Category: Spy Stories

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DC Finest: The Doom Patrol – The Death of the Doom Patrol


By Arnold Drake, Bob Haney, Paul Kupperberg, Gerry Conway & Scott Edelman, Bruno Premiani, Bob Brown, Joe Staton, Arvell Jones, Frank Chiaramonte, Bruce Patterson, Romeo Tanghal, Carmine Infantino, Jack Sparling, Joe Orlando, Jim Aparo, Rich Buckler, Vince Colletta, Ross Andru, Dick Giordano & various (DC Comics)
ISBN: 978-1-79950-669-0 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

In 1963 traditionally cautious comic book publishers at last realised superheroes were back in a big way and began reviving and/or creating a host of costumed characters to battle with and against outrageous menaces and dastardly villains. Thus, the powers-that-be at National Comics decided venerable adventure-mystery anthology title My Greatest Adventure would dip its toe in the waters with a radical take on the fad. Still, infamous for cautious publishing, they introduced a startling squad of champions with thematic roots firmly planted in those B-movie monster films of the era that had informed the parent comic.

No traditional team of masked adventurers, this cast comprised a robot, a mummy and an occasional 50-foot woman, joining forces with and guided by a vivid, brusque, domineering, crippled mad scientist. They would fight injustice in a whole new way…

Covering May 1966 to May 1965, this stunning compilation collects the remainder of the earliest exploits of the “Fabulous Freaks”, gathered from Doom Patrol #104-121. For good measure this comprehensive collection also contains the editorial material from reprint revival Doom Patrol #122-124 (February to July 1973); the enticing reboot that eventually returned the team to action from Showcase #94-96 (August 1977-January 1978), and the first official outing in a team-up trilogy from Superman Family #191-193 (October 1978 – January/February 1979).

The dramas were particularly enhanced by the drawing skills of Italian cartoonist and classicist artist Bruno Premiani, whose highly detailed, subtly humanistic illustration made even the strangest situation dauntingly authentic and grittily believable. He was also the ideal hand to squeeze every nuance of comedy and pathos from the captivatingly involved, grimly light-hearted scripts by Arnold Drake who always proffered a tantalising believably world for the outcast heroes to strive in. Premier tale ‘The Doom Patrol’ was co-scripted by Drake & Bob Haney, detailing how a mysterious wheelchair-bound scientist summoned three outcasts to his home through the promise of changing their miserable lives forever.

Competitive car racer Cliff Steele had legally died in a horrific pile up, but his undamaged brain was transplanted into a fantastic mechanical body. Test pilot Larry Trainor should have died. He had been trapped in an experimental stratospheric plane and become permanently radioactive, with the dubious benefit of gaining a semi-sentient energy avatar which could escape his body to perform incredible stunts for up to a minute at a time. To pass safely amongst men Trainor had to constantly wrap himself in special radiation-proof bandages.

Former movie star Rita Farr was exposed to mysterious swamp gases which gave her the terrifying, unpredictable – initially uncontrolled – ability to shrink or grow to incredible sizes.

The outcasts were brought together by brilliant, enigmatic Renaissance Man The Chief, who sought to mould solitary misfits into a force for good. He quickly proved his point when a bomber attempted to blow up the docks. The surly savant directed the trio in defusing it and no sooner had the misfits realised their true worth than they were on their first mission…

Now, years later with the team world-renowned, Doom Patrol #103 opens with the first of two tales: a tragedy ensuing after Professor Randolph Ormsby seeks the team’s aid for a space shot. When the doddery savant mutates into flaming monster ‘The Meteor Man’ it takes the entire patrol plus Beast Boy and Mento to save the day.

For those who haven’t seen the first volume yet: super-rich genius Steve Dayton (think ABSOLUTELY NOTHING like that Tesla guy) created a psycho-kinetic helmet and superhero persona Mento solely to woo and wed Rita, whilst outrageous, obnoxious Gar Logan was a tourist toddler in Africa, who contracted a rare disease. Although his scientist parents’ experimental cure beat the contagion before they died, it left him the colour of cabbage and able to change shape at will. A protracted storyline had commenced in #100 wherein the secretive, chameleonic kid revealed how he was now an abused orphan being swindled out of his inheritance by unscrupulous guardian Nicholas Galtry. The greedy, conniving accountant had even leased his emerald-hued charge to rogue scientists…

Rita especially had empathised with Gar’s plight and resolved to free him from Galtry whatever the cost…

DP #103 also continued unpacking the Mechanical Man’s early days following Caulder’s implantation of Cliff’s brain into an artificial body. In ‘No Home for a Robot’, the shock had seemingly driven the patient crazy as Steele went on a city-wide rampage, hunted and hounded by the police, but here, the ferrous fugitive finds brief respite with his brother Randy, before realising that trouble would trail him anywhere…

In an era devoid of promotional material or media platforms, Doom Patrol #104 astounded everyone as Rita abruptly stopped refusing loathsome billionaire/self-promoting supergenius smart guy Steve Dayton (think Musk with shinier hats) to become ‘The Bride of the Doom Patrol!’ However, her star-stuffed wedding day is almost ruined when alien arch-foe Garguax and The Brotherhood of Evil crash the party to murder the groom. So unhappy are Cliff and Larry with Rita’s “betrayal” that they almost let them…

Even whilst indulging her new bride status in #105, Rita can’t abandon the team and joins them in tackling old elemental enemy Mr. 103 during a ‘Honeymoon of Terror!’ before back-up yarn ‘The Robot-Maker Must Die’ concludes Cliff Steele’s origin as the renegade attempts to kill the mystery surgeon who had imprisoned him in a metal hell… finally giving Caulder a chance to fix a long-term malfunction in Steele’s systems…

‘Blood Brothers!’ in #106 introduces domestic disharmony as Rita steadfastly refuses to be a good trophy wife: resuming the hunt for Mr. 103 with the rest of the DP. Her separate lives continue to intersect, however, when Galtry hires that elemental assassin to wipe Gar and his freakish allies off the books…

The back-up section shifts focus onto ‘The Private World of Negative Man’, recapitulating Larry Trainor’s doomed flight and the radioactive close encounter that turned him into a walking mummy. However, even after being allowed to walk amongst men again, the gregarious pilot finds himself utterly isolated and alone…

Doom Patrol #107 opens epic story-arc ‘The War over Beast Boy’ as Rita & Steve (think Elon but funny and human) start begin proceedings to get Gar and his money away from Galtry, and the embezzler responds by opening a criminal campaign to beggar Dayton, inadvertently aligning himself with the Patrol’s greatest foes. Already distracted by the depredations of marauding mechanoid Ultimax, the hard-pressed heroes swiftly fall to the awesome automaton and Rita is exiled to a barbaric sub-atomic universe…

The secret history of Negative Man continues and concludes on a cliffhanger with ‘The Race Against Dr. Death’. When fellow self-imposed outcast Dr. Drew tries to draw the pilot into a scheme to destroy the human species which had cruelly excluded them both, the ebony energy being demonstrates its incredible power to save the world from fiery doom. In #108, ‘Kid Disaster!’ sees Mento diminished and despatched to rescue Rita whilst Galtry’s allies reveal their true nature before ambushing and killing the entire team…

…Almost.

Despite only Caulder and Beast Boy remaining, our exceedingly odd couple nevertheless pull off a major medical miracle: reviving the heroes in time to endure the incredible attack of alien colossus ‘Mandred the Executioner!’ before Larry’s ‘Flight into Fear’ at the comic’s rear proves Drew hasn’t finished with the itinerant Negative Man yet…

DP #110 wonderfully and wittily wraps up the Beast Boy saga as Galtry, Mandred and the Brotherhood marshal one last futile attack before a ‘Trial by Terror!’ finally finds Logan legally adopted by newlyweds Mrs. & Mr. Dayton. Sadly, it’s just a prelude to expansive extraterrestrial invasion in #111, heralding the arrival of ‘Zarox-13, Emperor of the Cosmos!’

The awesome overlord and his vanguard Garguax make short work of the Fabulous Freaks and – with all Earth imperilled – an unbelievable alliance forms, but not before ‘Neg Man’s Last Road!’ ends Trainor’s tale as the alienated aviator again battles Dr. Death, before joining a band of fellow outcasts in a bold new team venture…

Unbelievably, in #112, the uneasy alliance of DP with The Brain, Monsieur Mallah & Madame Rouge as ‘Brothers in Blood!’ results in no betrayals and the last-minute defeat of the invincible aliens. Moreover, although no rivalries were reconciled, a hint of romance does develop between two of the sworn foes, whilst at the back, untold tales of Beast Boy begin as ‘Waif of the Wilderness’ introduces millionaire doctors Mark & Marie Logan, whose passion for charity took them to deepest Africa and into the sights of “witchman” Mobu who saw his powerbase crumbling as SCIENCE! fixed his subjects’ problems…

When toddler Gar contracts dread disease Sakutia, the Logan’s radical treatment saves their child and grants him metamorphic abilities, but as they subsequently lose their lives in a river accident, the baby boy cannot understand their plight and blithely watches them die. Orphaned and lonely, he inadvertently saves the life of a local chief with his animal antics and is adopted… making of Mobu an implacable, impatient enemy…

DP #113 pits the team against a malevolent one-man mechanoid army in ‘Who Dares to Challenge the Arsenal?’ but the true drama manifests in a subplot showing Caulder seeking to seduce schizophrenic Madame Rouge away from the allure of wickedness and malign influence of the Brotherhood of Evil. The issue includes another Beast Boy short as ‘The Diamonds of Destiny!’ finds thieves kidnapping the amazing boy, just as concerned executor Nicholas Galtry takes ship for Africa to find the heir to his deceased employer’s millions…

Issue #114 opens with the Doom Patrol aiding Soviet asylum seeker Anton Koravyk and subsequently embroiled in a time-twisting fight against incredible caveman ‘Kor – the Conqueror!’ before Beast Boy briefing ‘The Kid Who Was King of Crooks!’ finds the toddler turned into a thief in Johannesburg… until his Fagin-ish abductors have a fatal falling out…

The next issue debuts ‘The Mutant Master!’: pitting the heroes against a trio of hideous, incomprehensibly powerful atomic atrocities resolved to eradicate the world which had so cruelly treated them. Things might have fared better had not the Chief neglected his comrades in his obsessive – and at last successful – pursuit of Madame Rouge…

Also included is ‘General Beast Boy – of the Ape Brigade!’, wherein a Nazi war criminal is accidentally foiled by lost wanderer Gar. The madman’s loss is Galtry’s gain, however, as the crooked money-man’s search ends with him “rescuing” Logan and taking him back to safe, secure America…

The mutant maelstrom concludes in #116 as ‘Two to Get Ready… and Three to Die!’ sees Caulder saving Earth from obliteration and reaping his unexpected reward in a passionate fling with “cured-but-still-fragile” Rouge. The wheelchair wonder seizes centre stage in #117 as his neglect drives his team away, leaving Caulder vulnerable to attack from a mystery man with a big grudge in ‘The Black Vulture!’ Happily, a reunited squad deals with grotesque madman ‘Videx, Monarch of Light!’ even as The Brain challenges Caulder to return his stolen chattel Rouge. Nobody thought to ask her what she wanted, though, and that’s a fatal oversight for all concerned…

