Category: Science Fiction

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Wolverine: Weapon X Gallery Edition


By Barry Windsor-Smith, with Chris Claremont, Frank Tieri, Avalon’s Raymund Lee, Jim Novak, Tom Orzechowski & various (MARVEL)
ISBN: 978-1-3029-3395-1 (HB/Digital edition) TPB

Wolverine is all things to most people and in his long life has worn many hats: Comrade, Ally, Avenger, Teacher, Protector, Punisher. He first saw print in a tantalising teaser-glimpse at the end of The Incredible Hulk #180 (cover-dated October 1974 and Happy 50th, Eyy?): prior to indulging in a full-on scrap with the Green Goliath – and accursed cannibal critter The Wendigo – in the next issue. The Canadian super-agent was just one more throwaway foe for one of Marvel’s mightiest stars, and vanished until All-New, All Different X-Men launched.

The semi-feral Canadian mutant with fearsome claws and killer attitude rode – or perhaps fuelled – the meteoric rise of those rebooted outcast heroes. He inevitably won a miniseries try-out and his own series: two in fact, in fortnightly anthology Marvel Comics Presents and an eponymous monthly book (of which more later and elsewhere).

In guest shots across the MU plus cartoons and movies he carved out a unique slice of super-star status and screen immortality. He hasn’t looked back since, and over those years many untold tales of the aged agent (eventually revealed to have been born in the 19th century) explored his erased exploits in ever-increasing intensity and detail. Over decades, his many secret origins and a stream of revelatory disclosures regarding his extended, self-obscured life slowly seeped out. Cursed with recurring periodic bouts of amnesia, mind-wiped ad nauseum by sinister or even well-meaning friends and foes, the Chaotic Canucklehead packed a lot of adventurous living into decades of existence – but mostly didn’t remember much of it. This permanently unploughed field conveniently resulted in a crop of dramatically mysterious, undisclosed back-histories, the absolute best of which is re-presented here.

Spanning March to September of 1991 in 8-page instalments, Marvel Comics Presents # 72-84 hosted a much-demanded semi-origin for the mystery mutant, revealing how he was internally enrobed with wonder-metal adamantium. The tale delivered a ‘Prologue’, 12 highly visual revelatory chapters and a concluding ‘Interlude & Escape’. In 1993, when the tale was collected into a graphic novel, Larry Hama wrote a prose ‘Epilogue’ to dot all the “I”s and cross all the “T”s, and that’s included here, plus thematic continuations to the saga that shook the Marvel firmament. Those include an excerpt from Wolverine #166 and the contents of the Smith co-crafted X-Men #205.

A visual tour de force with truly visceral imagery – almost medical torture porn – the story of how a burned-out spy walks into a bar and eventually regains his senses sometime later, changed beyond all recognition, is told in overlapping, interwoven flashbacks within flashbacks.

The abduction, who did to what to “Logan” under the illicit auspices of “Experiment X” – and why – is all here to experience in gorge-rising detail, but the easy answers you want won’t be easy to see. The monstrous tale of forced transmutation, fight for survival and autonomy and the dichotomy of what separates Man from Animal reveals facts yet leaves truths to later stories. What you have here is how a victim of atrocity overcomes his tormentors and lives free by not dying… and it is truly spectacular.

Written, illustrated, coloured and lettered by Barry Windsor-Smith, Weapon X is short and pretty to look upon, a masterpiece of visual storytelling that must be seen to be believed. It’s also a superb shock-horror tribute to Frankenstein, exposing the true nature of the tortured soul underneath the imposed layers unknown enemies have smothered Logan in for so very long and the first step towards his ultimate emancipation.

Following the Hama conclusion, an extract from Wolverine #166 (September 2001) sees Windsor-Smith return to his opus in a flashback sequence scripted by Frank Tieri: focusing on one of the nameless army grunts (and rare survivor) who faced the berserk escaping Experiment X. Accompanied by Windsor-Smith’s cover for #167 and mirrored by his cover for Uncanny X-Men # 205 (May 1986), they precede his collaboration with Chris Claremont on ‘Wounded Wolf’; another boldly visual triumph as Wolverine faces vengeance-crazed, adamantium augmented cyborg Lady Deathstrike in a compelling fable of obsession guest-starring little Katie Power from pre-teen titans Power Pack.

Although there are many versions of this collection available, this Gallery Edition is a dream for fans of Windsor-Smith art, closing with 17 pages of original art and a selection of X-related covers, images and pin-ups by the author. These are culled from the back of Wolverine #4, Marvel Comics Presents # 72-84, and assorted X-collections including Weapon X Hardcover (1993), Weapon X Trade Paperback (2001), Wolverine: Weapon X Marvel Premiere Classic Hardcover,  X-Men: Lifedeath Marvel Premiere Classic Hardcover, There are also house ads, promo posters, and variant covers for Uncanny X-Men #395, New X-Men #115,and Deadpool #57-60.

Short, fierce, relentless and unmissable.
© 2022 MARVEL.

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Dr. Watchstop: Adventures in Time and Space


By Ken Macklin with Raymond E. Feist, Toren Smith, Lela Dowling, LX Ltd & various (Eclipse Books)
ISBN: 978-0-91303-585-6 (album PB)

There’s a new time-travelling doctor about to debut. It’s not this one…

Before becoming a successful games artist for LucasArts graphic adventure games (I don’t actually grok push-button fun but I gather that Maniac Mansion, Loom, the second and third Monkey Island confoundations and the character Bubsy the bobcat number among his digital hits), Ken Macklin started as an underground/small press creator who delighted in cleverly whimsical and witty funny animal strips during the late 1970s in indie publications like Quack! He also made wonderful trading cards and box cover art. You may still have some in your person-cave…

Married to equally talented anthropomorphic raconteur Lela Dowling, he assisted and contributed to her marvellously manic Weasel Patrol tales, which were published in the lost and long-lamented sci-fi anthology Fusion whilst producing his own diabolically wonderful one-shot space opera romp Contractors and the stimulating vignettes from lost history gathered here. As well as a talented designer and illustrator Macklin is a gifted painter and slyly devious writer. In 1982 he began selling brief, luxurious mini-epics starring an astonishingly brilliant but outrageous innocent multi-discipline savant named Dr. Watchstop to Epic Illustrated and Fusion: high quality graphic fantasy magazines aimed at older readers. In an era where science fiction was synonymous with and indistinguishable from cops and cowboys with honking great space-blasters, Watchstop’s antics were contemplative, sillily slapstick, wickedly ironic: eyes wide-open wonderments that only saw the ridiculous side of technology and the future cosmos…

Still available if you look really hard, this album-proportioned compilation gathers all those marvellously intellectual, winningly funny spoofs and japes, opening in glorious painted colour with ‘Dr. Watchstop Faces the Future’ (Epic #10 February 1982), possibly the last word in time paradox tales. It’s followed by amoebic dalliance ‘One Cell at a Time’ before demonstrating the downside of ancient alien artifacts in ‘Time Bomb’ (Epic #14 and #17 respectively). If possible, Macklin’s art is even better as monochrome tone-washes, as perfectly illustrated in the EVA Suit-wettingly hilarious ‘Unique Specimen’ (Fusion #1, January 1987), life-through-a-lens fable ‘Modern Culture’ (Fusion #3) and natural history segments ‘Right Stuff’ (Fusion #7) and ‘Bugs’ (Fusion #5). ‘Relic’ (Fusion #2) is pure Future Shock whilst full-colour ‘The Single Electron Proof’ from Epic #21 (September 1983, and with the timely assistance of Toren Smith) will stretch the higher mathematics prodigies amongst us with a little metaphysical tomfoolery…

Epic #29 provided a first home for ‘In Search of Ancient Myths’, as #33 did for both ‘Reaching Out’ and ‘Beating the Heat’, whilst the last colour cosmic conundrum ‘Wasting Time’ launched in #34. The remainder of this must-have, can’t-get collection features more black & white antics from Fusion, beginning with the vaudevillian ‘Gone Fishing’ (#4), prior to moving adroitly into ‘Xlerg’s Fossil Emporium’ (#8) and anarchically culminating in a riotous Weasel Patrol collaboration enigmatically entitled ‘The Weasels Fill In’ from Fusion #9 (May 1988)…

Sheer artistic ability and incisive comedy for smart people is never going to be out of style and this stellar compilation will be a constant joy for any fan smart enough to unearth it as long as some bright better-evolved spark publishes it…
© 1989 Ken Macklin, and where appropriate Raymond E. Feist, Toren Smith, Lela Dowling and LX Ltd. All rights reserved.

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Flash Gordon Dailies: Dan Barry volume 1 – The City of Ice 1951-1953


By Dan Barry & Harvey Kurtzman with Frank Frazetta, Harry Harrison & various (Titan Comics)
ISBN: 978-1-78276-683-4 (HB/Digital edition)

Happy 90th, space man!

By almost any metric Flash Gordon is the most influential comic strip of all time. When the husky hero debuted on Sunday January 7th 1934 (with the superb Jungle Jim running as a supplementary “topper” strip) he was an answer to revolutionary, inspirational, but clunky Buck Rogers strip ) by Philip Nolan & Dick Calkins – which also began on January 7th, albeit five years previously. Two new elements were added to the wonderment: Classical Lyricism and astonishing beauty.

Where Buck Rogers blended traditional adventure and high science concepts, Flash Gordon reinterpreted Fairy Tales, Heroic Epics and Mythology, spectacularly draping them in the trappings of a contemporary future, with varying “Rays”, “Engines’ and “Motors” as seen in pulps substituting for spells, swords and steeds. To be fair there were also plenty of those too – and exotic craft and contraptions standing in for Galleons, Chariots and Magic Carpets.

