Essential Fantastic Four volume 4


By Stan Lee, Jack Kirby, Joe Sinnott & various (Marvel)
ISBN: 978-0-7851-1484-X

This fabulous fourth black-and-white compendium of the classic and landmark “Stan & Jack” Fantastic Four sees the feature achieve its highest potential in a string of superlative tales that proved the bold boast on every cover… “World’s Greatest Comic Magazine!”

Jack Kirby was in his conceptual prime and continually unleashed his vast imagination on spectacular plot after plot whilst Stan Lee scripted some of the most passionate superhero sagas that Marvel – or any publisher, for that matter – has ever seen. Both were on an unstoppable roll, at the height of their creative powers, and full of the confidence that only success brings, with Kirby in particular eager to see how far the genre and the medium could be pushed.

This volume, covering the early career of comics’ First Family covers Fantastic Four #64-83 (July 1967-February 1969) plus the fifth and sixth annuals, a bombastic blend of super-science, soap opera and stunning action that has seldom been equaled and never bettered.

The magic commences with ‘The Sentry Sinister’ (inked as always by Joe Sinnott) a frenetic adventure romp which pitted the team against a super-scientific robot buried for millennia by an ancient star-faring race. This tropical treat expanded the burgeoning interlocking landscape to an infinite degree by introducing the imperial Kree who would grow into one of the fundamental pillars supporting the continuity of the Marvel Universe.

Although regarded as long-dead the Kree themselves resurfaced in the very next issue as the team was attacked by an alien emissary ‘…From Beyond this Planet Earth!’ The formidable Ronan the Accuser turned up looking to see what could possibly have destroyed his Sentry. Simultaneously The Thing’s blind girlfriend Alicia was abducted by a super scientific stranger…

The mystery of her disappearance was revealed in #66 in ‘What Lurks Behind the Beehive?’ as the heroes trailed the seemingly helpless girl to a technological wonderland where a band of rogue geniuses had genetically engineered the next phase in evolution but lost control of it even before it could be properly born…

‘When Opens the Cocoon!’ revealed the secret of the creature known only as Him and only Alicia’s gentle nature could placate the nigh-omnipotent creature (who would eventually evolve into the tragic cosmic voyager Adam Warlock), after which the tight continuity gradually paused to allow the Inhumans (a time-lost race of paranormal beings long secluded from mortal men) and the Black Panther to share the stage in that year’s Annual, wherein the sinister invader Psycho-Man attempted to ‘Divide… and Conquer!’

Frank Giacoia actually inked this wrongly attributed yarn that pitted the emotion-bending invader against both the King of Wakanda and the Royal Family of hidden Attilan until the FF could pitch in, delayed as they were by the news that the Sue Richards was pregnant – and soon to confined in the most appallingly sexist manner until the birth…

The Annual also included another comedy insight into the creation of Marvel Epics as Stan, Jack and Frank asked ‘This is a Plot?’ and after the now customary Kirby pin-ups (Inhumans Black Bolt, Gorgon, Medusa, Karnak, Triton, Crystal and Maximus, a colossal group shot of Galactus the Silver Surfer and others and a double page spread of the FF themselves) a rapidly rising star-in-the-making got his first solo appearance in ‘The Peerless Power of the Silver Surfer’ a pithy fable of cruel ingratitude that reintroduced the Mad Thinker’s lethal Artificial Intelligence creation Quasimodo…

In FF #68 the Thinker himself enacted his latest plan and ‘His Mission: Destroy the Fantastic Four!’ as the cogitating criminal replaced a famous doctor and subverted a potential cure for The Thing’s rocky condition into a mind-warping scheme to turn the Thing against his comrades (inked as ever by the remarkable Joe Sinnott). The scheme progressed in ‘By Ben Betrayed!’ as the newly malevolent Grimm attempted to murder the rest of the team only to be driven temporarily away. Desperately searching for him the FF soon captured the Thinker and freed Ben from mind-control in ‘When Fall the Mighty!’ but the victory left the heroes unconscious and only Sue conscious to tackle the villains last-ditch killer android in ‘…And So It Ends…’

With baby on board Reed and Sue resigned, leaving Ben, Johnny and the Inhuman maid Crystal to hold the fort when cosmic calamity came calling. In ‘Where Soars the Silver Surfer!’ the sky-born wanderer imprisoned on Earth by the world-devouring Galactus went cage-crazy and attacked humanity, forcing Reed’s return, whilst #73 presented the conclusion to a long-running Daredevil (see Essential Daredevil volume 2) story wherein the sightless crusader was ousted from his own body by the Iron Dictator Doctor Doom.

Warning the FF of imminent attack the Man without Fear then subsequently defeated Doom – but neglected to tell the heroes of his victory… outmatched and unable to convince them any other way DD enlisted Thor and Spider-Man in ‘The Flames of Battle…’ to solve the problem Marvel style – with a spectacular pointless and utterly riveting punch-up…

The Surfer was back in #74 ‘When Calls Galactus’ as the planet-eater returned to our skies demanding that his one-time herald once more become his food-finding slave, but despite his increasingly violent probings, Galactus cannot locate his target. That’s because the Surfer had departed for ‘World Within Worlds!’ forcing Reed, Ben and Johnny to follow. When attacked by Psycho Man they are ‘Stranded in Sub-Atomica!’ and as they struggle to survive Galactus applies ever-more pressure… ‘Shall Earth Endure?’

Turning himself in to save Earth, the Surfer is summarily returned to his captivity here as soon as ungrateful Galactus is finished feeding, just in time to begin his own landmark series – but that’s the subject of another review, another time…

Meanwhile in FF#78 another attempt to cure Ben Grimm goes awry in ‘The Thing No More!’ due to interference from old foe The Wizard and, in ‘A Monster Forever?’, Ben’s choice to stay a rocky monster and save his friends from the bludgeoning Android Man.