Tastes were changing in the turbulent late 1960s and the series was in trouble. Superheroes were about to plunge into mass decline, and the creators addressed the problem head-on in #119: embracing psychedelic counter culture in a clever tale of supernal power, brainwashing and behaviour modification leaving the DP cowering ‘In the Shadow of the Great Guru!’…

An issue later they faced a furious Luddite’s ‘Rage of the Wrecker!’ when a crazed scientist declares war on technology… including the assorted bodies keeping Cliff alive and active. The then-unthinkable occurred next and the series spectacularly, abruptly ended with what we all believed at the time to be ‘The Death of the Doom Patrol!’…

Faced with cancellation, Editor Murray Boltinoff and creators Drake & Premiani wrapped up all the long-running plot threads as spurned Madame Rouge went well off the deep end and declared war on both The Brain’s boys and Caulder’s “children”…

Pitilessly blowing up the Brotherhood, she then attacks the city until the Doom Patrol remove themselves to an isolated island fortress. Even there they are not safe and her forces ambush them. Captured and facing death, Rouge offers mercy if they abandon their principles and allow her to destroy a village of 14 complete strangers in their stead…

At a time when comics came and went with no fanfare and cancelled titles seldom provided any closure, the sacrifice and death of the Doom Patrol was a shocking event for us readers. We wouldn’t see anything like it again for decades – and never again with such style and impact. With the edge of time and experience on my side, it’s obvious just how incredibly mature Drake & Premiani’s take on superheroes was, and these superbly engaging, frenetically fun and breathtakingly beautiful stories rightfully rank amongst the very best Fights ‘n’ Tights tales ever told. Even the mercilessly exploitative many returns of the team since can’t diminish that incredible impact, and no fan of the genre or comic dramas in general should consider their superhero education complete until they’ve seen these classics.

However comics means business and eventually attention drifted back to the “World’s Strangest Heroes”. In 1973 as part of a strand of reprint titles, The Doom Patrol title resurfaced for three issues. From them a trio of editorial features – ‘Meet… The Doom Patrol’, ‘The Men Behind… the Doom Patrol’ and ‘The Doom Patrol’s Professional Fans’ – act as round-up and prelude for the final section of this fabulous compendium.

Itself an early cancellation in the superhero downturn, venerable try-out title Showcase was revived with #94 (cover-dated August/September 1977) and offered a new Doom Patrol courtesy of Paul Kupperberg & Joe Staton. It began with ‘The Doom Patrol Lives Forever!’ as Cliffe Steele’s shell is rescued and retooled by Metal Men inventor Will Magnus. Eventually independent again the traumatized survivor visits the only home he knows and discovers a new gang living/hiding in their old HQ.

Energy-caster Joshua “Tempest” Clay is a Vietnam deserter and Valentina “Negative Woman” Vostok absconded from the Soviet air force after she was possessed by a radioactive energy being very much like the one Larry Trainor was afflicted with. They are led by an Indian woman named Arani, whose temperature-shifting powers prompted her code name Celsius. Cliff is outraged and suspicious, but all becomes a bit clearer when arch enemy General Immortus attacks…

Inked by Francisco Chiaramonte, ‘The Origin of Celsius!’ reveals how the icy flamethrower is in fact Niles Caulder’s secret wife, and possesses those secrets of unending life the geriatric general craves above all else. The battle to stop him and save her creates a bond between the team that carries them straight into even deadlier dangers as Vostok is targeted by US federal agent Matt Cable (last seen palling around with the Swamp Thing) and far-less-tractable KGB operative The Cossack, seeking her recovery for the state. With Bruce Patterson inking, ‘Defection!’ sees the quartet begin a life as fugitive heroes in the grand tradition…

Mere months later Superman Family #191 through 193 saw them join Supergirl, confronting ‘A Matter of Gravity’ (by Gerry Conway with Sott Edelman, Arvell Jones & Romeo Tanghal) as rival villains – and distant cousins with a historic grudge – Gravitron Man and Gravity Lord tear up the world in search of validation and vengeance: cruelly proving ‘What Goes Up… Can’t Come Down’ before ‘The Gravity War’ is forcefully and forcible ended by the united champions…

Although as kids we all happily suspended disbelief and bought into the fanciful antics of the myriad masked heroes available, somehow the exploits of Doom Patrol – and their strangely synchronistic Marvel counterparts The X-Men (freaks and outcasts, wheelchair geniuses, both debuting in the summer of 1963) – always seemed just a bit more authentic than the usual cape-&-costume crowd. With the edge of time and experience on my side it’s obvious just how incredibly mature and hardcore Drake, Haney & Premiani’s take on superheroes actually was. These superbly engaging, frantically fun and breathtakingly beautiful tales should be rightfully ranked amongst the finest Fights ‘n’ Tights tales ever told.

With covers by Bob Brown, Premiani, Carmine Infantino, Jack Sparling, Joe Orlando, Jim Aparo, Rich Buckler Vince Colletta, Ross Andru & Dick Giordano this is a grande superhero sampler any fan of comics or the TV series will adore. Hopefully we’ll see it in digital format soon…
© 1966, 1967, 1968, 1973, 1977, 1978, 1979, 2025 DC Comics. All Rights Reserved.

Today in 1929 the astoundingly smart Jules Feiffer was born. Go see Explainers to see why that’s a cause for celebration before wishing super spidery avenging defending art star Sal Buscema Many Happy Returns since his natal arrival in 1936. If there are gods of any sort anywhere PLEASE DON’T JINX THAT!

In 1948 Frank Godwin’s Rusty Riley strip launched, as did UK weekly Boy’s World in 1963.

If you’re a travelling fan say hooray that Richard Alf was born today in 1952. Even if you haven’t visited his comics stores, you’ve probably enjoyed the San Diego Comic Con he co-founded…

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DC Finest: Superman – The Invisible Luthor


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

This book includes Discriminatory Content produced in less enlightened times

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Invincible Iron Man Epic Collection volume 7 (1976-1978): Ten Rings to Rule the World


By Bill Mantlo, Gerry Conway, Herb Trimpe, Roger Stern, George Tuska, Keith Pollard, Keith Giffen, Carmine Infantino, Jeff Aclin, Mike Esposito, Don Perlin, Jack Abel, Fred Kida, Alfredo Alcala, Rudy Nebres, Bruce Patterson, Josef Rubinstein, Bob Wiacek, Pablo Marcos, Don Newton & various (MARVEL)
ISBN: 978-1-3029-6059-9 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Arch-technocrat and supreme survivor Tony Stark has changed profile and rebuilt himself many times since debuting in Tales of Suspense #39 (March 1963). There and then, as a VIP visitor to Vietnam assessing the efficacy of munitions he had designed, the inventor was critically wounded and captured by sinister, savage Communists. Put to work building weapons with the dubious promise of medical assistance upon completion, Stark instead crafted the first of innumerable technologically-augmented protective suits to keep himself alive and deliver him from his oppressors. From there it was a simple – transistor-powered – jump to full time superheroics as a modern Knight in Shining Armour…

Conceived after the Cuban Missile Crisis at a time when Western economies were booming and “Commie-bashing” was America’s obsession, a dashing new Thomas Edison employing Yankee ingenuity, wealth and invention to safeguard the Land of the Free and better the World seemed an obvious development. Combining then-sacrosanct faith that technology and business in unison could solve any problem, with the universal imagery of noble knights battling evil, Stark – the Invincible Iron Man – seemed an infallibly successful proposition.

Of course, whilst he was the acceptable face of 1960s Capitalism – a glamorous, benevolent, rich, technocratic and all-conquering hero when clad in super-scientific armour – the turbulent tone of the 1970s soon relegated his suave, “can-do” image to the dustbin of history. With ecological disaster and social catastrophe from myriad big business abuses new zeitgeists of the young, the Golden Avenger and Stark International were soon confronting some tricky questions from an increasingly politically savvy readership.

With glamour, money and fancy gadgetry not quite so cool anymore the questing voices of a new generation of writers began posing uncomfortable questions in the pages of a series that was once a bastion of militarised America. Collectively accommodating cover-dates November 1976 to October 1978, this Epic chronological epistle completes that transitional period, reprinting Iron Man #92-114, plus Annual #4 and a guest yarn from Marvel Premiere #44 as Bill Mantlo’s passionate writing triggered a minor renaissance in the Steel Sentinel’s chrome-plated chronicles that resulted in some of the best stories of the Eighties era. It also returned Iron Man to the top-rank of Marvel stars.

If you’re a fan thanks to the movie interpretation, that iteration starts right here, right now…

The mettle majesty opens with manic menace The Melter who soon regrets an ill-advised grudge rematch in ‘Burn, Hero… Burn!’ (Gerry Conway, George Tuska & Jack Abel) before Herb Trimpe returns to plot and pencil Iron Man #93. Pitting Old Shellhead against a British-based modern-day pirate in ‘Kraken Kills’ (Conway script & Abel inks), the self-declared Commander deduces Stark’s secret identity before blackmailing the inventor into building weapons for his super-submarine fleet. Never at a loss, though, Stark turns the tables, sparking ‘Frenzy at Fifty Fathoms!’ to scupper the madman’s plans…

Invincible Iron Man Annual #4 (August 1977) offers an all-action alliance with newly constituted super-team The Champions by Mantlo, Tuska & inker Don Perlin. When psychic assassin M.O.D.O.K. overwhelms the Golden Avenger, Iron Man calls in old allies Black Widow and Hercules (plus teammates Ghost Rider, Iceman, Darkstar and The Angel) to thwart ‘The Doomsday Connection!’

Also from that issue comes an out-of-place martial arts vignette by Roger Stern, Jeff Aclin & Don Newton. ‘Death Lair!’ stars former Master of Kung Fu villain Midnight on a mission of murder against old Iron Man enemy Half-Face…

The regular monthly climb to reclaimed pole position resumes with veteran Iron Man artist Tuska joining plotter Conway, scripter Mantlo and inker Perlin in unleashing giant android ‘Ultimo!’ (IM #95, cover-dated February 1977) against Washington DC. Clad in upgraded armour and in the Capitol to answer congressional questions about his company, Stark is targeted by a vengeful hidden nemesis who activates the mountainous monster for a classic B-movie sci fi rampage in the streets, with the Golden Avenger supplementing hard pressed Army and National Guard units… before falling in ignominious defeat due to sabotage…

Mantlo, Tuska & Abel prove you can’t keep a good Iron Man down as the embattled hero rallies and retaliates in ‘Only a Friend Can Save Him’ as former close ally and dutiful S.H.I.E.L.D. agent Jasper Sitwell joins the counterattack. Meanwhile, a long-simmering plotline advances as NYPD detective Michael O’Brien – who holds Stark responsible and accountable for the death of his brother Kevin – finally allows his obsession with a cover-up to pull him across legal lines and into collusion with shady PI Harry Key, whose latest client also has nasty plans for the playboy inventor…

Thanks to ingenuity and sheer guts, Stillwell & Iron Man seemingly destroy Ultimo deep below DC, but their triumph is short lived as a return to Stark’s Long Island factory provokes a ‘Showdown with the Guardsman!’ (Conway, Mantlo, Tuska & Perlin). When Mike takes PA Krissy Longfellow hostage, steals the armour suit that drove his brother insane and ambushes the Golden Avenger wearing it, the clash is swift and brutal. Thankfully this time, the blockbusting battle ends before another good man dies…

Whilst subsequently treating O’Brien, another distraction comes when an old frenemy attacks the facility and US interventionist economic practises. ‘Sunfire Strikes Again!’ sees the Japanese ultra-nationalist mutant warrior again seek to derail progress, unaware that he’s a pawn of the lurking presence gunning for Stark. However, the harried hero’s problems start with the fact that his greatest weapon is offline and he’s fighting in borrowed Guardsman armour. When the conflict frees imprisoned Michael O’Brien, the cop seeks to make amends by joining the battle in an obsolete Iron Man outfit, but – even with Mike Esposito inking – the new allies rapidly find themselves ‘At the Mercy of the Mandarin!’