Most important of all, the sheer artistic expertise of Raymond, his compositional skills, fine line-work, eye for sumptuous detail and just plain genius for drawing beautiful people and things, swiftly made this the strip that all young artists swiped from.

When all-original comic books began two years later, dozens of talented kids weaned on the strip’s clean-lined, athletic Romanticism entered the field, their interpretations of Raymond’s mastery a ticket to future success in the field of adventure strips. Almost as many went with Milton Caniff’s expressionistic masterpiece Terry and the Pirates (and to see one of his better disciples check out Beyond Mars, illustrated by the wonderful Lee Elias).

For over a decade, sheer escapist magic in Ruritanian Neverlands blending Camelot, Oz and every fabled Elysium that promised paradise whilst concealing hidden vipers, ogres and demons, enthralled the entire world, all cloaked in a glimmering sheen of sleek art deco futurism. Worthy adversaries such as utterly evil, animally magnetic Ming, emperor of a fantastic wandering planet; myriad exotic races and fabulous conflicts offered a fantastic alternative to the drab and dangerous real world…

Alex Raymond’s ‘On the Planet Mongo’ – with journalist/editor magazine writer Don Moore (Jungle Jim and a long career in television scripting the likes of Captain Video, Rawhide, Sea Hunt and Death Valley Days) doing the bulk of the word stuff – ran every Sunday until 1944, when the illustrator enlisted in the Marines. On his return he would create gentleman detective Rip Kirby. The continuous, unmissable weekly appointment with sheer cosmic wonderment continued under the artistic auspices of Raymond’s assistant Austin Briggs – who had been drawing the daily instalments since 1940.

The Monday-to-Saturday monochrome feature ran from 1940 to 1944 when it was cancelled to allow Briggs to take on the Sunday page. Often regarded as the poor relation, the daily strip got an impressive reboot in 1951 when King Features, keenly aware of the burgeoning science fiction zeitgeist in the post-war world, revived it, asking Dan Barry to produce the package. The Sunday was continued by Austin Briggs until 1948 when Mac Raboy assumed artistic control, beginning a 20-year resurgence of classicist elegance and sheer beauty. On Raboy’s death Barry added the Sunday to his workload… until he quit over a pay dispute in 1990.

A contemporary of Leonard Starr and Stan Drake, Dan Barry (1911-1997) began his career as a jobbing comic book artist. Like them and his own brother Seymour “Sy” Barry – who produced The Phantom newspaper strip for three decades – Dan worked in a finely-detailed, broadly realistic style, blending aesthetic sensibility with straightforward visual clarity and firm, almost burly virile toughness: a gritty “He-man” attitude for a new era, contemporarily christened “New York Slick”. He drew varied comic stars fare such as Airboy, Skywolf, Boy King, Black Owl, Spy Smasher and Doc Savage before joining the US Air Force and, on returning after the hostilities, limned monster hero The Heap and sundry genre shorts for new titles like Crimebusters and started his own outfit producing educational/informational comics.

Dan began his gradual withdrawal from funnybooks as early as 1947, assuming art chores on the Tarzan daily strip for a year, but was still gracing DC’s crime, mystery and science fiction anthologies as late as 1954. When he was offered Flash Gordon he quickly accepted, intending to write the feature himself. However, remuneration was meagre and he soon started looking for a scripter.

The (short term) solution was to hire arguably the most important cartoonist of the latter half of the last century, even more so than Jules Feiffer, Jack Kirby, Steve Ditko, Joe Kubert or Will Eisner. Harvey Kurtzman’s early triumphs in the fledgling field of comic books (Frontline Combat, Two-Fisted Tales and especially groundbreaking, game-changing Mad) would be enough for most creators to lean back on, but he was also a force in young kids comics and newspaper strips (Hey Look!, Silver Linings, Rusty) and a restless innovator, commentator and social critic who kept on looking at folk and their doings and just couldn’t stop making art or sharing his conclusions.

Kurtzman invented a whole new format when he converted extremely successful colour comic book Mad into a monochrome magazine, safely distancing the brilliant satirical publication from fallout caused by the 1950s comics witch-hunt that eventually killed all EC’s other titles. He then pursued comedy and social satire further in newsstand magazines Trump, Humbug and Help!, all the while creating challenging and powerfully effective, culturally challenging humour strips like Jungle Book, Little Annie Fanny (in Playboy), Nutz, Goodman Beaver, Betsy’s Buddies and so much more.

The story of how cartoon genius Kurtzman came aboard and what happened next is covered in preliminary article ‘Flash Gordon vs the Reluctant Collaborators of Manhattan Isle’, as first written by Dave Schreiner in 1988 for the Kitchen Sink compilation Flash Gordon: Complete Daily Strips – 19th November 1951- 20th April 1953. The feature section also offers a wealth of Kurtzman’s rough-pencilled script layouts, ancillary sketches and a large sampling of ghosted pencils from young Frank Frazetta. There’s even a brief glimpse of Flash spoofs from other magazines (if you’re interested, they include ‘Flesh Garden’ by Wally Wood from Mad #11 (May 1954), ‘Flyashi Gordonovitch’ (Jack Davis, Humbug #10, June 1958) and ‘Little Annie Fanny’ (Playboy 1962, Will Elder). For more, you’ll need to see the utterly effervescent Kitchen Sink iteration, and you should because it’s great too…

This monochrome tome reprints all Barry’s episodes and Kurtzman’s entire run (until his departure with the 20th April episode) before thundering on with non-stop space opera under other scripters’ aegis. Later story collaborators included writers Harry Harrison and Julian May, but we’re not certain who immediately took over – it might well have been Barry again until he found someone to handle what he considered the least rewarding part of the process.

Art assistants were commonplace with Frazetta pitching in during 1953’s Mr Murlin sequence and are early glimpses of Dan’s old Hillman Publications associates Bob Fujitani (The Hangman, Crime Does Not Pay, Prince Valiant, Dr. Solar, Man of the Atom) and Fred Kida (Airboy, Valkyrie, The Spirit, Steve Canyon, Captain Britain, Amazing Spider-Man newspaper strip) who joined early and continued on Flash Gordon intermittently for decades thereafter. Preceded by introductory recap ‘The Story Thus Far’ and series listing ‘The Dan Barry Flash Gordon Checklist Part One (1951-1958)’, and biographical features on the major contributors, the wide black yonder wonderment then takes off.

The new Flash Gordon daily debuted on 19th November 1951 with the beloved baroque regalia and fanciful scenarios of Mongo and its universe shelved in favour of grittier, harder-edged contemporary-toned pulp fiction atmosphere and trappings. In ‘Space Prison’ (11/19/1951 to 2/16/1952), in the near future (the imminent end of the 20th century in fact) astronaut Flash Gordon blasts off into space: part of Expedition X-3 to Jupiter. However, technical trouble forces the rocket to stop at the Space Prison Station. Docked for repairs, his crew – especially female member Dale – inadvertently trigger a riot. Soon ruthless hopeless convicts take a once-in-a-lifetime opportunity to escape the space rock…

Terse and gripping, the two-fisted yarn rockets along with Flash, Dale and their valiant explorer comrades fighting for their lives as rapacious head thug Big Moe orchestrates a ruthless double cross which only fails when one of the rioters rebels… someone who would eventually join them on their voyage to the gas giant and beyond.

Stories were only seldom titled to herald the forthcoming adventure, so here what was previously billed as ‘Man Against Jupiter!’ is retitled ‘The City of Ice. With iconoclastically fresh tone and milieu firmly established, the real adventure began on Monday, February 25th 1952 (with Kurtzman’s first scripts appearing in April). The crew orbiting the colossal mystery globe again experience terrifying malfunctions and their atomic powered ship “Planet Pioneer” heads to nearby moon Ganymede to effect repairs. On landing, the voyagers discover a subterranean civilisation within the icy satellite – and a young Earth boy.

Ray Carson is the son of a lost lunar scientist and his presence halfway across the solar system is but one of the baffling mysteries challenging Flash and Dale as they battle alien madmen and malicious monsters in the eponymous hidden frozen metropolis. Of course, the real threat is wilful, voluptuous Queen Marla who had originally abducted Ray and his dad…

Via teleport technology, she latterly dispatched the missing scientist to another star-system to search for an element vital to Ganymedan survival, but when geophysical upheaval and a takeover attempt by sadistic usurping Prince Garl tear the city apart Flash, Dale, Ray and Marla can only escape by following the missing savant into an unknown universe…

Concluding on 14th June, it was followed by a fuller return to traditional fantasy element as ‘The Butterfly Men’ (16/6 – 9/8/1952) saw many old accoutrements of the classic strip reappear: lost civilizations, monsters, arena duels – and with this new sequence the creators brought back more fantasy elements as the survivors explore a new world whilst hunting Dale, who has been lost in transit. After an intriguingly offbeat encounter with cruelly wronged but vengeful winged aliens and a gruelling ocean odyssey, the sage segues into diabolical continuation ‘Tartarus’ (11/8 – 18/10/1952) as Flash, Marla and Ray are found by a feudal race of horned, tailed, cloven-hoofed warriors in their devil city… Happily, they also encounter a long lost old friend making relatively primitive Earth weapons for the horn-headed natives as they strive to overthrow a tyrannical warlord and gain independence…

