Category: Spy Stories

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Black Widow Epic Collection volume 2: The Coldest War 1981-1998


By Ralph Macchio, Gerry Conway, D.G. Chichester, Jim Starlin, Cefn Ridout, Mindy Newell, Scott Lobdell, Paul Gulacy, George Pérez, George Freeman, Larry Stroman, Joe Chiodo, Charlie Adlard, Bob Layton, Butch Guice, John Stanisci, Sergio Cariello, Randy Green & various (MARVEL)
ISBN: 978-1-3029-2126-2 (TPB) Digital edition

This book includes Discriminatory Content produced during less enlightened times.

Natasha Romanoff (sometimes Natalia Romanova) was a Soviet Russian spy who came in from the cold and stuck around to become one of Marvel’s earliest female stars, reusing a nomme de guerre first coined for a golden age supernatural Timely Comics star. Today’s Black Widow started out as a svelte, sultry honey-trap during Marvel’s early “Commie-busting” days, targeting Tony Stark and battling Iron Man in her debut (Tales of Suspense #52, April 1964). She was subsequently redesigned as a torrid tights-&-tech supervillain before defecting to the USA, falling for an assortment of Yankee superheroes, including Hawkeye and Daredevil, before finally enlisting as an agent of S.H.I.E.L.D. In the meantime she established herself as a freelance do-gooder and joining (and ultimately leading) The Champions and The Avengers.

Throughout her career, she has always been considered ultra-efficient, coldly competent, deadly dangerous and yet somehow cursed to bring doom and disaster to her paramours. As her backstory evolved, it was disclosed that Natasha had undergone experimental processes which enhanced her physical capabilities and lengthened her lifespan, as well as assorted psychological procedures which had messed up her mind and memories…

Traditionally a minor fan favourite, the Widow only really hit the big time after Marvel’s cinematic franchise was established, but for us unregenerate comics-addicts, her print escapades have always offered a cool, sinister frisson of delight. This expansive, explosive and wide-ranging compilation gathers contents of Bizarre Adventures #25; Marvel Fanfare #10-13; Solo Avengers #7; Black Widow: The Coldest War; Punisher/Black Widow: Spinning Doomsday’s Web; Daredevil/Black Widow: Abattoir; Marvel Comics Presents #135; Daredevil Annual #10; Fury/Black Widow: Death Duty & Journey into Mystery #517-519, cumulatively covering cover-dates March 1981 to April 1998.

Preceded by prose recaps ‘The Black Widow and Daredevil’ and ‘We are The Champions’, the clandestine actions open with an iconic appearance from 1981, first seen in monochrome mature-reader magazine Bizarre Adventures #25 which featured short tales starring female heroes. Here Ralph Macchio scripts a far more devious traditional espionage-steeped yarn of double and triple-cross with agents betraying each other while trying to ascertain who might be working for “the other side”. ‘I Got the Yo-Yo… You Got the String’ sees the Widow despatched by S.H.I.E.L.D. to assassinate her former tutor Irma Klausvichnova in an African political hot spot. However, as the mission proceeds, Natasha learns that she can’t trust anybody and everything she knows is either a lie or a test with fatal consequences…

The chilling, twist-ridden tale is elevated to excellence by the powerful tonal art of Paul Gulacy who fills the piece with sly tributes to numerous movie spies and the actors – such as Michael Caine and Humphry Bogart – who first made the genre so compelling.

Next up is a saga seen in Marvel Fanfare #10-13 (August 1983, March 1984), wherein Macchio & George Pérez – with inkers Brett Breeding, Jack Abel, Joe Sinnott, Al Milgrom & John Beatty – depict the spy in extreme peril as ‘Widow’ finds her recalled by S.H.I.E.L.D. to extract an abducted asset – her beloved mentor Ivan Petrovich. As she tracks and trashes assorted killers and crazies, we get an inworld review of her complex origins before arriving ‘Back in the U.S.S.R.’ to infiltrate a top-secret science project and face the assembled killer elite of a mystery mastermind with a grudge…

‘The Web Tightens!’ as the assassins close in, until a last-minute rescue by S.H.I.E.L.D. agent Jimmy Woo and a frenzied clash with deranged killer Snapdragon leads to revelation and full disclosure as ‘The Widow… Alone!’ faces a foe long believed dead and spectacularly triumphs…

A short from Solo Avengers #7 (June 1988, by Bob Layton & Jackson “Butch” Guice) sees the Widow brave unimaginable peril to return to her old dancing teacher ‘The Token’ she no longer feels worthy of before intriguing superhero spy Original Graphic Novel The Coldest War unfolds. Set in the last days of the US/Soviet face-off – with what looks to be an epilogue added to address the collapse of the Soviet State – the tale was clearly meant as a contemporary thriller (probably for fortnightly anthology Marvel Comics Presents) before events overtook the time-consuming process of printing a comic. The afterword – set after the fall of the Berlin Wall – doesn’t jar too much and lent an air of imminent urgency to the mix at the time it was finally released.

Gerry Conway provides a typically complex, double-dealing tale set in the dog-days of Mikhail Gorbachev’s government, during his radical policy of Perestroika (“openness”). It begins as an ambitious KGB upstarts undertake a plan to subvert Natasha and return her to Soviet control. Their leverage and bait is husband Alexei Shostokoff – whom she has believed dead for decades. Naturally, nothing is as it seems, nobody can be trusted and only the last spy standing can be called the winner…

Low key and high-tech go hand in hand in this sort of tale, and although there’s much reference to earlier Marvel classics, it can be easily enjoyed by the casual reader or movie convert. And what art! George Freeman is a supreme stylist, whose drawing work – although infrequent – is always top rate. Starting out on Captain Canuck, he has excelled on Jack of Hearts, Green Lantern, Avengers, Batman Annual #11 (with Alan Moore), Wasteland, Elric, Nexus  and The X-Files (for which he won an Eisner Award). Here, inked by Ernie Colon, Mark Farmer, Mike Harris, Val Mayerik & Joe Rubinstein, with colours from Lovern Kindzierski, he renders a subtle and sophisticated blend of costumed chic and espionage glamour to make this tale a “must-have” item all by itself.

It’s followed by 1992’s OGN Punisher/Black Widow: Spinning Doomsday’s Web by D.G. Chichester, Larry Stroman & Mark Farmer. Action-packed but plot-lite, it sees Frank Castle clash with the super-agent as she tracks rogue killer Peter Malum: an atomic scientist with a taste for slaughter and an insatiable hunger to test the deadliest weapon he’s ever built…

Presumably her spicy spy cachet wasn’t deemed enough to win a regular series but warranted plenty of guest shots. In 1993, Jim Starlin & Joe Chiodo reunited her with an old lover for OGN Daredevil/Black Widow: Abattoir wherein a duo of depraved psionic predators inflict the tortures of the damned upon the Widow until the Man Without Fear saves her… and she subsequently rescues him.

Released in Late August 1993, Mindy Newell, John Stanisci & Sergio Cariello’s ‘Legacy’ was one quarter of Marvel Comics Presents #135 and saw Natasha touch base with her roots in New York’s Russian enclave, only to uncover prejudice, murder and hidden KGB agents, before 1994’s Daredevil Annual #10 with ‘Dead End’ offering a sort-of sequel by Newell, Cariello & Rich Rankin as Natasha retrieves a lost bio-agent and is unexpectedly forced into reviewing her own defection to find a supposedly long-deceased old enemy…

Presumably crafted under the aegis of the much-missed Marvel UK subdivision, 1995 OGN Fury/Black Widow: Death Duty is by Cefn Ridout & Charlie Adlard and is a bit of a misnomer.

Don’t be fooled by the title and brace yourself for a disappointment if you’re a huge fan of the World War II Howling Commando and irascible erstwhile leader of the planet’s most advanced espionage agency. Although he gets top billing, Fury is largely absent from these post-Cold War proceedings in this pacy thriller that is in actuality the spiritual conclusion to the saga of the mysterious Night Raven.

That enigmatic wanderer was a masked vigilante who fought crime in New York and Chicago between World Wars I & II. In later years, he was locked in a bloody, pitiless vendetta with immortal villainess Yi Yang, Queen of the Dragon Tong. Here, when a S.H.I.E.L.D. asset is murdered inside Moscow’s US embassy soon after the fall of the Soviet system, expatriate Russian super-agent/Avenger Natasha Romanoff is dispatched to unravel the secrets the new bosses don’t want revealed.

What she discovers is the incredible fate of the fearsome urban legend now known as Black Bird as he slaughters his way through bureaucrats and Russian Mafia alike in his single-minded mission to destroy the woman who kept him from a peaceful grave.

Superbly illustrated and tightly scripted, this is nonetheless an uncomfortable blending of genres, with a strange pace to it: as if a propose serial was savagely trimmed and pruned with no thought to narrative cohesion.

Closing the files is a 3-part exploit from Scott Lobdell, Randy Green & Rick Ketcham as first seen in Journey into Mystery #517-519 (February- April 1998). ‘The Fire Next Time… parts 1-3’ offers a convoluted hunt for a Far Right terror group’s hidden leader: someone whose scheme to simultaneously murder every S.H.I.E.L.D. agent on Earth revolves around a hidden traitor. However as the plot unfolds, it’s clear to the embattled and beleaguered Black Widow that absolutely nobody is who or what they seem…

Closing with a wealth of graphic revelations, the art show opens with Gulacy’s stunning 1982 Black Widow Portfolio (six monochrome plates and the cover image); and also offers pages from the Official Handbook of the Marvel Universe. These are supplemented by pin-ups and posters by Al Milgrom, Kevin Nowlan, Terry Austin, June Brigman & Jim Lee and Joe Chiodo, and also contains original art pages from Chiodo, Stroman & Farmer and covers by Yancy LaBat, Mark Morales, Pérez & Layton taken from previous collections of Black Widow: Web of Intrigue combining to create a suspenseful dossier of devious delights no fan should miss.

This is a genre-crossing dark delight to seduce movie buffs, armchair spyhunters and any superhero sucker in need of a wholly traditional yet wildly novel change of pace…
© 2020 MARVEL.

Today in 1932 Argentine mastermind of silent mirth & madness Guillermo Mordillo (Crazy Cowboy, Crazy Crazy, Las Girafes) was born, followed a year later by Indonesian-Dutch cartoonist Thé Tjong-Khing (Arman & Ilva, Oliver B. Bumble) and by Italian maestro Sergio Zaniboni (I Reporters, Il Campione, Diabolik) in 1937. In 1942 Comics Revue writer/editor Rick Norwood arrived, with editor turned co-founder/director of communication of America’s National Runaway Switchboard Mike Gold (First Comics, DC Comics) coming along in 1950; Canadian scripter screenwriter Martin Pasko (Superman, Wonder Woman, Star Trek, Metal Men, Swamp Thing, Blackhawk, Gargoyles) in 1954 and British illustrator Charlie Adlard (White Death, The Walking Dead, X-Files, Savage, Astronauts in Trouble) popping up in 1966.

This day in 1989, veteran Walt Disney comics artist Paul Murry (Mickey Mouse, Super Goof, Uncle Scrooge, The Phantom Blot, José Carioca, Panchito) died.

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Showcase Presents Martian Manhunter volume 2


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

This book includes Discriminatory Content produced in less enlightened times.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Captain America by Ed Brubaker volume 1


By Ed Brubaker, Steve McNiven, Giuseppe Camuncoli, Mark Morales, Jay Leisten, Matteo Buffagni, Justin Ponsor, Laura Martin & various (MARVEL)
ISBN: 978-0-7851-5708-3 (HB) 978-0-7851-5709-0 (TPB) 978-0-7851-8271-9 (Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

One of the key moments in Marvel Comics history occurred when the Mighty Avengers recovered a tattered body floating in a block of ice (#4, March 1964) and resurrected the World War II hero Captain America. With this act bridging the years back to Timely & Atlas Comics – begun with the return of the Sub-Mariner in Fantastic Four #4 – Marvel confirmed and consolidated a solid, concrete, potential-packed history and created an enticing sense of mythic continuance for the fledgling company that instantly gave it the same cachet and enduring grandeur of market leader National/DC.

It’s just that rich heritage and history which informs and embellishes this grand old fashioned Fights ‘n’ Tights romp by Ed Brubaker and artists Steve McNiven, Giuseppe Camuncoli, Mark Morales, Jay Leisten & Matteo Buffagni which originally featured in the first five issues of volume 5 of the Captain America monthly comic book (cover-dated September 2011 to February 2012).

After too long on the sidelines and officially off-duty, Steve Rogers had again taken up the uniform and shield of the Star Spangled Avenger but was all too soon forced to confront his tragic past when his WWII ally and lover Peggy Carter passed away. Whilst attending her funeral with fellow veterans Nick Fury and “Dum Dum” Dugan the trio are targeted by a sniper and plunged back into long unfinished business…

Back in 1944, Peggy and the so-much-younger warriors were in Paris to destroy an advanced weapons facility operated by Nazi technocrat Baron Zemo and resurgent rapidly rebuilding conquest-cult Hydra. With the aid of costumed crusader Agent Bravo and Jimmy Jupiter (nee Jankovicz) – a boy with the ability to enter dreams and travel to a dimension where wishes became reality – the Allied operatives infiltrated the factory, but the mission went terribly wrong, leaving Jimmy a comatose vegetable and Bravo trapped within a timeless meta-realm with no hope of return.

Now, somehow Bravo is back on Earth and working with a new Hydra Queen. Equipped with incredible, nigh-impossible new armaments and teamed up with the heir of Zemo, the vengeful veteran wants to destroy Cap & Fury; romance/abduct Rogers’ current girlfriend Agent 13 and wreak vengeance on the world which had callously forgotten him…

As part of that ambition Bravo recruits long-forgotten Cap adversary Lyle Dekker: a Nazi scientist and certified lunatic who had long harboured a festering hatred for the Red, White & Blue champion. After Rogers had thawed out in modern times, Dekker tried to assassinate Captain America and take his place by having his own mind permanently transferred into an 18-foot tall Cap robot dubbed The Ameridroid.

When that manic automaton attacks now it is but the prelude to Bravo’s masterstroke: exiling Rogers to Jimmy Jupiter’s fantasy dimension and a darkly irresistible, seductive faux existence Rogers could never dream of escaping, all whilst merging the Dream Dimension with the plane of mundane reality to create a new kind of American nation Bravo alone would control…

Of course, the outcast maniac has no conception of what a true hero and living symbol will endure to make the world – any world – right and must soon face his personal nemesis in a duel for all reality. Victory comes as it always does to the just and righteous, but Rogers is belatedly faced with staggering consequences in the celebratory aftermath…

To Be Continued…

In 2012 a Panini/Marvel UK trade paperback edition was released as Captain America: American Dreamers (ISBN: 978-1-84653-505-5) which also included a gallery of alternative covers by Art Adams, Olivier Coipel, Neal Adams, Dale Eaglesham, John Romita Sr. and Salvador Larroca, as well as anniversary and Movie variant edition covers which are sadly omitted here. However whichever version you see this is a superbly fast-paced, action-packed romp: a thrilling and immensely entertaining confection to delight old aficionados, impress newcomers and make fresh fans for the immortal and original Sentinel of Liberty.
© 2011 Marvel Characters, Inc. All rights reserved.

