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The Book of Human Insects


By Osamu Tezuka translated by Mari Morimoto (Vertical)
ISBN: 978-1-935654-20-9

Win’s Christmas Gift Recommendation: an ideal chiller for those dark nights… 8/10

There aren’t many Names in comics. Lots of creators; multi-disciplined or single focussed, who have contributed to the body of the art form, but we don’t have many Global Presences whose contributions have affected generations of readers and aspirants all over the World, like a Mozart or Michelangelo or Shakespeare. There’s just Hergé and Jack Kirby and Osamu Tezuka.

Tezuka was born in Osaka Prefecture on 3rd November 1928 and as a child suffered from a severe illness which made his arms swell. The doctor who cured him inspired him to study medicine, and although Osamu began his professional drawing career while at university, he persevered with his studies and qualified as a doctor too. Facing a career crossroads, his mother advised him to do the thing that made him happiest. He never practiced as a healer but the world was gifted with such classic cartoon masterpieces as Tetsuwan Atomu (Astro-boy), Kimba the White Lion, Buddha, Adolf and literally hundreds of other graphic narratives. Along the way Tezuka incidentally pioneered, if not created, the Japanese anime industry.

Able to speak to the hearts and minds of children and adults equally, Tezuka’s works range from the childishly charming to the disturbing – and even terrifying. In 1970-1971 he produced the stark and moody psycho-thriller Ningen Konchuuki for Akita Shonen’s Play Comic, detailing the inexorable rise of a truly different kind of monster for the burgeoning audiences who were growing up and demanding more mature manga fare.

This superb black and white 364 page hardback opens with ‘Spring Cicada’ as failed and broken designer Ryotaro Mizuno ponders the incredible success of golden girl Toshiko Tomura; a bright young thing who has just scooped a major literary prize for her first novel.

Across town a broken-down derelict also toasts her success whilst in a lonely garret a girl hangs from the end of a noose…

Mizuno confronts Toshiko in her moment of triumph, telling her failed author Kageri Usuba has committed suicide. Their tense exchange is observed by muck-raking journalist Aokusa…

Convinced he’s on to something the reporter perseveres and discovers that Toshiko is a modern renaissance woman: emerging from obscurity to become a celebrated actress while still in her teens, she graduated to directing before becoming an award-winning designer. Abruptly she metamorphosed again, writing the stunning novel The Book of Human Insects. Still in her twenties, there seems to be nothing the angelic girl cannot do…

Further enquiry leads the newsman to her desolate rural home where the uncanny genius presents an entirely different, almost wanton aspect. Moreover she keeps there a very creepy waxwork of her dead mother…

Toshiko catches the professional voyeur and agrees to an interview, but before that meeting Aokusa is accosted by shambling drop-out Hyoroku Hachisuka, a once-prominent stage-director who imparts the true story of Toshiko’s resplendent rise to fame and fortune.

Once, the universally approved-of, wholesome girl was a small, timid creature who inveigled her way into his theatre company. Once there she attached herself like a leech to the star, learning her ways and mannerisms. A perfect mimic, Toshiko not only acquired the actress’s skills but also seemed to suck out her talent and inspiration. When the former star quit Toshiko replaced her…

She performed that same slow consumption of the entire company and then turned her attentions to the director…

Moreover, the seemingly helpless waif was utterly amoral, using sex, slander and perhaps even murder to achieve her ends, which were always short-term: she had no goals or life ambitions, but merely flitted from victim to victim like a wasp seeking its next meal…

Ignoring the warning Aosuka persists and discovers that promising writer Usuba once had a room-mate named Toshiko whom she accused of plagiarising her novel…

Intriguingly, the lonely writer’s recent suicide occurred in extremely suspicious circumstances…

During a TV interview Toshiko accidentally meets Mizuno again. Revealed as one of her earliest victims, can he possibly be the only man she ever loved?

In ‘Leafhopper’ Aosuka uncovers another of Toshiko’s secrets when he meets for the first and last time her shady associate Arikawa – a murderous anarchist who cleans ups the lovely mimic’s potential embarrassments – just as she tries to renew her relationship with the bitter and far wiser Mizuno.

Toshiko also meets war criminal and right-wing “businessman” Sesson Kabuto who immediately discerns her true nature and keeps a fascinated but wary professional distance from her…

Toshiko operates almost instinctively and according to immediate desire, but she has a terrifying capacity to clean up any potentially damaging loose-ends. After seducing Arikawa she spectacularly removes him during a political assassination and uses the affair to promote her next book…

Meanwhile Mizuno spirals further into despondency until he meets a prostitute who looks like Toshiko and finally finds redeeming true love – of a sort…

Toshiko almost overreaches her abilities when she is arrested by South Korean security forces in ‘Longhorn Beetle’ but is rescued and forced into marriage by a man every inch her ruthless, remorseless equal, compelling her to even more inspired acts of perversion and survival – which consequentially endangers the wellbeing of everybody in Japan – before ‘Katydid’ brings the unique drama to a shocking, bloody, poignant and utterly unexpected conclusion…

Murder-mystery, Greek Tragedy, trenchant melodrama, serial-killer horror story and much more, this supremely adult tale has hardly dated at all since its release and offers a chilling image of those hidden invisible predators who have supplanted vampires, witches and werewolves in the dark corners of our communal consciousness.

The beautiful maiden as lure and amoral predator possibly began with this truly disturbing tale and the story is one which will stay with readers long after the final page is turned…

“God of Manga” Osamu Tezuka died in 1989 but with ever more of his copious canon at last being released in English there’s plenty of brilliant material for all ages, intellects and inclinations to admire and adore, so why not start right here, right now.

Accept no imitations…

© 2011 by Tezuka Productions. Translation © 2011 by Mari Morimoto and Vertical, Inc. All rights reserved.

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Pogo: the Complete Syndicated Comic Strips volume 1


By Walt Kelly (Fantagraphics Books)
ISBN: 978-1-56097-869-5

Win’s Christmas Gift Recommendation: Perfect for anybody with a brain or heart…  10/10

This is one of those once in lifetime books which reduce honest critics to nigh speechlessness so I’m offering two different reviews: the first and most fearsomely honest is freely adapted from President’s Clinton’s election catchphrase “It’s the Economy, Stupid!”

Ready?

Just buy it, Stupid!

 

If you need more though, and aren’t driven off by my unbridled brusqueness, I’ll elucidate at tedious, pointless length…

Walter Crawford Kelly Jr. was born in 1913 and started his cartooning career whilst still in High School, as both artist and reporter for the Bridgeport Post. In 1935, he moved to California and joined the Disney Studio, working on shorts and such features as Dumbo, Fantasia and Pinocchio until the infamous animator’s strike in 1941.

Refusing to take a side, Kelly moved back East and began drawing comicbooks – primarily for Dell Comics, who had the Disney funnybook license.

Despite his glorious work on such humanistic classics as the Our Gang movie spin-off, Kelly preferred anthropomorphic animal and children’s fantasy (see Walt Kelly’s Santa Claus Adventures) and created Albert the Alligator and Pogo Possum for Animal Comics #1 (December 1942) sagaciously retaining the copyrights in the ongoing tale of two Bayou critters and their young African-American pal Bumbazine. Although the black kid soon disappeared, the animal pals stayed on as stars until 1948 when Kelly became art editor and cartoonist for the hard hitting, left-leaning liberal newspaper The New York Star.