A brief change of pace took the team to the Indian Lands of old friend Wyatt Wingfoot to solve an eerie mystery ‘Where Treads the Living Totem!‘ before the sixth Annual spotlighted the birth of Franklin Richards. Unfortunately however, not before Reed, Ben and Johnny invaded the anti-matter Negative Zone to confront a monstrous creature named Annihilus whose power was the only thing that could prevent the death of Sue and her unborn child. ‘Let There Be… Life!’ is a groundbreaking 48 page epic that is as stunning to read now as it ever was, passionate thrilling and mind-boggling in its visual intensity.

With Sue a new mother faithful Crystal became the first new official member of the team and promptly showed her mettle by pulverizing the incorrigible Wizard in #81’s ‘Enter… the Exquisite Elemental!’ and this volume concludes with a classic two-part clash against the inhuman Maximus as he once more attempted to conquer mortal humanity. ‘The Mark of… the Madman!’ saw the FF come to the aid of the imprisoned Royal Family of Attilan before together trouncing the insane despot in ‘Shall Man Survive?’

Did I say concludes? Not quite as this book still finds room for a selection of 6 original art pages from Kirby and his alternate cover for issue #65, you lucky, lucky people…

These are the stories that confirmed Jack Kirby as the absolute master of superhero storytelling and gave Marvel the push needed to overtake the decades-dominant DC. They’re also some of the very best comics ever produced and as thrilling and compulsive now as they ever were. This is a must-have book for all fans of graphic narrative.

© 1967, 1968, 1969, 2005 Marvel Characters, Inc. All Rights Reserved.

Teen-Aged Dope Slaves and Reform School Girls


By Joe Simon, Jack Kirby, Harvey Kurtzman & various (Eclipse Books)
ISBN: 0-913035-79-3   ISBN-13: 978-0-913035-79-5

As the flamboyant escapist popularity of superheroes waned after World War II newer genres such as Romance and Horror came to the fore and older forms regained their audiences. Some, like Westerns and Funny Animal comics hardly changed at all but crime and detective tales were utterly radicalised by the temperament of the times.

Stark, uncompromising, cynically ironic novels and socially aware, mature-themed B-movies that would become categorised as Film Noir offered post-war society a bleakly antiheroic worldview that often hit too close to home and set fearful, repressive, middleclass parent groups and political ideologues howling for blood.

Naturally the new forms seeped into comics, transforming two-fisted gumshoe and Thud and Blunder cop strip-thrillers of yore into darkly beguiling and frightening tales of seductive dames, big pay-offs and glamorous thugs. Sensing imminent Armageddon, the moral junkyard dogs bayed even louder as they saw their precious children’s minds under seditious attack…

From that turbulent period a number of tales and titles garnered especial notoriety from the doomsmiths and particular celebration amongst us tragic, psychologically scarred comics-collecting victims, so in 1989 Eclipse Comics parceled together a bunch of the most salacious, shocking, sensationalistic, best written and drawn examples, produced by an impressive variety of superstars and anonymous unsung draftsmen purely in the interest of historical research…

Still readily available through internet suppliers at extremely reasonable prices, this cool chronicle opens with a handy and informative introduction from Eclipse publisher Dean Mullaney before the sordid spectacle begins with the outrageously trashy tale of Faith: a Bad-Girl-gone-Badder, who only just found redemption in the arms of her equally penitent-and-going-straight ideal man Jeff. There’s no record of who scripted ‘Reform School Girl!’ (1951) but the splendidly kinetic art comes from Louis Zansky.

There are no credits at all for ‘Trapped!’ (also from 1951, and can I detect hints of John Rosenberger or Paul Reinman?); the tale of High School kid Bill Jones, sucked into a spiral of failing grades, lost friends and rebellion against parents and adults after he tries a reefer in the boys toilets. Fear not, however: love, decency and understanding once more save the day.

Joe Simon and Jack Kirby ushered in the American age of mature comics, not only with their creation of the Romance genre but with challenging modern tales of real people in extraordinary situations, seen in their other magazines produced for the loose association of companies known as Prize/Crestwood/Pines. From Headline Comics #27 (1947) comes the stunning saga of Stella Mae Dickson… ‘The Bobby Sox Bandit Queen.’

Fictionalising true crime cases was tremendously popular at the time and of the assorted outfits that generated such material nobody did it better than S&K as this incredibly hard-punching saga shows with the tale of a young girl willingly drawn into a life of robbery and violence. Her ending was not so happy…

Next up is something of an oddity but still addictively enthralling for all that. ‘Lucky Fights it Through’ was published in 1949, a popular song adapted in 16 pages by Harvey Kurtzman (there’s even a sheet music section) as part of an educational comics project sponsored by Columbia University (as was Trapped!), a contemporary western saga about an ignorant cow-poke (don’t! It’s what they were called, not what they did) dealing with and explaining how to cope with Syphilis.

Crime Detector #5 (September 1954) provided two anonymous stories: ‘Gun Happy’ and the single pager which closes this volume. The former details the sad, brief life of juvenile delinquent Thomas Parker whose obsessive love of firearms took him into the army and Korea but who couldn’t stop the shooting once he returned.

He is followed by a second Simon & Kirby classic from Headline Comics #28. ‘I Worked For the Fence!’ outlines the sorry tale of show-girl Monica who found the lure of a smooth-tongued hustler and other people’s jewels too great to resist, before the major part of this tome relates the shocking fall and rise of a High School Jock dragged down by narcotic addiction until medical attention and the love of a devoted girl dragged him back from the edge…

The notorious ‘Teen-Aged Dope Slaves’ by Martin Bradley & Frank Edgington came from Harvey Comics Library #1 (April 1952) but was actually a resized reprint of a sequence from popular family newspaper strip Rex Morgan, M.D. Nonetheless, for all its strident preachiness, it remains a powerful, well-meaning drama that never forgets the cartoon doctor’s prime doctrine “First, Don’t be Boring.”

