Mission’ in #4, as Proteus goes hunting for the Enemy technology that sparks a chain of underwater volcanoes that threaten to rip the world apart…

This epic hardcover or digital tome is bursting with extras: beginning with a rousing cover gallery of painted monster masterpieces by John McDermott and continuing with the extra strips that came as standard in the mainly-advert-free comics. These include context-contributing fact-features ‘Creatures of the Deep’, ‘The Great Flood’, ‘Fire and Water’, ‘Ice Ages’, ‘Arctic Creatures’, ‘Dangerous Waters’ and ‘Trial by Fire’ – all by Glanzman – and ‘The Never-Ending Hunt’ by Alex Toth & Mike Peppe.

One place that did sell ad-space was the back cover, and a gallery of those tantalisingly offer again the toys and prizes generations of British kids drooled over because they were exotic, bombastic and generally unreachable on pocket money that didn’t come in dollars and cents…

Wrapping up with a fond appreciation in ‘E Pluribus Unum’, an erudite Afterword by this volume’s cover artist Rufus Dayglo (who also adds a tentacle-bestrewn spot illustration here in the Kickstarter edition that you should pray is included in the mainstream edition!), as well as a welcome biographies section, this is a marvellously manic and sublimely seductive nostalgia wave any fan of fantastic fiction would be mad to miss.
Voyage to the Deep illustrations © the estate of Sam J. Glanzman. “The Proteus Prophecies” © 2018 Stephen R. Bissette. “E Pluribus Unum” © 2018 Rufus Dayglo. Voyage to the Deep All Rights Reserved.

Showcase Presents Superman volume 1


By Otto Binder, Jerry Coleman, Bill Finger, Jerry Siegel, Robert Bernstein, Alvin Schwartz, Wayne Boring, Al Plastino, Curt Swan, Dick Sprang, Kurt Schaffenberger & various (DC Comics)
ISBN: 978-1-4012-0758-8

Although we all think of Jerry Siegel & Joe Shuster’s iconic creation as the epitome of comicbook creation, the truth is that very soon after his launch in Action Comics #1 he became a multimedia star and far more people have seen or heard the Man of Steel than have ever read him – and yes, that does include the globally syndicated newspaper strip.

By the time his 20th anniversary rolled around he had become a mainstay of radio, starred in a series of astounding animated cartoons – plus two movies – and just ended his first smash live-action television serial.

In his future were many more (Superboy, Lois & Clark and Smallville, Krypton et al), a stage musical, a franchise of stellar movies and an almost seamless succession of TV cartoons beginning with The New Adventures of Superman in 1966 and continuing ever since. Even Krypto got in on the small-screen act…

It’s no wonder then that the tales from this Silver Age period should be so draped in the wholesome trappings of Tinseltown – even more so than most of celebrity-obsessed America. It didn’t hurt that editor Whitney Ellsworth was a part-time screenwriter, script editor and producer as well as National DC’s Hollywood point man.

However, that’s not all there is to these gloriously engaging super-sagas culled from Action Comics #241-257 and Superman #122-133, reliving the period June 1958 to November 1959 in crisp, clean black and white in this first economical Showcase Presents collection.

I’d love to plug more modern, full-colour archival editions here, but for some reason DC’s powers-that-be have been woefully slow in gathering this material – and the equally superb all-ages Superboy stuff. I’m not getting any younger but I still eagerly wait in hope – and so should you…

In the meantime, then…

By the mid-1950s The Man of Tomorrow had settled into an ordered existence. Nothing could really hurt him, nothing would ever change, and thrills seemed in short supply. With the TV show cementing the action, writers increasingly concentrated on supplying wonder, intrigue, imagination and, whenever possible, some laughs as well.

The adventure begins here with the lead tale from Action Comics #241 and ‘The Key to Fort Superman’: a fascinating, clever puzzle-play guest-featuring Batman, written by Jerry Coleman and illustrated by Wayne Boring & Stan Kaye, wherein an impossible intruder vexes the Man of Steel in his most sacrosanct sanctuary, after which Superman #122 (July, 1958) proffers 3 yarns by veteran scripter Otto Binder, beginning with ‘The Secret of the Space Souvenirs’ (illustrated by Al Plastino) as temporary madness seems to grip the Man of Steel while he gathers artefacts for a proposed time-capsule. ‘Superman in the White House’ is a fanciful dream by Jimmy Olsen also drawn by Plastino whilst the closing Boring/Kaye bamboozler finds the hero investigating an outbreak of super-powers at a US military base in ‘The Super-Sergeant’

That same month Binder & Plastino introduce both the greatest new villain and most expansive new character concept the series had seen in years with The Super-Duel in Space’ Action Comics #242) wherein an evil alien scientist named Brainiac tries to add Metropolis to his collection of miniaturised cities in bottles.