Today in 1907 arch stylist Jesse Marsh (Tarzan, John Carter of Mars, Brothers of the Spear) was born, as was fellow Tarzan illustrator Ruben Moreira (also Casey Ruggles, Rip Hunter -Time Master, Roy Raymond – TV Detective, Reef Ryan, Her Highness and Silk) in 1922. Five years later Italian master creator Guido Buzzelli (Angélique in the Daily Mirror, Zil Zelub, L’uomo del Bengala, Tex Willer) arrived, followed in 1938 by mega star writer Pierre Christin (Valerian and Laureline, The City That Didn’t Exist, The Black Order Brigade, La voyageuse de la petite ceinture, The Hunting Party). That same year welcomed Writer/Artist/Letterer/Editor/Publisher Bill Peason (Witzend, T.H.U.N.D.E.R. Agents) with artist Ernie Chan (everything from Batman to Conan to Secret Society of Super-Villains) born in 1940 and Singaporean illustrator Foo Swee Chin (A Lost Stock of Children, Mince, Chimney 25, Zeet, Nightmares & Fairy Tales, MuZz) arriving in 1977.

In 2005 we lost venerable Dutch veteran Marten Toonder (Tom Puss) with Portuguese illustrator Carlos Roque (Angélique, Wladimyr) dying a year later and Mad magazine mirth maven Stan Hart departing in 2017.

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Richard Dragon: Kung-Fu Fighter: Coming of the Dragon!


By Dennis J. O’Neil, David Anthony Kraft, Bob Haney, Mike W. Barr, Leopoldo Durañona, Jim Starlin, Alan Weiss, Jack Kirby, Ric Estrada, Jim Aparo, Alex Saviuk Wally Wood, Jack Abel, Al Milgrom, D. Bruce Berry, Vince Colletta & various (DC Comics)
ISBN: 978-1-7795-0810-2 (HC) 978-1-7795-1240-6 (Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

The mysterious martial arts of “The East” have always fascinated western readers and writers. Adventurers, detectives and mystery men like Sexton Blake, Batman, Doc Savage, The Spider and The Shadow drew much of their history and arsenal from the arcane Orient, and even intellectual acme Sherlock Holmes occasionally employed the scientific combat system of “Baritsu” – actually a mixed martial art called Bartitsu which developed between 1898-1902. Moreover, every secret agent worth their salt was au fait with assorted “chop sockey” techniques: generally disparaging them while delivering a visually enticing signature blow…

Putting aside references in assorted newspaper strips, the first specialist martial arts comic book star was Judo Joe: a young American raised in Japan who used his training for the benefit of all. Three issues were released between August and December 1953. The work of Dr Barney Cosneck and illustrator Paul W. Stoddard, it set the tone of the genre as well, devising an enduring feature of most early strips in illustrated lessons on specific moves and techniques to let them all break bones in the security of their own bedrooms. Kids! DO try this at home… but not on the cat. That what little brothers are for…

Comics in the 1960s were highly spiced with judo and karate users, with by far the most accurate forms employed by Charlton Comics champions Sarge Steel (#1 December 1964, by Pat Masulli & Dick Giordano) and WWII costumed combatant Judomaster (first seen in Special War Series #4, November 1965): both benefitting from the specialist Kung Fu knowledge and artistic skills of Frank McLaughlin – an actual judoka who had studied martial arts for years.

Gold Key simply exploited licensing power. Television’s The Green Hornet ran 26 episodes from September 1966 to March 1967 and their comics adaptation (3 issues from February to August 1967) played up the combat skills of the antihero/vigilante’s chauffeur and partner Kato. You’ll recall, I’m sure, that he was played by young Bruce Lee, who was in very large part responsible for the popularisation of martial arts in the west… especially after graduating to film roles.

When the big boom began in the early 1970s, Charlton were again quick off the mark: launching their own knock-off of hugely popular TV series Kung Fu. Running 18 issues, Joe Gill & Warren Sattler’s Yang debuted with a November 1973 cover-date, recounting the life of a Chinese wanderer in the 1870s wild west. It spawned sequel/spin-off House of #1-6, July 1975 – June 1976) by Korean comics creator Sanho Kim and remains a visual highpoint to this day… if you can find it. Marvel really reaped the benefits of the zeitgeist with Shang Chi, Master of Kung Fu in Special Marvel Edition #15 (cover-dated December 1973) and a flood of follow-ups including Iron Fist, Sons of the Tiger, Daughters of the Dragon and White Tiger. As ever – and despite teenager Jim Shooter introducing Karate Kid to the Legion of Super-Heroes back in 1966 (Adventure Comics #346, July) – ever-cautious DC were late to the party, even though one of their key writers was also the co-author of a Kung Fu novel…

…And Karate Kid? As the martial arts boom was subsiding, DC awarded him his own solo series, set primarily in the 20th century: 15 bi-monthly issues running from March/April 1976 to July/August 1978. He travelled through time and across realities, but never met the stars of this particular title…

The Seventies had begun with a downturn in superhero sales and a resurgence of traditional genre comic tales. A few years in, a new genre emerged: one blending eastern philosophy and personal combat systems with a real-world growth in organised crime – especially drug (and human) trafficking. Popular fiction responded with a wave of lone wolf vigilantes like Mack (The Executioner) Bolan and martial arts icon Remo Williams: The Destroyer, as gritty hardboiled crime thrillers evolved and genres began to mash up…

Riding his own wave of comic success and celebrity from Batman, Justice League of America, Wonder Woman, Green Lantern/Green Arrow and Superman, former Marvel trainee/intern turned journalist Dennis J. O’Neil teamed up with editorial cartoonist James R. Berry to write a prose thriller for this burgeoning market. Under the pen-name Jim Dennis, they detailed the life path of teen thug Richard Drakunovski after finding friends and life direction with a martial arts sensei. Kung Fu Master, Richard Dragon: Dragon’s Fists was released in 1974 and ultimately pitted the hero against evil industrialist Guano Cravat…

With a phenomenon unfolding around them, DC finally joined the parade of warriors by having O’Neil adapt the book, expanding the premise and adding significantly to their pantheon of stars in the process: not so much with the leading man but through his potential-packed supporting cast.

Spanning April/May 1975 to November 1981, this fast and furious compendium collects Richard Dragon: Kung Fu Fighter #1-18; a team-up from The Brave and the Bold #132, plus a closing note from DC Comics Presents #39. In keeping with the tone of the genre and time, these stories are tersely underwritten and potently action driven, but racial and gender issues are ubiquitous and fully expressed in the terms of the times.

The first issue was cover-dated April/ May 1975 and on sale from January 30th, with opening episode ‘Coming of a Dragon!’ credited to “Jim Dennis” and illustrated by comics legend Leopoldo Durañona. Here it was revealed how a teenager’s attempt to burgle a dojo in Kyoto, Japan was foiled by its head teacher O-Sensei. The venerable ancient easily mastered the violent thief and then invited to him to change his life path. Richard Dragon spends the next seven years mastering countless forms of Kung Fu, higher education and his own raging nature, forming a lifelong bond with his fellow pupil – African American Ben Turner – and seeking to become a physically and ethically “Superior Man”…

The idyllic period ends the day unctuous freelance spymaster Barney Ling shows up. He runs acronymic organisation G.O.O.D. and begs the legendary O-Sensei to aid him in stopping a world-class human trafficker. Instead, the master sends his students against an army of brutes and monsters…

Artistic stability was not an option as O’Neil was partnered in swift succession with Jim Starlin, Alan Weiss & Al Milgrom for second exploit ‘A Dragon Fights Alone’. Wounded but triumphant, Dragon and Turner return to Japan only to be targeted by the hired thugs of a hidden enemy. The attack comes in the wake of a tearful graduation, as they seek to aid O-Sensei’s goddaughter Carolyn Woosan. This results in them all heading for San Francisco, where mercenary The Swiss had orchestrated her uncle’s death whilst searching for a deadly secret. When the freshly-debarked adventurers investigate, Ben is shot and Carolyn taken…

It clearly took some time to assign an art-team as Jack Kirby & D. Bruce Berry limned third instalment ‘Claws of the Dragon!’ as an enraged hero hunts The Swiss and trounces an army of assassins, thanks in no small part to his secret weapon – a jade claw allowing him to focus all his knowledge and fury and become a beast of battle…

Crushed by their continuing failure to rescue Carolyn, Dragon & Ben reluctantly accept help from Ling and G.O.O.D. Marshalling resources and infiltrating a suspect dojo, Dragon accepts that there is ‘A Time to be a Whirlwind!’, and again overcomes all physical opposition, but once more fails Carolyn, this time forever. This shattering clash signalled the start of artistic stability as Ric Estrada took over pencilling, augmented by master inker Wallace Wood.

Sandra Woosan debuted in #5, a woman who would become a major player in DC continuity. Cover-dated December 1975-January 1976, ‘The Arena of No Exit!’ introduced lethal Lady Shiva: a conflict-addicted swordswoman seeking bloody redress for her murdered sister. She was working for grotesque super arms-dealer Guano Cravat (the secret mastermind behind The Swiss), but rejected her current assignment to kill Dragon after fighting him and realising that staying in his orbit would generate all the murderous duels her killer’s heart hungered for without betraying her tarnished and diminished ethical code…

In later years she would evolve into the most dangerous assassin on Earth: a major opponent of Batman, Robin, assorted Batgirls, Black Canary, the Birds of Prey and many others.

After foiling Cravat’s scheme, Dragon and Shiva are rewarded by Ling with magnificent matched swords: katana crafted by an 18th century master smith. However, it’s just a ploy to sweeten them up. G.O.O.D. needs them to recover a “misplaced” nuke on a volcanic island: one ruled by a modern pirate with an obsessive fixation on fighting with swords. He calls himself Slash…

The spectacular conclusion of ‘Island of the Inferno’ leads to a confrontation with occasional Batman and Wonder Woman evil scientist Doctor Moon, who uses Cravat’s money to transform mere humans into surgically-augmented, programmable super-warriors in #7’s ‘Command: Slay the Dragon!’ All this time, Ben has been healing and teaching at the dojo he runs with Dragon, but his life is about to change after becoming romantically entangled with promising student Janey Lewis. When she and other students are attacked by Moon’s thugs, Dragon & Shiva retaliate but are almost killed by Moon’s colossal cyborg Topper. Almost…

Another old foe resurfaces in #8, striking at his despised enemies by murdering more dojo students and rendering our hero temporarily sightless, facilitating his scheme to ‘Slay the Blind Dragon’ after which Estrada inks his own pencils in #9 as Barney Ling returns to reveal that the recent dojo attacks are masking a hidden plot to assassinate Ben. The manipulative G.O.O.D. guy offers to reveal all, but only if all three kung fu fighters carry out a few errands for him…

Thus Turner, Shiva & Dragon depart for tropical San Lorenzo to stop a monster ravaging the tourist destination – a thieving mutated killer known as ‘The Preying Mantis’ – prior to Ben discovering he’s inherited millions in prime timberland! He heads north, with his allies in tow and finds that the lumberjacks are definitely killers… and are embezzling all the profits. They have already murdered Turner’s sister, leaving him as guardian of an unsuspected nephew (also called Ben) and their leader Hatchett tries everything possible to destroy the nosy snoopers in ‘The Human Inferno!’ (inked by Jack Abel). However, the assassination attempts only slow, but do not cease…

Cover-dated September 1976, #11 offers a change of pace and scripter, as David Anthony Kraft joins Estrada & Abel in a byzantine futuristic spy conspiracy that begins ‘When Strikes the Samurai!’ After being targeted by a disappearing Japanese warrior, the trio are despatched to Communist China to secure an object dubbed the Tiger Tally which in turn could unlock the secrets of bewildering Project Moon Age Daydream. The mission results in a trail of dropped bodies before ‘A Dragon Defiant’ is subjected to a duplication device resulting in him literally beating himself up before thwarting rival maniacs Telegram Sam and Madame Sun…

Back in the USA for #13, the drama intensifies with O’Neil & Estrada’s reunion, as Ben is poisoned and Dragon & Shiva carve their way through a murderous legion ‘To Catch an Assassin!’ and secure the antidote. When that proves fruitless, detective work leads them to The League of Assassins and a desperate quest for their chief deviser of toxins. Viper makes his potions in the wilds of Mongolia – perilously close to the Soviet Russian border – and the countdown quest allows no time for restraint, which only grants Shiva opportunity to do the work she loves without being held back…

With Turner’s death imminent, we pause for a diversionary team-up as The Brave and the Bold #132 (February 1977 by veteran writer Bob Haney & ultimate guest star artist Jim Aparo) enquires ‘Batman – Dragon Slayer??’ When Denny O’Neil succeeded Murray Boltinoff as B&B editor, it resulted in this rather forced tale of duelling fight stylists after a publicity-shy billionaire sought to repay an imagined debt to good Samaritan Dragon by leaving him a mysterious bequest…

Back in his own title, Dragon’s quest for a cure takes him back to China to find the O-Sensei. At that time, unknown to all, his former master was Dr. Moon’s prisoner, so Richard & Shiva’s mission generates massive mayhem and an inconclusive duel with ‘The Man Who Studied with Bruce Lee’: a gullible yet proficient martial arts purist who had learned all the celebrity’s “lost secrets”…

The clash might have been pointless, but the rescued O-Sensei cures Turner, who pursues his relationship with Janey to the point of asking her father for permission to wed. Tragically, at that moment in #15, ‘The Axeman’ attacks shipyard Security Chief Luke Lewis and his adored daughter is fatally caught in the crossfire. Crushed and broken inside, Ben hunts the killer with Dragon at his side, uncovering shocking betrayal that intensifies his fury into mania. Exploiting all their resources, they follow to the top of the world in #16, where ‘The Doom Seer’ – outrageous, tyrannical madman Professor Ojo (later to become a Green Lantern nemesis!) – pits them and Lady Shiva against outlandish martial arts skaters and an arsenal of scientific terrors before #17’s ‘The Final Victim’ provides a spectacular conclusion, but no resolution…

Richard Dragon: Kung-Fu Fighter finished with #18, but ‘The Secret of the Bronze Tiger’ set up decades’ more stories. Bereft, Turner had vanished and was presumed killed battling Ojo, whilst Dragon sank into despair and dissolution. Finally, Shiva dragged him out to investigate a mysterious masked martial artist and illegal fight club. Dragon was stunned to discover Ben was the Tiger – who retained all his skills but was apparently a ruthless criminal with no memory or scruples…

This storyline was later picked up and expanded upon in future Batman tales involving Ra’s Al Ghul’s League of Assassins and sinister splinter group Demonfang (whose leader was ancient killer The Sensei) and resulted in Bronze Tiger becoming an integral part of the Suicide Squad in post-Crisis on Infinite Earths DC Universe. In that rebuilt continuity, Shiva & Dragon were crucial to the development of The Question (Vic Sage) and other martial arts-based characters, emphasising the ripple-effect of “the Superior Man” on an entire heroic universe.