On October 4th 1948, Pogo, Albert and an ever-expanding cast began their careers in the funny pages, appearing six days a week until the periodical folded in January 1949.

Although a gently humorous kids feature, by the end of its run – reprinted in full at the back of this magnificent tome – the first glimmers of the increasingly barbed, boldly satirical masterpiece of velvet-pawed social commentary began to be seen…

This much delayed – but absolutely worth it – first of twelve volumes follows the ascent of this scintillating and vastly influential strip; don’t believe me, just listen to Gary Trudeau, Berke Breathed, Bill Watterson, Jeff McNally, Bill Holbrook, Mark O’Hare, Alan Moore, Jeff Smith and even Goscinny & Uderzo and our own Maurice Dodd & Dennis Collins, whose wonderful strip The Perishers owes more than a little to the sublime antics of the Okefenokee Swamp citizenry…

After the Star closed Pogo was picked up for mass distribution by the Post-Hall Syndicate and launched on May 16th 1949. A colour Sunday page debuted January 29th 1950 and both were produced simultaneously by Kelly until his death in 1973 (and beyond, courtesy of his talented wife and family…).

At its peak the strip appeared in 500 papers in 14 countries and the book collections which began in 1951 numbered nearly 50, collectively selling 30 million copies.

This volume includes all the Star strips, the Dailies from inception to December 30th 1950, and the Sundays – in a full colour section – from January 29th – December 31st 1950, plus a wealth of supplementary features including a Foreword from columnist Jimmy Breslin, an introduction by biographer Steve Thompson, a week-by-week highly detailed contents section, a useful guide ‘About the Sundays’ by Mark Evanier, and an invaluable context and historical notes feature ‘Swanp Talk’ by the amazing R.C. Harvey.

Kelly’s genius was the ability to beautifully, vivaciously draw comedic, tragic, pompous, sympathetic characters of any shape or breed and make them inescapably human and he used that gift to blend hard-hitting observation of our crimes, foibles and peccadilloes with rampaging whimsy, poesy and sheer exuberant joie de vivre.

The hairy, scaly, feathered slimy folk here are inescapably us, elevated by burlesque, slapstick, absurdism and all the glorious joys of wordplay from puns to malapropisms to raucous accent humour into a multi-layered hodge-podge of all-ages accessible delight.

In volumes to come Kelly will set his bestial cast loose on such timid, defenceless victims as Senator Joe McCarthy, J.Edgar Hoover, the John Birch Society, Richard Nixon and the Ku Klux Clan, but he starts off small here, introducing the gently bemused Pogo, boisterous, happily ignorant Albert, dolorous Porkypine, obnoxious turtle Churchy La Femme, lugubrious hound Beauregard Bugleboy, carpet-bagging Seminole Sam Fox, pompous (not) know-it-all Howland Owl and a host of others in gags and extended epics ranging from assorted fishing trips, building an Adam Bomb, losing and finding other people’s children, electioneering, education, kidnapping, the evil influence of comicbooks, Baseball season, why folks shouldn’t eat each other, Western cow punchers, cows punching back, New Years Resolutions, public holidays and so much more…

The Sundays also began with one-off gags but soon evolved into convoluted and mesmeric continued sagas such as the search for the Fountain of Youth, building a school and keeping it filled, Albert being elected Queen of the Woodland by the elf-like forest fauns – and why that was ultimately a very bad thing indeed…

Timeless and magical, Pogo is a giant of world literature, not simply comics, and this magnificent edition should be the pride of every home’s bookshelf.

POGO Through the Wild Blue Wonder and all POGO images, including Walt Kelly’s signature © 2011 Okefenokee Glee & Perloo Inc. All other material © 2011 the respective creator and owner. All rights reserved.

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The Drops of God Book 1: Les Gouttes de Dieu


By Tadashi Agi & Shu Okimoto translated by Kate Robinson (Vertical)
ISBN: 978-1-93565-427-8

Win’s Christmas Gift Recommendation: 7/10. Perfect for that impossible-to-buy-for relative.

Every so often a graphic novel jumps the ghetto walls and makes a splash in the wider world and this intriguing manga monolith is the latest: eschewing the usual icebreakers of horror, sci fi or blood-soaked action to target the lofty and insular world of the high-end vinter trade and the obsessive fascination of oenophilia (I’m chucking in a bunch of technical terms all enticingly explained in the book, but you can cheat and use your search-engine of choice).

Created by brother and sister thriller-writing team Shin & Yuko Kibayashi (Kindaichi’s Case Files, GetBackers) under their nom de crime Tadashi Agi and stunningly illustrated by Shu Okimoto, Kami no Shizuku debuted in 2004 in Kondansha’s Morning and began book compilation a year later. The siblings are also two of the most influential wine connoisseurs in the world and their expertise and passion shine through every page of this monolithic manga tome (430 pages) which has taken the wine world by storm and won the Gourmand and Cookbook Award 2009 – presumably a first for any work of fiction, let alone graphic novel – and has been described by Decanter Magazine as “arguably the most influential wine publication in the past 20 years.”

Of course all I care about is comics, but even on my terms the tale of prodigal son Shizuku Kanzaki, raised from birth to follow his father’s obsession only to rebel and seek his own path until tragedy and circumstance pull him back to his destiny, this is a thoroughly entertaining immaculately realised soap/thriller drama that would make fans of Jackie Collins or Dick Francis rethink their allegiances…

The first eighteen chapters of the ongoing saga are contained in this first English translation, beginning with ‘The Scent of a Hundred Flowers’ and introducing apprentice Sommelier Miyabi Shinohara who almost shames her wine-bar/restaurant employers in front of a prominent – but boorish – wine snob until a dashing young man saves the day with a bit of daredevil decanting.

It transpires that the lad is a small cog in a vast beer-making concern and has never tasted wine: a shocking admission as Shizuku is the son of global superstar of wine criticism Yutaka Kanzaki…

It seems old man Kanzaki had great hopes and aspirations for his son, training the boy from birth in flavours, odour detection and discrimination like a vintner version of Doc Savage, but the boy rebelled and rejected his father’s passion.

The situation changes when Shizuku is informed of his sire’s death and a unique will…

‘A Prayer to the Fruitful Earth’ reveals the elder Kanzaki had a vast and valuable private collection of stellar vintages and has left them, his house and fortune to his wayward son under a bizarre condition. The lad must indulge in a duel with dark prince of Wine-tasters – and inheritor of Kanzaki’s mantle as greatest critic in Japan – Issei Tomine in a dozen blind tastings of the greatest vintages in the collection – the “Twelve Apostles” – as well as the mysterious thirteenth bottle known only as “the Drops of God”. To the one who most closely agrees with the master’s own description goes everything…

At first Shizuku doesn’t care, but the arrogance of Tomine and a burning desire to understand the father who pushed him to such extraordinary lengths moves the orphan to an alliance with Miss Shinohara and a crash-course in the history, lore and philosophy of the wine industry and craft in ‘The Profound and Subtle Queen’ as well as his first ever actual taste of the magical elixir…

For reasons even he doesn’t understand the neophyte decides to accept the challenge of the Drops of God in ‘Over the Bed Wafts an Aroma of Awakening’ and begins his education, inestimably assisted by his incredible sense of smell, expanded palate and the physical skills he never even knew he possessed, courtesy of his early training.