Wherever Flash goes, war and revolution seem to follow, but once the devil-men have settled their differences, Flash, Ray and Marla (who has besotted and beguiled surviving Planet Pioneer crewman Bill Kent) resume the search for Dale, stumbling into bizarrely advanced city Pasturia, ruled by devious masters of the mind. These savants hide behind a wall of deception and test the mettle of the visitors in ‘The Awful Forest’ (20/10 to 30/12/1952). When spoiled, greedy Marla typically exploits their technology for her own gain, a potential golden age for humankind is squandered away, but her meddling does bring Flash – still searching for Dale – into contact with a legendary Earth wizard. The voyagers learn that this astronomically distant world is the retirement home of ‘Mr Murlin’ (31/12/1952 – 20/4/1953) before becoming involved in the mage’s desperate attempts to forestall his own long-foreseen murder. As an enticement, Murlin restores Dale to Flash and rescues Ray’s dad too…

The fugitive’s super technologies include a time-machine that proves bewilderingly complex but easily coopt-able by the bad guys. The romp opens with a rapid return to Earth, devolves into a chronal comedy-of-errors, a cruel killer spree and a catastrophic mass destruction event, all sparked by 29th century bandit Boss Punch seeking to escape the long arm of the law by “taking over” 900 years before his time…

This extended sequence rattles along with immense pace and spectacular action, much of it ghosted (which used to mean “crafted by an unattributed replacement”) by up-&-coming star Frank Frazetta, as Flash and his team strive to save the present and guarantee the future. The saga also acts as a formal full re-set for the next few years of the feature…

The first of those new stories offers abroad change of pace via ‘The Space Kids on Zoran’ (21/4/ to 24/10/1953) as Ray starts meeting children his own age and founds a club of boy pace enthusiasts determined to build their own rocket and travel into orbit. Soon the callous machinations of money-mad space industrialist J.B. Pennington and efforts of his cruelly-neglected son Cyril to belong jointly spark a stowaway crisis on a prototype “starliner”, catapulting them – and Flash’s trusty test crew of rocketeers – into another star system and galaxy.

The marooned humans’ struggle to survive is hindered and enhanced by the suspicion that one of their number is unwittingly able to call upon uncanny powers of the mind which manifest as randomly materialised wishes and daydreams: lost kingdoms, flying horses, flaming monsters, pirates and worst of all capable of dealing out death and destruction…

Gripping, alluring, stunningly well illustrated (did I mention that the incomparable Frank Frazetta pencilled a long sequence of incredible strips?) this lost treasure is pure graphic gold, presented on huge pages that perfectly display the virtuosity of all involved. Perfect, perfect comic strip wonderment. Please gods of space, bring it back and more besides!

As I’ve constantly stated, most of the material here was first collected in 1988 by Kitchen Sink Press as Flash Gordon: Complete Daily Strips – 19th November 1951- 20th April 1953 in oversized (320 x 260mm) editions (ISBNs 978-0-87816-035-3/HB & 978-0-86801-969-7/TPB). There the focus solidly on the writer: more so than on the legendary character or the artists. If that’s not confusing enough for you, if you buy on Kindle, this book is retitled Flash Gordon Volume 5: The City of Ice. However, none of that should deter you from enjoying some of the most thrilling and endlessly enjoyable science fiction fun ever made…
Flash Gordon © 2016 King Features Inc. and ™ Hearst Holdings Inc. All Rights Reserved.
Flash Gordon vs. the Reluctant Collaborators of Manhattan Isle: Dave Schreiner. © 2016 used with permission of Lesleigh Luttrell. All rights reserved.

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The Only Living Boy Omnibus


By David Gallaher & Steve Ellis (Papercutz)
ISBN: 978-1-54580-126-0 (HB) 978-1545801277 (TPB/Digital edition)

Here’s a rather short but exceedingly heartfelt and enthusiastic re-review for a mighty big book. Scripter Dave Gallaher (Green Lantern, Box 13) and illustrator Steve Ellis (High Moon) first began their stupendous science fiction saga in 2012 as a webcomic before being picked up by Papercutz. The hugely popular yarn (multiple reprintings and numerous award nominations) was collected as a quintet of graphic albums – Prisoner of the Patchwork Planet; Beyond Sea and Sky; Once Upon a Time; Through the Murky Deep and To Save a Shattered World – and when the tale is done was gathered in a bulky paperback (or eBook edition) recounting the complete saga plus fresh material from a Free Comic Book Day tie-in and other sources.

So, what’s it about?

Erik Farrell is 12 years old and scared. That’s why he runs into Central Park at the dead of night in a thunderstorm. In the morning he wakes up in the roots of a tree clutching a little kid’s teddy bear backpack that, for some inexplicable reason, he Must Not Lose. He’s also absent most of his memory. Even so, Erik’s pretty sure home never had wild jungles, marauding monsters, talking beasts and bugs or a shattered moon hanging low in the sky…

Chased by howling horrors and dimly aware that the decimated city ruins are somehow familiar, Erik is saved by a green warrior calling herself Morgan Dwar of the Mermidonians, but the respite is short lived.

All too soon they are captured by slaves of diabolical experimenter Doctor Once and taken to his revolting laboratory. It doubles as gladiatorial arena where the scientist’s involuntary body modifications can prove their worth in combat. Erik’s fellow captives soon apprise him of the state of his new existence. The world is a bizarre of patchwork regions and races, all of them at war with each other and all threatened by monstrous shapeshifting dragon Baalikar. The Doctor seeks the secrets of trans-species evolution and is ruthless and cruel in the pursuit of his goal. In the arena, however, Erik shows them all the value of cooperation and promptly escapes with Morgan and insectoid Sectaurian Princess Thelandria AKA Thea…

Constantly running to survive, the boy slowly uncovers an incredible conspiracy affecting this entire world and even far-gone Earth. The big surprise is an unsuspected secret connection between his own excised past, Doctor Once and hidden manipulators known as the Consortium. On the way, just like Flash Gordon, Erik somehow inspires and unites strangely disparate and downtrodden races and species into a unified force to save the planet they must all share…

After a heroic journey and insurmountable perils faced, Erik’s story culminates in the answers he’s been looking for and a spectacular battle where the many races ultimately extinguish the evil of Baalikar. Sadly, though, that just makes room for another menace to emerge…

Adding bonus thrills to the alien odyssey are a complete cover gallery plus two lengthy sidebar tales. ‘Under the Light of the Broken Moon’ and ‘In the Clutches of the Consortium’ focus on the developing relationship between Morgan and Sectaurian Warlord Phaedrus and on the repercussions of failure for failed-tool Doctor Once at the hands of his backers…

Rocket-paced, bold and constantly inventive, The Only Living Boy is a marvellous and unforgettable romp to enthral every kid with a sense of wonder and thirst for adventure.
© 2012-2018 Bottled Lightning LLC. All Rights Reserved.

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Incredible Hulk Epic Edition volume 8 (1976-1978): The Curing of Dr. Banner


By Len Wein, Roger Stern, Sal Buscema, Herb Trimpe, Jim Starlin, David Anthony Kraft, George Tuska, Keith Pollard, Joe Staton, Ernie Chan, Tom Palmer, Alfredo Alcala, Frank Giacoia, Mike Esposito, Joe Sinnott, Josef Rubinstein & various (MARVEL)
ISBN: 978-1-3029-4879-5 (TPB/Digital edition)

Bruce Banner was a military scientist accidentally caught in a gamma bomb blast of his own devising. As a result, stress and other factors trigger transformations into a big green monster of unstoppable strength and fury. One of Marvel’s earliest innovations and first failure, after initially troubled early years he finally found his size-700 feet and a format that worked, becoming one of the company’s premiere antiheroes and most popular features.

The Gamma Goliath was always graced with artists who understood the allure of shattering action, the sheer cathartic reader-release rush of spectacular “Hulk Smash!” moments, and here – following in the debris-strewn wake of Jack Kirby, Steve Ditko, Marie Severin and Herb Trimpe – Sal Buscema was showing the world what he could do when unleashed…

This chronologically complete compendium re-presents Incredible Hulk King Size Annual #6 and issues #201- 226 of his monthly magazine, spanning July 1976 – August 1978.

Crafted by writer Len Wein and illustrated by Buscema & Joe Staton, Hulk #201 features ‘The Sword and the Sorcerer!’ wherein the monster is marooned on a perilously primitive sub-atomic world just long enough to liberate its people from brutal despot (and demon-possessed pawn) Kronak the Barbarian before starting to shrink uncontrollably. He soon arrives in the promised land of his beloved long-lost alien love Queen Jarella…

 ‘Havoc at the Heart of the Atom’ reveals how his last visit had rendered the barbarous world tectonically unstable and wrecked the ancient civilisation which once had the power to blend Banner’s mind with the Hulk’s body. Moreover, the once-gentle population then turned on the queen they held responsible…

Reunited with his beloved, the simplistic brute swears to fix the problem confronting the antediluvian horror who first hijacked him to the Microverse… and who still craves bloody revenge. Once again evil fails at great personal cost. The ‘Assault on Psyklop!’ delivers crushing defeat to the vile insectoid and a guardedly happy ending for the man-brute – until a rescue attempt from Earth brings Hulk home, carrying an astounded Jarella with him…

Herb Trimpe briefly returned in #204 to plot and pencil a tale of time-bending might-have-beens, as brilliant theoretician Kerwin Kronus offers to eradicate Banner’s problems by turning back time and undoing the accident which created the Hulk. Sadly, the experiment succeeds all too well: briefly forming an alternate timeline wherein original sidekick Rick Jones died and the time-master became an even greater menace to reality. Banner/Hulk must make a heartbreaking sacrifice to close that unacceptably ‘Vicious Circle’…

‘Do Not Forsake Me!’ in #205 depicts the most tragic moment in the Green Goliath’s tortured life when Jarella sacrifices herself to save a child from rampaging robbery robot Crypto-Man, leaving the bereft Hulk ‘A Man-Brute Berserk!’ His trail of destruction leads from Gamma Base, New Mexico all the way to New York City where even his friends and allies cannot calm the grieving green goliath, leading to a brutal battle ‘Alone Against the Defenders!’ who finally realise compassion is the only method that will work against their traumatised ally-turned-foe…

The bereft beast is still beside Defender-in-Chief Doctor Strange for David Anthony Kraft, Trimpe and inkers Frank Giacoia & Mike Esposito for Incredible Hulk King Size Annual #6’s ‘Beware the Beehive!’ wherein a band of mad scientists attempt to recreate their greatest success and failure. Morlak, Hamilton, Shinsky and Zota were a rogue science collective known as The Enclave, who – from their hidden “Beehive” lair – had originally spawned puissant artificial man Him (latterly AKA Adam Warlock).