That aforementioned one-pager from Crime Detector closes the volume on a tantalising high note as Homicide Inspector Craig challenges the reader to solve the fair-play mystery of ‘The Deadly Needle’…

These black and white tales from a simpler a time about a society in meltdown are mild by modern standard of behaviour but the quality of art and writing make them far more than a mere historical curiosity. Teen-Aged Dope Slaves and Reform School Girls is a book well worth your time and attention, but please beware: such material can be habit-forming…
© 1989 Eclipse Enterprises, Inc. Individual strips are © 1947-1954 their respective creators/copyright holders.

On Stage


By Leonard Starr (Blackthorne Publishing)
ISBN: 0-932629-11-3

Leonard Starr was born in 1925 and began his long and illustrious creative career in the Golden Age of American comic-books working for the crucially important Harry A. Chesler “Shop” at the dawn of the Golden Age. He moved for a period into the lucrative field of advertising before returning to creative pictorial narrative, settling in the gruelling arena of newspaper strips. He comicbook credits include Sub-Mariner, the Human Torch and the immensely popular but now all-but forgotten Don Winslow of the Navy during the 1940s, drew love stories for Simon and Kirby’s landmark Romance line and crime stories for EC, and freelanced extensively for ACG and DC Comics, where he worked on lost gems such as Pow-Wow Smith, Dr.13, the Ghost-Breaker and Gang Busters among many others until he left the industry for Madison Avenue. He returned to graphic narrative in 1955 when he began “ghosting” Flash Gordon.

In 1957 he created On Stage, a soap-opera strip starring aspiring actress Mary Perkins for the Chicago Tribune. After an astonishing and beautiful 22-year run, he left the globally syndicated feature in 1979 to revive Harold Gray’s legendary Little Orphan Annie (which he continued until his retirement in 2000), simultaneously creating the series ‘Cannonball Carmody’ for Belgium’s Tintin magazine. An experienced TV scripter since 1970 Starr worked as head writer on Thundercats, and briefly returned to comic-books in the 1980s. He received the National Cartoonist’s Society Story Comic Strip Award for On Stage in 1960 and 1963, and their Reuben Award in 1965. In collaboration with like-minded veteran Stan Drake he produced one of the best female action characters of the 1980s: Kelly Green.

Since I haven’t yet managed to lay hands on the Classic Comics Press reprint series (chronologically collecting all the adventures of career actress Mary Perkins), I’m reviewing this tempting and impressive little package from pioneering reprint publisher Blackthorne.

The feature began as On Stage with a Sunday page dated in February 10th 1957, at the height of the American fascination with movie stars and Hollywood celebrity, in papers subscribing to the Chicago-Tribune/New York News Syndicate, and detailed a warts-and-all tale of aspiring actress Mary Perkins. Starr sensibly opted to make his young ingénue a jobbing New York thespian seeking the lights on Broadway rather than taking the easy but limited Tinseltown glamour-puss route, allowing his starlet plenty of opportunity to meet and interact with real people and authentic situations: at least by soap opera standards…

In 1959 she married her photographer boy-friend Pete Fletcher and in 1961 she finally got star-billing when the strip was renamed Mary Perkins On Stage (naturally she had kept her stage name) and gradually added movies and television to her resume. She even made it to Hollywood…

Starr combined his narrative skills with beautiful clean-lined drawing and imaginative design and layouts that dipped heavily into his previous experiences as a comicbook action artist and that was never more apparent than in the first of the two sequences that make up this book.

Taken from the mid-1960s the book opens with ‘Captain Virtue Strikes Back’ as Mary is hired by a TV studio to coach a hunky school custodian who saved some kids and was offered a job of a comicbook hero being adapted for a prime-time television show. Holy Coincidences, B*tm*n!

Unfortunately Brooklyn boy Bernie Kibble comes with a little baggage. He’s big, goofy, uneducated and totally subordinate to his weaselly pal Al Gordon, a cunning, ambitious runt who knows a solid gold meal ticket when he sees one…

The Captain Virtue Show is a blockbuster success and with Mary’s coaching Bernie blossoms; even getting a girlfriend despite Al’s attempts to keep the lug dumb and under his thumb, but as is so often the case fame and fortune don’t necessarily lead to happiness…

The second tale is an intriguing Cold War Thriller that puts the actress and her loved ones in unusual peril, and gives the strong supporting cast a far more extensive role. In the years since his debut, husband Pete had become a roving photojournalist meeting the great and the good on seven continents. One of these, Morgana D’Alexius had developed an unhealthy attraction for the clean-living hunk and spent uncounted hours and millions trying to lure him away from his beloved Mary,

The romantic simpleton was completely oblivious to it all: thinking the richest woman in the world kept inviting him on holidays whilst Mary was working because she wanted to be friends. The erstwhile Miss Perkins, however, veteran of stage, screen and melodrama was not fooled…

‘Escape From Russia’ sees a turning point in this bizarre triangle when Mary is invited by the Soviet government to attend a rather unique cultural exchange as the star of the Moscow Film Festival. Meanwhile Major Grigori Volkov, charismatic hero of the Soviet Republics, is calling on his old friend Mike Fletcher to invite him for a visit to the USSR…

It soon transpires that Morgana has influence in the highest echelons of the Communist state and the entire event is a plan to separate Mike and Mary long enough for the amorous autocrat to work her wiles on the hapless photographer.

With Mike innocently touring secret Soviet factories built by Morgana, Mary is abducted to Volkov’s Dacha, but the plucky, smart American son turns the tables and co-opts the Russian hero who helps her flee across the country to safe-haven and a final confrontation with Morgana in Trieste.