As well as a titanic tussle in its own right, this tale completely changed the mythology of the Man of Steel, by introducing Kandor, a city full of Kryptonians who had escaped the planet’s destruction when Brainiac abducted them. Although Superman rescues his fellow survivors, the villain escapes to strike again, and it would be years before the hero could restore the Kandorians to their true size.

Superman #123 (August 1958) featured ‘The Girl of Steel’ by Binder, Dick Sprang & Kaye which tested the potential of a distaff Supergirl as part of a 3-chapter yarn involving a magic wishing totem, which tragically segued into ‘The Lost Super-Powers’ before granting the hero’s greatest dream and facilitating ‘Superman’s Return to Krypton’.

Action #243 (Binder & Boring) sees Superman mysteriously transformed into a beast in ‘The Lady and the Lion’, after which Superman #124 provides the intriguing menace of ‘The Super-Sword’ by Coleman & Plastino, Binder & Kurt Schaffenberger’s delightful desert island drama wherein Lois Lane becomes ‘Mrs. Superman’ and Clark Kent’s investigation of construction industry corruption which compels him to become ‘The Steeplejack of Steel’ (Binder, Boring & Kaye).

Curt Swan pencilled Binder’s ‘Super-Merman of the Sea’ (inked by Kaye) in Action #244: a canny mystery wherein the Man of Steel abandons the surface world for an alien aquatic princess, before Boring & Kaye delineate Binder’s compelling thriller ‘The Shrinking Superman!’: featuring an insidious menace from the Bottle City of Kandor…

‘Lois Lane’s Super-Dream’ (Coleman & Schaffenberger) led in Superman #125 (October/November 1958) with another potentially offensive and certainly sexist parable wherein the plucky news-hen learns a salutary lesson about powers and responsibility, whilst ‘Clark Kent’s College Days’ (illustrated by Plastino) opened an occasional series of Untold Tales of Superman: revealing just how, when and why Superboy became the Man of Tomorrow, before Boring & Kaye conclude Coleman’s hat-trick with ‘Superman’s New Power’ as the hero gained new and incomprehensible abilities with catastrophic consequences…

Action #246 featured ‘Krypton on Earth!’ (Binder, Boring & Kaye) as a trip to tourist attraction “Krypton Island” reveals a crafty criminal scam, and #247 presented ‘Superman’s Lost Parents!’ (Binder & Plastino), wherein a criminal scheme to reveal the hero’s secret identity prompts an extreme face-saving solution. Superman #126 had Binder, Boring & Kaye reveal ‘Superman’s Hunt for Clark Kent’: a thrilling tale of amnesia and deduction whilst ‘The Spell of the Shandu Clock’ (Coleman, Boring & Kaye), provides spooky chills and clever ploys to outwit a malevolent mastermind and ‘The Two Faces of Superman’ (Coleman & Schaffenberger) again saw “conniving” Lois learn an – apparently – much-needed lesson in humility.

Action #248 (January 1959) was a rare contribution from Bill Finger, illustrated by Boring & Kaye wherein the Caped Kryptonian becomes ‘The Man No Prison Could Hold!’ to topple a war criminal tyrant, before Superman #127 opened with another Untold Tale of Superman, ‘When There Was No Clark Kent!’ (Coleman, Swan & Kaye) as an accident temporarily deprives the hero of his treasured alter ego, after which Coleman, Boring & Kaye expose ‘The Make-Believe Superman’ as a depressed dad tries to impress his son with a most preposterous fib. The issue closed with the debut of another hugely popular character in ‘Titano the Super-Ape!’. The chimpanzee who is transformed into a giant ape with Kryptonite vision was one of the most memorable “foes” of the period, courtesy of Binder, Boring & Kaye’s sublime treatment combining action, pathos and drama to superb effect.

‘The Kryptonite Man!’, by Binder & Plastino in Action #249, sees Lex Luthor deliberately irradiate himself with Green K to avoid capture, but his evil genius proves no match for our hero’s sharp wits, used with equal aplomb in ‘The Eye of Metropolis!’ (Finger & Boring) as a prominent TV journalist seeks to expose Superman’s secret identity in #250.