Here, however, there’s an epilogue of sorts as DC Comics Presents #39 (November 1981, by Mike W. Barr, Alex Saviuk & Vince Colletta) discloses ‘Whatever Happened to Richard Dragon: Kung Fu Fighter?’ Having retreated to the peace of a Shaolin monastery, Dragon is called back to the outside world to save mind-controlled Bronze Tiger from the person who had truly been responsible for most of their perils and hardships all along…

With covers by Dick Giordano, Wiess, Milgrom, Estrada & Colletta, Jose Delbo, Ernie Chan, Aparo & Rich Buckler, and including Who’s Who character profiles of Dragon, Bronze Tiger & Lady Shiva, this compendium is very much of its time, but still offers universal thrills and spills whilst providing crucial context to all devotees of DC’s overarching multiversal continuity. Very much the Superior Read of the Superior Fan…
© 1975, 1976, 1977, 1981, 2021 DC Comics. All Rights Reserved.

Today in 1910, cartoonist/animator and legend maker William Hanna was born, sharing the date with inking legend Mike Esposito in 1927; French mythmaker Marcel “Gotlib” Gotlieb (Gai-Luron, Superdupont, Les Dingodossiers, Rubrique-à-Brac, Hamster Jovial, co-founder of L’Écho des savanes & Fluide Glacial) in 1934; writer/artist John K. Snyder III (Fashion in Action, Grendel, Suicide Squad, Doctor Mid-Nite, Mr E, The Duckberg Times, 8 Million Ways to Die) in 1961, artist Richard Case (Doom Patrol, Sensational Spider-Man The Sandman) in 1964 and illustrator/storyteller Colleen Coover (Small Favors, Banana Sunday, Bandette, X-Men: First Class) in1969.

It’s a big day for colourists with Peter Steigerwald born in 1974, Brian Reber in 1975 and Matt Wilson in 1980; and also saw the deaths of arguably Chile’s greatest cartoon humourist Rene Rios Boettiger (Condorito) in 2000 and, in 2006, the utterly irreplaceable British man of letters (and thought balloons and caption boxes) Tom Frame.

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Showcase Presents the Unknown Soldier volume 2


By David Michelinie, Bob Haney, Robert Kanigher, Gerry Conway, Gerry Talaoc, Dick Ayers, Joe Kubert, Romeo Tanghal & various (DC Comics)
ISBN: 978-1-4012-4081-3 (TPB)

This book includes Discriminatory Content produced during less enlightened times.

Whereas the Britain comics scene has never relinquished its fascination with war stories, in America after the demise of EC Comics in the mid-1950’s and prior to the game-changing Blazing Combat, the only certain place to find controversial, challenging and entertaining American combat comics was DC.

In fact, even whilst Archie Goodwin’s stunning but tragically mis-marketed quartet of classics were waking up a small section of the current generation, the home of Superman, Batman & Wonder Woman was a veritable cornucopia of gritty, intriguing and beautifully illustrated battle tales exploring combat on a variety of fronts and from many differing points of view. Whilst the Vietnam War escalated, 1960s America increasingly endured a Home Front death-struggle pitting deeply-ingrained Establishment societal attitudes against a youth-oriented generation with radical new sensibilities. In response, DC’s (or rather National Periodical Publishing, as it then was) military-themed comic books became even more bold and innovative.

That stellar and challenging creative period came to an end as all strip trends do, but a few of the more impressive and popular features (Sgt. Rock, Haunted Tank, The Losers) survived well into the second superhero revival. One of the most engaging wartime wonders was a compelling espionage thriller starring a faceless, nameless hero perpetually in the right place at the right time, ready, willing and so very able to turn the tide one battle at a time. He was also the one most fitted to survive into DC’s post-Crisis on Infinite Earths continuity and has returned countless times since…

This second moody monochrome paperback compendium (still criminally unavailable in digital formats, as are far too many non-superhero, horror or sci fi tales) collects the lead feature from issues #189-204 of the truly venerable Star-Spangled War Stories anthology title (cover-dated July 1975 to March 1977) and thereafter #205-226 (May 1977 – April 1979) of the abruptly re-titled Unknown Soldier from when the “Immortal G.I.” finally took over the book in name as well as fact.

One of the very best concepts ever devised for war stories, The Unknown Soldier was actually a spin-off, having debuted as a walk-on in a Sgt. Rock episode by Robert Kanigher & Joe Kubert in Our Army at War #168 (June 1966, by). By 1970, the top flight illustrator had become group editor of DC’s war titles and was looking for a new cover/lead character to follow the critically acclaimed Enemy Ace who had been summarily bounced to the back of the book after issue #150. This new series would feature a faceless superspy and master-of-disguise whose forebears had proudly fought and died in every American conflict since the birth of the nation…

As previously stated, the strip became one of DC’s most popular and long-lived. With #205 in 1977, Star-Spangled became Unknown Soldier and the comic only folded in 1982 (issue #268) when sales of traditional comic books were in harsh decline. Since then the character has resurfaced a number of times (12 issue miniseries in 1988-9, a 4-part Vertigo tale in 1997 followed by a rebooted ongoing series in 2008, and again in 2011 as part of the company’s “New 52” mega reboot): each iteration moving further and further way from the originating concept. There have been more since, and there will be further bulletins as events warrant…

One intriguing factor of the initial tales is that there was very little internal chronology: for most of the run individual adventures take place anytime and anywhere between the bombing of Pearl Harbor and the surrenders of Germany and Japan. This picaresque approach adds a powerful sense of both timelessness and infallible, unflinching continuity. The Unknown Soldier has always and will always be where he is needed most.

As seen in the previous Showcase volume, his full origin was revealed in Star-Spangled War Stories #154’s ‘I’ll Never Die!’: recounting how two inseparable brothers enlisted in the days before the US was attacked by Japan. They were posted together to the Philippines just as the Japanese began their seemingly unstoppable Pacific Campaign. Overwhelmed by a tidal wave of enemy soldiers one night, the brothers held their jungle posts to the last. When relief came, only one had survived, his face a tattered mess of raw flesh and bone…

As US forces retreated from the islands the shattered survivor was evacuated to a state-side hospital. Refusing medals, honours or retirement, the recuperating warrior dedicated his remaining years to his lost brother Harry and determinedly retrained as a one man-army intelligence unit. His unsalvageable face swathed in bandages, the nameless fighter learned the arts of makeup, disguise and mimicry and perfected a broad arsenal of fighting skills before offering himself to the State Department as an expendable resource who could go anywhere and would do anything…

After a long run of spectacular stories by numerous stellar creators, shifting fashions eventually provoked a shift in emphasis. Relative neophytes David Michelinie & Gerry Talaoc came aboard with Star-Spangled War Stories #183, resulting in an evocative change of direction. The horror boom in comics was at its peak in 1974 and incoming editor Joe Orlando capitalised on that fascination with a few startling modifications. The most controversial was to reveal the Soldier’s grotesque, scar-ravaged face – presumably to draw in monster-hungry fear fans.

In this volume that military macabre mood resumes with Michelinie & Talaoc on fine form and well dug-in as the Man Without a Face is despatched to discover the secrets of the ‘The Cadaver Gap Massacres’ (SSWS #189). What he finds as Nazi officer “Major Wollheim” is a deathcamp where prisoners are guinea pigs for making and testing experimental atrocity weapons… and monsters. Before long he falls foul of a repentant, guilt-riddled scientist whose loyalties ultimately are only to money. The ghastly discoveries of ‘Project: Omega’ lead to a cataclysmic clash with uncontrollable beast-men and the salvation of the only true innocent in the capacious modern hellscape…

Issue #191 delivered ‘Decision at Volstadt’ as the rapidly retreating superspy encounters rabid resistance fighters, merciless “Hitler Youth” zealots and fanatical Lt. Strada, who had already lost far too much to the Immortal G.I. Captured by his Italian nemesis, but unrepentant and resolute, The Soldier takes the ‘Vendetta’ to its inescapable conclusion and the private war ends the only way it could have in SSWS #192. Gerry Conway scripted ‘Save the Children!’ in #193, detailing how a mission to blow up a train carrying generals directing the war on the Eastern Front gets sidetracked and goes horribly wrong after the phantom fighter finds his targets’ families have come along for the ride, before Michelinie returns to investigate ‘The Survival Syndrome’. Here, penetration of a high-tech Nazi communications complex hidden in a French village shows the wary warrior the true cost of a having a quisling in the family…

Star-Spangled War Stories #195 debuted ‘The Deathmasters’ as the Unknown Soldier infiltrates a Nazi assassination school and find himself assigned to murder one of the Allies’ greatest assets in war-torn Odessa in #196’s ‘Target Red’. Conning everyone into believing he’s succeeded, the Soldier then returns to Germany to scotch a scheme to replace key Allied personnel with Nazi doppelgangers. All it costs to quash that project is the life of an innocent girl and a little bit more of his soul…

The war in North Africa is almost over in #197, but the master of disguise is nevertheless dispatched to destroy German anti-tank airplane prototypes in ‘The Henschel Gambit’. Typically though, he is intercepted by Arab raiders led by a US Senator’s maverick daughter and is again forced to choose between his mission and innocent lives. Thereafter, thanks to Nazi counterintelligence manoeuvrings, the Immortal G.I. is tricked into killing the Allies’ top strategist in ‘Traitor!’

Court martialled and sentenced to death, he escapes and retraces his steps, seeking a witness to his innocence in #199’s ‘The Crime of Sgt. Schepke’. En route, he encounters a Maquis (French & Belgian resistance fighters) legend – and one of DC’s earliest women to carry their own solo feature. Mlle Marie is less than welcoming and soon events spiral completely beyond his control. The Faceless Man has no choice but to sacrifice her entire resistance unit to destroy a new superweapon in the concluding chapter ‘Deathride’, and although Marie honours her promise and clears his name, she also swears to kill him for expending her comrades like pawns…

The scene switches to New York City for SSWS #201 as the Soldier engages in ‘The Back-Alley War’: infiltrating a gang of German-American anti-war isolationists in search of saboteurs and spies, and he’s in Italy for #202, where an outbreak of typhus is holding up the war. His task is to find a downed US plane carrying an experimental counter serum, but his infiltration of a Nazi hospital seems to indicate that neither side has found ‘The Cure’…

Issue #203 sees the master-spy reduced to teaching arrogant, unstable English aristocrat-with-royal-connections Richard Ebbington all the tricks of his deadly craft, only to be subsequently – and far too late – ordered by the top brass to stop his unstable pupil from fulfilling his first murder mission. Somebody up top forgot to tell somebody in the middle that Ebbington’s target is a German general planning to assassinate Hitler, so the Unknown Soldier is forced to stop his protégé’s ‘Curtain Call’…

After 36 years of gloriously variegated publication, Star-Spangled War Stories ended with #204 as prior scripter Bob Haney and veteran war artist Dick Ayers joined Talaoc for ‘The Unknown Soldier Must Die!’, wherein old ally Chat Noir (an African-American sergeant who rejected institutionalised racism and deserted the US Army to join the French Resistance) is captured by the Nazis and brainwashed into becoming their secret weapon against the Immortal G.I. Cover-dated May 1977 the first Unknown Soldier (#205) places history’s lynchpin at the Battle of the Bulge in the winter of 1944. Whilst expanding on his origins ‘Legends Never Die!’ also proves once more that the right man in the right place at the right time can change the course of destiny. ‘Glory Gambit!’ then begins an extended campaign as Adolf Hitler himself unleashes the Wehrmacht’s answer to the Unknown Soldier. His Black Knight is Count Klaus von Stauffen: the chess-obsessed SS officer who captured and brainwashed Chat Noir. The fascist fanatic is now making his way into the heart of England with but one mission…

The hunt for the merciless master of disguise and doom continues throughout London in #207’s ‘Kill the King!’, before the scene again shifts, dumping the Soldier in North Africa in 1942 to rehabilitate a trio of deserters in ‘Coward, Take my Hand!’ US #209 takes us to the Pacific in 1945 and a personal duel with a Japanese prison camp torturer whose attempts to break the scarred superspy result in defeat, death and ‘Tattered Glory!’ on a blood-drenched rock called Iwo Jima…

In US #210 the Man of Many Faces invades a Nazi fortress by impersonating a specialist interrogator. He has been ordered to rescue or kill America’s most important agent in ‘Sparrows Can’t Sing!’, after which issue #211 reprints a classic Haney & Kubert tale from Star-Spangled War Stories #159 wherein George S. Patton became the thinly-veiled basis for ‘Man of War’, with the Combat Chameleon dispatched to investigate a charismatic general who had pushed his own troops to the brink of mutiny…

An experimental surgical operation traps the G.I. behind the wrong face on the wrong side of the German lines in #212, where he encounters Hitler’s fanatical schoolboy “Werewolf” killer-elite and becomes in turn ‘The Traitor in Wolf’s Clothing!’ The shocking theme was further explored in #213 as The Soldier must extract from the Fatherland the son of a scientist vital to the war effort. Sadly, ‘The Ten-Year-Old Secret Weapon!’ has fully embraced every facet of life in the Hitler Youth and fights his would-be rescuer every step of the way…

Kanigher wrote and Romeo Tanghal inked the Ayers illustrated ‘Deadly Reunion!’ of #214 as, in the guise of an elderly Jew, The Soldier allows himself to be taken to a deathcamp in order to liberate high profile captive Mlle. Marie. She isn’t at all grateful…

Haney, Ayers & Talaoc reunite in #215 as the faceless fury replaces a sailor in the merchant marine to expose a traitor selling out convoy freighters to U-boats haunting ‘The Savage Sea!’, after which ‘Taps at Arlington!’ (art by Ayers & Tanghal) sees Chat Noir confront American racism whilst the Soldier exposes a spy painting a bullseye on the backs of troops in Italy…

In #217 the Faceless Man becomes Hermann Goering’s chief supplier of stolen paintings in ‘Dictators Never Sleep!’ The plan was to give the infamous art lover a Rembrandt primed to explode when Hitler stood in front of it; and it would have worked if Klaus von Stauffen hadn’t been present. With Black Knight hot on his heels, the frustrated phantom warrior is harried across Europe in ‘The Unknown Soldier Must Die!’, only stopping briefly to destroy a V2 base and have another shot at Der Fuehrer before experiencing ‘Slaughter in Hell!’ (inked by Tanghal) as von Stauffen turns the tables by impersonating his archfoe in a bid to murder Winston Churchill and General Dwight D. Eisenhower.