Here, three of them reunite for another go at building a compliant god they can control, but when they abduct Stephen Strange to replace their missing fourth, the magician has the Jade Juggernaut save him from the experiment’s inevitable consequences: a compassionless super-slave dubbed Paragon whose first task is to eradicate Strange and subdue mankind. Happily, after a border-shattering, army-crunching global rampage, that’s when the Hulk kicks the wall in and goes to work…

In Incredible Hulk #208 Wein, Buscema & Staton reveal ‘A Monster in Our Midst!’ as Bruce Banner finally rejects ending his pain-wracked existence and begins a new and – hopefully – stress-reduced life where his alter ego will never be seen again. That resolve only lasts as long as it takes maniacal Crusher Creel – freed as a consequence of the Jade Juggernaut’s most recent rampage – to accept a commission from a triumvirate of hooded schemers who want the Hulk dead. Of course, even though ‘The Absorbing Man is Out for Blood!’, the super-thug proves no match for Hulk’s unfettered fury, but his well-deserved drubbing results in Banner collapsing unconscious in alley where he is eventually found by a mystic do-gooder in search of an ally…

With #210, Ernie Chan became Buscema’s regular inker as Wein’s ‘And Call the Doctor… Druid!’ finds both Banner and his brutish alter ego crucial to a plan to defeat ancient mutant Maha Yogi, his vast mercenary army and alien bodyguard Mongu before they complete their preparations for world domination. Although the battles of ‘The Monster and the Mystic!’ are a close-run thing, virtue is eventually victorious, but makes little difference to the Hulk’s former teen companion Jim Wilson as he hitchhikes across America, utterly unaware he is the target of a vicious criminal conspiracy. The plots hatch once Jim reaches New York City where his hidden tormentors decide that he must be ‘Crushed by… the Constrictor!’ Neither they nor their ruthless high-tech hitman expected the Hulk to intervene…

With a friend and confidante who shares his secrets, you’d expect Banner’s life to get a little easier, but the authorities never stop hunting the Hulk, who initially realises ‘You Just Don’t Quarrel with the Quintronic Man!’ (inked by Tom Palmer) before bouncing back to trash a formidable five-man mecha suit. As Chan returns, this bout leads to a frenzied clash with a new hyper-powered hero resolved to make his name by defeating America’s most terrifying monster in ‘The Jack of Hearts is Wild!’ …

Macabre old enemy Bi-Beast is resurrected in #215; still eager to eradicate humanity in ‘Home is Where the Hurt Is’ and nearly succeeding after seizing control of SHIELD’s Helicarrier. Only desperate action by General Thaddeus Ross saves the day, as the old soldier uses the carrier’s tech to shanghai Banner: letting nature take its savage course and hoping the right monster wins the inevitable blockbuster battle before a ‘Countdown to Catastrophe!’ leaves the planet a smoking ruin…

A moodily poignant change of pace comes in #217 as ‘The Circus of Lost Souls!’ sees the shell-shocked Hulk lost somewhere in Europe, defending a band of carnival freaks from the dastardly depredations of The Ringmaster and his Circus of Crime: a solid demarcation signalling Wein’s move  away from scripting in favour of co-plotting, allowing Roger Stern to find his own big green feet to guide the Green Goliath’s future…

That begins with ‘The Rhino Doesn’t Stop Here Anymore’ (#218 by Wein & Stern, with George Tuska, Keith Pollard & Chan handling visuals) as super-strong, gamma-tainted psychologist “Doc” Leonard Samson takes centre stage battling the ruthless Rhino, whilst in #219 Banner learns ‘No Man is an Island!’ (Wein, Stern, Sal Buscema & Chan) after hiring on as a freighter deckhand, only to have it sunk from under him by submarine-based pirate Cap’n Barracuda. Washed ashore on a desert atoll, Hulk is befriended by a deluded soul who believes himself to be Robinson Crusoe. As events unfold an even stranger truth is revealed when Barracuda captures the madman to pluck the secret of making monsters from his broken mind. The cruel corsair has utterly underestimated the ferocious loyalty and compassion of the Hulk, who unleashes devastating destructive ‘Fury at 5000 Fathoms!’

With Stern in authorial control, Sal Buscema is joined by Alfredo Alcala for #221’s ‘Show Me the Way to Go Home’, with still all-at-sea Banner rescued from drowning by marine explorer Walt Newell. He ferries his exhausted passenger back to Manhattan where he is recognised as Banner. Realising he has unwittingly unleashed The Hulk on a major population centre, Newell exposes his own secret identity as subsea superhero Stingray and pursues his former guest. The battle is painfully one-sided and Stingray near death when Jim Wilson intervenes, saving the marine crusader’s life, but only at the cost of Hulk’s trust…

Wein returned for one last hurrah in #222, scripting a plot by artist Jim Starlin (abetted by Alcala). A potently creepy horror yarn begins as the Jade Juggernaut tears through another unfortunate army unit before being gassed into unconsciousness. Banner awakens in the care of two children living in a cave, but they’re not surprised by the fugitive’s transformations: not since the radioactive stuff changed their little brother…

Now people have been disappearing and although they haven’t grasped the truth of it yet, Bruce instantly grasps what is involved in ‘Feeding Billy’… and what his intended role is…

Now firmly established, Stern began an ambitious storyline in #223 (illustrated by Sal & Josef Rubinstein) as ‘The Curing of Dr. Banner!’ sees the monster’s human half spontaneously purged of the gamma radiation that triggers his changes. Heading for Gamma Base to verify his findings, Bruce discovers the entire facility has been taken over: mind-controlled by his ultimate archenemy…

As the villain makes everyone ‘Follow the Leader!’, Doc Samson and General Ross escape and beg Banner to again sacrifice his humanity for the sake of mankind. Only the Hulk has ever defeated The Leader and their only hope is to recall and harness his unstoppable fury. Tragically, the halfway measures fail at the final moment and the villain has cause to ask ‘Is There Hulk After Death?’ With Bruce seemingly deceased, his compatriots jumpstart his system with another overwhelming dose of gamma rays and soon everybody involved has cause to regret the resurrection of the original Gamma Goliath as another ordnance-obliterating clash with the military in #226’s ‘Big Monster on Campus!’ (Stern, Buscema & Joe Sinnott) leads to the man-monster invading his old college and suffering a psychological trauma that could end his rampages forever…

To Be Hulk-inued…

Graced throughout with covers by Rich Buckler, John Romita, Trimpe, Dan Adkins, Dave Cockrum, Marie Severin, Giacoia, Ed Hannigan, Chan, Starlin, Rubinstein and Ron Wilson, this cataclysmically cathartic tome is rounded out with a blitz of bonus features. Front & back covers for The Incredible Hulk Marvel Treasury Edition #17 (1978) by Jeff Aclin & Tony DeZuñiga precede a panoramic landscape pin-up poster by Trimpe of Hulk smashing the Hulkbusters from a UK Marvel mag (by way of F.O.O.M. #19). These are followed by an airbrush treat by Ken Steacy, starring old Jade Jaws, Ant-Man & The Wasp as first seen on Marvel Comics Index #7A (1978) plus its star-studded frontispiece by Franc Reyes. Contemporary house ads lead into an unused Cockrum cover and a selection of original art by Buckler, Chan, Starlin, Alcala, Buscema & Rubinstein, said pictorial treasure treats climaxing with 5 stunningly beautiful pencilled pages of a never-completed story by Wein and Swamp Thing co-creator Bernie Wrightson.

The Incredible Hulk is one of the most well-known comic characters on Earth, and these stories, as much as the cartoons, TV shows, games, toys, action figures and movies are the reason why. For an uncomplicated, earnestly vicarious experience of Might actually being Right, you can’t do better than these exciting episodes, so why not Go Green now?
© MARVEL 2023

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The Last Days of American Crime



By Rick Remender & Greg Tocchini (Image Comics /Radical Books)
ISBN: 978-0-935417-06-4 (HB Radical) 978-1-53430437-6 (PB/Digital Image)

Elections on the horizon everywhere this year, and in advance of what I can pretty safely assume is more of the same and worse everywhere, followed by whole bunches of crushing dystopias, here’s a peek back at what we thought the end of civilisation would look like merely a decade ago…

If you’re in any more need of a sobering dose of deeply disturbing hyper-reality, I can highly recommend this brilliant, extremely adult, cross-genre thriller which posits a fascinating premise, starts a countdown clock ticking down and delivers a killer kick to finish the rollercoaster ride.

The Good Old USA is a mess and the government need to take drastic action if they want to keep control. Terrorism and crime are rampant but luckily the nerds and techies have come up with a radical solution: the American Peace Initiative – a broadcast frequency that utterly suppresses the ability to knowingly break a law.

Any law.