At a time when the Evil Empire could do no right, the depiction of suave, bold, heroic Volkov as a human and moral person must have been a controversial revelation to the American public and his transformation from beastly kidnapper to likeably roguish road-buddy is a delight, as is the final comeuppance of Morgana. This light frothy thriller is a splendid example of the magical blend of humour, romance, family-values and exoticism Starr could command in a few simple panels…

This superb black and white compilation also contains an early and provocative early Sunday page, photos of the creator and an insightful interview with Starr conducted by comic strip historian Shel Dorf.
© 1985 Tribune Media Services. All rights reserved.

The Broadcast


By Eric Hobbs & Noel Tuazon (NBM/ComicsLit)
ISBN: 978-1-56163-590-0

When you read that as many as one millions Americans were fooled into hysterical panic by Orson Welles’ Halloween radio broadcast of the War of the Worlds it’s had not to think “how dumb are you?” or “don’t you people read books?” but the sad fact remains that a vast proportion of the population heard a portion of the innovative updating of the HG Wells classic on October 30th 1930 and genuinely thought the end of humanity had come.

This superbly low-key monochromatic tale takes a canny peek at human nature in a time of sustained privation (the Great Depression had just hit the USA a damned sight harder than any Martian death-ray could) and urgent – if only imagined – emergency as a small community in rural Indiana endures a couple of unhappy coincidences that result in a horrific confrontation…

At the height of a brutal storm a small band of farmers and families huddle in a barn. It’s been a bad day all around. Young Gavin Baker has finally asked wealthy Thomas Shrader if he could marry his daughter, Kim, but the meeting didn’t go well. Nevertheless the lovers still planned to escape to New York where Kim could become a writer…

Shrader had made a killing bailing out and buying up failing farms over the past year and wasn’t well liked by the newly destitute townsfolk such as widower Jacob Lee or cropper Eli Dawson, but he’s the only employer left so they make do…

A severely beaten, wandering Negro named Martin Steinbeck stumbled into the Baker place later that day. He’d clearly had a brutally rough encounter and was astonished when the family offered him help and sustenance rather than hatred and further violence…

Later, throughout the community the townsfolk tuned in their radios and all caught what they believed to be newscasts reporting Martian invaders blasting New York and New Jersey when suddenly a storm hit and the town lost power. With the phones and lights out, panicked, terrified people all headed towards the Shrader place with its solid storm cellar but when Kim discovered a truck with dead bodies it in, the only conclusion could be that the aliens have already reached the Heartland…

But when the families arrive Shrader delivered an ultimatum: only five people will be allowed refuge, him, his wife and three other and only then if rebellious Kim is one of them…

With imminent doom lurking in the darkness, friendship, civility and human empathy begin to breakdown and a very human atrocity seems inevitable…

This is an enchantingly subtle and impressive tale, carefully avoiding histrionics and bombast, and ultimately uplifting and positive. Eric Hobbs has focused on the communal heroism of the common man and the misty, raw line-and-wash illustration of Noel Tuazon marries dreamy introspection with painful sufferance to give the ensemble cast a look far removed from the general run of modern comics.

The book also contains a photo and clippings gallery displaying the media’s response to the original radio broadcast, deleted scenes, character sketches and a brief commentary on the creator’s working process. Tense, ironic and deeply moving this may well be the sleeper-hit of the year and a major motion picture soon after…

© 2010 Eric Hobbes.

Justice Society Volume 1


By Gerry Conway, Paul Levitz, Wally Wood, Joe Staton & various (DC Comics)
ISBN: 978-1-4012-0970-4

In the turbulent 1970s many old publishing ideas were finally laid to rest. The belief that characters could be “over-exposed” was one of the most long-lasting, garnered from years of experience in an industry that lived or died on that fractional portion of pennies derived each month from the pocket money and allowances of children which wasn’t spent on candy, toys or movies.

By the end of the 1960s comicbook costs and prices were inexorably rising and a proportion of titles – especially the newly revived horror stories – were consciously being produced for older readerships. Nearly a decade of organised fan publications and letter writing crusades had finally convinced publishing bean-counters what editors already knew: grown-ups avidly read comics too; they would happily spend more than kids and they wanted more, more, more of what they loved.

Explicitly: If one appearance per month was popular, extras, specials and second series would be more so. By the time Marvel Wunderkind Gerry Conway was ready to leave Marvel, DC was willing to expand its variegated line-up with some oft-requested fan-favourite characters. Paramount among these was the Justice Society of America, the first comicbook super-team and a perennial gem whose annual guest-appearances in the Justice League of America had become an inescapable and beloved summer tradition.

Thus in 1976 along with Blackhawk, Plastic Man, Secret Society of Super-Villains, Freedom Fighters, Kobra, Blitzkrieg and many others Conway signalled his DC tenure by reviving All Star Comics with number #58 (the original title had transformed overnight into All Star Western with that number running for a further decade as the home of such cowboy crusaders as Strong Bow, the Trigger Twins, Johnny Thunder and Super-Chief.

Set on the parallel world of Earth-2 and in keeping with the editorial sense of keeping the series relevant to young readers too, Conway reintroduced the veteran team and leavened it with a smattering of teen heroes, combined into a contentious, generation-gap fuelled “Super Squad”.

The youngsters included Robin (already a JSA member since the mid 1960s – see Showcase Presents the Justice League of America volume 3), Sylvester Pemberton, The Star-Spangled Kid (in actuality a teen superhero from the 1940s who had spent decades lost in time) and a busty young nymphet who quickly became the feisty favourite of a generation of growing boys: Kara Zor-L AKA Power Girl.