In episodes with such evocative titles as ‘The God of Burgundy’, ‘A Maiden Fleeing through Strawberry Fields’, ‘Tasting in the Park’ and ‘Cradling God’s Blessing in Both Hands’, what follows is a dazzling display of hard fact and the theosophical fervour of the grape-growers art, seamlessly blended with a canny melodrama of rivalry, redemption and possibly burgeoning young love as Shizuku discovers the obsessive power of his father’s life.

The cast expands as the story unfolds and the nigh-mystical nature of wine is seen to mend fences, restore lost lovers and even diagnose illness in ‘Draining the Glass of Reunion’, ‘A Maiden Smiling in the Strawberry Fields’, ‘The Sweet Dessert of Parting’ and ‘The Ones Who Watch Over’.

Even Shizuku’s career alters as he transfers from sales to the Beer company’s small and struggling wine division and discovers that even all he has learned is not enough when he falls foul of snobbery and bigotry in ‘At All the Battles’ Start’, ‘A Lovely Cruel Flower’, ‘Tough Love for a Saucy Lolita’, ‘The Mystery Man of the Wine Division’ and ‘Merry-Go-Round’.

Meanwhile Tomine has begun to stack the odds in his favour by introducing a seductive secret agent into the lives of Shizuku and Miss Shinohara in ‘A Fantastico Night’ wherein some nasty facts about the true character of the Prince of wine-critics is revealed…

As much religion and philosophy as science and art, the cachet and inherent excitement of the wine trade transfers readily and effectively in this tale to make for a superbly readable tale for older readers.

The Japanese excel at making superb comics which simultaneously entertain and educate (check out economics textbook Japan Inc. by Shotaru Ishinomori to see what I mean) and the powerful, evocative imagery used to capture the sensorial effect of wine on the tongue and myriad fragrances in the nostrils is staggeringly effective – a perfect use of the disciplines which only comics can muster.

This is a surprisingly compelling comics-read and might well be the perfect gift for all those people you thought you couldn’t buy a graphic novel present for…

This black and white book is printed in the traditional ‘read-from-back-to-front’ manga format.

© 2011 Tadashi Agi/Shu Okimoto. All rights reserved.

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World’s Finest Comics Archives volume 1


Edmond Hamilton, Bill Finger, Curt Swan, Dick Sprang & various (DC Comics)
ISBN: 978-1-56389-488-6

During the 1950s most superheroes of the American Golden Age faded away leaving only headliners Superman, Batman and Wonder Woman – and whoever they could carry in the back of their assorted titles – to carry on their genteel crusade against thugs, monsters and aliens.

With economics and rising costs also dictating a reduction in average page counts, the once-sumptuous World’s Finest Comics (originally 96 pages per issue), which had featured solo adventures of the flagship heroes plus a wealth of other features, simply combined the twin stars in a lead story of each issue, beginning with #71 in July-August 1954.

And so they proceeded for decades more until Crisis on Infinite Earths rewrote the DC universe in 1985 and everything was shaken up by retooling The Man of Steel and  re-examining all the Caped Kryptonian’s close relationships in a darker, more cynical light.

However, for many years Superman and Batman worked together perfectly as the “World’s Finest” team. They were friends as well as colleagues and the pairing made sound financial sense since DC’s top heroes (in effect the company’s only costumed stars) could cross-pollinate and, more importantly, cross-sell their combined readerships.

This most inevitable of Paladin Pairings first occurred on the Superman radio show in the early 1940s, whilst in comics the pair had only briefly met whilst on a Justice Society of America adventure in All-Star Comics #36 (August-September 1947) – and perhaps even there they missed each other in the gaudy hubbub…

Of course they had shared the covers on World’s Finest Comics from the outset, but never crossed paths inside; sticking firmly to their specified solo adventures within. So, after a fascinating introduction from Mark Waid, this magnificent all-ages hardback compendium begins reliving those days of wonder in fabulous full colour with their classic, official first comicbook case together which appeared in Superman #76 (issue #76, May/June 1952).

Science fiction author Edmond Hamilton was tasked with revealing how Man of Steel and Caped Crusader first met – and accidentally discovered each other’s identities – whilst sharing a cabin on an over-booked cruise liner. Although an ordinary crime-stopper yarn, it was the start of a phenomenon. The art for ‘The Mightiest Team in the World’ was by the superb Curt Swan and inkers John Fischetti & Stan Kaye. Thereafter remaining inclusions in this first volume comprise the lead stories from World’s Finest Comics #71-85.

World’s Finest Comics #71 (July-August 1954) presented the Man of Tomorrow and the Gotham Gangbuster in the first of their official shared-cases as the Caped Crusader became ‘Batman – Double For Superman!’ (by scripter Alvin Schwartz with Swan & Kaye providing pictures) as the merely mortal hero traded identities to preserve his comrade’s alter ego and latterly, his life…

‘Fort Crime!’ (Schwartz, Swan & Kaye) saw them unite to crush a highly organised mob with a seemingly impregnable hideout, after which Hamilton returned to script ‘Superman and Batman, Swamis Inc’, a clever sting-operation that almost went tragically awry before an alien invader prompted an insane rivalry which resulted in ‘The Contest of Heroes’ by Bill Finger, Swan & Kaye, from #74.

The same creative team produced ‘Superman and Robin!’ wherein a disabled Batman could only fret and fume as his erstwhile assistant seemingly dumped him for a better man, whereas ‘When Gotham City Challenged Metropolis’ (Hamilton, Swan & Charles Paris) saw the champions at odds as their hometowns over-aggressively vied for a multi-million dollar electronics convention before a landmark tale by Hamilton, Swan & Kaye invented a new sub-genre when a mad scientist’s accident temporarily removed the Caped Kryptonian’s powers and created ‘The Super-Batman!’ in WF #77.

Arguably Batman’s greatest artist joined the creative crew ‘When Superman’s Identity is Exposed!’ (by Hamilton, Dick Sprang & Kaye) as a mysterious source kept revealing the Man of Steel’s greatest secret, only to be revealed as a well-intentioned disinformation stunt, whereas the accent was on high adventure when the trio became ‘The Three Musicians of Bagdad’ – a stunning time-travel romp from Hamilton, Sprang & Kaye.

When the Gotham Gazette faced closure days before a spectacular crime-expose, Clark Kent and Lois Lane joined dilettante Bruce Wayne as pinch-hitting reporters on ‘The Super-Newspaper of Gotham City’ (Hamilton, Sprang & Charles Paris) after which ‘The True History of Superman and Batman’ (Hamilton, Sprang & Kaye, #81) saw a future historian blackmail the heroes into restaging their greatest exploits so his erroneous treatise on them would be accurate…

Hamilton also produced a magnificent and classy costumed drama when ‘The Three Super-Musketeers!’ visited 17th century France to solve the mystery of the Man in the Iron Mask whilst Bill Finger wrote a brilliant and delightful caper-without-a-crime in ‘The Case of the Mother Goose Mystery! before Hamilton provided insight on a much earlier meeting of the World’s Finest Team with ‘The Super-Mystery of Metropolis!’ in #84, all for Sprang & Kaye to enticingly illustrate.