He would have succeeded if not for the Immortal G.I.’s strategic cunning…

US #220 by Haney, Ayers &Talaoc sees the Soldier organise a band of renegades and maverick warriors from many Nazi-controlled countries into a daring-but-doomed foreign legion dubbed ‘The Rubber Band Heroes’, after which ‘Sunset for a Samurai!’ finds him on a suicide mission to the heart of Japan to save an undercover agent crucial to the American forces. Unknown Soldier #222 promised ‘No Exit from Stalag 19!’ when the unsung hero was ordered to extract a military boffin from the heart of Fortress Europa in a wryly trenchant riff on The Bridge on the River Kwai, whilst in #223, ‘Mission: Incredible!’ (Ayers & Tanghal) details the convoluted course of a plan to destroy a Heavy Water plant in the snow-capped mountains of Norway.

The Soldier and Chat Noir reunited in #224 to investigate a dead zone where Allied bombers vanish without trace, only to find barbaric military madness running wild in ‘Welcome to Valhalla!’, after which the Immortal G.I. must arrest a charismatic general for treason in ‘Four Stars to Armageddon!’ (Ayers & Talaoc) before uncovering the astounding truth behind his supposed betrayals. The military madness lurches to a bloody halt with #226 as Chat Noir and his faceless comrade do what entire flotillas of Navy vessels could not. Using guile and subterfuge they board the Nazi’s unbeatable dreadnaught and ‘Sink the Kronhorst!’…

Dark, powerful, moving and overwhelmingly ingenious, The Unknown Soldier is a magnificent addition to the ranks of extraordinary-but-mortal warriors in an industry far too heavy with implausibly incredible heroes. These tales will appeal to not just comics readers but all fans of adventure fiction.

Perfect for revival in the DC Finest format, I think…
© 1975-1979, 2014 DC Comics. All rights reserved.

Today in 1922, Golden Age artist Joey Cavallo (Crack Comics) was born, sharing the date with cartoonist Al Scaduto (They’ll Do It Every Time, Little Iodine) in 1928; editor K.C. Carlson in 1956, writer/artists Phil Jimenez (Wonder Woman, Teen Titans, Astonishing X-Men, Infinite Crisis, The Invisibles) in 1971 and Brad Walker (Guardians of the Galaxy, Batman: Legends of the Dark Knight, Manhunter, Birds of Prey, Nightwing) in 1977.

Al Capp & Raeburn van Buren’s Abbie an’ Slats debuted today in 1937 as did Brooke McEldowney’s domestic epic 9 Chickweed Lane strip in 1993. The date also saw the loss of two staggering talents: Argentinian illustrator Jorge Zaffino (Nippur de Lagash, Winter World, Terror Inc., The Punisher, Shadowline saga) in 2002 and Sam Glanzman (Kona, The Haunted Tank, USS Stevens, Hercules, The Lonely War of Willy Schultz, A Sailor’s Story, Red Range) in 2017.

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DC Finest: Wonder Woman – Introducing Wonder Woman


By William Moulton Marston, Harry G. Peter, Alice Marble, Sheldon Moldoff, Frank Godwin, Frank Harry & various (DC Comics)
ISBN: 978-1-7995-033-6-1 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Wonder Woman debuted as a special feature in All Star Comics #8, cover-dated December 1941, but actually on sale from October 21st of that year). The book was home to top-sellers the Justice Society of America and where she would immediately be invited to join the team, albeit only as “club secretary”…

Officially, she was conceived by psychologist/polygraph pioneer William Moulton Marston and realised and unilaterally illustrated by Harry G. Peter, in a calculated attempt to offer girls a positive and forceful role model and, on forward-thinking Editor M.C. Gaines’ part, to sell more funnybooks to girls. Later research has since disclosed much of her genesis was due to Moulton’s wife – attorney turned psychologist Sarah Elizabeth Marston (née Holloway) who had worked with him to create the systolic lie detector process – with further input from their live-in partner Olive Byrne.

Despite all the complexities and confusion surrounding her genesis, Wonder Woman was an instant hit and catapulted from the try-out into her own series as the cover-featured character of new anthology Sensation Comics one month later. The unstoppable Amazon then won her own eponymous supplemental title some months after that, cover-dated summer 1942, as well as a lead position in bumper anthology book Comics Cavalcade (December 1943).

Using nom de plume Charles Moulton, Marston – and his domestic writing partners – scripted all her many and miraculous adventures until his death in 1947, whereupon Robert Kanigher officially took over the writer’s role. Venerable co-creator H.G. Peter illustrated almost every WW tale until his own death in 1958.

Spanning cover-dates December 1941 to June 1943, this compelling full-colour compilation collects her debut from All Star Comics #8, and every iconic adventure plus pertinent extras from Sensation Comics #1-18; Comics Cavalcade #1-2 and Wonder Woman #1-4. Of course, we begin with ASC #8 and ‘Introducing Wonder Woman’…

On a hidden island of immortal super-women, an aviator crashes to Earth. Near death, US Army Intelligence officer Captain Steve Trevor is nursed back to health by young Princess Diana. Fearing her daughter’s growing obsession with the man, fiercely maternal Queen Hippolyte reveals the hidden history of the Amazons to the child. Diana learns how her people – all women – were seduced and betrayed by men in ancient times but rescued by the goddess Aphrodite on condition that they thenceforward isolate themselves from the rest of the world and devoted their eternal lives to becoming ideal, perfect creatures.

Now however, after Trevor explains the perfidious spy plot which accidentally brought him to the Island enclave, divine Athena and Aphrodite appear, ordering Hippolyte to assign an Amazon warrior to return with the American and fight for global freedom and liberty. The Queen diplomatically and democratically declares an open contest to determine the best candidate and – despite being forbidden to participate – Diana enters and wins. Accepting the will of the gods, the worried mother outfits her in the guise of Wonder Woman and sends her out to Man’s World…

A month later the saga continued where the introduction left off. Sensation Comics #1 declared ‘Wonder Woman Comes to America’, seeing the eager immigrant repatriating the recuperating Trevor to the modern World. She also trounces a gang of bank robbers and falls in with a show business swindler. One major innovation here is the newcomer perpetrating identity theft by buying her secret identity. Lovelorn Army nurse Diana Prince elegantly allows the Amazon to be close to Steve by becoming her, enabling the heartsick medic to join her own fiancé in faraway South America. Even with all that going on, there’s still room for Wonder Woman & Trevor to stop a spy ring attempting to use poison gas in a Draft induction centre, before Steve breaks his leg and ends up in hospital again, where “Nurse Prince” is assigned to tend him…

Sensation #2 debuted a deadly enemy agent and recurring villain in ‘The Menace of Dr. Poison’ – a cannily crafted tale which also introduced the most radical comedy sidekicks of the era. The plucky “fun-loving gals” (sweets, dancing and spanking mostly) of the Holliday College for Women and their chocolate-gorging Beeta Lamda sorority-chief Etta Candy would find trouble and save the day in equal proportions for years to come: constantly demonstrating Diana’s – and Marston’s – philosophical contention that girls, with correct encouragement, could accomplish anything that men could…

With War raging and in a military setting, espionage and sabotage were inescapable plot devices. ‘A Spy in the Office’ sees Diana arranging a transfer to the office of General Darnel as his secretary so she can keep a closer eye on finally fit Steve. She isn’t there five minutes before uncovering a ring of undercover infiltrators amongst the typing pool and saving her man from assassination. Unlike most comic stars of the period, Wonder Woman tales sought tight continuity. ‘School for Spies’ in #4 shows some of those fallen girls murdered by way of introducing inventive genius/Nazi master manipulator Baroness Paula von Gunther. She employs psychological ploys to enslave impressionable women to her will and sets otherwise decent Americans against their homeland. Even Diana succumbs to her machinations – until Steve and the Holliday Girls crash in…

America’s newest submarine is saved from destruction and cunning terrorists brought to book in ‘Wonder Woman versus the Saboteurs’ before SC #6 has Diana accepting a ‘Summons to Paradise’ to battle her immortal sisters in Kanga-riding duels before receiving her greatest weapon: an unbreakable Lasso of Truth which compels and controls anyone who falls within its golden coils. It proves quite handy when Paula escapes prison and uses an invisibility formula to wreak havoc on US coastal defences…

‘The Milk Swindle’ is pure 1940s social advocacy drama, with homegrown racketeers and Nazi von Gunther joining forces to seize control of America’s milk supply with the incredibly long-sighted intention of weakening the bones of the country’s next generation of soldiers. Closely following in Sensation #8 is ‘Department Store Perfidy’ wherein the Perfect Princess goes undercover in the monolithic Bullfinch emporium to win better working conditions and fair pay for the girls employed there. There was a plethora of surprises in #9 too, with ‘The Return of Diana Prince’ from South America. Now Mrs Diana White, the young mother needs her job and identity back until her inventor husband can sell his latest invention to the US army. Luckily, Wonder Woman and an obliging gang of saboteurs can expedite matters…

The next major landmark was the launch of the Amazon’s solo title. The first quarterly Wonder Woman opens here with twinned text features ‘Introducing Miss Alice Marble as Associate Editor of Wonder Woman’ before wordy primer ‘Wonder Woman: Who is She?’ focuses on the Amazon’s pantheon of godly patrons after which comic action commences with a greatly expanded revision of her first appearance in ‘The Origin of Wonder Woman’. This precedes a beguiling mystery tale as in ‘Wonder Woman Goes to the Circus!’ Diana solves the bizarre serial murders of the show’s elephants before Paula von Gunther rears her shapely head again in ‘Wonder Woman versus the Spy Ring’ wherein the loss of the Golden Lasso almost causes Diana’s demise and ultimate defeat of the US Army…

In ‘The Greatest Feat of Daring in Human History!’ Diana and Etta head for Texas, only to become embroiled in a sinister scheme involving Latin Lotharios, lady bullfighters, lethal spies and a Nazi attempt to conquer Mexico, after which the inaugural issue ends with new feature Wonder Women of History wherein a biography of ‘Florence Nightingale, Angel of the Crimea’ is supplied by Miss Marble & Sheldon Moldoff.

Over in Sensation Comics #10 (October 1942) ‘The Railroad Plot’ celebrates Steve & Wonder Woman’s first anniversary by exposing a sinister plan devised by Japanese and German agents to blow up New York City using the labyrinth of subway tunnels under the metropolis, after which ‘Mission to Planet Eros’ launches the Princess’ long line of cosmic fantasy exploits. The Queen of Venus requests Diana’s aid in saving an entire planetary civilisation from gender inequality and total breakdown, before ‘America’s Guardian Angel’ (Sensation #12) sees the Warrior Princess accepting an offer to play herself in a patriotic Hollywood movie, only to find production infiltrated by insidious Paula and her latest gang of slave-girls…

Preceded by prose/photo introduction ‘Boys and Girls! Here are the Men Behind Wonder Woman!’ and an illustrated prose piece about ‘The Spirit of War’, Wonder Woman #2 comprises a 4-chapter epic introducing the Amazon’s greatest enemy in ‘Mars, the God of War’. He apparently instigated World War from his HQ on the distant red planet but chafes at the lack of progress since Wonder Woman entered the fray on the side of the peace-loving allies. He now opts for direct action, no longer trusting his earthly pawns Hitler, Mussolini and Hirohito…

When Steve goes missing, Diana allows herself to be captured and ferried to Mars. Here she starts disrupting the efficient working of the war-god’s regime and fomenting unrest amongst the slave population, before rescuing Steve and heading home to Earth. ‘The Earl of Greed’, one of Mars’ trio of trusted subordinates, takes centre stage for the second chapter, with orders to recapture Steve and Diana at all costs. As the duo attempt to infiltrate Berlin, Greed uses his influence on Hitler to surreptitiously redirect the German war effort, using Gestapo forces to steal all the USA’s gold reserves. With Steve gravely injured, the Amazon returns to America and whilst her paramour heals, uncovers and foils the Ethereal Earl’s machinations to prevent much-needed operating funds from reaching Holliday College, where young girls learn to be independent free-thinkers. With Greed thwarted, Mars dispatches ‘The Duke of Deception’ to Earth, where the spindly phantom impersonates Wonder Woman and frames her for murder. Easily escaping from prison, the Princess of Power not only clears her name but also finds time to foil a Deception-inspired invasion of Hawaii, leaving only ‘The Count of Conquest’ free to carry out Mars’ orders.

His scheme is simple: through personal puppet Mussolini, the Count tries to brutalise and physically overpower the Amazing Amazon with a savagely bestial giant boxing champion, even as Italian Lothario Count Crafti attempts to woo, seduce and suborn her. The latter’s wiles actually work, too, but capturing and keeping her are two different things entirely, and after breaking free on the Red Planet, Diana delivers a devastating blow to Mars’ war effort…

This issue ends with a sparkling double page patriotic plea when ‘Wonder Woman Campaigns for War Bonds’ after which Marble & Moldoff detail another historical all-star in ‘Clara Barton, Angel of the Battlefield’.

Cover-dated January 1943, Sensation Comics #13 claims ‘Wonder Woman is Dead’ as a corpse wearing her uniform is discovered, and astounded Diana Prince discovers her alter ego’s clothes and the irreplaceable magic lasso are missing. The trail leads to a diabolical spy-ring working out of Darnell’s office and explosive confrontation in a bowling alley, before ‘The Story of Fir Balsam’ in #14 delivers a seasonal saga concerning lost children, an abused mother and escaped German aviators. All is happily resolved around a lonely pine tree, after which the Immortal Warrior celebrated her next publishing milestone…

The 1938 debut of Superman propelled National Comics to the forefront of their fledgling industry and a year later the company was licensed to produce a commemorative comicbook celebrating the opening of the New York World’s Fair. The Man of Tomorrow prominently featured on the appropriately titled New York World’s Fair Comics among such four-colour stars as Zatara, Butch the Pup, Gingersnap and The Sandman. In 1940, another abundant premium emerged with Batman and Robin augmenting the roster, and the publishers felt they had an item and format worth pursuing commercially.