Finger scripted the entirety of #128 as ‘Superman versus the Futuremen’ (limned by Boring & Kaye) and ‘The Secret of the Futuremen’ finds the Metropolis Marvel framed for heinous crimes and hijacked to the impossible year of 2000AD, before outwitting his abductors and returning in time to encounter ‘The Sleeping Beauty from Krypton!’ – actually Lois in another hare-brained scheme to trap her beloved into marriage, and deliciously illustrated by the unmistakable and fiendishly whimsical Kurt Schaffenberger.

‘The Oldest Man in Metropolis!’ – Robert Bernstein & Plastino – reveals how an unfortunate lab accident ages Superman many decades overnight in Action#251, whilst Superman #129 (May 1959) reveals ‘The Ghost of Lois Lane’ (Coleman, Boring & Kaye) to be anything but before Binder & Plastino’s ‘Clark Kent, Fireman of Steel!’ depicts the reporter’s aggravating and hilarious “luck” as a temporary fire-fighter. Another major debut follows before introducing the bewitching mermaid Lori Lemaris in ‘The Girl in Superman’s Past’ – a moving Untold Tale of Superman (from Finger & Boring) which again refined the Man of Steel’s intriguing early life.

From the same month, Action Comics #252 would have been significant enough merely for introducing the threat of John Corben, a criminal whose crushed skeleton is replaced by a robot body and Kryptonite heart to become ‘The Menace of Metallo!’ (Bernstein & Plastino), but a new back-up strip also began in that issue which utterly revolutionised the Man of Tomorrow’s ongoing mythology.

‘The Supergirl from Krypton!’ introduced Kal-El’s cousin Kara Zor-El in another captivating, groundbreaking yarn by Binder & Plastino. The Maid of Might would occupy the rear of Action and alternate covers for a decade and more to come, carving her own unique legend…

Issue #253 featured ‘The War Between Superman and Jimmy Olsen!’ by Alvin Schwartz, Swan & Kaye as an alien presence gives the boy reporter super-powers and a mania to conquer the world whilst Superman #130 presented ‘The Curse of Kryptonite!’ (Binder & Plastino), wherein the Action Ace relives his past experiences with the lethal mineral; ‘The Super-Servant of Crime!’ (Bernstein, Swan & John Sikela) which finds the hero turning the tables on a petty crook who thinks he’s fooled the Man of Tomorrow, and ‘The Town That Hated Superman!’ (Binder, Boring & Kaye) which happy hamlet has outlawed the hero. He simply has to know why…

‘The Battle with Bizarro!’(Action #254, by Binder & Plastino) re-introduces an imperfect duplicate super-being who had initially appeared in a well-received Superboy story (#68, from the previous year), courtesy of Luthor’s malfunctioning duplicator ray.

Even way back then high sales trumped death and so popular was the fatally-flawed character that the tale was continued over two issues, concluding with ‘The Bride of Bizarro!’ in #255 – an almost unheard-of luxury back then. Here that bombastic, traumatic conclusion is separated by the contents of Superman #131, which firstly reintroduces a long-vanished pestiferous annoyance with ‘The Menace of Mr. Mxyzptlk!’ by Coleman & Plastino, before Lois Lane is granted a tantalising glimpse of ‘Superman’s Future Wife’ (Bernstein & Schaffenberger) and ‘The Unknown Super-Deeds’ reveals hitherto hidden connections with the Daily Planet staff long before Superboy left Smallville in another Untold Tale… from Binder & Plastino.

Action #256 seemingly unleashes ‘The Superman of the Future’ (Binder, Swan & Kaye) whilst in Superman #132 (October 1959) Batman and the projections of a super-computer show what might have happened had Superman grown up on an unexploded Krypton in the 3-chapter epic ‘Superman’s Other Life’, ‘Futuro, Super-Hero of Krypton!’ and ‘The Superman of Two Worlds!’ by Binder, Boring & Kaye.

Action #257 reveals Clark Kent as ‘The Reporter of Steel!’ after he is hit by a ray from mad scientist Luthor in a cunning yarn by Binder, Boring & Kaye, before the contents of Superman #133 brings to a close this potent premier compendium with ‘The Super-Luck of Badge 77’ (Binder & Plastino) with the reporter trying his hand as a beat cop, before we can enjoy the first new tales by co-creator Jerry Siegel in nearly a decade: ‘How Perry White Hired Clark Kent’ (art by Plastino) and the wryly light-hearted ‘Superman Joins the Army!’ illustrated by Boring & Kaye.

Superman has proven to be all things to all fans over his decades of existence and with the character seemingly undergoing almost constant radical overhaul nowadays, these timeless tales of charm and joy and wholesome wit are more necessary than ever: not just as a reminder of great memories past but also as an all-ages primer of wonders still to come…
© 1959-1963, 2005 DC Comics. All Rights Reserved.