This initial collection of tales ends on a romantic note as Hamilton, Swan, Sprang & Kaye demonstrate how a comely Ruritanian Princess inadvertently turned the level-headed heroes into ‘The Super-Rivals’ (World’s Finest Comics #85 November-December 1956) attempting to woo, wow and outdo each other – but of course they had a far nobler plan in motion all along…

As mentioned above Superman Batman and Robin appeared together on the covers of World’s Finest from the outset and this captivating chronicle includes a glorious additional section reproducing 17 of those magnificently eye-catching, irresistible lures for the young at heart, as well as a comprehensive raft of creator biographies for the dedicated fan.

These are charming, clever yet uncomplicated tales whose dazzling style has recently returned to inform if not dictate the form for much of DC’s modern television animation – especially the fabulous Batman: the Brave and the Bold series – and the contents of this tome are a veritable feast of witty, charming thrillers packing as much punch and pizzazz now as they always have.

This book is the perfect gift for the kid in your no matter what age he/she/you are…
© 1952, 1954, 1955, 1956, 1999 DC Comics. All Rights Reserved.

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Batman: the Dark Knight Archives volume 1


By Bob Kane, Bill Finger, Jerry Robinson, George Roussos & various (DC Comics)
ISBN: 1-56389-050-X

By the time Batman and Robin the Boy Wonder won their own title (cover-dated Spring 1940) the company that would become DC had learned many lessons from their previous publishing phenomenon.

For one thing they no longer presumed that costumed characters were an incomprehensible glitch or soon to fade flash-in-the pan; nor were they going to be caught short by a lack of new material…

As the characters’ popularity grew, new talent joined the stable of creators. Jerry Robinson had already signed up with writer Bill Finger and penciller Bob Kane and during this period more scripters and artists were actively sought for the team.

This magnificent full-colour hardback compilation re-presents the first four quarterly issues in a gloriously resplendent sturdy collectors’ format, following the constantly rising fortunes of the Dynamic Duo as they fully developed and stormed ahead of all competition in progressively improving stories originally published between 1940 and 1941.

After a heartfelt paean of praise from US Senator Patrick Leahy, Batman #1 opens proceedings with a recycled origin culled from portions of Detective Comics #33 and 34. ‘The Legend of the Batman – Who He Is and How He Came to Be!’ by Gardner Fox, Bob Kane & Sheldon Moldoff offered in two perfect pages what is still the best ever origin of the character, after which ‘The Joker’ (Bill Finger, Kane & Jerry Robinson – who produced all the remaining tales in this astonishing premiere tome) introduced the greatest villain in the Dark Knight’s rogues’ gallery via a stunning tale of extortion and wilful wanton murder.

‘Professor Hugo Strange and the Monsters’ follows as the old enemy (see Batman Archives volume 1) returned with laboratory-grown hyperthyroid horrors to rampage through the terrified city after which ‘The Cat’ – who later added the suffix ‘Woman’ to her name to avoid any possible doubt or confusion – plied her felonious trade of jewel theft aboard the wrong cruise liner and fell foul for the first time of the dashing Dynamic Duo.

The initial issued ended with the ‘The Joker Returns’ as the sinister clown broke jail and resumed his terrifying campaign of murder for fun and profit before “dying” in mortal combat with the Gotham Guardian…

He returned in the opening tale of Batman #2 as ‘Joker Meets Cat-Woman‘ (by Finger, Kane, Robinson & the extremely impressive George Roussos) wherein svelte thief, homicidal jester and a crime syndicate all tussle for the same treasure with the Dynamic Duo caught in the middle.

‘Wolf, the Crime Master’ was a fascinating take on the classic Jekyll and Hyde tragedy after which an insidious – and classic – murder-mystery ensued in ‘The Case of the Clubfoot Murders’ before Batman and Robin faced uncanny savages and ruthless showbiz promoters in a poignant monster story ‘The Case of the Missing Link’.

Issue #3 (Fall 1940) saw Finger, Kane, Robinson & Roussos rise to even greater heights, beginning with ‘The Strange Case of the Diabolical Puppet Master’ an eerie episode of mesmerism and espionage, followed by a grisly scheme wherein innocent citizens are mysteriously transformed into specimens of horror and artworks destroyed by the spiteful commands of ‘The Ugliest Man in the World’ before ‘The Crime School For Boys!!’ saw Robin infiltrate a gang who had a cruel and cunning recruitment plan for dead-end kids…

‘The Batman vs. The Cat-Woman’ found the larcenous burglar in over her head when she stole for and from the wrong people and the issue ends with a magical Special Feature as ‘The Batman Says’ presented an illustrated prose Law & Order pep-talk crafted by Whitney Ellsworth and Robinson.

Batman #4 (Winter 1941) featured ‘The Case of the Joker’s Crime Circus’, as the mountebank of Mirth plunged into madness and recruited a gang from the worst that the entertainment industry could offer, whilst modern-day piratical plunderings were the order of the day in ‘Blackbeard’s Crew and the Yacht Society.

‘Public Enemy No.1’ told a salutary gangland fable in the manner of contemporary, socially aware Jimmy Cagney crime movies and ‘Victory For the Dynamic Duo’ submerged the Partners in Peril in the turbulent and very violent world of sports gambling to end the issue and this first fantastic collection on a rousing high note.

Notwithstanding the historical significance of the material presented here, there is a magnificent bonus for anyone who hasn’t read some or all of these tales before. They are astonishingly well-told and engrossing mini-epics that will still grip the reader with the white heat of sheer exuberant class and quality.

Read these yarns and you’ll understand why today’s creators keep returning to this material every time they need to revamp the mythology.

Timeless, enthralling and truly, truly great.
© 1940, 1940, 1992 DC Comics. All Rights Reserved.

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Superman in Action Comics Archives volume 1


By Jerry Siegel & Joe Shuster (DC Comics)
ISBN: 978-1-56389-335-3

The creation of the Man of Steel quite literally spawned a genre if not an actual art form and, nearly eight years after the first DC Archive Edition gathered the first four issues of the comicbook Superman into a spectacular lavish hardbound collection, the company finally got around to re-presenting the epochal run of raw, vibrant, unpolished stories which preceded them – and which first set the funnybook world on fire.

Here is the crude, rough, uncontrollable wish-fulfilling, cathartic exuberance of a righteous and superior man dealing out summary justice equally to social malcontents, exploitative capitalists, thugs and ne’er-do-wells that initially captured the imagination of a generation.

In this volume you’ll meet the first ever returning foe (us old lags call ’em “arch-enemies”) the Ultra Humanite plus a rip-roaring mix of hoods, masterminds, plagues, disasters, lost kids and distressed damsels – all dealt with in a direct and captivating manner by our relentlessly entertaining champion in swift and decisive fashion. Here they are presented in totality and chronological order from Action Comics #1 (June 1938) through #20 (January 1940).

Well, not exactly…

Because the first and third issues of the Man of Tomorrow’s own title featured an expanded version of the inaugural exploit and reprinted the Superman tales from Action Comics #2-5 – already seen in Superman Archives volume 1 – this tome is, perforce, not exactly a complete chronicle. However the cut-down, savagely truncated premier tale which appeared in June of 1938 to launch the long-lived anthology is here, in all its impressively terse, groundbreaking glory, as are all the Kryptonian contents of issues #7-20.