During the melee, Key tries his luck in the Stark vaults once too often and encounters an unexpected problem, thanks to another insidious infiltrator planted by a different scheming mastermind. However, having freed himself, Tony is too now busy rushing to a far-distant, potentially world-ending final battle in anniversary issue #100. Invading China, Iron Man faces horrors, homunculi Death Squads, nuclear armageddon and his most obsessive enemy whose ‘Ten Rings to Rule the World!’ ultimately prove insufficient to the task…

With the tyrant’s countless plots to discredit Stark now exposed, our hero starts a long journey home, even as in Long Island, Harry Key, Sitwell and one of the traitors in Stark’s midst begin a cautious espionage dance…

Iron Man’s trip stalls when he’s shot down over Yugoslavia (just google it) and awakens in a creepy old castle filled with freaks and outcasts safeguarded by a familiar – to elderly or dedicated Marvelites at least – huge and daunting figure. Recovering in ‘Then Came the Monster!’ our weary voyager views Castle Frankenstein and panics: clashing with the gentle “Modern Prometheus” before the real menace emerges.

Inked by Esposito & Pablo Marcos, ‘Dreadknight and the Daughter of Creation!’ channels old Marvel horror tales as a brutal and brutalised escaped experiment of Doctor Doom’s laboratories seeks to compel the great granddaughter of Victor Frankenstein to share with him the secrets of creating life…

This ruthless high-tech paladin’s sadistic efforts are eventually thwarted by Iron Man and the original (good) Monster, after which the Steel-Shod Sentinel at last arrives home in #103’s ‘Run for the Money!’ by Mantlo, Tuska & Esposito. Sadly, it’s just in time for the next domestic crisis as Sitwell exposes the traitor only to be captured by revolting corporate villain Midas, who – patience exhausted – launches a truly hostile takeover using tanks, mercenaries, lawyers and the Stock Market…

He is temporarily checked by itinerant junior hero/innocent bystander Jack of Hearts who – as per standard Marvel protocol – is attacked by weary, late arriving Iron Man who misconstrues events and assaults the well-meaning stranger. Shock follows shock as Midas’ legal chicanery forces Iron Man’s surrender, ceding control of Stark International to his enemy, even as the villain’s agent and top lieutenant Madame Masque quits to ally herself with the defeated hero and his ousted, outmanoeuvred alter ego Tony Stark.

In the aftermath, repercussions of the takeover ripple outwards. With Stark no longer paying her bill, deeply disturbed super-telepath (and former Stark inamorata) Marianne Rodgers is kicked out of the sanatorium that has been keeping her psionic deadly tendencies in check…

The fightback begins in ‘Triad! (Mantlo, Tuska & Esposito) after Stark initially refuses the help of Masque. Thus she instead allies with former lover/patsy Sitwell whilst elsewhere, interested parties Michael O’Brien and Jack of Hearts also seek to stop Midas converting Stark’s purloined resources into a world-conquering armed force. Also heading slowly towards a showdown, Marianne graduates towards Long Island, leaving a trail of bodies in her wake…

With ‘Every Hand Against Him!’ and despite the stakes being so high, Tony has quit forever, preferring to hide in his father’s old house with Madame Masque. Less sanguine over the crisis and National Security threat, many of Iron Man’s allies join a volunteer force recruited by psychic superhero The Wraith and eventually consisting of Police Captain Jean de Wolf, former Iron Man stand-in Eddie March, The Guardsman & Jack of Hearts, covertly backed up by Sitwell and (the first) Nick Fury…

Still short of power, they co-opt through blackmail, Masque’s lethal skills and Tony’s last remaining armour suit to take out Midas. ‘Then There Came a War!’ (#106) sees the squad invade SI to face a legion of automated Iron Men. At the height of battle Marianne Rodgers – in a fugue state – finally reaches her destination. As Keith Pollard & Fred Kida step in to illustrate the catastrophic conclusion, ‘And, in the End…’ sees her power tip the scales, uncovering even more treachery in Tony’s inner circle and inspiring the despondent hero to take back his heritage, his company and his honour…

With most of his allies apparently dead, Iron Man calls in Avenging ally Yellowjacket (AKA original Ant-Man Henry Pym) to help whip up a miracle cure in #108 (Mantlo, Carmine Infantino & Bob Wiacek). This incurs some ‘Growing Pains!’ and a palate-cleansing action-filled monster-bash as the clear-up somehow reactivates Kang the Conqueror’s devastating Growing Man android to add to the wreckage and rubble…

Once the fighting is finished, rebuilding Stark International begins, with Mantlo, Infantino & Kida dictating the pace prior to another crisis after Jack of Hearts traces the Growing Man’s programming commands as emanating from Luna. Thus Iron Man and his superhero apprentice board a Quinjet and experiences a very painful ‘Moonrise!’ when their mission intersects a secret sortie by Soviet Super-soldiers Darkstar, Vanguard & Crimson Dynamo. The Communist cosmonauts are only investigating a bizarre alien artefact, but entrenched political and personal animosities spark a savage clash. Both sides are preoccupied when the silver egg activates, transporting those closest to it – the Americans – to somewhere far, far away…

Mantlo, Pollard & Kida stretch their fantasy muscles in an astral epic as the heroes materialise aboard a vast ship bearing Colonizers of Rigel to their next conquest. Sadly, these ‘Sojourners Through Space!’ have targeted Wundagore II – used by animal-enhancing man-made deity the High Evolutionary to store former experiments – and are soon caught up in a battle against formidable space Knights of Wundagore and two devastating late-arriving, quickly escaping human captives within their colossal Command ship…

When an alliance of humans and hyper-evolved Earth beasts proves too costly, the Rigellian venture is called off in ‘The Man, the Metal, and the Mayhem!’  but this in turn leads to renegade Colonizer subcommander Arcturus spitefully targeting Earth with a robot stolen from Galactus (the original Punisher from Fantastic Four #48-50). Upon its despatch, closing instalment ‘Moon Wars!’ (IM #112, July 1978 by Mantlo, Pollard & Alfredo Alcala) sees a swift, unauthorised Colonizer strike prompt a desperate dash back to Luna and shattering descent to Detroit for Iron Man, resulting in blistering battle with the cosmic weapon of chastisement and a new definition of the word “invincible” for the triumphant Golden Avenger…

With Mantlo scripting, Pollard layout pages and Trimpe’s pencilling for inker Josef Rubinstein, Iron Man #113 trumpeted a fresh beginning for Stark International after defeating the bloody takeover bid of Mr Midas. However, as the new complex opened for business, an old enemy is already infiltrating the company whilst a more brazen assault comes after a dying foe is manipulated into attacking the complex using ‘The Horn of the Unicorn!’

Seeking help for the beaten-and-at-death’s door Unicorn, the Metal Marvel consults The Avengers and inadvertently triggers a second assault by the villain who also activates a long-interred robotic threat that seems agonisingly familiar in ‘The Menace of… Arsenal!’ (Mantlo, Giffen & Bruce D. Patterson) leading to a turning point moment you’ll need the next book or another collection to enjoy…

To Be Continued…

Here, however, one last narrative nubbin comes from Marvel Premiere #44 (October 1978): the one-shot try-out of Stark’s former apprentice, by Mantlo, Giffen & Rudy Nebres). ‘The Jack of Hearts!’ reexamines the origin of trust fund brat Jack Hart, who was inundated in the experimental “zero fluid” invented by his murdered father. Seemingly resurrected and imbued with incredible energy and computational powers, Jack hunts The Corporation who ordered the hit and here – thanks to new connection in S.H.I.E.L.D. – inconclusively clashes with their preferred hitman Hemlock…

With covers throughout by Jack Kirby, Al Milgrom, Abel, Ron Wilson, Dan Adkins, Gil Kane, Dave Cockrum, Sal Buscema, Jim Starlin, Val Mayerik, George Pérez, Terry Austin, Frank Giacoia, Joe Sinnott, Joe Rubinstein, John Byrne, Wiacek, Pollard, John Romta Jr., Ed Hannigan & Frank Giacoia, other extras include house ads, cartoon fan letter ‘Printed Circuits’ (by Fred Hembeck from #112); editorial pages and style sheets from Marvel Premiere #44 and original art covers by Starlin, Mayerik & Cockrum.

From our distant vantage point the polemical energy and impact might be dissipated, but the sheer quality of the comics and cool thrill of the eternal aspiration of man in perfect partnership with magic metal remains. These Fights ‘n’ Tights classics are amongst the most underrated but impressive tales of the period and are well worth your time, consideration and cold hard cash
© 2025 MARVEL.

You’d think we barely have room for a review this time as it’s such an auspicious day for comics…

In 1912 today creepy cartoon colossus Charles Addams was born, and in 1929 both Buck Rogers by Dick Calkins and Hal Foster’s Tarzan strips debuted. In 1934 Alex Raymond & Don Moore launched Jungle Jim and a year later combined it with new idea Flash Gordon.

Underground and Mad magazine artist Jay Lynch was born in 1945 and two years later Milton Caniff premiered his other masterpiece with the launch of Steve Canyon. That ran until 1988.

In 1953, Bob Wiacek joined the party as did Karl Kesel in 1959, and publisher Fabrice Giger (Les Humanoïdes Associés) arrived in 1965. Surely by coincidence, two years after, that nativity was followed by the launch of Greg & Eddie Paape’s Luc Orient in Le Journal de Tintin.

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Showcase Presents Robin The Boy Wonder


By E. Nelson Bridwell, Ed Hamilton, John Broome, Leo Dorfman, Gardner F. Fox, Cary Bates, Mike Friedrich, Frank Robbins, Denny 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 & various (DC Comics)
ISBN: 978-1-4012-1676-4 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

As previously mentioned, there are a lot of comics anniversaries occurring in this otherwise dreadful year. The ultimate and original sidekick is probably the most significant of DC’s representatives, and indeed there have been a few intriguing collections released to celebrate the occasion. This one, however, is probably the best but remains criminally out of print, if not utterly unavailable…

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 has inspired an incomprehensible number of 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 – a position he alternated and shared with Batgirl – and a starring feature in anthology comic Batman Family. During the 1980s he led the New Teen Titans, initially in his original costumed identity but eventually in the reinvented guise of Nightwing, all while re-establishing a (somewhat turbulent) working relationship with his masked mentor.

This broad ranging easy on the eye monochrome 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, 227, 229-231, 234-236, 239-242, 244-246, 248-250, 252, 254 and portions of 217; 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 #91, 111, 130 and Justice League of America #91-92.