Taking the radical decision to make all lawbreaking impossible (which is the only logical flaw I can find: what politician is ever going to make bribery obsolete?), and fearing social meltdown in the run-up to going live, the Powers-That-Be also set up a distraction in the form of a complete switchover from a cash economy to universal electronic transfers – infallible, incorruptible, un-stealable digital currency.

From “D-Day” onwards, citizens will top up pay-cards from charging machines which are tamper-proof and impossible to hack. From that day every transaction in North America will be recorded and traceable thereby making every illegal purchase – drugs, guns, illicit sex – utterly impossible…

In the weeks before the big switchover there’s a huge exodus for the borders of Canada and Mexico and a total breakdown of law and order in the country’s most degenerate areas, but generally everyone seems resigned to the schemes – even after the anti-lawbreaking API broadcast plan is leaked…

With the world about to change forever, low-rent career crook Graham Bricke spots a chance for the biggest score of his life. He’s working as a security guard in one of the banks that will house the new currency technology and sees an opportunity to steal one of the charging machines before the system is locked down forever. Unfortunately, due to the API broadcast he has to pull off the caper before it becomes impossible to even contemplate theft…

In a hurry and needing specialised help, Bricke and his silent partner are forced to hire a crew of strangers, but as days dwindle he realises safecracker Kevin Cash and hacker Shelby Dupree are both trouble: a murderous psychotic and crazed libidinous wild-child with daddy issues. If only he can work out which is which…

There are other distractions. Graham is being hunted by a manic gangbanger and his posse and there’s a good chance at least one of his team is planning a double-cross…

A fascinating idea carried out with dizzying style and astounding panache: smart, sexy, unbelievably violent and utterly compelling: combining the brooding energy of The Wire, unremitting tension of 24’s first season and timeless off-centre charm of Reservoir Dogs. It had blockbuster movie written all over it – which is no surprise as Remender’s previous efforts include mainstream comic books like All-New Atom, X-Men and Punisher, computer games Dead Space and Bulletstorm and animated feature Titan A.E. and he’s since produced a welter of gritty stuff such as The Scumbag, Devolution and Anthrax: Among the Living.

Sadly, when it was filmed (released in 2020), none of that came through, so stick to the book not the box here…

Short. Sharp. Shocking, smartly concocted by Rick Remender and stunningly executed in dazzling colour by Greg Tocchini, the paperback includes an extensive sketch and design section, an interview with the author and a lavish cover gallery including variants by Alex Malleev, Jerome Opeña & Matt Wilson and Joel dos Reis Viegas.

What else do I need to say?
© 2010 Rick Remender and Radical Publishing, Inc. All rights reserved.

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Showcase Presents World’s Finest volume 2


By Jerry Coleman, Bill Finger, Edmond Hamilton, Ed Herron, Dave Wood, Curt Swan, Jim Mooney, Dick Sprang, Sheldon Moldoff, Stan Kaye, John Forte, George Klein & various (DC Comics)
ISBN: 978-1-84856-053-6 (TPB)

For decades Superman and Batman were the quintessential superhero partners: the “World’s Finest” team. They were friends as well as colleagues and the pairing made sound financial sense since DC’s top heroes could cross-pollinate and cross-sell their combined readerships. This most inevitable of Paladin Pairings first occurred on the Superman radio show in 1945, whilst in comics the pair briefly met whilst on a Justice Society of America adventure (in All-Star Comics #36, August/September 1947) and perhaps even there they missed each other in the gaudy hubbub…

They heroic headliners had shared the covers of World’s Finest Comics from the outset, but never crossed paths inside, sticking firmly to solo adventures within. Once that Rubicon was crossed due to spiralling costs and dwindling page-counts, the industry never looked back…

This blockbusting monochrome chronicle gathers their cataclysmic collaborations from WFC #112-145, spanning September 1960 to November 1964, just prior to the entire planet going superhero crazy and Batman mad. Jerry Coleman, Dick Sprang & Sheldon Moldoff  crafted #112, featuring a unique and tragic warning in ‘The Menace of Superman’s Pet’, as a phenomenally cute teddy bear from space proved to be an unbelievably dangerous menace and unforgettable true friend. Bring tissues, you big baby…

In an era when disturbing menace was frowned upon, many tales featured intellectual dilemmas and unavoidable pests. Both Gotham Guardian and Man of Steel had their own magical 5th dimensional gadflies and it was therefore only a matter of time until ‘Bat-Mite Meets Mr. Mxyzptlk’ in a madcap duel to see whose hero was best with America caught in the metamorphic middle. WFC #114 saw Superman, Batman & Robin shanghaied to distant planet Zoron as ‘Captives of the Space Globes’ where their abilities were reversed but justice was still served in the end, after which ‘The Curse that Doomed Superman’ saw the Action Ace consistently outfoxed by a scurrilous Swami with Batman helpless to assist him. Curt Swan & Stan Kaye illustrated #116’s thrilling monster mash ‘The Creature From Beyond’ as a criminal alien out-powers Superman whilst concealing an incredible secret, and all the formula bases were covered as Lex Luthor used ‘Super-Batwoman and the Super-Creature’ to execute his most sinister scheme against the heroes.

For #118 Sprang & Moldoff illustrated ‘The Creature That was Exchanged for Superman’ as the Action Ace is hijacked to another world so a transplanted monster can undertake a sinister search with the Dynamic Duo fighting a desperate holding action, after which ‘The Secret of Tigerman’ (#119 and inked by Stan Kaye) reveals a dashing new hero in charge as the valiant trio attempt to outwit a sinister criminal mastermind. Veteran artist Jim Mooney began illustrating Coleman’s scripts in #120, starting with ‘The Challenge of the Faceless Creatures’ as amorphous monsters repeatedly siphon off Superman’s powers for nefarious purposes before the Gotham Gangbuster is eerily transformed into a destructive horror in trans-dimensional thriller ‘The Mirror Batman’ and #122 (Kaye inks) sees an alien lawman cause a seeming betrayal by the Dark Knight, leading to ‘The Capture of Superman’…

Zany frustration and magical pranks were the order of the day in #123 as ‘The Incredible Team of Bat-Mite and Mr. Mxyzptlk’ (Sprang & Moldoff) returned to again determine whose hero was greatest, whilst ‘The Mystery of the Alien Super-Boy’ (#124, art by Swan & Moldoff) pits our heroes against a titanic teenager with awesome powers and a hidden agenda whilst ‘The Hostages of the Island of Doom’ (Mooney & John Forte) has Batman & Robin used as pawns to force Superman’s assistance in a fantastic criminal’s play for power.

Luthor’s eternal vendetta inadvertently created an immensely destructive threat in ‘The Negative Superman’ (#126, by Ed Herron, Mooney & Moldoff) stretching Batman and Robin’s ingenuity to the limit, after which ‘The Sorcerer From the Stars’ (Coleman) challenges the heroes to stop his plundering of Earth’s mystic secrets and ‘The Power that Transformed Batman’ (#128, Coleman & Mooney) briefly makes the hero a deadly menace.

Dave Wood, Mooney & Moldoff pitted the World’s Finest team against their greatest enemies in #129’s ‘Joker-Luthor, Incorporated!’ whilst Coleman & Mooney posed an intergalactic puzzle with devastating consequences for the heroes in ‘Riddle of the Four Planets!’ and Bill Finger, Sprang & Moldoff present a stirring action thriller when the team inexplicably add a surplus and incompetent fourth hero to the partnership in #131’s ‘The Mystery of the Crimson Avenger’.

With Finger as regular scripter, tense mysteries played a stronger part, such as when Superman was forced to travel back in time to rescue ‘Batman and Robin, Medieval Bandits’ (art by Mooney) and clear their names of historical ignominy, whilst #133 sees ‘The Beasts of the Supernatural’ (Mooney & Moldoff) leeching the Man of Steel’s power. The Gotham Guardian is hard-pressed to fool the mastermind behind those attacks after which the heroes battle for their lives against an alien dictator and ‘The Band of Super-Villains’ (Mooney)…

World’s Finest Comics #135 (August 1963, inked by Moldoff) was Sprang’s last pencil job on the series and a superb swansong as ‘Menace of the Future Man’ has the heroes valiantly and vainly battling a time-tossed foe who knows their every tactic and secret, after which ‘The Batman Nobody Remembered’ (Mooney & Moldoff) pitches a paranoid nightmare wherein the Dark Detective faces a hostile world which thinks him mad, before ‘Superman’s Secret Master!’ (#137, Finger & Mooney) seemingly turns the Action Ace into a servant of crime… until Batman deduces the true state of affairs.

Finger bowed out in #138 with ‘Secret of the Captive Cavemen’ as an alien spy’s suicide leads the heroes back 50,000 years to foil a plot to conquer Earth, after which Dave Wood, Mooney & Moldoff provide eerie sci fi thriller ‘The Ghost of Batman’ and a classic clash of powers in #140’s ‘The Clayface Superman!’ (Mooney) as the shape-shifting bandit duplicates the Metropolis Marvel’s unstoppable abilities…

A new era dawned in World’s Finest Comics #141 (May 1964) as author Edmond Hamilton and artists Curt Swan & George Klein ushered in more realistic and less whimsical tales beginning with ‘The Olsen-Robin Team vs. “the Superman-Batman Team!”’, wherein the junior partners rebel and set up their own crime-fighting enterprise. Of course, there’s a hidden meaning to their increasingly wild escapades…

In #142 an embittered janitor suddenly gains all the powers of the Legion of Super-Heroes and attacked the heroes out of frustration and jealousy in ‘The Composite Superman!’ after which the Gotham Knight suffers a near-fatal wound and nervous breakdown in ‘The Feud Between Batman and Superman!’: a condition cured only after a deadly and disastrous recuperative trip to the Bottle City of Kandor. Super-villains were growing in popularity and #144 highlighted two of the worst when ‘The 1,000 Tricks of Clayface and Brainiac!’ almost destroy the World’s Finest Team forever before this stellar selection ends on an enthralling high note as Batman is pressganged to an alien ‘Prison For Heroes!’: not as a cellmate for Superman and other interplanetary champions, but as their sadistic jailer…

These are gloriously clever yet uncomplicated tales whose dazzling style has returned to inform if not dictate the form of DC’s modern television animation – especially Batman: the Brave and the Bold series – and the contents of this tome are a veritable feast of witty, charming thrillers packing as much punch and wonder now as they always have.
© 1960-1964, 2008 DC Comics. All Rights Reserved.