Most of these early tales were untitled, but for everyone’s convenience, have been given descriptive appellations by the editors; so after a fascinating introduction from Mark Waid, the wonderment begins with ‘Superman: Champion of the Oppressed!’ as, after describing the alien foundling’s escape from exploding Planet Krypton and astonishing powers in nine panels; the costumed crusader masquerading by day as reporter Clark Kent averted numerous tragedies by saving an innocent woman from the Electric Chair, roughing up a wife beater, busting racketeer Butch Matson – consequently saving feisty colleague Lois Lane from abduction and worse – and exposed a lobbyist for the armaments industry who was bribing Senators and fomenting war in Europe.

Although the stories themselves don’t appear, Action Comics #2-6 are represented here by a brief prose précis of each Superman yarn and the covers of the comics – all by Leo E. O’Mealia – and not one featuring the Caped Crimebuster…

The editors were initially dubious about the alien strongman’s popular appeal and preferred more traditional genre covers. By #16 sales figures confirmed that whenever the big guy did appear up-front sales jumped and, inevitably, Superman assumed pole position for decades to come with #19.

Action #7 was one of those high-selling issues, with a stunning Shuster cover of the still-leaping-not-flying hero which presaged ‘Superman Joins the Circus’ as the crusading mystery-man stopped racketeers taking over the Big Top, whilst the next episode saw ‘Superman in the Slums’ working to save young delinquents from a future life of crime and depravity and #9 featured the cops’ disastrous decision to stop the caped vigilante’s interference in ‘Wanted: Superman’. That manhunt ended in an uncomfortable stalemate…

‘Superman Goes to Prison’ in #10 again featured a Shuster cover (the non-super front images were by Fred Guardineer and are all included as an appetising bonus in this book) with the Man of Tomorrow infiltrating and exposing the brutal horrors of the State Chain Gangs, whilst #11 featured ruthless conmen driving investors to penury and suicide in ‘Superman and the “Black Gold Swindle”’.

Guardineer’s cover of Zatara on Action #12 incorporated another landmark as the Man of Steel was given a cameo badge declaring he was inside every issue, and his own adventure ‘Superman Declares War on Reckless Drivers’ was a hard-hitting tale of casual joy-riders, cost-cutting automobile manufacturers, corrupt lawmakers and dodgy car salesmen who all felt the wrath of the hero after a friend of Clark Kent was killed in a hit-&-run incident. The road-rage theme continued into the next instalment when ‘Superman vs. the Cab Protective League’ pitted the tireless force of nature against a murderous gang trying to take over the city’s taxi companies and quietly introduced the hero’s first great nemesis.

This issue also sported a classic Shuster Super-cover as the Man of Steel was awarded all the odd-numbered issues for his attention-grabbing playground.

Action #14 (which coincided with the launch of Superman #1) saw the return of the villain in ‘Superman Meets the Ultra-Humanite’ which had the mercenary scientist switch from incessant graft, corruption and murder to an obsessive campaign to destroy the Metropolis Marvel after which the cover-featured ‘Superman on the High Seas’ in #15 tackled sub-sea pirates and dry land gangsters. ‘Superman and the Numbers Racket’ saw the hero save an embezzler from suicide and disrupt another wicked gambling cabal, after which #17 featured ‘The Return of the Ultra-Humanite’ in another viciously homicidal caper.

Guardineer’s last human adventure cover – an aerial dog fight – on #18 led into ‘Superman’s Super-Campaign’ as both Kent and Superman determined to crush a merciless blackmailer, whilst ‘Superman and the Purple Plague’ found the city in the grip of a deadly epidemic created by the Ultra-Humanite.

This incredible run of tales ends with ‘Superman and the Screen Siren’ from Action Comics #20 (January 1940) as beautiful actress Delores Winters was revealed not as a sinister super-scientific monster but the latest tragic victim of the Ultra-Humanite’s greatest horror… brain transplant surgery!

Superman’s rise was meteoric and inexorable by now. He was the indisputable star of Action, plus his own dedicated title; a Superman daily newspaper strip began on 16th January 1939, with its separate Sunday strip following from November 5th of that year, which was garnering millions of new fans, and a radio show was in the offing and would launch on February 12th 1940.

Although the gaudy burlesque of monsters and super-villains still lay years ahead of our hero, these primitive captivating tales of corruption, disaster and social injustice are just as engrossing and speak powerfully of the tenor of the times. The raw intensity and sly wit still shine through in Siegel’s stories which literally defined what being a Super Hero means whilst Shuster created the basic iconography for all others to follow. These Golden Age tales are priceless enjoyment at an absurdly affordable price and in a durable, comfortingly lavish format. What dedicated comics fan could possibly resist them?
© 1938, 1939, 1940, 1997 DC Comics. All Rights Reserved.

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Batman Archives volume 1


By Bob Kane, Bill Finger & Jerry Robinson (DC Comics)
ISBN: 0-930289-60-9

The history of the American comicbook industry in almost every major aspect stems from the raw, vital and still powerfully compelling tales of twin icons published by DC/National Comics: Superman and Batman. It’s only fair and fitting that both those characters are still going strong and that their earliest adventures can be relived in chronological order in a variety of formats from relatively economical newsprint paperbacks to stunning, deluxe hardcover commemorative Archive editions.

This first bumper Batman edition, reprinting Detective Comics #27-50 (May 1939-April 1941) sees the grim solitary Darknight Detective begin his lifelong mission, picking up a youthful ally and far too many dedicated nemeses in a blistering collection of evocative and game-changing rollercoaster romps which utterly reshaped the burgeoning funnybook business and enthralled a generation of thrill-seeking kids of all ages.

After a stirring introduction from popular culture historian Rick Marschall the magic begins with “The Case of the Chemical Syndicate” by Bob Kane and collaborator Bill Finger from #27, wherein a cabal of sinister industrialists are progressively murdered until an eerie human bat intrudes on Police Commissioner Gordon’s stalled investigation and ruthlessly deals with the killer.

Issue #28 saw the fugitive vigilante crush the mob of jewel thief Frenchy Blake before encountering his very first psychopathic killer when ‘Batman Meets Doctor Death’ in #29. Confident of the innovation’s potential, Kane & Finger revived the mad medic for the very next instalment, before Gardner Fox scripted a two-part shocker which introduced the first bat-plane, Bruce Wayne’s girlfriend Julie Madison and vampiric horror ‘The Monk’: a saga which concluded in an epic chase across Eastern Europe and a spectacular climax in #32.

Detective Comics #33 featured ‘The Batman Wars Against the Dirigible of Doom’: a blockbusting disaster thriller which just casually slipped in the secret origin of the Gotham Guardian, as prelude to the air-pirate action, after which Euro-trash dastard Duc D’Orterre found his uncanny science and unsavoury appetites no match for the mighty Batman.

Issue #35 pitted the Cowled Crusader against crazed cultists murdering everyone who had seen their ruby idol, although the deaths were caused by a far more prosaic villainy, after which grotesque criminal genius Professor Hugo Strange debuted with his lethal man-made fog and lightning machine in #36, and an all-pervasive band of spies ultimately proved no match for the vengeful masked Manhunter in #37.