This first of twin volumes gathers all the 1970s tales into a fine showcase of different, ever-changing times and includes All-Star Comics 58-67 plus the seminal DC Special #29 which, after almost four decades, finally gave the JSA an origin…

After a three-page recap by Paul Levitz, Joe Staton & Bob Layton, outlining the history and mechanics of the alternate Earths, the first tale found newly-adopted Star-Spangled Kid chafing at his time-lost plight and revelling in his new powers (he had been given a cosmic power device by retired veteran Starman) in Seattle when a crisis propelled him and elder heroes Flash, Dr. Mid-Nite, Wildcat, Hawkman, Green Lantern and Dr. Fate into a three-pronged calamity devastating that city, Cape Town and Peking (which you youngsters now know as Beijing) with man-made natural disasters.

The veterans split up but were overwhelmed, giving the new kids a chance to shine in ‘All Star Super-Squad’. With the abrasive, impatient Power Girl in the vanguard the entire team is soon on the trail of old foe Degaton and his mind-bending ally in the concluding ‘Brainwave Blows Up!’ by Conway, Ric Estrada and Wally Wood.

Kieth Giffen replaced Estrada in issue #60 for the introduction of psychotic super-arsonist ‘Vulcan: Son of Fire!’ as age divide began to chafe and Power Girl began to tick off and re-educate the stuffy, paternalistic JSA elders. In ‘Hellfire and Holocaust’ the flaming fury mortally wounded Dr. Fate before his own defeat, and a new mystic menace was uncovered.

Conway’s last issue as scripter was #62’s ‘When Fall the Mighty’ as antediluvian sorcerer Zanadu attacked, whilst the criminal Injustice Gang opened their latest attack using mind-control to turn friend against friend…

The cast expanded with the return of Hourman and Power Girl’s Kryptonian mentor, but even they were insufficient to prevent ‘The Death of Doctor Fate’ (written by Paul Levitz and fully illustrated by the inimitable Wally Wood). Attacked on all sides, the team splintered: Wildcat, Hawkman and the Kryptonians tackling the assembled super-villains, Flash and Green Lantern searching Egypt for a cure to Fate’s condition and Hourman, Mid-Nite and Star-Spangled Kid desperately attempting to keep their fallen comrade alive.

They fail and Zanadu attacked again, almost adding Fate’s defenders to his tally until the sorcerer’s very presence called him back from beyond the grave…

With the crisis averted Superman prepared to leave but was quickly embroiled in a manic time-travel assassination plot (Levitz & Wood) that dragged the team and guest-star Shining Knight from an embattled Camelot in ‘Yesterday Begins Today!’ to the far-flung future and ‘The Master Plan of Vandal Savage’ a breathtaking spectacle of drama and excitement that signalled Wood’s departure from the series.

Joe Staton & Bob Layton had the unenviable task of filling his artistic shoes, beginning with #66 as ‘Injustice Strikes Twice!’ with the reunited team, sans Superman, falling prey to an ambush from their arch-enemies, whilst the emotion-warping Psycho-Pirate began to twist Green Lantern into a maniac menace determined to crush Corporate America leading to the return of Earth-2’s Bruce Wayne, who had eschewed his masked persona to become Gotham’s Police Commissioner.

The Injustice Society had monstrous allies and in ‘Attack of the Underlord!’ a subterranean race nearly ended the tea forever. Meanwhile Wayne laid plans to close down the JSA before their increasingly destructive exploits demolished his beloved city…

The modern adventures pause here and this first colourful chronicle closes with the aforementioned classified case from DC Special #29 (September 1977). ‘The Untold Origin of the Justice Society’ by Levitz, Staton & Layton, reveals how in 1940 Adolf Hitler acquired the mystical Spear of Destiny and summoned mythical Teutonic Valkyries to aid in the imminent invasion of Britain.

Alerted to the threat, American President Roosevelt, hampered by his country’s neutrality, asks a select band of masked mystery-men to lend their aid privately. In a cataclysmic escalation the struggle ranged from the heart of Europe, throughout the British Isles and even to the Oval office of the White House before ten bold costumed heroes finally – if only temporarily – stopped the Nazis evil plans…

These classic tales from a simpler time are a glorious example of traditional superhero storytelling at its finest: engaging, exciting and perfectly illustrated. No Fights ‘n’ Tights fan can afford to miss these marvellous sagas.

© 1976, 1977, 2006 DC Comics. All rights reserved.

Networked: Carabella on the Run


By Gerard Jones & Mark Badger (Privacy Activism/NBM)
ISBN: 978-1-56163-586-3

Comics are an immensely effective teaching tool and not just for youngsters, either. The organisation Privacy Activism is a non-profit organisation which seeks to educate and inform the public about online safety, democratic principles in a global commercial environment and personal information protection through a variety of methods and after a couple of video game projects has worked here with comicbook creators Gerard Jones and Mark Badger and publisher NBM to produce a graphic novel starring their proprietary character Carabella; a blue-skinned teenaged girl from someplace stranger and nastier than here…

In Networked: Carabella on the Run the defensive, secretive lass is starting college and horrified at how easily her anonymity can be destroyed by even well-meaning friends through online social networking and messaging. Even her picture is soon being beamed all over the planet – all without her permission or knowledge.

Still, it’s not as if she has anything to hide, is it?

She soon strikes up a tentative relationship with Nick, an engineering student who has invented shoes which can film and monitor the wearer’s movement’s, record and broadcast physical responses and generally turn each owner into a walking market research report. Of course that wasn’t his intention – he just though it would be cool for friends to share their lives with others…

Unfortunately where Carabella comes from such information has long been used to oversee, segregate, program and control the population, so when hunters seeking her return align themselves with aggressive venture capitalists and sections of the Government she realises that the privacy, liberty and choices available to her and her friends might become just as obsolete as on her own world…

Combining a sensible, well-reasoned argument for common sense and practical personal protection with solid adventure-thriller plotting and the requisite amount of romance, action and fun, this is a great read with an important message that doesn’t overload the necessity to keep things interesting and enjoyable.