The wonderment begins with the lead story from Batman #213 (July-August 1969) – a 30th Anniversary reprint Giant – which featured an all-new retelling of ‘The Origin of Robin’ courtesy of E. Nelson Bridwell, Ross Andru & Mike Esposito, perfectly reinterpreting that epochal event for the Vietnam generation. After that, the tales proceed in (more or less) chronological order, covering episodes where Robin took centre-stage.

First up is ‘The Olsen-Robin Team versus… the Superman-Batman Team!’ (from World’s Finest #141, May 1964, by Edmond Hamilton, Curt Swan & George Klein). In a stirring blend of science fiction thriller and crime caper, 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. A sequel from WF #147 (February 1965) delivers an engaging drama of youth-in-revolt as ‘The New Terrific Team!’ quit their assistant roles to strike out on their disgruntled own. Naturally there’s a perfectly reasonable – if incredible – reason here, too…

Detective Comics #342 (August 1965) featured ‘The Midnight Raid of the Robin Gang!’ by John Broome, Sheldon Moldoff & Joe Giella, wherein the Boy Wonder joins a youthful gang of costumed criminals, after which Superman’s Pal Jimmy Olsen #91 (March 1966) delivers ‘The Dragon Delinquent!’ (Leo Dorfman & Pete Costanza) as Robin and the cub reporter, unknown to each other, both infiltrate the same biker gang with potentially fatal consequences.

‘The Boy Wonder’s Boo-Boo Patrol!’ – originally a back-up in Batman #184 (September 1966, 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) depicts his physical prowess in one of comic books’ first instances of the exo-skeletal augmentation gimmick.

‘Jimmy Olsen, Boy Wonder!’ (SPJO #111, June 1968, by Cary Bates & Costanza) finds the reporter trying to prove his covert skills by convincing the Gotham Guardian that he was actually Robin, whilst that same month in Batman #203 the genuine article tackles the ‘Menace of the Motorcycle Marauders!’ (Mike Friedrich, Stone & Giella) consequently learning a salutary lesson in the price of responsibility…

Cover-dated April 1969, 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, Andru & Esposito) depicts a High School Barn Dance which only narrowly escapes becoming a riot thanks to his diligent intervention, after which Gil Kane & Murphy Anderson assume the art-chores with #390’s ‘Countdown to Chaos!’ (August 1969), bringing the series stunningly alive. Friedrich concocted 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.

Batman #217 (December 1969) was a landmark in the character’s long history as Dick leaves home to attend Hudson University. Only the pertinent portion from ‘One Bullet Too Many!’ by Frank Robbins, Irv Novick & Dick Giordano is included here, closely followed by ‘Strike… Whilst the Campus is Hot’ (Detective #394 from the same month, by Robbins, Kane & Anderson) as the callow freshman stumbles into a campus riot organised by criminals and radical activists, forcing the now Teen Wonder to ‘Drop Out… or Drop Dead!‘ to stop the seditious scheme…

Detective #398-399 (April & May 1970) 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 the 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) sees Bob Haney & Murphy Anderson detail the exploits of ‘Olsen the Teen Wonder!’ as the boy reporter again apes Batman’s buddy – this time to infiltrate an underworld newspaper – whilst World’s Finest #195 (August 1970) finds Jimmy & Robin targeted for murder by the Mafia in ‘Dig Now, Die Later!’ by Haney, Andru & Esposito. Simultaneously in DC #402 ‘My Place in the Sun’ (Friedrich, Kane & Colletta), embroils Grayson and fellow Teen Titan Roy Speedy Harper in a crisis of social conscience, before our scarce-bearded hero wraps up his Detective run with corking crime-busting caper ‘Break-Out’ in the September issue.

Robin’s romps transferred to the back of Batman, beginning with #227 (December 1970) and ‘Help Me – I Think I’m Dead!’ (Friedrich, Novick & Esposito) as ecological awareness and penny-pinching Big Business catastrophically collide on the campus, beginning an extended epic seeing the Teen Thunderbolt explore 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.

Crafted by Friedrich, Dick Dillin & Giella, ‘Prisoners of the Immortal World!’ (WFC #200, February 1971), 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 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 & Dick Giordano. ‘Wiped Out!’ (#231, May 1971) then offers an eye-popping end to the jock gang 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 the cataclysmic ‘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). After that eerie epic we slip back a year to peruse the Teen Wonder’s participation in one of the hallowed JLA/JSA summer team-ups, beginning in Justice League of America #91 (August 1971) and ‘Earth… the Monster-Maker!’, as Supermen, Flashes, Green Lanterns, Atoms and a brace of Hawkmen from two separate Realities simultaneously and ineffectually battle an alien boy and his symbiotically-linked dog (sort of) on almost identical planets a universe apart. There’s still time to painfully patronise the Robins of both until ‘Solomon Grundy… the One and Only!’ gives everyone a brutal but ultimately life-saving lesson on acceptance, togetherness, youthful optimism and lateral thinking…

Elliot Maggin, Novick & Giordano then set ‘The Teen-Age Trap!’ (Batman#244, September 1972), with Grayson mentoring troubled kids – and finding plenty of troublemakers his own age – whilst ‘Who Stole the Gift from Nowhere!’ is a delightful old-fashioned change-of-pace mystery yarn. However, ‘How Many Ways Can a Robin Die?’ by Robbins, Novick, Dillin & Giordano (Batman #246, December 1972) is actually a Dark Knight story with Teen Wonder helpless hostage throughout, whereas #248 opens another run of solo stories with ‘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? The ‘Case of the Kidnapped Crusader!’ (pencilled by Bob Brown) then puts the Student Centurion on the trail of an abducted consumer advocate and ‘Return of the Flying Grayson!’ (Maggin, Novick & McLaughlin from #250) painfully reminds 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 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…

It was a year before the Teen Wonder’s solo sallies resumed with ‘The Touchdown Trap’ in Detective Comics #445 as new scripter Bob Rozakis and artist Mike Grell catapulted our hero into a 50-year-old college football feud that refused to die, whilst ‘The Puzzle of the Pyramids’ (#447 and illustrated by A. Martinez & Mazzaroli) offers another clever crime conundrum. This eccentrically eclectic monochrome compendium concludes with an action-packed, chase-heavy human drama by Al Milgrom & Terry Austin as ‘The Parking Lot Bandit!’ & ‘The Parking Lot Bandit Strikes Again!’ (DC #450-451, August & September 1975), giving the titanic teen one last chance to strike a bit of terror into the hearts of evil-doers…

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.
© 1964-1975, 2008 DC Comics. All Rights Reserved.

Today in 1922, Belgian auteur Marc Sleen was born. We still haven’t seen English versions of his Nero yet, but have slavishly and repeatedly begged you all to tune in to the oeuvre of Ronald Searle, who left us all far less today in 2011.

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The Treasury of British Comics Annual 2026


By Stephen Brotherstone, Dave Lawrence, Scott Goodall, David Roach, Chris Lowder, Keith Richardson, Suyi Davies Okungbowa, James Tomlinson, Ned Hartley, Peter Milligan, Willie Paterson, Martin Baxendale, Edison Neo, Ken Reid, Horatio Altuna, Steve White, Jesús Redondo, Henrik Salhström, Solano Lopez, Eric Bradbury, Carlos Cruz, Francisco Fuentes Man, Juan Arancio, Mervyn Johnston, Frank Langford, Ian Kennedy, Vanyo, Bret Parson, Josep Gual, Staz Johnson, James Harren & various (Rebellion Studios)
Digital only eISBN: 978-1-83786-721-9; 978-1-83786-727-1 (Webshop Exclusive)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: True Brit Comics Class… 9/10

Ooh, look! One more!

Just like the bumper seasonal hardbacks they celebrate, Treasury of British Comics Annuals blend old classics with all-new material, and although this year’s selection probably won’t last you all through 2026, it is packed with wonderful yarns that you will certainly read over and again. Combining original modern material with strips from Jag Annual 1971; Smash! November 16th 1968; Monster Fun July 5th 1975; Boy’s World February 19th – October 3rd 1964; The Birthday Book For Boys 1972; Misty February 24th 1979; Whizzer & Chips December 20th 1980; Action May 1st 1976; Wildcat Holiday Special 1989; Battle Action Force November 1st 1986; Valiant Annual 1969; Action Annual 1977; Buster December 28th 1991; Wham! Annual 1972 and Monster Fun October 2024, and kicks off with a strange team up tale fresh off the drawing/key boards of Stephen Brotherstone, Dave Lawrence & Henrik Salhström. It was lettered – like all the new material here – by Jonathan Stevenson.

‘Helmet Head & El Mestizo: “On the First day of Christmas…” ’ pairs the aging mercenary with the robot sheriff to save a frontier town – and that aforementioned ROBOT SHERIFF! – from ruthless scavengers, after which a classic tale of murderous child soldiers sees the ‘Mouse Patrol’ (by an unidentified writer and the incredible Eric Bradbury from Jag Annual 1971) still looking for their POW dads on the battlefields of North Africa in 1942. This time the three lads (Blackie Knight, Ginger Nobb & Cyril North) and their chimp chum Cleo ride their stolen tank into a Nazi super weapon test and gleefully turn it on the astounded Afrika Corps!

Presented as Original Art Archive Scans published in Smash! November 16th 1968, ‘A Short Cut Home!’ is limned by Francisco Fuentes Man and details how a nasty Earthman outsmarts himself after blackmailing gentle – but clever – aliens, after which Monster Fun July 5th 1975 supplies a Ken Reid comedy classic scripted by a mystery gagster. ‘Martha’s Monster Make-Up’ allows her to mould faces like putty and, here, get rid of a really obnoxious family guest…

Very much a main attraction, full-colour painted serial ‘John Brody and the Green Men’ ran in Boy’s World from February 19th to October 3rd 1964. Crafted by Willie Paterson & Frank Langford this is an epic African adventure in the manner of She and other fantasy movies, following the eponymous troubleshooter into a fantastic submerged kingdom and civil war against devilish priests, bloodyhanded tyrants a and a lot of undersea beasties…

It’s followed by Ned Hartley, Steve White & Stevenson’s new parody yarn ‘Imagine if Gums Was Published in Action…’ which speaks for itself – albeit rather messily – prior to Tom Tully & Ian Kennedy revealing how colour-changing ‘Kid Chameleon’ (The Birthday Book For Boys 1972) continues searching for his parents’ assassin. If not for those reptiles who had raised him in the Kalahari desert, he would have no chance…

Author unknown & Josep Gual reveal the monster-hunting surprise two girls unleash on ‘The Island’ (from Misty February 24th 1979) after which school spoof ‘Strange Hill’ (by another unknown & Martin Baxendale from Whizzer & Chips December 20th 1980) neatly shuffles us into an all-new yarn from David & Emily Roach pitting stellar sorcery savants in ‘Vanessa From Venus vs. Spellbinder’.