The spectacular card-cover 96-page anthologies had been a huge hit and convinced editors that an over-sized anthology of their pantheon of characters, with Superman & Batman prominently featured, was a worthwhile proposition. Thus, format was retained for a wholly company-owned, quarterly high-end package, retailing for the then-hefty price of 15¢. Launched as World’s Best Comics #1 in Spring 1941, the book morphed into World’s Finest Comics from #2, beginning a stellar 45-year run which only ended as part of the massive decluttering exercise that was Crisis on Infinite Earths. During the Golden Age, however, it remained a big blockbuster bonanza of strips to entice and delight readers…

At this time National/DC was in an editorially-independent business relationship with Max Gaines that involved shared and cross promotion and distribution for the comicbooks released by his own outfit All-American Publications. Although technically competitors if not quite rivals, the deal included shared logos and advertising and even combining both companies’ top characters in the groundbreaking All Star Comics as the Justice Society of America.

However, by 1942 relations between the companies were increasingly strained – and would culminate in 1946 with DC buying out Gaines, who used the money to start EC Comics.

All-American thus decided to create its own analogue to World’s Finest, featuring only AA characters. The outsized result was Comics Cavalcade. Cover-dated December 1942-January 1943 – and following Frank Harry’s gloriously star-studded cover to Comic Cavalcade #1 – Wonder Woman’s fourth regular star slot began with the superstar solving the ‘Mystery of the House of the Seven Gables’ (as ever the fruits of “Marston” & Peter’s fevered imaginations) wherein Diana Prince stumbles upon a band of Nazi spies. All too soon, the Amazon needs the help of some plucky youngsters to quash the submarine-sabotaging brutes…

Wonder Woman #3 then dedicates its entirety to the return of an old foe; commencing with ‘A Spy on Paradise Island’ as undergrads of Holliday College for Women – including Etta Candy – are initiated into some pretty wild Amazon rites on Paradise Island. Sadly, the revels inadvertently allow an infiltrator to gain access and pave the way for an invasion by Japanese troops. Naturally Diana and the Amazons prevail on the day, but the exposed sinister mind behind it all strikes back in ‘The Devilish Devices of Baroness Paula von Gunther’.

Whilst alert Amazons build a women’s prison to known as “Reform Island”, Wonder Woman, acting upon information received by the new inmates, trails Paula and is in time to crush her latest scientific terror: an invisibility ray. Then ‘The Secret of Baroness von Gunther’ offers a rare peek at a villain’s motivation when the captured super-spy reveals how her little daughter Gerta has been a Nazi hostage for years and remains a goad to ensure the genius’ total dedication to the German cause. Naturally, the Amazing Amazon resolves to reunite mother and child at all costs, after which ‘Ordeal of Fire’ confirms the Baroness aiding Diana & Steve in dismantling her spy network and slave-ring the Nazis had spent so long building in America… albeit at great personal and physical cost to the repentant Paula…

Much has been posited about subtexts of bondage and subjugation in Marston’s tales – and, to be frank, there really are lots of scenes with girls tied up, chained or about to be whipped – but I just don’t care what his intentions (subconscious or otherwise) might have been: I’m more impressed with the skilful drama and incredible fantasy elements which are always wonderfully, intriguingly present. I mean, just where does the concept of giant war-kangaroos come from?

This issue closes with another Marble & Moldoff biography lesson this tome focussed on ‘Nurse Edith Cavell’, before Sensation #15’s ‘Victory at Sea’ pits Diana & Steve against lethal saboteurs set on halting military production and working with shady lawyers, whilst in #16 ‘The Masked Menace’ is one of very few stories not illustrated by H.G. Peter, but rather the work of illustrator and strip cartoonist Frank Godwin. He was called in as the crushing workload of an extra 64-page comic book every couple of months piled pressure on WW’s artistic director. The tale sees steadfast Texan Etta Candy ready to elope with slick, sleazy Eurotrash Prince Goulash, until Diana & Steve crash the wedding party to expose spies infiltrating across the Mexican border and a plot to blow up the invaluable Candy family oil-wells…

Inescapable war-fervour was tinged with incredible fantasy in Wonder Woman 4, which opened with ‘Man-Hating Madness!’ wherein a Chinese refugee from a Japanese torture camp reaches America and draws the Amazon into a terrifying scheme to use biological weapons on the American Home Front. Cruel, misogynistic ‘Mole Men of the Underworld’ then kidnap collegiate Holliday Girls sidekicks, before Diana and reformed, recuperated former-Nazi genius Baroness Paula rescue them, liberate a race of female slaves and secure America’s deepest border from further attack.

‘The Rubber Barons’ provide a rousing romp wherein greedy corporate profiteers attempt to hold the Government and war effort to ransom with a new manufacturing process in a high-tech tale involving mind-control, gender role-reversal and behaviour modification, as only a trained and passionate psychologist could promote them, before the drama concludes with ‘The Treachery of Mavis’ as Paula, now fully accepted into Amazon society, is attacked by one of her erstwhile spy-slaves. The traumatised victim then abducts her ex-mistress’ daughter Gerta and Wonder Woman, burdened with responsibility, is compelled to hunt her down. Again the issue closes with a Marble & Moldoff history moment sharing the triumphs of ‘Lillian D. Wald, “The Mother of the East Side”’…

A revered classic from Sensation #17 follows. ‘Riddle of the Talking Lion’ (limned by Godwin) finds Diana Prince visiting an ailing friend and discovering that Sally’s kids have overheard a zoo lion speaking… and revealing strange secrets. Although Steve & Diana dismiss the tall tale, events take a peculiar turn when the beast is subsequently stolen with the trail leading to Egypt and a plot by ambitious Nazi collaborator Princess Yasmini…

Next, following the Frank Harry cover of Comics Cavalcade #2, Wonder Woman’s Godwin illustrated offering ‘Wanted by Hitler, Dead or Alive’ pits her against devious Gestapo agent Fausta Grables before another from Sensation Comics #18 closes out this epic compilation: one last yarn illustrated by superbly gifted classical artist Godwin with Diana saving a lost Mesolithic tribe from despotic theocracy and ancient greed in ‘The Secret City of the Incas’.

Exotic, baroque, beguiling and uniquely exciting, these Golden Age adventures of the World’s Most Famous woman superhero are timeless and pivotal classics in the development of comics books and still provide lashings of fun and thrills for anyone looking for a great nostalgic read.
© 1941, 1942, 1943, 2025 DC Comics. All Rights Reserved.

Today in 1883, global cartooning force of nature Rube Goldberg as born, sharing the day with prolific British letterer Ellie DeVille in 1947; artist David Finch (CyberForce, Moon Knight, New Avengers) in 1971 and David Petersen (Mouse Guard) in 1977.

The date saw the deaths of career cartoonist Art Sansom (Chris Welkin-Planeteer, The Born Loser) in 1991 and in 2005 today premiered Tyler Martin’s long-running webcomic Wally and Osborne (formerly On the Rocks).

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Clifton volume 6: Kidnapping


By Turk & de Groot, translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-87-8 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

An infallible agent of Her Majesty’s assorted security forces, Clifton was originally created by Raymond Macherot (Chaminou, Les croquillards, Chlorophylle, Sibylline) for the weekly Le Journal de Tintin. Our doughty exemplar of fabled and over-egged Albion debuted in December 1959, just as a filmic 007 was preparing to set the world ablaze and get everyone hooked on spycraft…

After three albums worth of strip material – all compiled and released between 1959 and 1960 – Macherot left Tintin for multinational arch-rival Spirou and his bombastic buffoon was benched. LJdT later revived him – the fictive spy, not le traiteur! – at the height of the Swinging London scene and aforementioned spy-craze, courtesy of Jo-El Azaza & Greg – AKA Michel Régnier – (Chick Bill, Luc Orient, Bruno Brazil, Bernard Prince, Achille Talon, Rock Derby, Zig et Puce). Those strips were subsequently collected as Les lutins diaboliques in French and De duivelse dwergen for Dutch-speakers in 1969.

Then it was back into retirement until 1971 when Greg – with artist Joseph Loeckx – took another shot. He toiled on the True Brit until 1973 when Bob De Groot & illustrator Philippe “Turk” Liégeois fully regenerated the be-whiskered wonder. They produced ten more tales after which, from 1984 on, artist Bernard Dumont (AKA Bédu) limned de Groot’s scripts before eventually assuming the writing chores as well. The series concluded in 1995.

… But Never Say Never Again…

In keeping with its rather haphazard Modus Operandi and indomitably undying nature, the Clifton experience resumed yet again in 2003, crafted now by De Groot & Michel Rodrigue for four further adventures. Although the humorous visual vein was still heavily mined in those tales, now the emphasis was subtly shifted and the action/adventure components strongly emphasised…

Originally released in 1983, Kidnapping was Turk & De Groot’s last collaboration and wrapped up their mock-heroic shenanigans in fine and foolish style…

Bob de Groot was born in Brussels in 1941, to French and Dutch parents. As a young man he became art assistant to Maurice Tillieux on Félix, before creating his own short works for Pilote. A rising star in the 1960s, he drew 4×8=32 L’Agent Caméléon, and met Liégeois, consequently beginning his slow transition from artist to writer. Together they created Archimède, Robin Dubois and others before eventually inheriting Raymond Macherot’s moribund masterspy.

In 1989 de Groot – with Jacques Landrain – devised Digitaline, a strong contender for the first comic created entirely on a computer, and co-created Doggyguard with Michel Rodrigue, even whilst prolifically working with the legendary Morris on both Lucky Luke and its canine comedy spin-off Rantanplan. He soldiered on with strips Léonard in Eppo, Pére Noél & Fils and Le Bar des acariens (both published by Glénat) and so much more until his death in November 2023.

Okay. Dossier stuff all done?

Pompous, irascible Colonel Sir Harold Wilberforce Clifton is ex-RAF, a former officer with the Metropolitan Police Constabulary and only recently retired from MI5. He has a great deal of difficulty dealing with being put out to pasture in rural Puddington and thus takes every opportunity to get back in the saddle, “assisting” the Government or needy individuals as an amateur sleuth whenever the opportunity arises. He occupies his copious idle hours with as many good deeds as befit a man of his standing and service. He is particularly dedicated to sharing the benefits of organised Scouting with the young generation…

This rollicking comedy crime caper begins with the old soldier and his fiery, ferociously competent, multi-talented housekeeper Mrs. Partridge (think Alfred Pennyworth with scones and a sharp tongue) preparing for a big camping trip for a motley crew of fresh-faced boy scouts. Even after his own haphazard preparations are finally completed, Scoutmaster Clifton’s departure is further delayed by the stylishly late arrival of the troublesome son of wealthy and obnoxiously prestigious Sir Abylas Chickenpiece…

Finally, however, the troop is under way and before too long they are setting up camp in an isolated patch of woodland. After organising jobs for the lads, Clifton begins his own chores, setting tests for his charges, trying out to win merit badges and catching a crafty snooze when he thinks nobody is looking…

It’s a very bad move. When the spoiled and appropriately codenamed Distinguished Peacock sets off to gather firewood, he’s pounced on by thugs working under the careful instructions of an obsessive porcelain collector who is well aware of the worth of the Chickenpiece Fortune. A furtive observer to the crime, poor but honest Thrifty Duckling sees his companion abducted and cunningly hides himself inside the getaway car. Thus, obviously, when Clifton is made aware of the crisis he feels painfully responsible for the loss of two boys in his care…

Irritated, embarrassed and insulted, the irascible Colonel eschews contacting the police and determines to give his remaining charges a lesson in the value of his scouting techniques by tracking the kidnappers to their lair and personally apprehending them. The only real complication he envisages is apprising the victims’ fathers of the perilous current status of their precious sons and heirs…

A classic chase, memorable confrontation and Boys Own level conclusion is the happy result of Clifton and his tyro team working together, and when the action ends the reunions and subsequent outdoor celebrations are all any stout-hearted lad could hope for…

Funny, fast and furiously thrill-packed, Kidnapping shows our Old Soldier in his most engaging and flattering light in this cunningly concocted breezy romp in the grandly enticing manner of Charles Crichton’s Hue and Cry or Launder & Gilliat’s The Belles of St Trinian’s (or possibly something a little more modern like Shaun the Sheep?); sufficient to astound and delight devotees of simpler times whilst supplying a solid line in goofy gags for laughter-addicts and rural revivalists of every age and vintage to enjoy…
Original edition © Les Editions du Lombard (Dargaud-Lombard SA) 1984 by Turk & De Groot. English translation © 2009 Cinebook Ltd.

Today in 1925 humourist and veteran Mad magazine contributor Jerry DeFuccio was born, sharing the celebration with historian/publisher Russ Cochran (EC Reprint Library) in 1937; illustrator Arne Starr (Star Trek) in 1954; scripter Supreme Dan Slott (Spider-Man, Fantastic Four, She-Hulk, Looney Tunes) in 1967 and Korean-American artist Andy Park (Tomb Raider, Uncanny X-Men) in 1975.

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DC Finest: Robin – The Origin of Robin


By Ed Hamilton, John Broome, Gardner F. Fox, Cary Bates, Mike Friedrich, E. Nelson Bridwell, Frank Robbins, Dennis O’Neil, Bob Haney, Elliot Maggin, Bob Rozakis, Ross Andru, Curt Swan, Sheldon Moldoff, Pete Costanza, Chic Stone, Gil Kane, Irv Novick, Murphy Anderson, Dick Dillin, Rich Buckler, Bob Brown, Mike Grell, A. Martinez, Al Milgrom, José Delbo, Bill Draut, George Klein, Joe Giella, Sid Greene, Murphy Mike Esposito, Anderson, Vince Colletta, Dick Giordano, Frank McLaughlin, José Mazzaroli, Terry Austin, José Luis García-López, Ernie Chan & various (DC Comics)
ISBN: 978-1-79950-829-8 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

Robin the Boy Wonder debuted in Detective Comics #38 (cover dated April 1940 and on sale from March 6th). Co-created by Bob Kane, Bill Finger & Jerry Robinson, he was a juvenile circus acrobat whose parents were murdered by a mob boss. The story of how Batman took the orphaned Dick Grayson under his scalloped wing and trained him to fight crime has been told, retold and revised many times over the decades and still regularly undergoes tweaking to this day. Grayson fought beside Batman until 1970 when, as an indicator of those turbulent times, he flew the nest, becoming a Teen Wonder college student. His creation as a junior hero for younger readers to identify with inspired countless costumed sidekicks and kid crusaders, and Grayson continued in similar innovative vein for the older, more worldly-wise readership of America’s increasingly rebellious youth culture.

The first Robin even had his own solo series in Star Spangled Comics from 1947 to 1952, a solo spot in the back of Detective Comics from the end of the 1960s as covered here (but a position he alternated and shared with Batgirl) and a starring feature in anthology comic Batman Family. In the 1980s he led the New Teen Titans, initially in his original costumed identity but eventually in the reinvigorated guise of Nightwing, all while re-establishing a (somewhat turbulent) working relationship with his masked mentor.