Most of Networked is available online in a slightly altered form if you want a peek, and the printed form is a perfect and potentially reassuring gift for parents to buy their kids alongside the mobile-phones and think-pods they’ll be clamouring for this year.

© 2010 Privacy Activism.

Essential Daredevil volume 2

New, Revised review


By Stan Lee, Gene Colan & various (Marvel)
ISBN 0-7851-905239-1462-9

Marvel Comics built its fan-base through strong and contemporarily relevant stories and art, but most importantly, by creating a shared continuity that closely followed the characters through not just their own titles but also through the many guest appearances in other comics. Such an interweaving meant that even today completists and fans seek out extraneous stories to get a fuller picture of their favourites’ adventures. In such an environment, series such as ‘Essential’ and DC’s ‘Showcase’ are an economical and valuable product that approaches the status of a public service for collectors.

This particular edition, reprinting the exploits of a very different Daredevil to the one radicalised into a grim urban vigilante by Frank Miller and his successors from the 1980’s onwards, covers the period from March 1967 (#26) to January 1969 (#48), and includes the first Annual plus Fantastic Four #73 where a long-running storyline concluded (see what I mean about cross-collecting?).

The adventures are fairly typical 1960’s action-fodder. Matt Murdock is a blind lawyer whose other senses hyper-compensate, making him a formidable acrobat and fighter, and a human lie-detector. Very much a second-string hero for most of his early years, he was nonetheless a popular one, due in large part to the incredibly humanistic art of Gene Colan. He fought gangsters and a variety of super-villains, and even the occasional alien invasion. He also joked and wise-cracked his way through life, unlike the grim and moody quasi-religious metaphor he’s been seen as in latter years.

The action commences with marked improvement in overall story quality as Stan Lee began to use longer soap operatic plot-threads to string together the unique fight scenes of increasingly bold Gene Colan, who was finally shaking off the last remnants of his predecessor’s art style. In a very short time John Romita had made the character his own before moving on to Spider-Man, so when Colan took over he kept the clipped solid, almost chunky lines whilst drawing the Man without Fear, but increasingly drew everything else in his loose, fluid, near-tonal manner.

This clash of visuals was slow to pass but by the time of ‘Stilt-Man Strikes Again’ (DD #26, March 1967) a leaner, moodier hero was emerging. The major push of the next few issues was to turn the hopeless romantic triangle of Matt Murdock, best friend/Law partner Foggy Nelson and their secretary Karen Page into a whacky quadrangle by introducing fictitious twin brother Mike, who would be “revealed” as Daredevil to divert suspicion from the blind attorney who actually battled all those weird villains…

Confused yet…?

Also skulking in the background was arch-villain Masked Marauder who was closing in on DD’s alter ego. He got a lot closer in ‘Mike Murdock Must Die!’ (inked by Frank Giacoia) as Stilt-Man teamed with the Marauder and Spider-Man clashed with old Horn-Head before the villains met their apparent ends.

DD had his first clash with extraterrestrials in #28’s moody one-trick-pony ‘Thou Shalt Not Covet Thy Neighbor’s Planet!’ a Dick Ayers inked thriller wherein the invaders’ blindness rays proved inexplicably ineffective against the Crimson Crime-buster.

John Tartaglione inked the next tale, a solid, action-packed gangster thriller entitled ‘Unmasked!’ whilst issue #30 began a protracted and impressive epic clash with old Thor foes the Cobra and Mister Hyde, complete with Asgardian cameo in ‘…If There Should Be a Thunder God!’

Attempting to catch the criminals DD masqueraded as Thor only to encounter the real McCoy, and was ambushed by the villains once the Thunderer departed. As a result DD lost his compensating hyper-senses and had to undertake a ‘Blind Man’s Bluff!’ which almost fooled Cobra and Hyde… Sadly it all went wrong before it all came right and against all odds Murdock regained his abilities just in time ‘…To Fight the Impossible Fight!’

Daredevil #33 saw the entire cast head to Canada for Expo ’67 (the World’s Fair) encountering another borrowed villain in ‘Behold… the Beetle!’ and its frenetic sequel ‘To Squash the Beetle!’ The first Annual follows; a visually impressive but lacklustre rogues’ gallery riot as five old foes ganged up on Daredevil in ‘Electro and the Emissaries of Evil!’ with the Man without Fear putting a pretty definitive smack-down on the electric felon, the Matador, Gladiator, Stilt-Man and Leapfrog.

Of more interest are the ‘Inside Daredevil’ pages, explaining his powers, how his Billy Club works and the Matt/Mike Murdock situation, with stunning pin-ups of Karen, Foggy, Ka-Zar, DD and a host of old foes. Rounding out the experience is a short comedy tale ‘At the Stroke of Midnight!: an Actual Unrehearsed Story Conference with (and by) Stan and Gene!’

‘Daredevil Dies First!’ pitted the sightless wonder against old Fantastic Four foe Trapster, but Horn-Head was only a stepping-stone in his complex plan to destroy the World’s premier super-team. However DD managed to turn the tables in #36’s ‘The Name of the Game is Mayhem!’ (inked by Giacoia) a clash that left the blind hero weakened and easy prey for another FF arch-foe. Tartaglione returned to ink the startling ‘Don’t Look Now, But It’s… Doctor Doom!’