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Showcase Presents Teen Titans volume 2


By Mike Friedrich, Bob Haney, Neal Adams, Marv Wolfman, Robert Kanigher, Steve Skeates, Gil Kane, Wally Wood, Nick Cardy, Sal Amendola, George Tuska, Carmine Infantino, Dick Dillin, Joe Giella, Jim Aparo & various (DC Comics)
ISBN: 978-1-84576-677-1 (TPB)

Hey, Super Kids! Happy 60th Anniversary!

It’s perhaps hard to grasp these days that once kid heroes were a rarity and at the beginning of the Silver Age, often considered a liability. Now the massive Teen Titans brand – with numerous comic book iterations, assorted TV shows, movies and even an award-winning early reading version (Aw, Yeaah! Tiny Titans!) their continuance as assured as anything in our biz. Nevertheless, during the tumultuous 1960s the series – never a top seller – courted controversy and actual teenage readers by confronting controversial issues head on.

I must have been just lucky, because these stories of lost youth searching for great truths and meaning were released just as I turned Teen. They resonated especially because they were talking directly to me. It didn’t hurt that they were brilliantly written, fantastically illustrated and staggeringly fresh and contemporary. I’m delighted to declare that age hasn’t diminished their quality or impact either, merely cemented their worth and importance.

The concept of underage hero-teams was not a new one when the Batman TV show fuelled DC’s move to entrust big heroes’ assorted sidekicks with their own regular comic as a hip and groovy ensemble as dedicated to helping kids as they were to stamping out insidious evil.

The biggest difference between wartime groups like The Young Allies, Boy Commandos or Newsboy Legion and such 1950s holdovers as The Little Wise Guys or Boys Ranch and the DC’s new team was quite simply the burgeoning phenomena of “The Teenager” as a discrete social and commercial power bloc. These were kids who could be allowed to do things themselves (within reason) without constant adult aid or supervision. As early as spring 1964, Brave and the Bold #54 had tested the waters in a gripping tale by Bob Haney & Bruno Premiani in which Kid Flash, Aqualad and Robin foiled a modern-day Pied Piper.

What had been a straight team-up was formalised a year later when the heroes reunited and included Wonder Girl in a proper super-group with a team-name: Teen Titans. With the stories in this second merely monochrome print-only relic of a collected volume of those early exploits the series had hit a creative peak, with spectacular, groundbreaking artwork and fresh, different stories that increasingly showed youngsters had opinions and attitudes of their own – and often that they could be at odds with those of their mystery-men mentors…

Spanning cover-dated January 1969 to December 1971 and collecting Teen Titans #19-36, and team-up appearances from Brave and the Bold #83 & 94 and World’s Finest Comics #205, these tales cover the most significant period of social and political unrest in American history and do it from the perspective of the underdogs, the seekers, the rebels…

The wonderment begins with a beautifully realised comedy-thriller as boy bowman Speedy enlists. ‘Teen Titans: Stepping Stones for a Giant Killer!’ (#19, January/February 1969), by Mike Friedrich, Gil Kane & Wally Wood, pitted the team against youthful evil mastermind Punch who planned to kill the Justice League of America and thought a trial run against the junior division a smart idea…

Brave and the Bold # 83 (April/May 1969) took a radical turn as the Titans (sans Aqualad, who was dropped from the squad to appear in Aquaman and because there just ain’t that much sub-sea skulduggery) tried to save Bruce Wayne’s latest foster-son from his own inner demons in a tense thriller about trust and betrayal in the Haney & Neal Adams epic ‘Punish Not my Evil Son!’. TT #20 took a long running plot-thread about extra-dimensional invaders and gave it a counterculture twist in ‘Titans Fit the Battle of Jericho’, a rollicking romp written by Neal Adams, pencilled by him & Sal Amendola and inked by brush-maestro Nick Cardy – one of the all-out prettiest illustration jobs of that decade.

Exemplars of the era/symbolic super-teens Hawk and Dove join proceedings for #21’s ‘Citadel of Fear’ (Adams & Cardy): chasing smugglers, finding aliens and ramping up the surly teen rebellion quotient whilst moving the invaders story-arc towards its stunning conclusion. ‘Halfway to Holocaust’ is only half of #22, the abduction of Kid Flash & Robin leading to a cross-planar climax as Wonder Girl, Speedy and a radical new ally quash the invasion threat forever, but still leaving enough room for a long overdue makeover in ‘The Origin of Wonder Girl’ by Marv Wolfman, Kane & Cardy. For years the series – and DC editors in general – had fudged the fact the younger Amazon Princess was not actually human, a sidekick, or even a person, but rather an incarnation of Wonder Woman as a child. As continuity backwriting strengthened its stranglehold on the industry, it was finally felt that the team’s distaff member needed a fuller background of her own.

This moving tale revealed she was in fact a human foundling rescued by Princess Diana and raised on Paradise Island where super-science gave her all the powers of a true Amazon. They even found her a name – Donna Troy – and an apartment, complete with hot roommate. All Donna had to do was sew herself a glitzy new figure-hugging costume…

Now thoroughly grounded, the team jetted south in #23’s fast-paced yarn ‘The Rock ‘n’ Roll Rogue’ (by Haney, Kane & Cardy), trying to rescue musical rebel Sammy Soul from his grasping family and – by extension – his lost dad from Amazonian headhunters. ‘Skis of Death!’ (#24, November/December) by the same creative crew has the quartet holidaying in the mountains and uncovering a scam to defraud Native Americans of their lands. It was a terrific old-style tale, but with the next issue the most radical change in DC’s cautious publishing history made Teen Titans a comic which had thrown out the rulebook…

For a series which spoke so directly to young people, it’s remarkable to think that ‘The Titans Kill a Saint?’ and its radical departure from traditional superhero stories was crafted by Bob Kanigher & Nick Cardy – two of the most senior creators in the business. The emotion-charged thriller set the scene for a different type of human-scaled adventures that were truly gripping and bravely innovative. For the relatively short time the experiment continued, readers had no idea what might happen next…

While on a night out in their civilian identities, Robin, Kid Flash, Speedy, Wonder Girl, Hawk and Dove meet telepathic go-go dancer Lilith who warns them of impending trouble. Cassandra-like, they ignore her warnings and a direct result a globally revered Nobel Laureate is gunned down. Coming so soon after the deaths of John F. and Robert Kennedy, Dr. Martin Luther King Jr. and Malcolm X, this was stunning stuff and in traumatised response all but Robin abandon their costumed personas and – with the help of mysterious millionaire philanthropist and mentor Mr. Jupiter – dedicate their unique abilities to exploring humanity’s flaws and graces: seeking fundamentally human ways to atone and make a difference in the world…

With Lilith beside them, they undertake different sorts of missions, beginning with ‘A Penny For a Black Star’ in which they attempt to live in a poverty-wracked inner city ghetto, where they find Mal Duncan, a street kid who becomes the first African-American in space…although it’s a one-way trip.

TT #27 reintroduced eerie elements of fantasy as ‘Nightmare in Space’ (Kanigher, George Tuska, Carmine Infantino & Cardy) sees the Titans en route to the Moon to rescue Mal, before encountering something far beyond the ken of mortal imagining. Meanwhile on Earth, Donna’s roommate Sharon stumbles upon an alien incursion. ‘Blindspot’ by Steve Skeates & Cardy was tangentially linked to another innovative saga then playing out in Aquaman’s comic book. You’ll need to see Aquaman: The Search For Mera and Aquaman: Deadly Waters for that extended delight. Both were edited by fresh-faced Dick Giordano, who was at this time responsible for the majority of innovative new material coming out of DC, even whilst proving himself one of the best inkers in the field.

Suffice to say that the Sea King’s foe Ocean Master had allied himself with aliens and Sharon became involved just as Aqualad returned looking for help. Unable to understand the Titan’s reluctance to get involved, Garth tries to go it alone but hits a snag only the original team can fix, which they do in Skeates & Cardy’s concluding chapter ‘Captives!’ However, once the alien threat is thwarted our heroes once more lay down their powers and costumes, but they have much to ponder after seeing what benefits their unique gifts can bring…

Teen Titans #30 featured three short tales, written by Skeates. Illustrated by Cardy, ‘Greed… Kills!’ is a cunning mystery exploring street and white-collar crime, whereas ‘Whirlwind’ is a Kid Flash prose novelette with art by Amendola before ‘Some Call it Noise’ (Infantino & Cardy) delivers an Aqualad solo tale in which his girlfriend Tula – AKA Aquagirl – takes a near-fatal wrong turn at a surface world rock concert.