This broad-ranging full colour but strictly non-digital compilation covers the period from Julie Schwartz’s captivating reinvigoration of the Dynamic Duo in 1964 until 1975 with Robin-related stories and material from Batman #184, 192, 202, 213, 217, 227, 229-231, 234-236, 239-242, 244-246, 248-250, 252, 254 & 259; Detective Comics #342, 386, 390-391, 394-395, 398-403, 445, 447, 450-251; World’s Finest Comics #141, 147, 195, & 200; Superman’s Pal Jimmy Olsen #111, 130 and Batman Family #1 & 3-5, spanning cover-dates May 1964 to May/June 1976.

With covers by Curt Swan, George Klein, Carmine Infantino, Joe Giella, Bill Draut & Vince Colletta, Neal Adams, Murphy Anderson, Mike Grell, Ernie Chan & Tatiana Wood, the developmental wonderment and rocky road from boys to men begins with ‘The Olsen-Robin Team versus… the Superman-Batman Team!’ Taken from World’s Finest #141, May 1964, by Edmond Hamilton, Curt Swan & George Klein, it’s a stirring blend of sci fi thriller and crime caper, wherein the underappreciated sidekicks fake their own deaths to undertake a secret mission even their adult partners must remain unaware of… for the very best of reasons of course.

The sequel (WFC #147, February 1965) delivers an engaging drama of youth-in-revolt as ‘The Doomed Boy Heroes!’ quit their assistant roles to strike out on their disgruntled own. Naturally there’s a perfectly reasonable – if incredible – reason here, too. Then in Detective Comics #342 (August 1965) cover-featured ‘The Midnight Raid of the Robin Gang!’ (John Broome, Sheldon Moldoff & Joe Giella) sees the Boy Wonder defy his mentor’s orders to infiltrate a youthful gang of costumed criminals. Following that, ‘The Boy Wonder’s Boo-Boo Patrol!’ (originally a back-up in Batman #184; September 1966 by Gardner Fox, Chic Stone & Sid Greene), shows the daring lad’s star-potential in a clever tale of thespian skulduggery and classic conundrum solving, before ‘Dick Grayson’s Secret Guardian!’ (Batman #192, June 1967, Fox, Moldoff & Giella) showcases his physical prowess in one of comic books’ first instances of the exoskeletal augmentation gimmick.

Superman’s Pal Jimmy Olsen #111 (June 1968) brought ‘Jimmy Olsen, Boy Wonder!’ by Cary Bates & Pete Costanza, which finds the cub reporter trying to prove his covert skills by convincing the Gotham Guardian that he was actually Robin (!), whilst that same month in Batman #202 the genuine article tackles the ‘Menace of the Motorcycle Marauders!’ (Mike Friedrich, Stone & Giella), consequently learning a salutary lesson in the price of responsibility. Then April 1969’s Detective Comics #386 featured the Boy Wonder’s first solo back-up in what was to become his semi-regular spot for years.

‘The Teen-Age Gap!’ as described by Friedrich, Ross Andru & Mike Esposito depicts a High School Barn Dance which only narrowly escapes becoming a riot thanks to Grayson’s diligent intervention. Its followed by an all new story from reprint collection Batman #213 (July/August 1969 and a 30th Anniversary reprint Giant) which offers an updated retelling of ‘The Origin of Robin’ courtesy of E. Nelson Bridwell, Andru & Esposito, reinterpreting those epochal events for the Vietnam generation. Gil Kane & Murphy Anderson assume the art-chores with Detective #390’s ‘Countdown to Chaos!’ (August 1969), bringing the support-series stunningly alive for the unfolding “Relevancy era” with Friedrich concocting a canny tale of corruption and kidnapping, leading to a paralysing city ‘Strike!’ for the Caped kid to spectacularly expose and foil in the following issue.

Next up is a modern landmark in the character’s long history as Batman #217’s ‘One Bullet Too Many!’ (December 1969, by Frank Robbins, Irv Novick & Dick Giordano) sees Dick leaves home to attend Hudson University. With the boy gone, Alfred and Bruce move with the times, shuttering both Mansion and Batcave and relocating to the penthouse of the Wayne Foundation Building in the heart of Gotham. It too offers subterranean lair extras and acts as base as Bruce sets up his Victims Inc. Program to aid the suffering survivors of crime. He also formally rededicates Batman to terrifying evildoers whether they be thugs, masterminds, or the new breed of semi-respectable “legitimate” businessmen who are little more than bandits with lawyers. His first mission is to solve the seemingly senseless murder of paediatrician Jonah Feilding.  Although not really a Robin tale, it is included here, and is closely followed by all of Detective #394 from the same month, with lead Batman feature finding ‘A Victim’s Victim!’ (Robbins, Bob Brown & Giella) in the crime-infested race car scene. This neatly segues into back up yarn ‘Strike… Whilst the Campus is Hot!’ (Robbins, Kane & Anderson) as callow freshman Dick Grayson stumbles into a campus riot organised by criminals backing radical activists, forcing the Teen Wonder to ‘Drop Out… or Drop Dead!’ to stop the seditious scheme. DC #398-399 (April & May 1970) then ran a 2-part spy-thriller with Vince Colletta replacing Anderson as inker. ‘Moon-Struck’ has lunar rock samples borrowed from NASA apparently causing a plague among Hudson’s students until Robin exposes a Soviet scheme to sabotage the Space Program in ‘Panic by Moonglow’.

The 400th anniversary issue (June 1970) finally teamed the Teen Wonder with his alternating back-up star in ‘A Burial For Batgirl!’ (Denny O’Neil, Kane & Colletta): a college-based murder mystery which again heavily references political and social unrest then plaguing US campuses, but which still finds space to be smart and action-packed as well as topical, before chilling conclusion ‘Midnight is the Dying Hour!’ wraps up the saga. Never afraid to repeat a good idea, Superman’s Pal Jimmy Olsen #130 (July 1970, by Bob Haney & Anderson) details the exploits of ‘Olsen the Teen Wonder!’ with the junior reporter again aping Batman’s buddy to infiltrate an underworld newspaper.

World’s Finest #195 (August 1970) sees Jimmy & Robin targeted for murder by the Mafia in ‘Dig Now, Die Later!’ (Haney, Andru & Esposito, whilst simultaneously in DC #402 ‘My Place in the Sun’ (Friedrich, Kane & Colletta), embroils Grayson and fellow Teen Titan Roy Harper Speedy in a crisis of social conscience, before our scarce-bearded hero wraps up his Detective run with corking crimebusting caper ‘Break-Out’ in the September issue. From #227 (December 1970) Robin’s romps transferred to the back of Batman, beginning with ‘Help Me – I Think I’m Dead!’ (Friedrich, Novick & Esposito) as ecological awareness catastrophically collides with penny-pinching Big Business on campus, launching an extended epic tracking the Teen Thunderbolt’s exploration of communes, alternative cultures and the burgeoning spiritual New Age fads of the day.

Inked by Frank Giacoia ‘Temperature Boiling… and Rising!’ (#229, February 1971) continues the politically-charged drama, albeit uncomfortably interrupted by a trenchant fantasy team-up with Superman sparked when the Man of Steel attempts to halt a violent campus clash between students and National Guard. The tale shifts to WFC #200 (February 1971) – crafted by Friedrich, Dick Dillin & Giella – where ‘Prisoners of the Immortal World!’ has brothers on opposite sides of the teen scene abducted with Robin & Superman to a distant planet where undying vampiric aliens wage eternal war on each other. A return to more pedestrian perils follows in Batman #230 (March 1971) sees ‘Danger Comes A-Looking!’ for our young hero in the form of a gang of right-wing, anti-protester jocks and a deluded friend who prefers bombs to brotherhood, courtesy of Friedrich, Novick & Giordano. ‘Wiped Out!’ (#231, May 1971) then offers an eye-popping end to the jock squad whilst #234 sees a clever road-trip tale in ‘Vengeance for a Cop!’, when a campus guard is gunned down forcing Robin to track the only suspect to a commune. ‘The Outcast Society’ has its own unique system of justice, but eventually the shooter is apprehended in cataclysmic closing ‘Rain Fire!’ (#235 & 236 respectively).

The Collective experience blooms into psychedelic and psionic strangeness in #239 as ‘Soul-Pit’ (illustrated by new penciller Rich Buckler) finds Grayson’s would-be girlfriend, “Jesus-freaks” and runaway kids all sucked into a telepathic duel between a father and son, played out in the ‘Theatre of the Mind!’ before exposing the ‘Secret of the Psychic Siren!’ and culminating in a lethal clash with a clandestine cult in ‘Death-Point!’ (Batman#242, June 1972). Elliot Maggin, Novick & Giordano then open an age of cosy-mystery capers by setting ‘The Teen-Age Trap!’ (Batman #244, September 1972), with Grayson mentoring troubled kids and finding plenty of troublemakers his own age, before ‘Who Stole the Gift from Nowhere!’ is a delightful old-fashioned change-of-pace yarn where our hero seeks out a hidden wealthy benefactor. Batman #248 offers ‘The Immortals of Usen Castle’ (Maggin, Novick & Frank McLaughlin) wherein another deprived-kids day trip turns into an episode of Scooby-Doo, Where are You?

Pencilled by Brown, the ‘Case of the Kidnapped Crusader!’ then puts the Student Centurion on the trail of an abducted consumer advocate prior to ‘Return of the Flying Grayson!’ (Maggin, Novick & McLaughlin from #250) painfully reminding the hero of his Circus past after tracking down pop-art thieves. Batman #252 (October 1973) sees Maggin, Dillin & Giordano’s light-hearted pairing of Robin with a Danny Kaye pastiche/avatar for charming romp ‘The King from Canarsie!’, before ‘The Phenomenal Memory of Luke Graham!’ (#254 January/February 1974 and inked by Anderson) causes nothing but trouble for the hero, his college professors and a gang of robbers. Issue #259 provides a fashion spread of new costumes suggested by readers in ‘A New Look for Robin’ before the next tale as year-long adventure drought ends with ‘The Touchdown Trap’ in Detective #445 (February/March 1975) as new scripter Bob Rozakis and artist Mike Grell catapult our hero into a 50-year-old college football feud that refused to die, after which ‘The Puzzle of the Pyramids’ (#447, illustrated by A. Martinez & José Mazzaroli) offers another cunning crime conundrum. Action-packed, chase-heavy human drama ‘The Parking Lot Bandit!’ & ‘The Parking Lot Bandit Strikes Again!’ (DC #450-451, August & September 1975, by Al Milgrom & Terry Austin) gives the titanic teen one last chance to strike a bit of terror into the hearts of evil-doers in his titular home before the next big change comes.

In the midst of another expansion, DC launched a line of double-length titles with Batman Family as possibly its strongest contender. A supersized anthology of new and vintage Bat-fare highlighting a vast themed cast, it paired Robin & Batgirl as a semi-official crimebusting duo. On sale from June 5th 1975, the first issue led with Maggin & Grell’s ‘The Invader from Hell!’ as the ghost of Benedict Arnold attacks Washington DC in a Satan-sponsored sortie to clear his name and rehabilitate his reputation.

With #2 all-reprint, we return for #3 as Maggin, José Luis García-López & Colletta bring the pair to Princetown and a fantastic clash with dinosaurs, future-men and the Spanish Inquisition in thrilling but deceptively peril-free lark ‘Isle of a Thousand Thrills!’ before seasonal shocker ‘Robin’s (Very) White Christmas!’ ( #4, Rozakis, José Delbo & & Colletta) sees Batgirl, Robin and Gotham Police Commissioner Jim Gordon unite to keep Syndicate snitch Tad Wolfe alive and out of the hands of infallible assassin Diamond Lilly.

The eccentrically eclectic collected collation of Teen Wonderments concludes with BF #5’s ‘The Princess and the Vagabond!’ by Maggin, Cary Bates, Swan & Colletta, wherein whilst babysitting foreign dignitary Princess Evalina, Congresswoman Barbara Gordon, her alter ego Batgirl, student guide Dick Grayson and Robin collectively inspire a mismatched romance by foiling the murder plot of sinister agency MAZE…

These stories span a turbulent and chaotic period for comic books: perfectly encapsulating and describing the vicissitudes of the superhero genre’s premier juvenile lead: complex yet uncomplicated adventures drenched in charm and wit, moody tales of rebellion and self-discovery, and rollercoaster, all-fun romps. Action is always paramount, and angst-free satisfaction is pretty much guaranteed. These cracking yarns are something no fan of old-fashioned Fights ‘n’ Tights fiction should miss.
© 1964, 1965, 1966, 1967, 1968, 1969, 1970, 1971, 1972, 1973, 1974, 1975, 1976, 2026 DC Comics. All Rights Reserved.

Today in 1926 saw the birth of American cartoonist George Booth (Spot, Local Item), with artist/inker Mike Royer (Magnus, Robot Fighter, Silver Star, Jack Kirby’s Fourth World, Kamandi) arriving in 1941 and iconic groundbreaking French fantasist Philippe Druillet (Lone Sloane saga, Yragaël, La Nuit, Salammbô, Nosferatu) in 1944. Romanian artist Sandu Florea (Batman: Battle for the Cowl, Justice Society of America, X-Men, Dou? palo?e) came along in 1946 and abstract expressionist/Underground Commix pioneer David Geiser (Demented Pervert, Uncle Sham, Edge City) one year later; colourist Adrienne Roy in 1953 and Belgian stylist Benoît Sokal (Inspector Canardo, Syberia) in 1954.

In 2007 we lost American cartoonist, sculptor, author and illustrator Howie Schneider (Eek & Meek, Chewy Louie).

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The Phantom – The Complete Series: The Charlton Years Volume Three


By Pat Boyette with Joe Gill & various (Hermes Press)
ISBN: 978-1-61345-049-9 (HB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

In the 17th century a British sailor survived an attack by pirates. Washed ashore on the African coast, he swore on the skull of his murdered father to dedicate his life and that of all his descendants to destroying all pirates and criminals. The Phantom still fights crime and injustice from a base deep in the jungles of Bengali, and throughout the continents is known as the “Ghost Who Walks”. His unchanging appearance and unswerving war against injustice led to his being considered an immortal avenger by the desperate, the credulous and especially the wicked. Down the decades one hero after another has fought and died in an unbroken family line, and the latest wearer of the mask, indistinguishable from the first, continues the never-ending battle.