Detective Comics #38 (April 1940) changed the landscape of comicbooks forever with the introduction of ‘Robin, The Boy Wonder’: child trapeze artist Dick Grayson whose parents were murdered before his eyes and who joined Batman in a lifelong quest for justice, beginning, after the Flying Grayson’s killers were captured, with The Horde of the Green Dragon” – oriental Tong killers in Chinatown – from Detective #39 before the Dynamic Duo solved a string of murders on a movie set which almost saw Julie just another victim of the monstrous maniac ‘Clayface!’

Batman and Robin solved the baffling mystery of a kidnapped boy in #41 and ended another murder maniac’s rampage in ‘The Case of the Prophetic Pictures!’ before clashing with a corrupt mayor in #43’s ‘The Case of the City of Terror!’

An unparallelled hit, the stories perforce expanded their parameters in #44 with the dreamy fantasy of giants and goblins ‘The Land Behind the Light!’, and the Joker made his horrific Detective Comics debut in #45 with ‘The Case of the Laughing Death” whilst #46 features the return (and last appearance until 1977) of our hero’s most formidable scientific adversary in ‘Professor Strange’s Fear Dust’.

The drama was of a far more human scale in #47’s action-packed homily of parental expectation and the folly of greed ‘Money Can’t Buy Happiness’ whilst #48 found Batman and Robin defending America’s bullion reserves in ‘The Secret Cavern’ and they faced fresh horror in #49 from another old foe when ‘Clayface Walks Again’ as deranged actor Basil Karlo rekindled his passion for murder and resumed his attempts to kill Bruce Wayne’s girlfriend Julie …

The Batman yarn from Detective Comics #50 (April 1941) epically concludes this scintillating collection with a breathtaking rooftop and subterranean battle against acrobatic burglars in ‘The Case of the Three Devils’.

Bob Kane, Jerry Robinson and their compatriots created an iconography which carried the Batman feature well beyond its allotted life-span until later creators could re-invigorate it. They added a new dimension to children’s reading… and their work is still captivatingly accessible.

Moreover, these early stories set the standard for comic superheroes. Whatever you like now, you owe it to these stories. Superman gave us the idea, but writers like Bill Finger and Gardner Fox refined and defined the meta-structure of the costumed crime-fighter. Where the Man of Steel was as much Social Force and wish fulfilment as hero, Batman and Robin did what we ordinary mortals wanted to do. They taught bad people the lesson they deserved.

These are tales of elemental power and joyful exuberance, brimming with deep mood and addictive action. Comic book heroics simply don’t come any better.
© 1939, 1940, 1941, 1990 DC Comics. All Rights Reserved.

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Superman Archives volume 1


By Jerry Siegel & Joe Shuster (DC Comics)
ISBN: 0-30289-47-1
Without doubt the creation of Superman and his unprecedented acceptance and adoption by a desperate and joy-starved generation quite literally gave birth to a genre if not an actual art form.

This stunning, lavish collection was also a significant first: the lovingly restored pages on glossy paper between gleaming hardback covers began DC’s superb Archive Editions series which, since 1989, has brought long forgotten and expensive classic tales to an appreciative wider audience.

Moreover the format has inestimably advanced the prestige and social standing of the medium itself as well as preserving a vital part of American popular culture.

Within this initial collection, following an effusive appreciation from legendary creator and comics historian Jim Steranko, are the complete contents of the first four issues of Superman, from Summer 1939 to Spring 1940. Here is the crude, rough, uncontrollable wish-fulfilling exuberance of a righteous and superior man dealing out summary justice to wife-beaters, reckless drivers and exploitative capitalists, as well as thugs and ne’er-do-wells, who captured the imagination of a nation and the world.

The character had debuted a year previously in Action Comics #1 in truncated, reformatted episodes by young, exuberant creators Jerry Siegel and Joe Shuster, cobbled together from a rejected newspaper strip proposal. An instant stand-out hit in the otherwise average comics anthology, the Man of Steel was given his own solo title – another first – and also starred in the tourist tie-in New York’s World Fair Comics #1 (June 1939).

Superman #1 began with an expanded partial reprint of the premier Action Comics tale, describing the alien foundling’s escape from exploding Planet Krypton before a costumed crusader masquerading by day as reporter Clark Kent averted a tragedy by saving an innocent woman from the Electric Chair, pounded a wife beater and busted racketeer Butch Matson, consequently saving feisty colleague Lois Lane from abduction and worse.

He also averted a European war fomented by greedy munitions dealers.

Superman’s first issue also re-presented the material from Action #2-4, with the mystery-man travelling to San Monte to spectacularly quiet down the hostilities already in progress and after a ‘Scientific Explanation of Superman’s Amazing Strength!’ the Man of Steel responded to a coal mine cave-in and exposed corrupt corporate practises before cleaning up gamblers who fixed football games. The first issue concluded with a two-page prose adventure of the Caped Crime-crusher and a biographical feature on Siegel & Shuster.

Superman #2 opened with a human drama as the Action Ace cleared the name of broken heavyweight boxer Larry Trent, coincidentally cleaning the scum out of the fight game and, after ‘Superman’s Tips for Super-Health’ and a captivating add for New York’s World Fair Comics, proceeded with ‘Superman Champions Universal Peace!’ wherein the hero crushed a gang who had stolen the world’s deadliest poison gas weapon, once more going up against unscrupulous munitions manufacturers.

‘Superman and the Skyscrapers’ found Kent investigating suspicious deaths in the construction industry, leading his alter ego into confrontation with ruthless thugs and their fat-cat corporate boss, after which another Superman text tale ended the issue.

The Winter Superman edition opened with a rip-roaring and shockingly uncompromising expose of corrupt orphanages, after which Lois stole Clark Kent’s assignment and became hopelessly embroiled in a deadly construction scam: imperilled by a colossal collapsing dam in a stirring yarn first published in Action #5.

Future Superboy star artist George Papp contributed science filler ‘Fantastic Facts’ and “Bert Lexington” penned prose crime thriller ‘Death by the Stars’ after which ‘Superman’s Manager’ turned up to scam Metropolis until he finally met his supposed client and ended up behind bars (reprinted from Action #6).

The exigencies of providing so much material was clearly beginning to tell: this issue is filled with fillers such as ‘Acquiring Super-Strength’, ‘Attaining Super-Health!’, prose prison yarn ‘Good Luck Charm’ by Hugh Langley and funny animal antics with dashing Dachshund ‘Shorty’ before the Man of Steel made his last appearance in another sterling gang-busting exploit, rescuing Lois from murderous smugglers.

Superman #4, cover-dated Spring 1940, concludes this inaugural compendium, with another four adventures; beginning with the landmark saga ‘The Challenge of Luthor’, wherein the red-headed rogue scientist used earthquakes to threaten civilisation. Following more ‘Attaining Super-Strength’, animal antics with ‘This Doggone World’ and facts ‘From the 4 Corners’ by Sheldon Moldoff, the mad scientist returned in ‘Luthor’s Undersea City’, a terrific tale of dinosaurs and super-science. Langley’s text vignette ‘Changer of Destiny’ preceded Superman’s battle against ‘The Economic Enemy,’ a spy-story about commercial sabotage instigated by an unspecified foreign power. Another Papp ‘Fantastic Facts’, some immensely enticing house ads and Lexington’s science fiction prose poser ‘Pioneer into the Unknown’ all act as palate-cleansers for the final fantastic thriller wherein the Man of Tomorrow clashed with gangsters and Teamsters in ‘Terror in the Trucker’s Union’.