Student politics took centre-stage in #31’s lead feature ‘To Order is to Destroy’ (Skeates, Tuska & Cardy) as the young heroes investigate a totally trouble-free campus where unhappy or difficult scholars are given a small brain operation to help them “concentrate”, whilst Hawk & Dove solo strip ‘From One to Twenty’ pits quarrelsome Don and Hank Hall against a band of murderous counterfeiters in a deft crime-caper from Skeates, Tuska & Cardy.

The creators then open up the fantasy element again with a time-travelling, parallel universe epic beginning in #32 with ‘A Mystical Realm, A World Gone Mad’ as Mal and Kid Flash accidentally change the past, turning Earth into a magical mad-scape. However, undoing their error results in a Neanderthal teenager being trapped in our time, presenting the group with their greatest challenge: educating a savage primitive and making him into a civilised modern man. Illustrated by Tuska & Cardy, ‘Less Than Human’ signalled the return of Bob Haney as main writer and triggered a gradual return of powers and costumes as the author picked up the pace of Jupiter’s grand experiment, restating it in terms that looked less harshly on comics’ bread & butter fights ‘n’ tights scenarios.

Brave and the Bold #94 (February-March 1971, by Haney & Cardy) offered potent counter-culture thrills as the team infiltrate an inner city commune to negate a nuclear bomb-plot in ‘Rebels in the Streets’, before the exigencies of publishing moved the series into the world of the supernatural as costumed heroes temporarily faded away in favour of tales of mystery and imagination. Haney, Tuska & Cardy’s ‘The Demon of Dog Island’ sees the team – including Robin who had quietly rejoined during the civilisation of cave-boy Gnarrk – desperately battling to prevent Wonder Girl’s possession by a gypsy ghost.

Skeates, Dick Dillin & Joe Giella crated ‘The Computer That Captured a Town’ in World’s Finest Comics #205 (September 1971), slyly examining racism and sexism as Superman finds the Titans trapped in a small town that had mysteriously re-adopted the values of the 1890s – a lot like middle America today but with culprits a lot easier to punch in the face…

Teen Titans #35 reiterated supernatural themes as the team travels to Verona in ‘Intruders of the Forbidden Crypt’ (Haney, Tuska & Cardy) wherein Lilith and the son of Mr. Jupiter’s business rival are drawn into a mesmerising web of tragedy: compelled to relive the doomed love of Romeo and Juliet despite all the rationalisations of modern science and the best efforts of the young heroes…

By the same creators, ‘A Titan is Born’ is a rite of passage for Mal as the everyman “token black guy” faces and defeats the murderous Gargoyle alone and unaided, before the reincarnation tragedy concludes with fate foiled in ‘The Tomb Be their Destiny’: the cover feature of #36. Filling out that issue and this book are two brief vignettes: Aqualad 3-page teaser ‘The Girl of the Shadows’ by Skeates & Jim Aparo and Haney & Cardy’s beguiling opening episode in the origin of Lilith ‘The Teen-Ager From Nowhere’. This showed a 10-year-old orphan’s first prescient exploit and the distrust it engendered, promising much more to come: a perfect place to end this second monochrome masterpiece of graphic literature.

Although perhaps dated in delivery now, these tales were a liberating experience for kids when first released. They truly betokened new empathy with independent youth and tried to address problems that were more relevant to and generated by that specific audience. That they are so captivating in execution is a wonderful bonus. This is absolute escapism and absolutely delightful and demand a fresh edition as soon as possible.
© 1969, 1970, 1971, 1972, 2007 DC Comics. All Rights Reserved.

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Batman Beyond!


By Hilary J. Bader, Rich Burchett, Joe Staton, Terry Beatty & various (DC comics)
ISBN: 978-1-56389-604-0 (TPB)

The Batman Animated TV series masterminded by Eric Radomski, Bruce Timm, Paul Dini and others in the 1990s revolutionised The Dark Knight and led – with a tie-in monthly printed series – to some of the absolute best comic book tales in his 85-year publishing history. With the hero’s small screen credentials firmly re-established, follow-up series began (and are still coming), eventually feeding back into the overarching multiversal DCU continuity.

Following those award-winning animated sagas, in 1999 came a new incarnation set one generation into the future, following Bruce Wayne in the twilight of his life reluctantly mentoring a new teen hero picking up his eerily-scalloped mantle. In Britain the series was inspirationally re-titled Batman of the Future but for most of the impressed cognoscenti and awestruck kids worldwide it was Batman Beyond!

Again the show was augmented by a cool kids’ comic book. This inexplicably out-of-print collection re-presents the first 6-issue miniseries in a hip and trendy, immensely entertaining package suitable for fans and aficionados of all ages. Although not necessary to a reader’s enjoyment, passing familiarity with the TV episodes will enhance the overall experience. All stories were written by Hilary J. Bader and we open with a 2-part adaptation of the pilot, illustrated by Rick Burchett & Terry Beatty.

‘Not On My Watch!’ serves up glimpses of the last days of Batman’s crusade against crime before age, infirmity and injury slowed him down to the point of compromising his principles and endangering the citizens he’d sworn to protect…

Years later, Gotham City in the mid-21st century (notionally accepted as 2039 AD – 100 years after the Dark Knight’s debut in Detective Comics #27) is a dystopian urban jungle where angry, rebellious schoolkid Terry McGinnis strikes a blow against pernicious pimped-up street punks The Jokerz and is chased out of town all the way to the gates of a ramshackle mansion. Meanwhile, his research scientist dad has discovered a little too much about how the company he works for operates.

Wayne-Powers used to be a decent place to work before old man Wayne became a recluse. Now Derek Powers runs the show and is ruthless enough to do anything to increase profits… Outside town, Terry is saved from a potentially fatal Jokerz encounter by a burly old man who then collapses. Helping aged Bruce Wayne inside the mansion, Terry discovers the long neglected Batcave before being chased away by the surly saviour. McGinnis but doesn’t really care… until he gets home to find his father has been murdered…

In a storm of emotion, he returns to Wayne Manor as concluding chapter ‘I Am Batman’ sees McGinnis attempting to force Wayne to act before giving up in frustration and stealing the hero’s greatest weapon: a cybernetic Bat-suit that enhances strength, speed, durability and perception. Alone, untrained and unaided, a new Batman sets to enact justice and exact revenge…

In the ensuing clash with Powers the unscrupulous entrepreneur is mutated into a radioactive monster – dubbed Blight – before Wayne and Terry negotiate a tenuous truce and grudging understanding. For now, Terry will continue to clean up Gotham City as an apprentice- and strictly probationary-hero…

With #3, Bader, Burchett & Beatty began crafting original stories of future Gotham, commencing with ‘Never Mix, Never Worry’ wherein Blight returns to steal a selection of man-made radioactive elements which can only be used to cause harm… or can they?

Joe Staton took over pencilling with #4 as a schoolboy nerd frees a devil from limbo and old man Wayne introduces the cocksure Terry to parapsychologist Jason Blood and his eldritch alter ego Etrigan the Demon in spooky shocker ‘Magic Is Everywhere’. That sentiment is repeated and reinforced when a school-trip to a museum unleashes ancient lovers to feed on the students’ life energy in delightfully comical tragedy ‘Mummy, Oh! and Juliet’…

This captivating compendium concludes in another compellingly edgy thriller as Terry stumbles into a return bout with a shapeshifting super-thief in ‘Permanent Inque Stains’, only to find there are worse crimes and far more evil villains haunting his city…

In 2000 Titan Books released a British edition re-titled Batman of the Future (to comply with the renamed UK TV series) and this version is a little easier to locate by those eager to enjoy the stories rather than own an artefact. Fun, thrilling and surprisingly moving, these tales are magnificent examples of comics that appeal to young and old alike and are well overdue for re-issue. They also prove the foundation concepts of Batman can travel far and riff wildly, but always deliver maximum wonderment.
© 1999 DC Comics. All Rights Reserved.

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Amazing Spider-Man Epic Collection volumes 9: Spider-Man or Spider-Clone? 1975-1977


By Gerry Conway, Len Wein, Archie Goodwin, Ross Andru, Gil Kane, Sal Buscema, Mike Esposito, Frank Giacoia, Dave Hunt, John Romita & various (MARVEL)
ISBN: 978-1-3029-4874-0 (TPB/Digital edition)

Amazing Spider-Man was a comic book that matured with – or perhaps just slightly ahead of – its fan-base. This epic compendium of chronological webspinning wonderment sees the World’s Most Misunderstood Hero facing even greater and evermore complex challenges as he slowly recovers from the trauma of losing his true love and greatest enemy in the same horrific debacle. Here you will see all that slow recovery comes unstuck.

Once co-creator Stan Lee replaced himself with young Gerry Conway, the scripts acquired a far more contemporary tone (but feeling quite outdated from here in the 21st century): purportedly more in tune with the times whilst the emphatic use of soap opera subplots kept older readers glued to the series even when bombastic battle sequences didn’t. Moreover, as a sign of those times, a hint of cynical surrealism also began creeping in…

For newcomers – or those just visiting thanks to Spider-Man movies: super smart-yet-ultra-alienated orphan Peter Parker was bitten by a radioactive spider during a school outing. Discovering strange superhuman abilities which he augmented with his own natural chemistry, physics and engineering genius, the kid did what any lonely, geeky nerd would do with such newfound prowess: he tried to cash in for girls, fame and money. Making a costume to hide his identity in case he made a fool of himself, Parker became a minor media celebrity – and a criminally vainglorious one. To his eternal regret, when a thief fled past him one night he didn’t lift a finger to stop him, only to find when he returned home that his guardian uncle Ben Parker had been murdered.