Lee Falk created the Jungle Justice dealer at the request of his syndicate employers who were already making history, public headway and loads of money with his initial action strip sensation Mandrake the Magician, and although technically not the first ever costumed hero in comics, The Phantom’s astounding popularity wearing later demi-compulsory skintight bodystocking and mask with opaque eye-slits made him the prototype costumed comics paladin. He debuted on February 17th 1936 (Yep! Ninety nonstop years!!) in an extended sequence pitting him against global pirate confederation the Singh Brotherhood. Falk wrote and drew the daily strip for the first two weeks before handing over illustration to artist Ray Moore. A hugely successful Sunday feature began in May 1939. However, for such a long-lived and influential series, in terms of compendia or graphic collections, The Phantom has been very poorly served by the English language market – except in Australia where he has always been accorded the status of a pop culture god.

Numerous companies had begun releasing books of the strips – one of the longest continually running adventure serials in publishing history – but in no systematic or chronological order and never with any sustained success. However, even if only of historical value (or just printed for Australians), surely mysterious Mr. Kit Walker is worthy of a definitive chronological compendium series? Happily, and perhaps because of the tights and mask, his comic book adventures have fared slightly better – especially in recent times. From November 1962 through July 1966, all new adventures were published by West Coast giant Gold Key Comics after which King Features Syndicate dabbled with a comic book line of their biggest stars (including Popeye, Blondie, Flash Gordon, Mandrake and The Phantom) between 1966 and 1967. When they gave up the ghost (Tee. Hee.), plucky dependable, cheap ‘n’ cheerful Charlton Comics were there to pick up the slack…

The Phantom was no stranger to funnybooks, commanding his own title all over the world. Even in the US he had appeared since the Golden Age in titles like Feature Book and Harvey Hits, albeit only as reformatted newspaper strip reprints. Gold Key’s efforts were tailored to a big page and a young readership, a model King Features maintained for their own run, but which was tweaked when Charlton acquired the license. This third full-colour compilation gathers the contents of The Phantom #48-56 (originally released between February 1972 to June 1973) and opens with an historical interview conducted by Spike Barkins and modified here as Introduction ‘Lee Falk: Thoughts About the Ghost Who Walks’, offering insights and a wealth of original art pages by in situ comic book creator Pat Boyette.

San Antonio born on 27th July 1923, Aaron P. Boyette was pure mythical Texan: self-taught in everything that mattered and unstoppably confident. A truly tireless entrepreneur, he was a key component of the development of commercial radio in Texas and a journalist who researched, wrote, broadcast, managed, and presented shows. If you’ve read any Golden Age Green Lantern, it’s everyman hero Alan Scott (who did all the jobs) could have been patterned on Pat…

Boyette forsook burgeoning stardom to become a cryptographer during WWII. Coming out, he performed the same do-it-all trick with early television and later moved into making movies. After anchoring TV news, he abruptly moved sideways again, and took to comics: writing, editing, lettering, painting and illustrating as Pat Boyette, Sam Swell, Alexander Barnes & Bruce Lovelace. Working for Charlton, DC, Warren, Archie, Acclaim; a host of eighties indie outfits and as a self-publisher, Boyette produced newspaper strip Captain Flame; drew prestigious DC title Blackhawk; and found a lasting home at Charlton Comics. He co-created (with Joe Gill) The Peacemaker and assumed creative duties on Pete (“PAM”) Morisi’s Peter Cannon: Thunderbolt. As the superhero boom faded, he increasingly contributed to their anthological lines, crafting hundreds of genre short stories for romance, war, western horror, science fiction, fantasy and others. Boyette also handled Charlton’s biggest and most high-profile licensed features including The Six Million Dollar Man; Space: 1999; Korg: 70,000 B.C; Flash Gordon; Jungle Jim and the company’s runaway top seller – The Phantom. Boyette’s work was continually published at Charlton until at least 1986 when the outfit was being wrapped up. He readily adapted to the indie market, with his last work appearing in DC/Paradox Press’s The Big Book of the Weird Wild West in 1998.

Pat Boyette died of oesophageal cancer on January 14th, 2000 in Fort Worth, Texas.

The majority of the bi-monthly yarns here are scripted by Boyette, backed up by Joe Gill in #49, 52 & 54: utterly workmanlike and hitting every expected base. Most issues still offered a pictorial Contents Page teaser, heralding terse, spartan, stripped-back action; mystery yarns with themes and plots readers of newspapers and dyed-in-the-wool superhero fans alike could appreciate equally. There are of mad scientists, aliens, monsters, war criminals, brutal beasts, sadistic potentates, thieves & pirates, misunderstood loners and fringe types aplenty… and so many admiring women… but no costumed villains.

Moreover, with Africa in the contemporary news and “emerging nations” grabbing headlines everywhere, politics was paramount and old standbys of rawhide and grass-kilted natives were vanishing on the pages of the world’s most popular strips jungle strips (Tarzan too!) and as we open with The Phantom #48 and a rare full-length saga, ‘The Man of Destiny!’ follows Bandari prodigy Hokana, sponsored by the Ghost Who Walks to study at western schools and universities. Of course, with learning and independence comes selfish personal desires, decadent ways and lurking Soviet enemies ready to disrupt the Phantom’s Peace but after many struggles, adult Hokana understands the true nature of his greedy fair-weather friends before redeeming himself through right choices and valiant actions…

The anthological format returns with #49 and Joe Gill scripting opening exploit ‘The Hostage!’ Here archaeologist Diana Palmer is kidnapped by vicious ideological guerillas before her masked true love expends herculean effort to rescue her, after which Bandari boy Jelrami is also sent for schooling abroad. His path is just as temptation-tainted, but this time not even the Phantom can save the corrupted child or find ‘A Better Way!’ to save the Bandar people from crime, death and western civilisation…

It’s back in time and into space next as ‘The Intruders!’ reveals how two centuries past an earlier Ghost Who Walked faced and fought off extraterrestrial incursion, whilst #50 opens with a contemporary twist as crash-landed human astronauts are mistaken by barbaric Ashnu tribesmen for ‘The Fire Gods’ of legend. Emboldened by profitable hostages whose safety is by no means assured, they are ready to resist even Phantom force and reputation…

More mundane but no less miraculous, ‘No Gratitude’ sees the masked hero ambushed for his horse and almost murdered by a fleeing felon, before performing a most remarkable act of forgiveness that provokes a life-changing change of heart in his enemy. The issue ends with The Phantom piercing uncharted mountain ranges to face a lost Roman outpost and lead ‘The Lost Legion’ against one last tyrannical Caesar…

With the intro pages sacrificed to increased costs and dwindling page counts, #51 leaps right into ‘A Broken Vow!’ wherein ward-&-heir Rex and his Bandar companion Tomm are targeted by vengeful witchdoctor Leklu. Naturally, his kidnap plot and trained crocodiles prove useless against The Phantom’s way, after which the boys take centre-stage to save an elephant trapped by savage hunters in ‘Captive King’ whilst Diana returns to explore the lost city of Lak and becomes hostage to greedy hunters raiding ‘The Treasure Room’. Of course, they have completely different ideas of what constitutes wealth, but can all agree that the Phantom’s justice is swift, fierce and indisputable…

For #52 Gill scripted opening shot ‘Lost in the Land of the Lost!’ as both Diana and Rex are (briefly) held hostage by fugitive murderer Victor Walsk in the lost temple they have just discovered, after which Boyette places her ‘A World Away!’. Her self-sacrificing gambit to save the Phantom and his Bandar from an insidious poison plot by avaricious billionaire collector finds her dragged all over the world, but not beyond the reach of the Ghost Who Walks. Closing the issue is another Gill-penned piece as new leader Captain Ahmed enacts his ‘Revenge of the Singh Pirates!’ to end four centuries of conflict with cunning plans and the most modern of weapons only to learn his efforts will never be enough…

The next issue starts with ‘The Looters!’ as super-thieves Marcel and Jeanne ambush The hero is his own skull cave and leaving him for dead ferry his greatest treasure back to Paris. They really should have checked his body…

Back in Africa ‘The Phantom meets the… Do Gooders!’ as smug government sociologist Dr. Harrison Pugh attempts to introduce morally-improving consumer capitalism to “poverty-ridden tribes” only to – eventually – learn a painful lesson in practical politicking, after which The Phantom confronts primal force when a rogue bull-elephant ravages the region in ‘The Outlaw’s Herd!’ and sees, as usual, that it’s not the beasts to blame for all the carnage…

In #54 the lead features another plundering of Phantom treasures, setting the Jungle Judge on the trail of British bandit Lord Percy and his lethal assistant Miss Chang. They think they have home advantage thanks to London fogs, but are not the only ‘Killers in the Mist’ (Gill script). With the loot returned Boyette alone handles a magic-tinged war against ‘The Angry Gods!’ after fanatical film director Chico Fitzroy and his apparently-possessed leading lady Regina Shaw despoil ancient temples to make their latest masterpiece, leaving the battered, beguiled Phantom just enough time to ponder the exploits of an ancestor who battled Wazuli an obsessed ‘Master of Evil’ in a war for control of Bandar two centuries past…

Contemporary issues inform the first yarn in The Phantom #55 as our hero discovers illegal oil drilling near Bengali and must take extreme action to prevent ‘The Black Blight!’ destroying every oasis and water source in the area, before notions of romantic mysticism are introduced in ‘A Far-Off Drum!’ Given a hand-drum by the hero that will eternally connect them, Diana soon sees its power when she is abducted in London and the Ghost Who Walks comes running to her side from ten thousand miles away as soon as she taps it…

Closing the penultimate inclusion here is a human interest fable as a trusted member of the Phantom’s inner circle is coerced into raiding Bandar possessions like ‘A Thief in the Night’. Thankfully, the wise hero looks beyond the apparent to track down the true villain behind the betrayals… Gill is back for a dose of ‘Jungle Madness’ in #56 as friendly docile creatures – including wonder horse Hero – become deranged berserkers, much like the Ghost himself once he tracks down the polluters who poisoned the water table for quick profit…

Boyette and his associates often sagely left their time period vague and unconfirmed, allowing creative anachronism to play out in tales that could often be starring earlier Phantoms of the undying dynasty. Here however, the timeframe is solidly identified as 1942 as the incumbent Enforcer of the Jungle Peace deceives a German U-Boat crew on a scouting mission that Hitler had already conquered the primitives through one example of perfect white superiority:‘The Nazi Phantom’. The deception did not last long, but it didn’t have to…

The comic and this classic safari of strip saga closes with another bang of the drum as ‘The Chief Who Went Astray!’ finds Diana and “Kit Walker” enjoying a brief respite in London when the Ghost who Relaxes hears a spectral tympani and dashes back to Bengali and the Bandar. The new impossible task is to shut down illegal mining operations plundering the tribes mineral resources… specifically uranium. It seems that vile Mr Grimek has the full consent of local bigwig Lolomu, but all is not as it seems until the Phantom takes a hand and raises his fists…

Packed throughout with pages of Boyette original art, this is another riotous rip-roaring, nostalgia-drenched delight: stripped down, nonstop rollicking action-adventure which has always been the staple of comics fiction and the Ghost Who Walks. If that sounds like a good time to you, this is a traditional action-fest you must not miss…
The Phantom® © 1972-1973 and 2014 King Features Syndicate, Inc. ® Hearst Holdings, Inc. Reprinted with permission. All rights reserved.

In 1916, today saw the birth of Canadian veteran Jack Sparling (Claire Voyant, Six Million Dollar Man, Neutro, Turok, Son of Stone, The Outer Limits, Mission Impossible, Space Man, Challengers of the Unknown, countless genre tales for most US publishers), with New Zealand cartoonist John Kent (Varoomshka) sharing the cake and candles from 1937 onwards.

Cartoonist and author Berkely Breathed (Bloom County, Outland, A Wish For Wings That Work, Flawed Dogs, Mars Needs Moms!) was born today in 1957, as was editor/publisher Gary Carlson (Big Bang Comics, Megaton), with mangaka Gosho Aoyama (Case Closed) arriving in 1963. Horrorists Steve Niles (30 Days of Night, Criminal Macabre: A Cal McDonald Mystery, Batman: Gotham County Line, Kick-Ass) and Mike Dringenberg (Kelvin Mace, Adolescent Radioactive Blackbelt Hamsters, The Sandman) were both born today in 1965, just like artist Wilfredo Torres (Superman ‘78, The Shadow: Year One Doc Savage: The Spider’s Web) in 1972 and Christopher Hastings (Dr McNinja, Gwenpool) in 1983.

On this date in 1985 Golden Age great Charles Nicholas Wojtkoski (Blue Beetle, Sub-Mariner, Blonde Phantom, The Iron Corporal, All-Winners Squad, Nyoka the Jungle Girl, hundreds of genre shorts) died.

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T.H.U.N.D.E.R. Agents Classics volume 6


By Wallace Wood, Steve Ditko, Steve Skeates, Gil Kane, Ralph Reese, Dan Adkins, George Tuska, Reed Crandall, John Giunta, Ogden Whitney, Chic Stone, Paul Reinman, Jack Abel & various (IDW)
ISBN: 978-1-63140-182-4 (HB) eISBN: 978-1-62302-879-4

This book includes Discriminatory Content produced in less enlightened times.

The meteoric lifespan and output of Tower Comics is one of the key creative moments in US comic book history. Bombastic, brilliant but brief, the era of The Higher United Nations Defense Enforcement Reserves was a benchmark of quality and sheer unadulterated fun for fans of both the then-still-reawakening superhero genre and the global spy-chic obsession of those distant times. Throughout the early 1960s, the Bond movie franchise was going from strength to strength, with blazing action and heady glamour totally transforming the formerly low-key, seedy and darkly patriotic espionage genre. The buzz was infectious: soon a Man Like Flint and Matt Helm were carving out their own piece of the action as TV shanghaied the entire bandwagon with the irresistible Man from U.N.C.L.E. (premiering September 1964), bringing the whole shtick into living rooms around the world.

Thus veteran Archie Comics editor Harry Shorten was commissioned to create a line of characters for a new distribution-chain funded publishing outfit: Tower Comics. He brought in creative maverick Wallace (he hated the contraction “Wally”) Wood, who called on many of the biggest names in the industry to craft material for the broad cross-section of genres the new company demanded; as well as T.H.U.N.D.E.R. Agents and spin-offs Undersea Agent, Dynamo and NoMan, there was a magnificent anthology war-comic Fight the Enemy and wholesome youth-comedy Tippy Teen.

