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Stan Lee Presents the Amazing Spider-Man volume 2


By Stan Lee & Steve Ditko, with Jack Kirby (Marvel/Pocket Books)
ISBN: 978-0-67181-444-1

Perhaps I have a tendency to over-think things regarding the world of graphic narrative, but it seems to me that the medium, as much as the message, radically affects the way we interpret our loves and fascinations. Take this pint-sized full-colour treat from 1978.

It’s easy to assume that a quickly resized, repackaged paperback book collection of the early comics extravaganzas was just another Marvel cash-cow in their perennial “flood the marketplace” sales strategy – and maybe it was – but as someone who bought these stories in most of the available formats over the years I have to admit that this compact version has a distinct charm and attraction all its own…

During the Marvel Renaissance of the early 1960’s Stan Lee & Jack Kirby followed the same path which had worked so tellingly for DC Comics, but with less obviously successful results.

This is another brilliant glimpse at how our industry’s gradual inclusion into mainstream literature began and is one more breathtaking paperback package for action fans and nostalgia lovers, offering yet another chance to enjoy some of the best and most influential comics stories of all time.

After a few abortive attempts in the 1960s to storm the shelves of bookstores and libraries, from the mid-1970s Marvel made a concerted and comprehensive effort to get their wares into more socially acceptable formats. As the decade closed, purpose-built graphic collections and a string of new prose adventures tailored to feed into their all-encompassing continuity began oh, so slowly to appear.

Whereas the merits of the latter are a matter for a different review, the company’s careful reformatting of classic comics adventures were generally excellent; a superb and recurring effort to generate back-history primers and a perfect – if perilous – alternative venue to introduce fresh readers to their unique worlds.

The dream project was never better represented than in this classy little crime-busting collection. Marvel was frequently described as “the House that Jack Built” and King Kirby’s contributions are undeniable and inescapable in the creation of a new kind of comicbook story-telling, but there was another unique visionary toiling at Atlas-Comics-as-was: one whose creativity and even philosophy seemed diametrically opposed to the bludgeoning power, vast imaginative scope and clean, broad lines of Kirby’s ever-expanding search for the external and infinite.

Steve Ditko was quiet and unassuming, voluntarily diffident to the point of invisibility, though his work was both subtle and striking.

Innovative, meticulously polished, and often displaying genuine warmth and affection, Ditko’s art and storytelling always managed to capture minute human detail as he ever explored the man within. He found heroism, humour and ultimate evil; all contained within the frail but noble confines of humanity’s scope and consciousness. His drawing could be oddly disquieting… and, when he wanted, certainly scary.

Drawing extremely well-received monster and mystery tales for Stan Lee, Ditko had been given his own title. Amazing Adventures/Amazing Adult Fantasy featured a subtler brand of yarn than Rampaging Aliens and Furry Underpants Monsters which, though individually entertaining, had been slowly losing traction in the world of comics ever since National/DC had successfully reintroduced costumed heroes.

Lee & Kirby had responded with Fantastic Four and the ahead-of-its-time Incredible Hulk but there was no indication of the renaissance to come when the already cancelled Amazing Fantasy #15 cover-featured a brand new and somewhat eerie adventure character.

Of course, by now you’re all aware of how outcast, geeky school kid Peter Parker was bitten by a radioactive spider and, after seeking to cash-in on the astonishing abilities he developed, suffered an irreconcilable personal tragedy and determined henceforward to always use his powers to help those in dire need…

After a shaky start The Amazing Spider-Man quickly became a popular sensation with kids of all ages, rivalling the creative powerhouse that was Lee & Kirby’s Fantastic Four and soon the quirky, charming action-packed comics soap-opera would become the model for an entire generation of younger heroes elbowing aside the staid, (relatively) old costumed-crimebusters of previous publications.

This second resized, repackaged Fights ‘n’ Tights bonanza (reprising Amazing Spider-Man #7-13 from 1963-1964) opens, after the mandatory Stan Lee Prologue, with an encore appearance of the Wall-crawler’s first super-powered foe, as a murderous septuagenarian flying bandit at first defeated his juvenile nemesis before falling to the Web-spinner’s boundless bravery and ingenuity in a spectacular duel above the city in ‘The Return of the Vulture’.

Fun and youthful hi-jinks were a signature feature of the series, as was Parker’s budding romance with “older woman” Betty Brant, a secretary at the Daily Bugle where Peter Parker worked part-time.

Such “Salad days” exuberance was the underlying drive in #8′s lead tale ‘The Living Brain!’ when an ambulatory robot calculator threatened to expose Spider-Man’s secret identity before running amok at beleaguered Midtown High, just as Parker was finally beating the stuffings out of school bully and personal gadfly Flash Thompson.

This riotous romp was accompanied by ‘Spiderman Tackles the Torch!’ (a short and sweet vignette drawn by Jack Kirby and inked by Ditko) wherein a boisterous wall-crawler gate-crashed a beach party thrown by the flaming hero’s girlfriend… with explosive consequences.

Amazing Spider-Man #9 was a qualitative step-up in dramatic terms as Peter’s aged Aunt May was revealed to be chronically ill – adding to the lad’s financial woes – and the action was supplied by ‘The Man Called Electro!’ a super-criminal with grand aspirations.

Spider-Man was always a loner, never far from the dark, grimy streets filled with small-time thugs and criminals and with this tale, wherein he also quells a prison riot single handed, Ditko’s preference for tales of gangersterism began to show through; a predilection confirmed in #10′s ‘The Enforcers!’, a classy mystery where a masked mastermind known as the Big Man used a position of trust at the Bugle to organize all the New York mobs into one unbeatable army against decency.