Crazed and vengeful, Peter hunted the assailant who’d made his beloved Aunt May a widow and killed the only father he had ever known. He discovered to his horror it was the self-same felon he had neglected to stop. His irresponsibility resulted in the death of the man who raised him, and the traumatised boy swore to forevermore use his powers to help others. Since that night, the wallcrawler tirelessly battled miscreants, monsters and madmen with a fickle, ungrateful public usually baying for his blood even as he perpetually saves them.

The high school nerd grew up and went to college. Because of his guilt-fuelled double-life he struggles there too but found abiding love with cop’s daughter Gwen Stacy… until she was murdered by the Green Goblin. Now Parker must pick up the pieces of his life…

This compelling compilation reprints Amazing Spider-Man #143-164 and Annual #10: collectively covering cover-dates April 1975 to January 1977, and confirming an era of astounding introspective drama and captivating creativity wedded to growing science fictional thinking. Stan Lee’s hand-picked successor Gerry Conway moved on after reaching a creative plateau, giving way to fresh authorial guide Len Wein.  Thematically, tales moved away from sordid street crime as outlandish villains and monsters took centre stage, but the most sensational advance was an insidious scheme which would reshape the nature of the web-spinner’s adventures to this day.

For all that, the wallcrawler was still indisputably mainstream comics’ voice of youth, defining being a teen for young readers of the 1970s, tackling incredible hardships, fantastic foes and the most pedestrian and debilitating of frustrations. Now its later and still-grieving Parker is trying to move on as we open with Amazing Spider-Man #143 (by Conway, Ross Andru, Frank Giacoia & Dave Hunt) in ‘…And the Wind Cries: Cyclone!’ Peter is in Paris to deliver a ransom and save kidnapped publisher J. Jonah Jameson but resorts to his arachnid alter ego to deal with a hyper-fast French supervillain. The run-of-the-mill tale’s real kicker comes from an overly-fond farewell expressed by “casual chum” Mary Jane Watson: a kiss that finally shifts traumatised Peter’s thoughts from his recently murdered beloved.

The creative team capitalised on the situation after Spider-Man saves Jonah and clobbers the kidnappers before Pete returns to New York and his usual daily travails as #144 launches a shocking new worry. ‘The Delusion Conspiracy’ (ASM #145) builds the tension and focuses on a baffled girl’s confusion and terror at everyone’s reactions when she comes home and the entire world screams ‘Gwen Stacy is Alive… and, Well…?!’

With Gwen somehow resurrected and Peter on the edge of a mental breakdown, Aunt May is hospitalised just in time for another old foe to strike again in ‘Scorpion… Where is Thy Sting?’, but the real kick in the tale is irrefutable scientific and medical reports proving the increasingly bewildered Miss Stacy is not an impostor but the genuine article…

In Spider-Man #147 Peter finds some answers as further tests prove Gwen is actually a true human clone (remember, this was new, cutting-edge stuff in 1975) but all too soon he’s distracted by another bad-guy with a grudge and hungry to prove ‘The Tarantula is a Very Deadly Beast’ (inked by Mike Esposito & Dave Hunt). It’s all part of a convoluted, utterly byzantine revenge scheme conceived by a malign enemy. When the hero is ambushed by a mesmerised Gwen at the behest of the archfiend, ‘Jackal, Jackal, Who’s Got the Jackal?’ at last discloses shocking truths about one of Peter’s most trusted friends prior to the Delusion Conspiracy explosively concluding in #149’s ‘Even if I Live, I Die!’ (Andru & Esposito art).

Learning he and Gwen had been covertly cloned by their biology teacher Miles Warren, the Amazing Arachnid must defeat his alchemical double in a grim, no-holds-barred identity-duel, with neither sure who’s the real McCoy. The battle eventually results in the copy’s death. Maybe. Perhaps. Probably…

The moment of unshakeable doubt over who actually fell informs anniversary issue Amazing Spider-Man #150, with Archie Goodwin, Gil Kane, Esposito & Giacoia taking the hero down memory lane and up against a brigade of old antagonists to decide whether ‘Spider-Man… or Spider-Clone?’ survived that furious final fight, before debuting regular scripter Len Wein joins Andru & John Romita Sr. to launch a new era of adventure…

After disposing of his duplicate’s corpse in an incineration plant, Spider-Man finds time to let Peter reconnect with his long-neglected friends. However, a jolly party is soon disrupted as blackouts triggered by a super-menace lead the wallcrawler into the sewers for a ‘Skirmish Beneath the Streets!’ It results in his almost drowning and nearly being ‘Shattered by the Shocker!’ (Esposito & Giacoia inks) in a conclusive and decisive return engagement before a moving change-of-pace tale sees a blackmailed former football star giving his all to save a child in ‘The Longest Hundred Yards!’ (Andru & Esposito).

However, it’s left to Spider-Man to make the true computer-crook culprits pay, after which #154 reveals ‘The Sandman Always Strikes Twice!’ (with art by Sal Buscema & Esposito) – albeit with little lasting effect – until devious murder-mystery ‘Whodunnit!’ (Buscema & Esposito) cunningly links three seemingly unconnected cases in a masterful “Big Reveal”…

A long-running romance-thread culminates in the oft-delayed wedding of Pete’s old flame Betty Brant to reporter Ned Leeds, but the nuptials are sadly interrupted by a new costumed crook in ‘On a Clear Day, You Can See… the Mirage!’ (Wein, Andru & Esposito), even as a sinister hobo who was haunting the last few yarns strode fully into the spotlight…

In the past, a protracted struggle for control of New York between Dr Octopus and cyborg gangster Hammerhead escalated into a full-on gang war and small-scale nuclear near-disaster, with Spidey and his aunt caught in the middle. The devilish duel concluded with an atomic explosion and the seeming end of two major antagonists. However, #157 exposed ‘The Ghost Who Haunted Octopus!’ as the long-limbed loon turns again to May Parker for salvation.

With Peter in attendance, the many-handed menace seeks to escape a brutal ghostly stalker tormenting him, but their unified actions actually liberate a pitiless killer from inter-dimensional limbo in ‘Hammerhead is Out!’, leading to a savage three-way showdown with Spidey ‘Arm-in-Arm-in-Arm-in-Arm-in-Arm-in-Arm with Doctor Octopus!’ to save the horrified Widow Parker.

Courtesy of plotter Wein, scripter Bill Mantlo and Kane, Esposito & Giacoia, a new insectoid archfoe debuted in Amazing Spider-Man Annual #10, where ‘Step Into My Parlor…’ depicts obsessed Spider-hater J. Jonah Jameson hiring outcast, exceedingly fringe-science biologist Harlan Stilwell  to create yet another tailor-made nemesis to destroy the webslinger.

Meanwhile, the detested hero is ending a vicious hostage situation manufactured by psychotic Rick Deacon, but when the killer escapes and breaks into a certain lab he’s transformed into a winged wonder hungry for payback on the webspinner in ‘…Said the Spider to the Fly!’

In the monthly mag Wein, Andru & Esposito fired the opening shot of an extended epic as a criminal inventor – and one of the wallcrawler’s oldest enemies – recovers Spidey’s long-ditched, satisfactorily drowned “Spider-Mobile”, tricking it out to hunt down its original owner in #160’s ‘My Killer the Car!’…

Having narrowly escaped doom and debacle in equal measure Spidey met a new friend and clashed with an old one, although rising star Frank Castle was reduced to a bit-player in Amazing Spider-Man #161-162 (October & November 1976), as the All-Newly-Reformed X-Men were sales-boosted via a guest-clash in ‘…And the Nightcrawler Came Prowling, Prowling’, wherein the Amazing Arachnid jumps to a completely wrong conclusion after a sniper shoots a reveller at Coney Island. By the time moody mutant Nightcrawler explains himself – in tried-&-true Marvel manner by fighting the webspinner to a standstill – old skull-shirt has turned up to take them both on before mutual foe Jigsaw is exposed as the real assassin in concluding episode ‘Let the Punisher Fit the Crime!’

The mystery villain behind much of Spider-Man’s recent woes is at last exposed in ‘All the Kingpin’s Men!’ as a string of audacious tech-robberies lead the hero to another confrontation with the deadly crime lord. This time, however, the Machiavellian mobster is playing for personal stakes. His son has been on the verge of death for months and his remedy is to electronically transfer the Spider-Man’s life force into the ailing patient. Discarded after the process, Peter Parker’s impending ‘Deadline!’ is extended by old friend Curt Connors until they can explosively set things right…

To Be Continued…

As always the narrative delights are supplemented by added extras which this go-round include contemporary house ads, Romita & Joe Sinnott’s cover/back cover, frontispiece, contents page and double-page cast pin-up from 1975 tabloid edition Marvel Special Edition #1: The Spectacular Spider-Man, and the Andru- & Esposito-rendered entry for The Mighty Marvel Bicentennial Calendar 1976 (June) and Ronn Sutton’s cover for George Olshevsky’s 1982 The Marvel Comics Index: The Amazing Spider-Man and the 1985 Frontispiece by John Allison. Also on view are Andru’s prankish private joke pencils for the big reveal in ASM #144, editorial ‘Of Jackals and Juxtaposition’ from The Spider’s Web column in #153, and original art pages by Punisher design sketch by Romita and original art pages by Kane, Romita Andru & Esposito.

Blending cultural veracity with superb art, and making a dramatic virtue of the awkwardness, confusion and imputed powerlessness most of the readership experienced daily resulted in an irresistibly intoxicating read, especially when delivered in addictive soap-styled instalments, but none of that would be relevant if Spider-Man’s stories weren’t so utterly entertaining. This action-packed collection relives many momentous and crucial periods in the wallcrawler’s astounding life and is one all Fights ‘n’ Tights fanatics must see…
© 2023 MARVEL.