Thanks to another Original Art Archive Scan we get to see superspy ‘Dredger’ (by Chris Lowder & Horatio Altuna from Action May 1st 1976) settle with a KGB hit squad in all his mean, messy glory prior to James Tomlinson & Jesús Redondo Román detail why the undead don’t like space travel. ‘The Wildcat Complete: Vampire!’ was originally seen in Wildcat Holiday Special 1989, and our seasonal session adopts a rather bleak note for ‘The Fighting MaGees’ (Peter Milligan & Solano Lopez from Battle Action Force November 1st 1986) as brothers Jack and Micky endure the hell of the Gallipoli landings and are forever changed…

From Valiant Annual 1969 Carlos Cruz González and that unknown writer provide a vivid adventure for a certain inventor and his robot assistants as ‘The House of Dolmann’ face plundering pop sensations The Spectrums whilst Juan Arancio’s Original Art Archive Scans for Action Annual 1977 pit white explorers against a jungle packed with ‘The Wild Ones’…

Mervyn Johnston’s ‘Captain Crucial’ clashes with a very busy Kris Kringle courtesy of Buster December 28th 1991, whilst anonymous & Vanyo detail how ordinary folk finished off ‘The Loch Tregar Terror’ (Wham! Annual 1972). One last new yarn by Suyi Davies Okungbowa, Edison Neo & Barbara Nosenzo reintroduces hairy giant robot ‘Mytek the Mighty’ in a show of brute strength and authorial foreboding before we close the fun & games with a vegan bloodbath triggered by Keith Richardson & Brett Parson’s ‘Count Carrot’ – as previously predigested in Monster Fun October 2024…

That’s all you get here, but remember this is a book you still can buy and receive instantly. The internet probably has others. You should check that out in a bit…
© 1964, 1967, 1968, 1970, 1971, 1975, 1976, 1979, 1980, 1986, 1989, 1991, 2024, 2025 Rebellion Publishing IP Ltd. All Rights Reserved.

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The Treasury of British Comics Annual 2024


By Simon Furman, Tom Tully, Alec Worley, Alf Wallace, Leo Baxendale, Pat Mills, Mike Brown, Kek-W, Walter Thorburn, E. George Cowan, Derek Cribbling, Leo Baxendale, Ken Armstrong, Mike Collins, David Roach, Enric Badia Romero, Dave Gibbons, Garry Leach, Ken Reid, Brian Bolland, Joe Colquhoun, Steve Dillon, DaNi, Cam Kennedy, Brian Lewis, Mike Western, Staz Johnson, Tom Paterson, Carlos Guirado, Juan Arancio, Henry Flint & various (Rebellion Studios)
Digital only eISBN: 978-1-83786-025-8 (Kindle); 978-183786-133-0 (Webshop Exclusive)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: True Brit Comics Class… 8/10

As I’ve repeated ad infinitum, British comics always enjoyed an extended love affair with unconventional (for which feel free to substitute “weird” or “creepy”) heroes. Many stars and notional role models in our strips might have been outrageous or just plain “off”, but we also handled traditional stuff in a more appropriate manner… one less likely to have outraged parents and censorious moral stickybeaks gunning for editors and publishers

Until the 1980s, UK periodicals employed an anthological model, offering a large variety of genre, theme and characters. Humour comics like The Beano were leavened by action-adventures like The Q-Bikes or General Jumbo whilst dramatic fare papers like Lion, Eagle, Hotspur or Valiant always offered palate-cleansing gagsters… and there was no reason to rock that boat in end-of-year bumper annuals

Prior to game-changers Action, Misty and 2000AD, British comics fell into fairly ironclad categories. Back then, you had genial and/or fantastic preschool fantasy; a large selection of licensed entertainment properties; action; adventure; war; school dramas, sports and conventional comedy strands. Closer examination would confirm there was always a subversive merging, mixing undertone, especially in such antihero series as Dennis the Menace or our rather strained interpretation of superheroes. Just check out The Spider, Kelly’s Eye or early Steel Claw stories…

The glory days of Christmas Annuals have ended but thanks to Rebellion and their superb Treasury of British Comics project, a touch of that grand legacy has been delighting old and new readers with modern versions of the good old days for a few years now. A little slice of the future of nostalgia comes with a limited Hardback edition and general-release digital compilations of seasonal comics fun and thrills. Moreover – just like the bonanza hardbacks they celebrate – these Annuals are a blend of all-new material and old classics.

In this first release from November 2023 the recovered, remastered delights stem from Smash! April 2nd – May 14th 1966; Wham! Annual 1966: Wham! November 25th 1967 and January 15th 1968; Lion & Valiant Holiday Extra 1969; Pow! Annual 1971; Buster Book of Scary Stories 1975; Action Summer Special 1976; Valiant Book of Mystery & Magic 1976; Action Annual 1979; Battle Holiday Special 1979; Misty Annual 1980; Starlord Annual 1982; Scream! May 12th 1984 and Monster Fun Halloween Spooktacular 2021 and opens with a modern-day team up clash by Simon Furman, Mike Collins & David Roach, coloured by Gary Caldwell and lettered by Annie Parkhouse.

‘The Spider Vs The Leopard from Lime Street’ pits the wild and wary misunderstood heroes against each other until time-bending true malign manipulators The Infernal Gadgeteer and Dr Mysterioso are exposed and expelled, after which true evil genius Leo Baxendale depicts in full colour how ‘Grimly Feendish’ staged his own Great Train Robbery in Wham! November 25th 1967.

Reproduced from actual artboards as “Original Art Archive Scans – with erasings, white out and all…” and as seen in weekly Smash! from April 2nd – May 14th 1966, ‘Moon Madness’ was written by Alf Wallace and illustrated by Brian Lewis, and revealed how a Russian lunar mission resulted in a bizarre jigsaw monster terrorising Britain…

Another multi-hued Baxendale ‘Grimly Feendish’ (from Wham! January 15th 1968) depicting another banditry bungle segues into a sci fi classic from an unknown author and Garry Leach as seen in Starlord Annual 1982 wherein an all-consuming bio-terror on a cargo freighter demands the expert attention of ‘The Exterminator’, after which an equally anonymous yarn from The Buster Book of Scary Stories 1975 limned by Dave Gibbons sees a keen trainee aviator used by ‘The Ghost Pilot’ to save a person on peril and pay off a debt…

Wham! Annual 1966 provided a wry extended ‘Frankie Stein’ tale by Walter Thorburn & Ken Reid regarding the excesses of the tabloid press before Tom Tully & Brian Bolland detail the terrors and rewards of modern sport sensation ‘Spinball’ as originally covered in Action Annual 1979, prior to another new tale as ‘Black Beth’ faces arcane peril from tarot terrors courtesy of Alec Worley, DaNi & Oz Osbourne. Pat Mills, Derek Cribbling & Joe Colquhoun keep up the mystic menace with a craven cartoonist’s cautionary tale and fate as ‘The Final Victim’ as seen in the Valiant Book of Mystery & Magic 1976 prior to Misty Annual 1980, an unknown author and Carlos Guirado exposing a young heiress to ancient heirloom ‘The Hand of Vengeance!’

Supernatural mystery continues with Furman, Steve Dillon & Jay Cobb’s ‘Beware the Werewolf!’ from Scream! May 12th 1984 before the scene shifts to true horror as Cam Kennedy and the Unknown Scripter deliver a lost episode of ‘Charleys’ War’ first found in Battle Holiday Special 1979, prior to time-travelling ‘Robot Archie’ and pals facing pirates in the Caribbean thanks to E. George Cowan & Mike Western and Lion & Valiant Holiday Extra 1969…

‘Esper Commandos’ was published in Pow! Annual 1971, limned by future Modesty Blaise and Axa illustrator Enric Badia Romero and reappears here as another smudges ‘n’ all “Original Art Archive Scan”. It features a future and fascinating psionic super-squad as they infiltrate and eliminate the Britain’s future enemies, and precedes a full colour origin for one of UK comics’ strangest stars. Thanks to Ken Armstrong & Juan Arancio in Action Summer Special 1976,‘Great White Death’ revealed how Shark superstar Hookjaw got his bloody start…

One last original yarn – by Kek-W, Staz Johnson, Barbara Nosnzo & Simon Bowland – maintains the tone but transfers time and place to Leningrad in 1944 for saucy savage combat fable ‘Gustav of the Bearmacht’ before Monster Fun Halloween Spooktacular 2021 revives ‘Gah! The Gobblin’ Goblin’ and his astounding appetite thanks to Keith Richardson, Tom Paterson & Bowland.

Daft, thrilling, beautifully rendered, devastatingly nostalgic and truly fun, these are all you need to complete your Crimbo celebrations and since we’re all messing about with electrons and what-nots, if you want YOU CAN GET IT IMMEDIATELY THANKS TO DIGITAL RUDOLF THE RED BUTTON REINDEER AND THEM INTERWEB TUBES!!

The same applies to the follow up tome…
© 1966, 1967, 1968, 1969, 1971, 1975, 1976, 1979, 1980, 1982, 1984, 2021 & 2023 Rebellion Publishing IP Ltd. All Rights Reserved.

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The Treasury of British Comics Annual 2025


By Paul Grist, Simon Furman, Leo Baxendale, Ian Rimmer, Donne Avenell, Tom Tully, Alec Worley, Steve Moore, John Smith, Simon Williams, John M. Burns, Mike Collins, Carlos Ezquerra, Mick McMahon, Mike Western, Frank Langford, Massimo Belardinelli, Anna Morozova, Ian Kennedy, Eric Bradbury, David Roach, Emily Roach, Andreas Butzbach & various (Rebellion Studios)
eISBN: 978-1-83786-498-0 (general edition); 978-183786-501-7 (Webshop Exclusive)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: More True Brit Comics Class… 8/10

What you read up above is just as true for this second Annual Endeavour which emerged at the end of 2024. This time around, the new contributions are augmented by material from Tiger February 13th – May 8th 1965; Wham! February 27th 1965; Lion Annual 1972; The Buster Book of Scary Stories 1975; Valiant 21st August -16th October 1976; Valiant Annual 1976; Battle Annual 1979; Dan Dare Annual 1980; Action Annual 1982; Scream! Holiday Special 1985 and 2000 AD Presents Action!

Kicking things off is a full-colour, all new rematch /grudge match as Paul Grist, Simon Willams, colourist Jason Cardy & letterer Leila Jess detail one more mighty mess up in ‘Robot Archie Vs The Sludge’ prior to that uncredited writer and Carlos Ezquerra revealing how battle-savvy rebel ‘Major Easy’ ferrets out traitors in Nazi-occupied Greec as seen in Battle Annual 1979.

Long ago Scream! Holiday Special 1985 pointed out the problems with ‘New Neighbours’ courtesy of Ian Rimmer & Mike Western whilst anonymous & Mick McMahon expose the domestic stresses of ‘3000 AD The Traveller’, as first debated in Dan Dare Annual 1980 (which is apparently still a 2000 AD Production)…

Leo Baxendale’s anarchic spoof ‘Eagle Eye, Junior Spy – Doomsday School’ (Wham! February 27th 1965) segues into dark and dangerous (no really) football strip ‘Stryker’ (by Tom Tully & Ian Kennedy and running in Valiant 21st August to 16th October 1976) as really good player joins a naff team to discover how his brother died following an ugly on-pitch incident…

John Smith & John M. Burns were on fine form in 2000 AD Presents Action! as ‘Doctor Sin: The Strange Case of the Wyndham Demon’ sees the mystic troubleshooter drawn to a dark and deadly case of diabolical incursions after which Simon Furman, Mike Collins & letterer SquakeZz deliver an all-original adventure as ‘Kelly’s Eye Vs The White Eyes’ sees mystic ghost-breaker Cursitor Doom call in the invulnerable hero to end a threat to the entire multiverse caused by environmental mucking about…

There’s more of the same, if a little earlier set, as anonymous & Frank Langford detail how animal experiments turn a lab chimp into a threat to all humanity after taking over ‘Gorilla Island’ as seen in Tiger from February 13th to May 8th 1965 – predating Planet of the Apes by three years! – after which possibly the same scripter (who can tell?) & Ian Kennedy cover how immortal time traveller ‘Adam Eterno’ exposes a slave-taker at Camelot’s Round Table, as seen in Valiant Annual 1976.