Helpless before the Iron Dictator DD was trapped in ‘The Living Prison!’ (Giacoia inks) as Doom swapped bodies with the sightless crusader to facilitate an ambush on the FF which culminated in a stupendous Battle Royale in Fantastic Four #73’s crossover conclusion as the Torch, Thing and Mr. Fantastic fought DD, Thor and Spider-Man in ‘The Flames of Battle…’ (by Lee, Jack Kirby & Joe Sinnott). When involved in mind-swap cases it’s always prudent to advise your friends when you regain your original body…

DD finally got to battle some of his own bad-guys in #39 as old foes the Ani-Men returned with a new name and a new boss. ‘The Exterminator and the Super-Powered Unholy Three’ (inked by George Tuska) reintroduced Bird-Man, Ape-Man and Cat-Man in the pay of a criminal genius working with time-based weapons, but the real meat of the tale was Foggy Nelson’s campaign to become New York City’s District Attorney and his revived relationship with ex-con Deborah Harris: now Matt Murdock’s only rival for Karen’s affections was his imaginary twin brother Mike…

That story proceeded in #40, resulting in a spectacular clash ‘The Fallen Hero!’ (inked by Tartaglione) and concluded the only way it could in ‘The Death of Mike Murdock!’ as Matt took advantage of his final battle with the Exterminator to end the charade. He didn’t come clean though, as Daredevil revealed that Mike was only one of a number of Men without Fear in the first part of a prolonged battle with a new nemesis as ‘Nobody Laughs at The Jester!’ (inked by Dan Adkins).

The Malevolent Mountebank only wanted to be more successful as a criminal than he had been as an actor until mayoral candidate Richard Raleigh hired him to spoil incorruptible Foggy Nelson’s campaign for the D.A. post; precipitating a protracted saga which kicked off with a temporarily befuddled DD ‘In Combat with Captain America!’ (inked by Vince Colletta) before being framed for killing the Jester’s alter ego Jonathan Powers in #44’s ‘I, Murderer!’

Defeated by the Jester in ‘The Dismal Dregs of Defeat!’, Horn-Head became a wanted fugitive and after a frenetic manhunt was finally arrested before snatching victory in the thoroughly enthralling conclusion ‘The Final Jest!’ as inker extraordinary George Klein began a long and impressive association with the series.

With the Vietnam War raging a story involving the conflict was inevitable, but #47’s ‘Brother, Take My Hand!’ was so much more than a quick cash-in or even well-meaning examination of contemporary controversy, as Marvel found a new African-American character (one of far too few in those blinkered times).

Newly-blinded veteran Willie Lincoln turned to Matt Murdock and Daredevil for help on his return home. A disgraced cop framed by gang-boss Biggie Benson before joining the army, Lincoln was now back in America to clear his name… at all costs. This gripping, life-affirming crime thriller not only triumphs in Daredevil’s natural milieu of moody urban menace but also sets up a long-running plot that would ultimately change the Man without Fear forever.

The book ends with the return of Stilt-Man in ‘Farewell to Foggy’ as Matt’s oldest friend wins the election for D.A. but acrimoniously turns his back on Murdock, seemingly forever.

This is a good place to end as Stan Lee would hand over the scripting to Roy Thomas soon after this and the social turbulence that marked the end of the 1960s would begin to transform the dashing, wise-cracking Daredevil into something closer to his current dark archetype. But that’s for another volume…

© 1967, 1968, 1969, 2004 Marvel Characters, Inc. All rights reserved.

Mome 20: Fall 2010


By various (Fantagraphics Books)
ISBN: 978-1-60699-365-1

Mome is a quarterly compendium of sequential narratives; a magazine that looks like a book, featuring strips, articles, graphic artworks and sometimes interviews from and about a variety of talented, dedicated creators ranging from the internationally renowned to the soon-to-be. It is where the smart kids with the sharpest pencils, shiniest pens, biggest brushes and best software go to play before they blow your minds in great big award-winning graphic novels. It is intense, sometimes hard to read and crafted to the highest production standards. This volume signals five incredibly impressive years and the eclectic graphic mix presented here augurs well for the next fifty…

After the previous edition’s brief sabbatical a number of continued features return, but before that Dash Shaw opens proceedings with an oddly disturbing short romance entitled ‘Blind Date 2’ – cited as “an adaptation of an episode of Blind Date”, followed by a quirkily affecting parable of eternal romantic triangles entitled ‘The Bird, The Mouse and The Sausage’ by Sara Edward-Corbett before the spectacular and disturbing fantasy from The (Shaun) Partridge in the Pear Tree & Josh Simmons continues in part 2 of ‘The White Rhino’ as an extremely obnoxious man also awakes in the nerve-wracking, deceptively welcoming rainbow-nation of Racelandia…

T. Edward Bak’s pictorial biography of 18th century German naturalist Georg Wilhelm Steller finds the Siberian explorer reaping a few well-deserved carnal rewards for his efforts in ‘Wild Man Chapter 2: A Bavarian Botanist in St. Petersburg, part 4’ before Conor O’Keefe returns with the first chapter of another charmingly potent watercolour fantasy in ‘The Coconut Octopus’: part 1 – surreal, nostalgic, seductively compulsive…

Nate Neal (and don’t miss his recently released graphic novel The Sanctuary) goes all song-and-dancey with the magically macabre message of ‘Magpie Inevitability’ before moody World War II mystery ‘Devil Doll’ by Michael Jada and Derek Van Gieson returns with a captivating third part.

Steven Weissman utterly impresses with his time-twisting, haunted boy’s adventure ‘This Already Happened’, award-winning Italian cartoonist Sergio Ponchione reprises his marvelously enticing horror-hunter with ‘The Grotesque Obsession of Professor Hackensack’ and painter Jeremy Tinder explores ‘Time and Space’ with cunning intimacy and wild imagination.