Samm Schwartz & Dan DeCarlo handled the funny stuff – which outlasted everything else – whilst Wood, Larry Ivie, Len Brown, Bill Pearson, Steve Skeates, Dan Adkins, Russ Jones, Gil Kane, Ditko & Ralph Reese contributed scripts for themselves and the industry’s other top talents to illustrate on the adventure line. With a ravenous appetite for superspies and costumed heroes growing in comic book popularity and amongst the general public, the idea of blending the two concepts seemed inescapable…

T.H.U.N.D.E.R. Agents #1 appeared with no fanfare or pre-publicity on newsstands in August 1965. Beguilingly, all Tower titles were in the beloved-but-rarely-seen 80-Page Giant format, offering a huge amount of material in every issue. All that being said, these tales would not be so revered if they hadn’t also been so superbly crafted. As well as Wood, the art accompanying compelling, subtly more mature stories was by some of the greatest talents in comics: Reed Crandall, Gil Kane, George Tuska, Mike Sekowsky, Dick Ayers, Joe Orlando, Frank Giacoia, John Giunta, Ogden Whitney, Steve Ditko and more, as well as budding stars including Ralph Reese, Steve Skeates and Dan Adkins…

For those who came in late: When philanthropic benevolent super-genius Professor Emil Jennings perished in an assault by forces of the mysterious Warlord, late-arriving UN troops salvaged some of his greatest inventions. These included a belt that increased the density of the wearer’s body until it became as hard as steel; a cloak of invisibility and a brain-amplifier helmet. These uncopiable prototypes were divided between several agents: the basis of a unit of super-operatives to counter the increasingly bold attacks of multiple global terror threats such as the aforementioned Warlord. First chosen was affable, honest, but far from brilliant file clerk Len Brown. To the astonishment of everyone who knew him, he was assigned the belt and codename Dynamo.

T.H.U.N.D.E.R. Agent NoMan was previously decrepit Dr. Anthony Dunn who chose to have his mind transferred into an unaging android body and then gifted with the invisibility cape. If his artificial body was destroyed, Dunn’s consciousness could transfer to another android body. As long as he had a spare ready, he could never die. The helmet went to John Janus: a seemingly perfect UN employee and mental and physical marvel. He easily passed all tests necessary to wear the Jennings helmet. Sadly, he was also a double agent, the Warlord’s mole poised to betray T.H.U.N.D.E.R. at the earliest opportunity. All diabolical plans went awry once he donned the helmet and became Menthor since the device awakened his brain’s full potential, granting him telepathy, telekinesis and mindreading powers, but it also drove all evil from his mind. Such was the redemptive effect that Janus actually gave his life to save his comrades: an event which astounded readers at the time. In the wake of that tragedy, the Helmet vanished, passing through many hands but always escaping T.H.U.N.D.E.R.’s attempts to retrieve it.

Guy Gilbert was leader of crack Mission: Impossible-styled special forces commando unit T.H.U.N.D.E.R. Squad until asked to beta-test an experimental super-speed suit. As gung-ho, duty-obsessed Lightning, he proudly did so, even if every use of the hyper-acceleration gimmick shortened his life-span. As the concept and the niche universe expanded, other augmented agents appeared – like human jet Raven or subsea spin-off U.N.D.E.R.S.E.A. Agent (AKA Davy Jones of the United Nations Department of Experiment and Research Systems Established at Atlantis…

This concluding compilation of classic costumed-spycraft re-presents the compelling contents of T.H.U.N.D.E.R. Agents#15-20 (cover-dates July 1967 to November 1969) – with the incomparably cool concept and characters going from strength to strength as a spirit of eccentric experimentation and raucous low comedy increasingly manifested in the wake of the defeat of the Warlord (actually exposed as only one of a subterranean race intent on world conquest) and rise of independent, lone wolf supervillains, sinister crime cabals such as SPIDER or international/political foes like China’s Red Star…

As always the action opens with a Dynamo solo tale. ‘Collision Course!’ – by an unknown author and depicted by Wood – sees superhuman Andor resurface. A misunderstood modern Prometheus, he was abducted by the Warlords as a baby and spent decades being turned into a biological superman devoid of sentiment or compassion. However, they lost control of their living weapon once he met fellow mortals. Since their shattering defeat, the pitiful outsider’s attempts to rejoin mankind had been constantly thwarted and derailed. Here, following a clash with Dynamo and SPIDER, Andor is a blind (but still immensely powerful) Samson living as a hobo with a cunning grifter. Sadly. he’s again exploited by the underworld – in the form of ruthless criminal freelancer Iron Maiden – and precipitates another shattering duel with the super strong G-man as well as SPIDER’s own hyper-strong, enhanced operative Brutus Kanassus.

When the dust and rubble settles, Andor is gone again, but is now again a slave of Uru, the last surviving subterranean warlord…

Steve Skeates & Chic Stone then detail the next step in Lightning’s life. Dying because of the speed suit he volunteered to wear, Agent Gilbert is placed into cryostasis, but ‘While Our Hero Sleeps…!’ archfoe Warp Wizard wickedly swipes the body. He, however, utterly underestimates the skills and determination of Guy’s former T.H.U.N.D.E.R. Squad colleagues Dynamite AKA Daniel John Adkins, Katheryn “Kitten” Kane & William “Weed” Wylie to save him, before Bill Pearson & Ogden Whitney despatch NoMan’s scattershot free-floating consciousness on a ‘Starflight to the Assassin Planet!’ Here the invisible agent faces uncanny extraterrestrial terrors and saves earth from impending invasion…

Dynamo’s best efforts are not enough in ‘Hail to the Chief!’ (by an unknown author, Giunta, Wood & Adkins) wherein his commanding officer Sam Short mistakenly believes he’s being pensioned off. Obsessed with proving himself, “the Old Man” is captured by SPIDER and almost kills both of them before this day is saved. T.H.U.N.D.E.R. Agent Weed (a character Wood regarded as his “spirit animal”) closes the show with a delicious comedy thriller by author unknown and George Tuska.

When a big dumb thug is bitten by a radioactive mole and gains regulation theme-based excavation powers, his small, cunning pal decides ‘Dig We Must’ and has them become costumed crooks robbing from below ground. Their exploits utterly outfox the super-augmented T.H.U.N.D.E.R. Agents but wily Weed has the perfect plan to trap The Mole and Dapper Dan…

Cover-dated October 1967, T.H.U.N.D.E.R. Agents #16 opens with a Dynamo mini-epic illustrated and possibly written by Steve Ditko at the peak of his creative powers and political paranoia. Here the mighty hero and missing frenemy Andor are both beset with a ‘Dream of Doom!’ sent by the last subterranean.

Emboldened by recapturing the Warlord’s living weapon, Uru modifies and heals Andor before unleashing him against humanity, but has again underestimated his tool’s strength of will, affinity for his own kind and all too human feeling for Agent Kitten…

Fast paced and furiously violent, this is a classic example of astounding Ditko’s gift for combat staging as well as his signature graphic psychedelia in action. The era was intensely fruitful for artists as seen in a follow-up by Gil Kane & Jack Abel who limn another uncredited yarn as NoMan learns ‘One of Our Androids is Missing!’ Plunged into a frantic and convoluted global chase whilst again succumbing to psychological traumas triggered by being an undying ancient in a mobile plastic coffin, he soon recovers his emotionless equilibrium after fellow agent Linda Rogers uncovers a plot by the Red Chinese to steal one of his artificial carcases. They intend on turning it into a bomb with the sole purpose of tricking the Soviet Union into leaving the United Nations and blaming T.H.U.N.D.E.R. for the crime. It doesn’t work…

With Lightning notionally cured and declared fit for duty, Skeates & Stone amp up the superpower arms race as old enemy Professor Forkliff uses SPIDER resources to dope the speedster with super hallucinogens before unleashing his own enhanced speed freak – ‘The Whirligig!’ – to crush T.H.U.N.D.E.R. Sadly for them, Gilbert does everything – even recover from a bad trip – at top speed…

The entire Agents roster assembles for anonymously scripted Tuska tale ‘The End of the T.H.U.N.D.E.R. Agents?’ after SPIDER finds a way to negate all their advanced technology and entombs them all… until Weed, Kitten & Dynamite prove that a great plan and deathwish determination is all that’s really needed to send evil packing…

Dynamo closes the issue with a psychologically harrowing tale revealing how constant missions have burned him out. Enduring random descents into mindless fugue states, he is a hero lost to reality. Mature, disturbing, chilling and decades ahead of its time, ‘A Slight Case of Combat Fatigue’ comes courtesy of old soldier Wood and reset the tone as superheroes and spies began to pall in the public’s attention…

T.H.U.N.D.E.R. Agents #17 (December 1967) began with Dynamo in lighter mode as ‘Return of the Hyena!’ (by that mystery scribe, Wood & Reese) saw the husky but not highbrow hero repeatedly made a jackass by a cunning costumed criminal who indulged himself in a battle of wits with an enemy he deemed completely unarmed. Happily. Brawn and determination… and sneaky rogue Agent Weed… balanced the scales of justice enough to cage the beastly bandit, after which Whitney renders an uncredited modern monster mash wherein NoMan learns ‘The Locusts are Coming!!’ before saving embattled missile bases from marauding robotic raiders led by ambitious but unruly King Locust.

With readers tastes changing, Tuska took the weakest but wily-est Agent deep into genre territory for ‘Weed Out West!’ Scouting out SPIDER sightings in Antelope Haunch, Oklahoma, he finds shady doings at the local cowboy film shoot and soon embroils butch back-up Dynamo in uranium smuggling rings, murder plots and wedding plans before the entire T.H.U.N.D.E.R. Agents cadre unites the arch enemy foe in show-stopping closer ‘Put Them All Together, They Spell S.P.I.D.E.R.!’ (by anonymous & Stone). Here Dynamo leads the charge after an ordinary undercover mission exposes the cabal’s secret leaders (“The Council”) as a coalition comprising old enemies Demo, Dr. Sparta, Mastermind, Mayven and The Tarantula, led by the utterly unknown Spider Secretary General, just as the group turn on each other.

That debacle began when SPIDER recovered the all-powerful Menthor Helmet but could not peacefully decide on who should wear it and ended when the good guys explosively arrived to mop up the remains of the heated debate…

Nearly a year passed before #18 was published (cover-dated September 1968), but the contents were worth the wait. It began with another Ditko classic as ‘Dynamo and the Amazing Mr. Mek!’ saw the super-agent clash with a little nebbish suddenly granted uncanny power over machines and mechanisms. Sadly, he had no problem robbing banks but baulked when SPIDER abducted him to inflict massive global terror and death. Those unshakeable, ironclad scruples cost Mek his life and baffled his foes, but not as much as ‘The Sinister Schemes of Professor Reverse!’ (illustrated by Whitney) baffled and bamboozled NoMan when the bonkers boffin began regressing animals, humans and top military personnel into ancient ancestor iterations such as cavemen and tyrannosaurs…

Next, thanks to an unknown writer and the astounding Reed Crandall, classical fantasy rendered in the classical manner finds Dynamo trapped in an Italian volcanic eruption to somehow awaken in ancient Rome. Experiencing firsthand the grandeur, glory and petty injustices, only a miracle saves him from ‘The Arena!’ and sees him returned to his proper place and station in time to solve ‘The Secret of the Abominable Snowman!’ Crafted by unknown & Stone, here hapless Len Bown must uncover how satellite and space-race launches are being sabotaged from Tibet. Close investigation beside saucy British spy Carnaby Mod soon uncovers a plot by “commie” robotics genius The Red Lama, but there are still mysteries of the upper slopes to unravel even when all the shooting and thumping stops…

The big spy bubble had burst by this point and the spin-off titles had all folded by the time T.H.U.N.D.E.R. Agents #19 (November 1968) was released. All art with no ads, it felt like a rapid using up and closing down exercise which began with the Wood pencilled, Ralph Reese written & inked ‘Half an Hour of Power!’ as SPIDER scientist Dr. Orgo unleashes an army of super androids – including perfect duplicates of all T.H.U.N.D.E.R. Agents and personnel – and poor Len goes on a rampage uncertain who to hit and who to save…

Feeling suspiciously like Dynamo inventory material, it’s followed by another rowdy riot as ‘Dynamo vs. The Ghost!’ (art by Paul Reinman) sees a traitor abscond with T.H.U.N.D.E.R.’s latest breakthrough: a belt enabling the wearer to phase molecules and pass through walls. So can Dynamo – in his own way – but it’s equipment misuse that ends the blockbusting chase that follows in horrific tragedy…

Reese scripts Dynamo’s clash with the ‘All-Girl Gang!’ for Tuska to illustrate, as sinister spymaster Satana operates a squad of female agents no ordinary man can handle. Of course, T.H.U.N.D.E.R. Agent Kitten Kane is an expert in disguise, infiltration and close combat too…

NoMan then confronts ‘A Matter of Transmitters’ (anonymous & Reinman) as SPIDER’s captive scientist Dr. Einzwei subverts T.H.U.N.D.E.R.’s teleport systems and captures all the super-agents as they innocently travel to work. Of course, NoMan has more than one body to report in with and the web soon untangles…

One year later, a final issue appeared. Cover-dated November 1969, T.H.U.N.D.E.R. Agents #20 pretty much signalled the end of spy fever and a dialling back of superheroic shenanigans. The issue was filled with reprint masterpieces but did offer an editorial in ‘Dear T.H.U.N.D.E.R. Fan’ by Wood & Adkins and new 4-page recap of the way it all began in ‘The Origin of T.H.U.N.D.E.R. Agent Dynamo’, drawn by Chic Stone, both of which are included here to sign off the first era of spies in spandex.

With covers by Wood, Kane, Ditko, Reese, Crandall & Stone, these stories all favour fast pace, wry wit, sparse dialogue, explosive action and breathtaking visuals. T.H.U.N.D.E.R. Agents was decades ahead of its time and informed everything in Fights ‘n’ Tights comics that came after it. These are truly timeless superhero comic classics which improve with every reading, so do yourself a favour and add these landmark super-sagas to your collection.
T.H.U.N.D.E.R. Agents Classics volume 6 © 2015 Radiant Assets, LLC. All rights reserved.

Today in 1927 master craftsman and inveterate storyteller Wallace Wood (EC Comics, Mad Magazine, T.H.U.N.D.E.R. Agents, Daredevil, Power Girl, Cannon, Sally Forth, The Wizard King, Witzend, Mars Attacks) was born, sharing the natal anniversary with Hi and Lois artist Chance Browne in 1948, scripter/artist Hilary Barta (Starslayer, Plastic Man) in 1957, artist Pat Olliffe (Untold Tales of Spider-Man, Spider-Girl, Captain Britain and MI:13) in 1965 and Italian illustrator Mirka Andolfo (Hex Wives, Wonder Woman, The Amazing World of Gumball, Ms. Marvel) in 1989.

This date in 1919 Billy DeBeck’s Barney Google and Snuffy Smith strip premiered, as did Sgt. George Baker’s Sad Sack in 1942 in the first issue of service magazine Yank – the Army Weekly.