Donne Avenell & Massimo Belardinelli tell a tale of feudal Caped Crusader/Dark (green) Knight) ‘Flame O’ the Forest’ wherein the masked Saxon battles Norman injustice and oppression in a short romp from Lion Annual 1972 before final new addition ‘Black Beth: Vultures of Azotir’ sees Alec Worley, Anna Morozova, & Ozwald reaffirm the Warrior Sorceress’ undying battle against evil magic and wicked people, before Steve Moore & Eric Bradbury close the Christmas curtain with The Knight From Nowhere’: one last bout of sword-waving sagas and supernatural vengeance as originally seen The Buster Book of Scary Stories 1975…

And that’s another pretty package of festive future-of-nostalgia fun done. Crucially, all these digital delights could be all yours right now, if not sooner…

Admit it. You’re tempted, right? And don’t YOU deserve some seasonal fun and thrills too?
© 1965, 1972, 1975, 1976, 1979, 1980, 1982, 1985, 1992 & 2024 Rebellion Publishing IP Ltd. All Rights Reserved.

Today in 1946 Vittorio Giardino was born. We just did his Max Fridman stuff so no help from here, just go scrolling. In 1947 Dutch wonder boy Joost Swarte was born and in 1959 Jean Roba’s Boule et Bill began in Le Journal de Spirou, and 10 years later Scottish writer Mark Millar was born.

On the downside, though, in 1986 today was Gardner F. Fox’s last day on Earth-1 and in 1992 Smurf-meister Peyo passed away leaving all far less blue…

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Gil Kane’s UNDERSEA Agent


By Gil Kane, Steve Skeates, Gardner Fox & various (IDW)
ISBN: 978-1-63140-444-3 (HB)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Outstanding Action Adventure Comics… 9/10

April 6th 2026 marks the centenary of Gil Kane’s birth. As we might all be dead or scavenging in ruins and rubble by then, here’s a little something I was planning on adding to a month of Kane creations then…

The 1960s was the era when all assorted facets of “cool-for-kids” finally started to coalesce into a comprehensive assault on our minds – and our parents’ pockets. TV, movies, comics, bubble-gum cards and toys all began concertedly feeding off each other, building a unified and combined fantasy-land no kid could resist. The history of Wally Wood’s legendary comics Camelot is convoluted, and once the mayfly-like lifetime of the Tower Comics line folded, not especially pretty: wrapped up in legal wrangling and lots of petty back-biting. None of that diminishes the fact that the far-too brief run of T.H.U.N.D.E.R. Agents was a benchmark of quality and sheer bravura fun for fans of both a still-reawakening superhero genre and the popular media’s spy-chic obsession.

In the early 1960s James Bond movie mania was going from strength to strength, with action and glamour utterly transforming the formerly understated espionage vehicle. The buzz was infectious and soon A Man like Flint and Matt Helm were carving out their own pieces of the action, even as the gogglebox shanghaied the entire trope with the irresistible Man from U.N.C.L.E. (which premiered in September 1964), bringing the genre into living rooms across the world.

Before long, wildly creative narrative art maverick Wood was approached by veteran MLJ/ Archie Comics editor Harry Shorten to create a line of characters for a new distribution-chain funded publishing outfit: Tower Comics. Woody called on some pals – coincidentally many of the biggest names in the industry – to produce material in a broad range of genres; as well as T.H.U.N.D.E.R. Agents, spun-off Dynamo & NoMan and adjunct title U.N.D.E.R.S.E.A. Agent, there was the magnificent war-comic Fight the Enemy and youth-oriented comedy Tippy Teen. Samm Schwartz and Dan DeCarlo handled the comedy book – which outlasted all the others – whilst Wood, Larry Ivie, Len Brown and others crafted landmark/benchmark tales for the industry’s top talents to illustrate in truly innovative style. It didn’t hurt that all Tower titles were in the beloved-but-rarely-seen 80-Page Giant format: there was a huge amount to read in every issue!

Tapping into the Swinging Sixties’ twin entertainment zeitgeists – subsea action and spy sagas – Tower supplemented their highly popular acronymic star-turn, The Higher United Nations Defense Enforcement Reserves (T.H.U.N.D.E.R. Agents) with a United Nations Department of Experiment and Research Systems Established at Atlantis: an aquatic narrative vehicle deploying U.N.D.E.R.S.E.A. Agent against crooks, aliens, monsters, enemy agents and the inimical forces of the environment they operated in.

Unlike its dry-land counterpart series, however, U.N.D.E.R.S.E.A. Agent began with their strong, solid stories (by D. J. Arneson, Steve Skeates & Don Segall) being illustrated in a traditional manner by industry veteran Ray Bailey – albeit with occasional stints from Mike Sekowsky, Joe Giella, Frank Giacoia, John Giunta, Frank Bolle, Manny Stallman & Sheldon Mayer.

According to this collection’s appreciative Foreword by Greg Goldstein and reiterated in Michael Uslan’s fact-filled Introduction, that old school stuff didn’t sit well with kids and in issue #3 Gil Kane moved over from T.H.U.N.D.E.R. Agents, coming aboard to inject his unique, hyper-energetic human dynamism to the watered-down project.

Just a personal aside here: Although I bow to no one in my admiration for Kane and applaud this superb hardback compilation of his UA contributions, I also adore that other stuff – especially Bailey’s workmanlike, Caniff-inspired renditions – and eagerly anticipate the day someone finally gathers the entirety of the 6-issue run in one commemorative tome…

This superb book, however – compiled in 2015 to celebrate the astounding transformation in Kane’s own artistic endeavours which sprang from his brief time at Tower – reprints the breakthrough material which led to his sudden maturation into a world-class Auteur.

At that distant time Kane was a top-rated illustrator but would soon become one of the pivotal players in the development of the US comics industry, and indeed the art form itself. Working as an artist and, after this, an increasingly more effective and influential one, he has drawn for many companies since the 1940s, stamping his unique style on superheroes, action, war, mystery, romance, movie adaptations and most importantly, perhaps, Westerns and Science-Fiction tales.

In the late 1950s he was one of editor Julius Schwartz’s key artists in regenerating the superhero. Yet by the mid-1960s, at the top of his profession, this relentlessly revolutionary and creative man felt so confined by the juvenile strictures of the industry that he dreamed of bold new ventures which would jettison the editorial and format bondage of comic books for new visions and media.

In U.N.D.E.R.S.E.A. Agent #3-6 (spanning June 1966 – March 1967) he was allowed to ink his own pencils for the first time in decades and encouraged to experiment with composition, form and layout – and write, too – and Kane discovered a graphic freedom which opened up the way he told stories and led directly to his independent masterpieces His Name is Savage and Blackmark…

(His Name Is Savage was an adult-oriented black-&-white magazine about a cold and ruthless super-spy in the Bond/Helm/Flint mould; a precursor in tone, treatment and subject matter of many of today’s adventure titles. Blackmark not only ushered in the comic book age of Sword and Sorcery, but also became one of the first Graphic Novels. Technically, as the series was commissioned by fantasy publisher Ballantine as 8 volumes, it was also envisioned as America’s first comics Limited Series.)

So what have we here? Lieutenant Davy Jones is the U.N.D.E.R.S.E.A. Agent, a skilled diver who, whilst working at the international science lab Atlantis, had an accident which gave him magnetic powers that had to be controlled and contained by a hi-tech belt. His boss is affably brilliant boffin Professor Weston, and Jones had a young, impetuous apprentice seaman as sidekick. Skooby Doolittle joined him in tackling monsters, amok experiments and a remarkable number of crooks, mad masterminds and spies who thought pickings were easier under the waves…

Kane’s contributions commence with ‘The Will Warp’ – from UA #3 and written by Skeates – wherein our dashing heroes must contend with diabolical Dr. Malevolent who has perfected a ray to control minds. Soon the vile villain has taken over Atlantis, but has not reckoned on the speed of reaction and sheer determination of Jones & Doolittle…

Skeates also scripted Kane’s tale in #4 wherein Skooby has an unfortunate lab accident and is transformed into a colossal ravening reptilian. Amidst a storm of destruction and with his best friend now an actual danger to shipping, Davy is forced to extreme measures ‘To Save a Monster’…

‘Born is a Warrior’ (#5, written by Kane’s long-time collaborator Gardner Fox) sees hero and partner go above and beyond in their efforts to overthrow an undersea invasion by aliens, before the astounding adventures conclude with a potent, extra-length tale of triumph and tragedy. ‘Doomsday in the Depths’ (#6, by Fox) finds Jones lost at sea and swept into a utopia beneath the sea floor. Trapped forever in the paradise of Antor, he finds solace in his one true love: the sumptuous scientist Elysse. Sadly, Davy is compelled to abandon the miracle city and girl of his dreams to save them all from a horrific monster. Although ultimately victorious, he cannot find his way back…

A glorious cascade of scintillating fantasy action; these yarns – accompanied by a cover gallery by Kane – hark back to a perfect time of primal, winningly uncomplicated action adventure. This is a book to astound and delight comics fans of any stripe or vintage. Is that you?
Gil Kane’s UNDERSEA Agent © 2015: UNDERSEA Agent © 2015 Radiant Assets LLC. All rights reserved.

Today in 1914 author and batman scripter David Vern Reed was born. Thirty years so was later Brazilian comics master Léo (AKA Luiz Eduardo de Oliveira). You can find them all over this blog if you look. In 1965 the amazing Kyle Baker joined us and ditto for him.

In 1969 landmark British girls’ comic Lady Penelope ended after 204 issues, and six years later we said farewell to national treasure John Millar Watt, renowned for the strip Pop, but also a wonderful crafter of stuff for Thriller Comics Library, Robin Hood Annual, girls’ weekly comic Princess and especially Look and Learn.

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Man-Thing Marvel Masterworks volume 1


By Steve Gerber, Roy Thomas, Len Wein, Gerry Conway, Val Mayerik, Gray Morrow, Rich Buckler, John Buscema, Neal Adams, Howard Chaykin, Jim Starlin, Gil Kane, Dan Adkins, Jim Mooney, Frank Bolle, Chic Stone, Frank McLaughlin, Sal Trapani, Joe Sinnott, Frank Brunner, Mike Ploog & various (MARVEL)
ISBN: 978-1-3029-5547-2 (HB/digital edition)

This book includes Discriminatory Content produced in less enlightened times. This book also includes some Discriminatory Content included for dramatic and literary effect.

Win’s Christmas Gift Recommendation: Timeless, Remorseless, Evergreen Scary Stuff to Make You Think… 9/10

At the end of the 1960s American comic books were in turmoil, much like the youth of the nation they targeted. Superheroes had dominated for much of the decade; peaking globally before explosively falling to ennui and overkill. Older genres such as horror, westerns and science fiction returned, fed by radical trends in movie-making, where the kids who had grown up with Marvel now fulfilled the bulk of their young adult entertainment needs.