Genteelly experimental and sadly inquisitive Aidan Koch pushes her seductive pencil to explore the transitory briefness of relationships in ‘Green House’ whilst Viennese cartoonist Nicholas Mahler ponders the life of a working comics artist in ‘Convention Tension’ and ‘Goodbye Mr. Nibs’. Fans should prepare for a bracing encounter with themselves…

Cover-featured Ted Stern’s anthropomorphic sad-sacks Fuzz & Pluck return in their ongoing nautical quest for wealth and safety with ‘The Moolah Tree’ part 4 and graphic designer Adam Grano ends this volume with a tantalising glance at his ‘$crapbook’…

Whether you’re new to comics, fresh from the mainstream ghettos or just need something new, Mome always promises – and delivers – a decidedly different read. You may not like all of it, but it will always have something you can’t help but respond to. After half a decade it’s here to stay …so why haven’t you tried it yet?

Mome © 2010 Fantagraphics Books. Individual stories are © the respective creator. All rights reserved.

Elephant Man


By Greg Houston (NBM)
ISBN: 978-1-56163-588-7

Cartoonist, caricaturist, designer, educator, actor and big fan of old movies Greg Houston delights in the baroque and comically grotesque; positively revelling in taking taste-free pot-shots at societal and popular culture icons (see Vatican Hustle for more of his measured, manic musings) and his latest brilliant black and white book has a go at the very bedrock of our medium by parodying and pastiching the classic superhero scenario.

Baltimore has its own Costumed Crusader and he is the perfect symbol of a city with so little to recommend it. He doesn’t have any proper powers, but the people love him and on the fifth anniversary of his first appearance the minor metropolis is holding a week of commemorative events.

Local paper the Daily Crab is following events, particularly feisty journo Tracie Bombasso, cub reporter Dud Cawley and mild-mannered, colonically-challenged reporter Jon Merrick (yes, that kind of Elephant Man), despite the rantings of unpopular on-air TV presenter Handsome Dick Denton – but he’s just jealous, right?

Also determined to spoil everything is sinister conjoined villain The Priest, the Rabbi and the Duck, twisted victim of an old joke and a tragic accident involving alcohol and science…

Can Merrick keep his identity secret from his fellow reporters, foil the machinations of Denton and stop the three-headed Hydra of Pique? Of course he can, but along the way there’s bizarre characters old and new (keep your eyes peeled for cameos from Boss Karate Black Guy Jones and other Vatican Hustle alumni), cripplingly painful embarrassing moments and enough ugly hilarity to have a very good time indeed.

And lest you think we’re being unkind to the place let me reveal that Houston is Baltimore born-and-bred…

Beneath the outrageous parody and extreme mock-heroics is another witty and genuinely funny adult romp which pokes edgy fun at everything from politicians to donuts, weathermen to beauticians, making some telling observations about heroes and how to treat them, all rendered in a busy, buzzy, black and white line that appeals and appals in equal amounts.

Warning: this book contains Six-foot talking flies and shaved, car-racing monkeys.

© 2010 Greg Houston. All rights reserved.

Batman: Private Casebook


By Paul Dini, Peter Milligan, Dustin Nguyen & Derek Fridolfs (DC Comics)
ISBN: 978-1-84856-213-4

Award-winning animator and director Paul Dini once more proves that he’s the best Batman writer of the 21st century in another collection of his pure, modernistically refined and retro scripts, gathered from Detective Comics # 840-645 and DC Infinite Halloween Special #1. A consummate storyteller, Dini is also quite obviously a lover of the character in all aspects over nigh-on eight decades of stalking the scum of the Earth.

This volume, superbly illustrated by Dustin Nguyen & Derek Fridolfs, begins with an astounding resumption of the Caped Crusader’s mission after the cataclysmic events of Batman: The Resurrection of Ra’s Al Ghul. As the Dark Knight hunts a new foe he seizes the chance to finally end the threat of the Demon’s Head forever, in the uncompromising chiller ‘The Resurrection of Ra’s Al Ghul: Epilogue.’

‘The Wonderland Gang!’ sees a collection of Batman’s oldest foes unite as the most obvious team ever when Mad Hatter, Tweedledum & Tweedledee combine forces with the Lion, the Unicorn, the Walrus and the Carpenter to wreak excessive havoc for untold profit in the wealthy palaces of Gotham. Naturally, all is not as it seems…

Peter Milligan wrote ‘The Suit of Sorrows’ as the haunted armour Batman wore in the aforementioned Resurrection of Ra’s Al Ghul begins to exert a malicious influence over his actions. The struggle against the suit and the cult that crafted is a powerful parable of willpower over desire and acts as a prelude to the return of Azrael to the DC Universe – but not in this book…

Dini and some of his favourite heroes and villains return for ‘Opening Night’ as the Penguin, new Ventriloquist and malignant dummy Scarface cross swords with the Gotham Guardian and Zatanna; a complex and beguiling tale that ends in blood-soaked ‘Curtains’ for more than one player in the drama.

Catwoman and reformed consulting detective Edward Nigma go looking for answers as a mutilating murderer haunts the city’s mean streets and not even Batman’s newest weapon “the Heirs of Lupin” (an online community of DC sleuths including Detective Chimp and Oracle) can divine the true secret of ‘The Riddle Unanswered’.

This stellar confabulation ends with a vignette starring Zatanna in solo inaction taken from DC Infinite Halloween Special. ‘Kcirt Ro Taert’ is a spookily shocking shaggy dog story that ends this classy compendium on an unbeatable high note.

Howsoever short-term sales-stunts bend and twist the Batman mythos, the core elements of the character remain unimpeachable and Paul Dini always find a way to satisfactorily blend the contemporary with the classical. His tales of a renewed, determined and darkly benevolent crime-fighter look well set to finally overturn the Grim Sociopath image that has dogged Batman for too long…

These fresh, thrilling and compelling adventures will astonish long-time fans and casual browsers equally. This is the still best Batman in years. By the way if you’re thinking of settling for the softcover edition of this fine collection, be advised that the hardcover has secondary, different front and back covers under the regular and spectacular dust jacket reproduced above. I know how funny we Bat-fans can get if we think we’ve missed something…

© 2007, 2008 DC Comics. All Rights Reserved.