Steranko then closed the show with an ‘Afterword’ detailing the contents of the adventures from Action Comics #1-14 (which were eventually collected in 1987 as Superman in Action Comics Archive volume 1).

As well as economical price and no-nonsense design and presentation, and notwithstanding the historical significance of the material presented within, there is a magnificent bonus for any one who hasn’t read these tales before. They are astonishingly well-told and engrossing mini-epics that can still grip and excite the reader.

In a world where Angels With Dirty Faces, Bringing Up Baby and The Front Page are as familiar to our shared cultural consciousness as the latest episode of Dr Who or the next Bond movie, the dress, manner and idiom in these seventy-plus-year-old stories can’t jar or confuse. They are simply timeless, enthralling, and great.

Read these yarns and you’ll understand why today’s creators keep returning to this material every time they need to revamp the big guy. They are simply timeless, enthralling, and great.
© 1939-1940, 1989 Dc Comics. All Rights Reserved.

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The Fires of Pele


By Hollace and Paul Davids & Sergio Aragonés, assisted by Lee Mishkin, with SFX by M.D. Wolf (Paul Davids Productions/Pictorial Legends)
ISBN: 978-0-93903-100-9

Here’s an intriguing and thoroughly fabulous photo-novel oddity from the 1980s – or as it should be known, the days before Photoshopâ„¢ – that still holds the power to enchant and delight even in an era where recordings of fan-favourite shows can be bought, bartered or downloaded at the click of a mouse.

For all you youngsters: photo-novels were paperback adaptations of movies or episodes of popular TV shows which used text and film-stills instead of drawn art to reproduce the story. Inexplicably popular in the late 1970s and early 1980s, they fell from favour with the rise of video, and latterly, laser-discs, DVD and other methods of actually owning the full-sensorium original material.

Cinema releases included Alien, Grease, Close Encounters of the Third Kind, the 1978 Lord of the Rings and many others whilst TV editions included Dr. Who, The Incredible Hulk and an even dozen episodes of the Original Star Trek.

A few photo-novels such as Star Wars and Charlie’s Angels are still produced these days.

At the end of 1986 husband and wife screen writers Hollace and Paul Davids produced this excessively impressive and clever faux-fable blending the mythology of Hawaii and the Sandwich Islands with the peripatetic but well-documented wanderings of reporter-at-large Samuel Langhorne Clemens AKA Mark Twain.

An oversized 247x305mm, glossy 56 page modern fairytale, the illustrations here are original full-colour special effects cinematic plates (no cheap computer graphics packages or Photoshop, remember?) with a cast of actors creating the scenes in the manner of Fumetti/photo picture stories, further enhanced with designs and painted illustrations by Sergio Aragonés and Lee Mishkin – and the pen and ink maestro also provides a wealth of merry monochrome “marginals” of the Great Raconteur himself…

The story is beguilingly simple: whilst reporting on the Sandwich Islands for his employers the Sacramento Union newspaper in 1866, the adventuresome author encountered a race of magical Polynesian pixies known as Melehulas and was drawn into a battle between bold heroes and spiteful gods…

The great Prince Lakekua was to wed the foundling princess Analike, but the comely warrior had caught the eye of dreadful Pele, Goddess of Fire, Lightning, Wind and Volcanoes. After first trying unsuccessfully to seduce and compel the doughty warrior, Pele sent her malign kin, such as The Shark God, Moho the steam god and Earth-giant Kona to imprison the brave girl beyond the reach of man and destroy all who tried to find her.

Luckily for Lakekua, his trusty young friend Kakipoto knew such benevolent spirit creatures as the Menehulas, bestial master craftsman Kakamora and a host of other advantageous allies such as a fast-thinking, smooth talking visiting white traveller from distant shores…

Crammed with exotic scenarios, lush, incredible scenery, mighty battles, true love, talking fish, shape-shifting wizards, Demon Owls, Lizard-Ladies and the unjust wrath of the gods this is a marvellous romp in the grand Ray Harryhausen Bank Holiday movie manner and a splendid yarn long overdue for a modern revisitation.

Until then however, the original large slim tome is still readily available should you desperately need to explore the dark side of Paradise…
© 1986 Hollace & Paul Davids. All right reserved. Menehulas Photos © 1985 The Menehunes Group. All other photos © 1983 Paul Davids and Mark Wolf.

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Essential Hulk volume 4


By Roy Thomas, Archie Goodwin, Steve Englehart, Herb Trimpe, John Severin & various (Marvel)
ISBN: 978-1-7851-2193-5

By the close of the 1960s the Incredible Hulk had settled into a comfortable niche and satisfyingly effective formula as the tragic Bruce Banner sought cures for his gamma-transformative curse, alternately aided or hunted by prospective father-in-law US General “Thunderbolt” Ross and a variety of guest-star heroes and villains.

Herb Trimpe made the character his own, the “house” Jack Kirby-based art-style quickly evolving into often startlingly abstract mannerism, augmented by an unmatched facility for drawing technology and especially honking great ordnance and vehicles – all of which looks especially great in the crisp black and white of these magically affordable Essentials volumes. And of course no one can deny the cathartic reader-release of a great big “Hulk Smash!” moment…

This chronologically complete monochrome treat contains issues #143-170, spanning September 1971 – December 1973, and opens with an inevitable but long-delayed clash as the Jade Juggernaut battled Doctor Doom in the Roy Thomas, Dick Ayers & John Severin epics wherein the hunted Bruce Banner found ‘Sanctuary!’ in the New York Latverian Embassy. The deal was a bad one as the Iron Dictator proceeded to enslave the Gamma scientist for his bomb-making knowledge in an attempt to make his awesome alter ego into an unstoppable war machine…

The scheme went awry in ‘The Monster and the Madman!’ (Thomas, Gary Friedrich, Ayers & Severin) as the brainwashed Banner broke free of his conditioning thanks to Doom’s conflicted consort Valeria just in time for the Hulk to deliver a salutary lesson in mayhem throughout the dictator’s domain.

Incredible Hulk #145 found the monster invading a film-set in Egypt and accidentally awakening a prehistoric alien war-weapon in ‘Godspawn’, by Thomas, Len Wein, Herb Trimpe & Severin, whilst in America the military, in the form of Thunderbolt Ross, opened a dedicated anti-Hulk base named “Project Greenskin” after which Gerry Conway scripted Thomas’ plot for ‘And the Measure of a Man is… Death!’ wherein the Hulk faced sandstorms, bitter memories and the Israeli army in the deserts of Northern Egypt whilst in America the Hulkbuster base was already being infiltrated by android facsimiles constructed by the Jade Giant’s greatest foe.