Inspiration isn’t everything. In fact as Marvel slowly grew to a position of market dominance in the wake of the losing their two most innovative and inspirational creators, they did so less by experimentation and more by expanding proven concepts and properties. The only real exception to this was the hasty hyper-generation of multiple horror titles in response to the industry down-turn in super-hero sales – a move vastly expedited by a rapid revision in the wordings of the increasingly ineffectual Comics Code Authority rules.

The switch to supernatural stars had many benefits. Crucially it brought a new readership to Marvel comics, one attuned to the global revival in spiritualism, Satanism and all things sinisterly spooky. Almost as important, it gave the reprint-crazy company an opportunity to finally recycle old 1950s horror stories that had been rendered unprintable and useless since the Code’s inception in 1954.

A scant 15 years later the Comics Code prohibition against horror was hastily rewritten – amazing how plunging sales can affect ethics – and scary comics came back in a big way with a new crop of supernatural heroes and monsters popping up on the newsstands to supplement the ghosts, ghoulies and goblins already infiltrating the once science-only scenarios of the surviving mystery men titles. In fact lifting of the Code ban resulted in such an en masse creation of horror titles (both new characters and reprints from the massive boom of the early 1950s) that it probably caused a few more venerable costumed crusaders to (temporarily, at least) bite the dust.

Almost overnight nasty monsters (and narcotics – but that’s another story) became acceptable fare on four-colour pages and whilst a parade of pre-code reprints made sound business sense, the creative aspect of the contemporary buzz for bizarre themes was catered to by adapting popular cultural icons before risking whole new concepts on an untested public. As always in entertainment, the watch-world was fashion: what was hitting big outside comics was to be incorporated into the mix as soon as possible.

The first fan-sensation of the modern era, (now officially enshrined as the Bronze Age of US comic books) Swamp Thing had powerful popular fiction antecedents and in 1972 it was seemingly a concept whose time had come again. Prime evidence was the fact that Marvel were also working on a man-into-mucky, muddy mess character at the very same time. Both Swampy and the Macabre Man-Thing were thematic revisions of Theodore Sturgeon’s classic novella It, and bore notable resemblances to a hugely popular Hillman Comics star dubbed The Heap.

He/it sloshed through the back of Airboy Comics (née Air Fighters Comics) from 1943 until the end of the Golden Age, and my fanboy radar suspects Roy Thomas’ marsh-monster The Glob (Incredible Hulk #121-November 1969 & #129-June 1970) either inspired both DC and Marvel’s creative teams, or was part of that same zeitgeist. It must also be remembered that in the autumn of 1971 Skywald – a very minor player with big aspirations – released a monochrome magazine in their Warren knock-off line entitled The Heap.

For whatever reason, by the end of the 1960s superhero comics were in another steep sales decline, again succumbing to a genre boom led by a horror/mystery resurgence. A swift rewriting of the Comics Code Authority augmented the changeover and at National/DC, veteran EC comics star Joe Orlando became editor of House of Mystery and sister title House of Secrets. These were short story anthologies embracing gothic mystery scenarios, taking their lead from TV triumphs like Twilight Zone and Rod Serling’s Night Gallery, but a horror themed lead meant a focus on character not plot, tragedy and empathy over twist endings and most precious of all, continuity…

No one was expecting satire and social commentary but that came along for the ride too!

Remarkably soon after the Comics Code prohibition against horror being amended, scary comics returned in force and a fresh crop of supernatural superheroes and monsters began appearing on newsstands to supplement the ghosts, ghoulies and goblins already infiltrating the once science-only scenarios of the surviving Fights ‘n’ Tights titles.

In fact, the lifting of the Code ban resulted in such an avalanche of horror titles in response to the industry-wide downturn in superhero sales, that it probably caused a few more venerable costumed crusaders to – albeit temporarily – bite the dust.

When proto-horror Morbius, the Living Vampire debuted in Amazing Spider-Man #101 (cover-dated October 1971) and the sky failed to fall in, Marvel moved ahead with a line of shocking superstars. They began with a traditional werewolf and a vampire before chancing something new: a haunted biker who tapped into both Easy Rider’s freewheeling motorcycling chic and the prevailing supernatural zeitgeist: the all-new Ghost Rider (in Marvel Spotlight #5, August 1972). He had been preceded by western hero Red Wolf in #1 and the aforementioned Werewolf by Night in #2-4. From these beginnings spooky floodgates opened to such an extent there was even room for non-white stars like The Living Mummy and ultimately today’s star turn…

This quirky compendium collects the earliest exploits of Marvel’s muck monster, and not at all coincidentally traces the rise of a unique comics voice. Steve Gerber was a sublimely gifted writer with a ferocious social conscience who combined a deep love of Marvel’s continuity minutiae with dark irrepressible wit, incisive introspection, barbed cultural criticism, a barely reigned-in imagination and boundless bizarre surrealism. His stories were always at the extreme edge of the company’s intellectual canon and never failed to deliver surprise and satisfaction, especially when he couched his sardonic sorties as thinly veiled attacks on burgeoning cultural homogenisation and commercial barbarity. Via material from Savage Tales #1, Astonishing Tales, #12-13, Adventure into Fear #10-19, The Man-Thing #1 & Marvel Two-In-One #1 (communally spanning May 1971 to January 1974) we’ll see how Marvel increasing became the voice of a lost and dissatisfied liberality…

The revolution begins after an erudite Introduction by authorial everyman Steve Orlando (Scarlet Witch, Wonder Woman, Ben 10, Heavy Metal Magazine), before we trudge back to very different times and the beginning of a new kind of comics experience and Marvel’s continued experiments with the monochrome, mature reader marketplace…

Ranged amidst the grittier-than-usual adult-oriented material (that meant partial nudity and more explicit violence back then) Savage Tales #1 (cover-dated May 1971) was a mixed bag of sword & sorcery, sci fi, crime and horror stories featuring Conan, Ka-Zar and more. That line-up included a powerfully enthralling horror yarn entitled ‘Man Thing!’ Scripted by Gerry Conway & Roy Thomas, it offered a fairly traditional spooky story elevated to sublime heights by Gray Morrow’s artwork. It related how government biochemist Ted Sallis was hiding out in the swamps whilst finishing a new/recreated iteration of the much-prized Super-soldier formula that had created Captain America…

Sadly, his live-in lover Ellen is an agent for the opposition and when she and her minions made a play for the formula, Ted is wounded and flees into the murky mire. To preserve the only sample of his life’s work, the desperate, possibly dying boffin injects himself with it… and the bog mingles with the mix to spawn something tragic and uncanny…

Barely conscious or sentient, a shambling muck-monster emerges, apparently set on justice or vengeance…

Savage Tales was not a success and who knows how many manic Marvelites actually saw the anthology, but creators are stubborn brutes who can’t let things lie, so some months later the muck monster shambled back via a tenuous mainstream comic book connection…

Cover-dated June 1972, Astonishing Tales #12 sees the Savage Land’s self-appointed Sovereign Ka-Zar – and morphologically unsubstantiated primaeval saber-cat Zabu – abruptly relocating to Florida in pursuit of S.H.I.E.L.D. agent Barbra “Bobbi” Morse only to find that ‘Terror Stalks the Everglades!’ Here Thomas, John Buscema & Dan Adkins deftly recast the Jungle King as a freelance “consultant” for the superspy network, assisting aging biologist Dr. Wilma Calvin – who just happens to be Morse’s mentor – in tracking down a missing scientist named Ted Sallis.

What Ka-Zar doesn’t know is that the project all of them are working on is the recreation of the super-soldier serum that created Captain America and what nobody (technically) alive knows is that Sallis succeeded before he vanished. However, when Advanced Idea Mechanic agents tried to steal it. Sallis had injected himself and the chemicals reacted with the swamp’s magical energies to create a mindless shambling monster.

Readers are clued in thanks to a lovely unused interlude intended for Savage Tales #2, with Wein & Neal Adams providing a chilling recap sequence detailing the macabre Man-Thing’s previous relationship with Calvin, before back in the now, AIM attacks, trapping Ka-Zar with the bog-beast…

In AT #13 (Thomas, J. Buscema, Rich Buckler & Adkins), the mystery grows as the Jungle Lord escapes the ‘Man-Thing!’ to focus on the real monsters, subsequently routing out a traitor and defeating AIM… for now. With the attention-grabbing overlap with mainstream Marvel done for the moment the path was clear if muddy for a new horror hero to forge ahead, but what was needed was the right tone of voice…

Steve Gerber was a uniquely gifted writer who combined a deep love of Marvel’s continuity minutiae with dark irrepressible wit, incisive introspection, barbed socio-cultural criticism, a barely reigned-in imagination and boundless bizarre surrealism. His stories were always at the extreme edge of the company’s intellectual canon and never failed to deliver surprise and satisfaction, especially when he couched his sardonic sorties as thinly veiled attacks on burgeoning cultural homogenisation and commercial barbarity. With Man-Thing he held up a peculiarly scummy mirror to many cordoned-off and taboo subjects and made history – and enemies – over and over again. However before him, Conway & Morrow returned, aided by Howard Chaykin as the bog beast won its own series, beginning in (Adventure into) Fear #10. Cover-dated October 1972, ‘Man Thing!’ (Say it again! Again!) saw the monster defy all odds to return an abandoned baby to a daddy who just did not want him… and would not take no for an answer…

After that conceptual interlude Gerber, Buckler & Jim Mooney opened an extended mystic parable in Fear #11 on the ‘Night of the Nether-Spawn!’ Gerber’s take was that the beast was empathic and all-but-mindless, reacting and responding to those in its vicinity, but having practically no personal volition. Here that relationship draws in teenagers Jennifer Kale and her little brother Andy who are about to get into all sorts of trouble because they stole something from their grandpa. Sadly, when you play with a magical tome belonging to an ancient cult, handed down over eons to the latest in a long line of guardian wizards, sinister stuff is likely to happen…

The upshot is that a demonic force comes looking for little Miss Kale and its evil emanations make it a painful intrusion the maddened muck monster cannot abide. With diabolical Thog the Nether-Spawn thus preoccupied battling the bonkers bog-brute all through small-town Citrusville, Andy & Jennifer are free to try to fix what they broke. All appearances and happy endings to the contrary, it’s too little, too late…

The nation’s racial tensions boiled over into Fear #12 as Gerber, Jim Starlin & Buckler discovered ‘No Choice of Colors!’ after the moss-heap slurped into a far-too-personal vendetta linking racist white sheriff Wallace Corlee and fugitive black murder suspect Mark Jackson. After initially and instinctively saving the wounded runner, Man-Thing is helpless against the literally paralysing hatred of both men: one condemned for loving the wrong shade of woman and the just other happy to have a legal reason to kill another “coloured man”…

Only after one of the enraged obsessives is no more can the swamp beast freely act against the other…

In #13, Val Mayerik begins his fruitful association with the series as – inked by Frank Bolle – ‘Where Worlds Collide!’ finds Gerber in universe-building mode: introducing Jennifer Kale’s Grandpa Joshua as high priest of a cult that has thrived secretly since Atlantis sank beneath the waves. They have safeguarded the world for eons, handing down the sacred Tome of Zhered-Na, but now Jennifer’s meddling as she innocently answered the call of her heritage has opened a portal to infernal terror that begins by taking Jen’s not-boyfriend Jaxon and opening pathways to devil-infested dimensions. When the Man-Thing follows, he finds a place where Ted Sallis is made manifest again and where Thog offers to make it permanent if the human will betray his world…