As the Hulk headed instinctively homeward the infiltration threatened the US President himself and led to a catastrophic clash between Old Greenskin and The Leader as well as ‘The End of Doc Samson!’. That issue (#147) also included a moving and powerful vignette ‘Heaven is a Very Small Place!’ wherein Thomas, Trimpe & Severin took the tormented titan to the very edge of paradise before horrifying reality once more reasserted itself…

Archie Goodwin debuted as scripter – with a little plotting assistance from a very junior Chris Claremont – in ‘But Tomorrow… the Sun Shall Die!’ as the monster’s lost love Jarella travelled to Earth and a longed for reunion just as Banner was apparently cured of his curse by radical solar-energy experimentation. Unfortunately, the princess from the micro-verse accidentally brought with her a super-assassin determined to end her life at all costs and somehow triggered the sun into going nova…

Forced to become the monster once again to save his beloved, the Hulk was captured by Ross’s forces only to escape when an ancient threat returned to Earth in #149, hungry for radiation to survive in ‘… And Who Shall Claim This Earth His Own? The Inheritor!’

After dispatching that threat the Gamma Goliath wandered into the wilderness where he encountered on-sabbatical X-Man Alec Summers who had banished himself – with girlfriend Lorna Dane – to the deserts of New Mexico, terrified of his uncontrollable cosmic power in ‘Cry Hulk, Cry Havok!’ (#150 April 1972).

When Lorna encountered a menacing biker gang and an Emerald Giant violently protective of his privacy, Summers finally proved himself against the rampaging but easily distracted titan…

‘When Monsters Meet!’ pitted the Hulk against a radioactive horror resulting from a disastrous cancer-cure derived from Banner’s blood after which Friedrich, Ayers & Frank Giacoia asked ‘But Who Will Judge the Hulk?’ as the helpless Bruce Banner was sent to trial for the destruction wrought by his emerald alter ego: a guest-star studded two-parter which concluded in #153 ‘My World, My Jury!’ with additional art from Trimpe & Severin.

After explosively escaping the kangaroo court, the fugitive fury discovered ‘Hell is a Very Small Hulk!’ (Goodwin, Trimpe & Severin) when he swallowed a defective shrinking formula, created by the Astonishing Ant-Man, in a forlorn attempt to rejoin Jarella in her subatomic world. Snatched up by the face-shifting Chameleon and the assembled hordes of Hydra, the diminished brute still managed to quash their treasonous schemes – at the apparent cost of his life.

In actuality, the Hulk was shrinking in sporadic bursts, propelled into a succession of micro-worlds, including an impossible “Earth” where Nazis had won WWII in ‘Destination: Nightmare!’ before a cosmic entity named Shaper of Worlds tempted the Green Gargantuan with an empty paradise, before another shrinking spasm happily deposited him on Jarella’s world in time for ‘Holocaust at the Heart of the Atom!’ (inked by Sal Trapani) to pit him against his worst nightmare – himself – before again losing his true love to the vicissitudes of cruel fate,

Returned to Earth and normal size the Jade Goliath battled a brace of old enemies in ‘Name My Vengeance: Rhino!’ before being dispatched to the far side of the Sun and a clash on Counter-Earth with the messianic Adam Warlock in ‘Frenzy on a Far-Away World’, courtesy of Roy Thomas, Steve Gerber, Trimpe & Trapani. Meanwhile on our planet, heartbroken Betty Ross, believing her one true love was forever gone, married the over-attentive, ever present Major Glenn Talbot…

Steve Englehart took over the scripting chores with #159 and ‘Two Years Before the Abomination!’ as Banner and the Rhino returned to our embattled globe only to again be attacked by General Ross’ Hulkbuster forces; determined to kill Banner and safeguard America – and preserve his unsuspecting daughter’s new marriage…

However, the resulting conflagration awoke a comatose Gamma monster even more deadly than the Hulk…

‘Nightmare in Niagara!’ saw the misunderstood man-brute instinctively drawn to the honeymooning couple only to encounter amphibian outcast Tiger Shark in another blockbusting battle issue, after which his Northerly rampage took the Green Goliath to Canada and ‘Beyond the Border Lurks Death!’ wherein the Hulk became a reluctant ally of the recently hyper-mutated Hank McCoy – better known as the Bludgeoning Beast – in a battle against the Mimic, an old X-foe whose ability to absorb the attributes of others had gone tragically, catastrophically haywire and threatened to consume the entire Earth.

Still under Northern Lights, the Hulk encountered a terrifying horror called the Wendigo in ‘Spawn of the Flesh-Eater!’ but the maniacal man-eater harboured a tragically shattering secret which made it as much victim as villain…

Pushing ever Pole-ward the Hulk reached the top of world but could not elude Ross’ relentless pursuit. After a cataclysmic arctic clash both man-monster and his stalker fell into the clutches of Soviet prodigy the Gremlin (mutant offspring of the Hulk’s very first foe the Gargoyle: see Essential Hulk volume 1 for details) in ‘Trackdown’ and although the Gamma Giant broke free easily the American General became a highly embarrassing political prisoner…

Shambling into Polar seas the Hulk encountered a fantastic sub-sea colony of human aquatic nomads in #164’s ‘The Phantom from 5,000 Fathoms!’ and became a slave of egomaniacal Captain Omen who had created his own mobile submarine nation and roamed the ocean beds at will.

The draconian martinet had no idea how his dissatisfied clan hungered for freedom, fresh air and sunlight and would disastrously rebel to follow ‘The Green-Skinned God!’ to their doom…

Incredible Hulk #166 finally saw the Green Goliath return to New York just in time to encounter Battling Bowman Hawkeye and a brain-eating electrical monster dubbed Zzzax in ‘The Destroyer From the Dynamo!’ whilst in the sub-plot section, a bold bid to rescue Thunderbolt Ross from the Commies succeeded, but seemingly cost the life of his new son-in-law…

Jack Abel took over the inking duties in #167 with ‘To Destroy the Monster!’ as grieving widow Betty Ross-Talbot suffered a nervous breakdown and was targeted by intellectual murder mutant Modok and his agents of Advanced Idea Mechanics who needed an infallible weapon to break the Hulk.

Just as black ghetto kid Jim Wilson reconnected with the Emerald Behemoth the Hulk easily destroyed Modok’s giant Robot body but failed to prevent Betty’s abduction, but she retuned in the next issue as a Gamma-spawned avian horror programmed to destroy her former lover in ‘The Hate of the Harpy!’

Issue #169 saw the temporarily triumphant Harpy and her verdant victim trapped aboard an ancient floating fortress in the sky in ‘Calamity in the Clouds!’ and battling together against a monstrous Bi-Beast until Modok attacked and destroyed the last vestige of the sky-citadel, propelling the now human Banner and Betty onto a lost tropical island inhabited by incredible alien creatures in the Englehart, Chris Claremont, Trimpe & Abel ‘Death from on High!’ which cataclysmically concludes this fourth fabulous Essential Hulk extravaganza in tried and true bombastic style.

Before it all ends though, there’s one last treat in the form of an unused alternative cover to Hulk #166…

The Incredible Hulk is one of the most well-known comic characters on Earth, and these stories, as much as the movies, cartoons, TV shows, games, toys and action figures are the reason why. For an uncomplicated, honestly vicarious experience of Might actually being Right, you can’t do better than these yarns so why not Go Green – even if its only in monochrome and your own delirious head?
© 1971, 1972, 1973, 2006 Marvel Characters, Inc. All Rights Reserved.