Ted’s violent refusal coincides with Joshua and the grandkids showing up and, in the flush of frantic battle and escape to consensus reality, the Kales discover Jennifer’s uncanny link to the mindless (again) monster…

Veteran Chic Stone inks #14’s ‘The Demon Plague!’ as, all over America, hate and insanity blossom. Everywhere, humans attack those nearest, dearest or even largely indifferent to them; and the deluge of violence even affects the wildlife in Florida’s swamps with Man-Thing pitilessly assaulted by everything that walks or hops or crawls or swims…

Joshua Kale soon determines that the not properly sealed dimensional portal is permitting demons to pass and possess mortals, and convenes a cult ceremony to close it from within the swamp – which just happens to be the Nexus of All Realities…

Despite best efforts the ritual goes awry and, curiously spying on them, Jennifer and the bog-beast are abducted from existence by a major mage dubbed Dakimh the Enchanter. Forced into gladiatorial actions to retain the sacred tome that only Jennifer knows no longer exists, everybody underestimates the shambling compost heap with flamethrower hands, and the Earthlings are promptly returned without giving away any more arcane secrets…

With Frank McLaughkin as guest inker this time, Gerber & Mayerik probe ‘From Here to Infinity!’ in Fear #15. With chaos gripping the entire planet, the Man-Thing seemingly killed by invading demons and no sacred tome to consult, Joshua Kale visits ancient Atlantis, seeing how mystic Zhered-Na personally dealt with the last such incursion, learning of an eternal war between divine realms – shining Therea and dark Sominus…

As the current cult leader views how his inspiration met her end, elsewhere Dakimh recruits promising potential sorceress Jennifer, revives the bog-beast and takes them both an a trans-dimensional voyage to save reality and stop the sorcerous shooting war…cat least for now and at the cost of the link to the swamp totem…

Abruptly switching tack and tone, Fear #16 ‘Cry of the Native!’ (inked by Sal Trapani) explores themes of Native American rights, ecological barbarism and callous capitalism run amok, when developer F A Schist attempts to drain the swamp and relocate its Indian occupants to facilitate his new airport complex. Complex issues of new jobs versus already broken treaties and promises lead to sabotage, riots and civil unrest, but what concerns the Kales most is how the disruption might affect the shaky barriers holding back the hungry hordes of Sominus…

This time, however, simply human pride, greed, bigotry and love of violence – all agonising felt by mindless, empathic Man-Thing – is enough to spark riot and butchery, and stall the project. In the aftermath (and with Trapani sticking around as inker) #17’s ‘It Came Out of the Sky!’ offers dark, wry parody as the bog-beast curiously opens a long-submerged space capsule buried in the hidden mire. Within is a super-powered baby sent from a world believed by one scientist/loving father to be on the imminent edge of extinction due to environmental collapse…

The capsule had fed and sustained the godlike being within for 22 years, but when Wundarr emerged to immediately imprint on the Man-Thing, nothing could convince the educationally and emotionally challenged – and fully-grown – waif that the unthinking moss-mass was not his mother. The rejection and indifference proved unbearable and the violent tantrums that resulted almost destroy the airport construction site and Citrusville…

The story notionally carries over into debuting superhero team-up book Marvel Two-In-One #1 (cover-dated January 1974) where, after a desert clash with Thanos, Fantastic Four stalwart Ben Grimm accidentally and improbably ends up in Florida for the premier issue of his own title. Crafted by Gerber, Gil Kane & Joe Sinnott, the ‘Vengeance of the Molecule Man!’ sees The Thing learn some horrifying home truths about what constitutes being a monster when battling with and beside ghastly, grotesque anti-hero Man-Thing after the essence of the reality-warping villain starts possessing bodies in the swamps

Back in Fear #18, Gerber, Mayerik & Trapani resume straight terror tropes and real-world controversy in ‘A Question of Survival!’ as a bus load of ordinary people and a drunk driver catastrophically intersect on a highway through the Everglades. Drawn to the emotional turmoil, the mire monster becomes unwilling witness and unintentional guide as the survivors learn about each other (this at a time when women and minorities were still legally second-class citizens, and pacifists & warhawks violently clashed over Vietnam) whilst trekking back to civilisation and medical treatment. Sadly, one of them really needs to be the only survivor and is not averse to more killing…

The series truly hit its innovative stride with its final appearance in (Adventure into) Fear #19 – cover-dated December 1973 – wherein Thog makes his grand move to conquer all realities and destroy the benign over-gods of Therea. That’s when Jennifer Kale officially becomes ‘The Enchanter’s Apprentice!’ (Gerber, Mayerik & Trapani) and joins another trans-planar trek as the formerly regulated realms of existence begin to collide, clash and combine. First task is to gather the heroes needful to the task and her far-from-united party rapidly expands to include tutor Dakimh, the mindless Man-Thing, a burly barbarian (Korrek, Warrior Prince of Katharta!) and a brusquely cynical talking mallard who calls himself Howard…

Hounded by Thog’s forces, their task is to traverse the twisting paths of existence and save the gods with the chase leading directly into The Man-Thing #1 (January 1974) and a world-shattering ‘Battle for the Palace of the Gods!’ Along the way, Howard is an early casualty, lost in a plunge through cascading universes and the chaos even briefly encompasses baffled heroes Daredevil and Black Widow; and all seems lost when the malign Congress of Realities smashes into seemingly undefended Therea. However, there are forces at play that are beyond even demons and devils, and the mysterious Man-Thing is their unknowing yet willing tool; and ultimately realties are rebalanced and life goes on…

With covers by John Buscema, Buckler, Morrow, Adams, Starlin, Kane, John Romita Snr., Alan Weiss, Frank Brunner, Sinnott, Frank Giacoia, Herb Trimpe & Ernie Chan, the extras in this moody tome of terror and extrospection also include – from November 1970 – Thomas’ original plot for the short story in Savage Tales #1; an original grey-toned art page by Morrow; more by Buscema & Adkins, Buckler, Mooney, Weiss, Brunner, Mayerik & McLaughlin. For your perusal, Gerber’s plot for Fear #16 follows, with lettering notes and Brunner’s cover for #17. More original art includes Romita’s cover for #18 plus interior art by Mayerik & Trapani. The cover art for #19 by Kane & Chan opens another gallery before segueing into house ads, Adams’ cover for Monsters Unleashed #3 and a cover gallery for reprint title Book of the Dead #1-3 (1993-1994) by Tennyson Smith & Morrow, and Ariel Olivetti’s cover to the 2012 Man-Thing Omnibus.

We – me especially – apply the terms milestone, landmark and groundbreaking as guarantors of quality that change the way comics are perceived and even created. It has never been more true or accurate than with these game-changing, socially aware horror yarns. These are stories you must not miss…
© 2024 MARVEL.

Today in 1894 the magnificent Elzie Segar was born. Go read some Popeye or even Thimble Theatre if you can find it.

In 1980 Berke Breathed chose the day to begin his almost-as-magnificent Bloom County strip, as we last saw in Bloom County: Real, Classy, & Compleat 1980-1989. Some of that last factoid is made up by me, but it could have happened…

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Orient Gateway


By Vittorio Giardino (Catalan Communications/NBM)
ISBN: 978-0-87416-041-3 (Catalan PB Album) 978-1-56163-184-1 (NBM PB Album)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Pure Unobtainable Wonder… 9/10

It’s time again for me to whine about how and why some of humanity’s most impressive comics tales continually languish in English-language limbo as my loutish people seemingly refuse to open themselves to the wonders of the world. This time – AGAIN! – it’s a truly wonderful period spy drama you would think was the height of taste and fashion right now…

Born on Christmas Eve 1946, Vittorio Giardino was an electrician who switched careers at age 30. He initially worked for a number of comics magazines before his first collection – Pax Romana – was released in 1978. Giardino toiled, slowly but consistently, on both feature characters such as detective Sam Pezzo, saucy Winsor McKay homage Little Ego and cold-war drama Jonas Fink, as well as general fiction tales, producing 46 albums to date.

In 1982 he began relating the career of a quiet, bearded fellow recalled by the Deuxieme Bureau (the French Secret Service) to investigate the slaughter of almost every agent in the cosmopolitan paradise of Budapest.

The series ran in four parts in the magazine Orient Express before being collected as Rhapsodie Hongroise – Giardino’s thirteenth book… and one in no way unlucky for him. Reluctant spy Max Fridman (transliterated as Max Friedman for the English-speaking world) was dragged back into the “Great Game” in the years of uneasy peace just before the outbreak of WWII: a metaphor for the nations of Europe. Every day and with every fresh headline that becomes more relevant than ever right now…

Over the course of ten years, the masterful Italian graphic novelist crafted two more individual tales and in 1999 added a stunning triptych of albums. The three volumes of No Pasaràn! detailed a key moment during the on-going conflict in what became Republican Spain and the dying days of the Civil War which revealed many clues into the life of the diffident and unassuming hero. Three further volumes have been added to the canon (Max Fridman: Rio de Sangre in 2002, Max Fridman: Sin ilusión in 2008, and just this year Max Fridman: I cugini Meyer) so I’m declaring they are all now long past due to be revived and revisited, and revered…

Back then though, it took three years for Giardino to resume this subtly addictive pre-war drama with follow-up La Porta d’Oriente… Orient Gateway to you and me…

Summer 1938: All espionage agencies in the world know war is coming and nothing can stop it. Frantically jockeying for the most favourable position, all are seeking any infinitesimal advantage for when the balloon goes up. Recently Soviet engineer Mr. Stern has become just such a preferred asset of far too many rival organisations, so he runs, losing himself in the teeming, mysterious city of Istanbul.

Once again diffident, canny operative Max is drawn into the murky miasma of spycraft, but now, beside exotic, bewitching Magda Witnitz, is he the only one to ask why so many dangerous people want to “acquire” Stern?

…And why are they so willing to kill for him?

Subtle, entrancing and magnificently illustrated, this is a mesmerising, slow-boil thriller with all the beguiling nostalgic panache of Casablanca or Topkapi and labyrinthine twists and turns of Tinker, Tailor, Soldier, Spy or even Slow Horses, which no fan of the genre, let alone comics aficionado, can afford to miss.

Giardino is a smart and confident writer who makes tone and nuance carry a tale and his art – a more representational derivation of Hergé’s Ligne Claire (clean line) – makes the lovingly rendered locations as much a character as any of the stylish operatives in a dark, doomed world on the brink of holocaust.

Although still largely an agent unknown in the English-speaking world, Max Friedman is one of espionage literature’s greatest characters, and Giardino’s work is like honey for the eyes and mind. This is another graphic novel every fan of comics or the Intelligence Game should know.
© 1986 Vittorio Giardino. All rights reserved.

Today in 1921 veteran Golden Age creator Charles Nicholas Wojtkoski (Blue Beetle and so much more) was born, He shares the date with cartoonist Joe Edwards whom we mostly know for Archie Comics series including Jughead, Betty & Veronica, Super Duck, Captain Sprocket and his private brainchild Li’l Jinx.

In 1929, jack of all trades Frank Spinger joined the party. He drew almost everything, but you must read The Adventures of Phoebe Zeit-Geist as well as Dazzler, Nick Fury, Friday Foster, Rex Morgan, M.D. or Secret Six…