Longer plot-strands were also introduced as Betty mysteriously vanished (her fate to be revealed in the next issue and here the next chapter), but most fans remember this one for the spectacularly climactic seven-page fight scene in an underworld chop-shop that has still never been topped for action-choreography.

The taint of tragedy again touched Parker with a magical two-part adventure ‘Turning Point’ and ‘Unmasked by Dr. Octopus!’ which saw the return of the lethally deranged and deformed scientist – complete with formidable mentally-controlled metal tentacles – and the disclosure of a long-hidden secret which had haunted poor Betty Brant for years.

The dark, doom-filled tale of extortion and excoriating tension stretched from Philadelphia to the Bronx Zoo and cannily tempered the trenchant melodrama with stunning fight scenes in unusual and exotic locations, before culminating in a truly staggering super-powered duel as only the masterful Ditko could orchestrate it.

This tension-drenched tiny tome concludes with the introduction of a new super-threat and ‘The Menace of Mysterio!’ as a seemingly eldritch bounty-hunter hired by Bugle publisher J. Jonah Jameson to capture Spider-Man eventually revealed his own dark agenda.

Of course the menace was only ended after another mind-boggling battle, this time through the various exotic sets and props of a TV studio…

These mini-masterpieces of drama, action and suspense immaculately demonstrated the indomitable nature of this perfect American hero, and I suppose in the final reckoning how you come to the material is largely irrelevant; just as long as you do…

These immortal epics are available in numerous formats.
© 1978 Marvel Comics Group. All rights reserved.

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Rogue


By Howard Mackie & Mike Wieringo (Marvel)
ISBN: 978-0-7851-0171-0

The mutant mystery woman known as Rogue began life as a super-villain and member of the Brotherhood of Evil Mutants: a disturbed young girl cursed with a power that stole traits, abilities and memories from anybody who touched her skin.

It was an ability she could not control or even turn off and any overlong skin-to-skin contact resulted in the victim falling into a coma with their entire history and essence drained into her. Rogue then became a reluctant jailer with stolen powers and personalities locked in her head forever.

After doing just such to Ms. Marvel whilst a member of the Brotherhood, Rogue joined the X-Men in sheer desperation and slowly became a trusted team-player, but she still had her secrets…

Played as a “bad-girl” and mystery woman for years, Rogue grew to become one of the most popular characters in the excessively large cast, and in 1995 won her own beautifully illustrated 4-issue miniseries which at last revealed a few more tantalising secrets, whilst dragging her through a very personal crisis that struck right to the heart of the burgeoning and increasingly convoluted X-franchise continuity…

Written by Howard Mackie, beautifully drawn by the late and much-missed Mike Wieringo and inked by X-Men veteran Terry Austin, the tale opens with ‘An Affair to Remember’ as the mighty, mysterious mutant is called to Mississippi and the bedside of a comatose boy named Cody.

Meanwhile in New Orleans the deadly External Candra attends a funeral for the recently deceased ruler of the Assassins’ Guild. The all-powerful mutant goddess bears the X-Men a grudge and wants to use leader-elect Bella Donna to exact her vengeance…

Donna’s ex-husband is Remy Lebeau and the Assassin-mistress has her own scores to settle with the man now known as Gambit and his new paramour…

Suffering from a love that cannot be realised, Gambit and Rogue have grown close. Now she reveals how, as kids, Cody was the first boy to kiss her and how her burgeoning power stole his entire vitality in that first tender moment, plunging him into an irreversible slumber and locking his memories within her…

Now Cody’s body is failing, but as Rogue visits him super-powered assassins attack and steal his inert body. Bella Donna, herself a victim of Rogue’s memory-stealing curse, appears as the assassins flee and warns the heartbroken mutant that everything she cares for will be taken from her…

In ‘Choices’ Rogue gets a much-needed heads-up from creole witch-woman Tante Mattie – currently the only thing keeping Cody from lingering death – and a warning to rush to Gambit’s side, whilst in New Orleans the Mistress of Death begins to realise the folly of her relationship with the autocratic External…

When Gambit is ambushed by Bella Donna’s agents, Rogue spectacularly saves his bacon but cannot bring herself to accept his help in finding Cody.

Flying alone to “The Big Easy” she plunges straight into an army of Bella Donna’s most lethal guildsmen, all powerfully augmented by Candra’s unlimited mutant might…

‘The Gauntlet’ finds Rogue battling hard and hopelessly, with Gambit frantically rushing to her aid, despite an injunction over his head. When he married Bella, Lebeau was an heir of the Thieves Guild and their union was intended to end a centuries-old rivalry, but his wilful nature scotched those plans and now he is forbidden from entering New Orleans on pain of death.

Despite one last warning from an old comrade, Gambit plunges heedlessly into the fray and is quickly overcome, but against all odds Rogue has battled her way through and is looking for a final confrontation…

One the double-dealing Candra is eager to facilitate, as she transports the exhausted Rogue to Bella Donna’s lair, before neutralising the frenzied foes’ amazing abilities and forcing them to battle with nothing more than fists and nails and mortal muscles…

The end comes brutally in ‘Back to Life!’ as, on the edge of victory, the Mistress of Assassins is again betrayed by the ruthlessly manipulative External, whose true interest all along has been Gambit…

Meanwhile the severely-wounded Rogue has finally overcome Bella Donna and still found determination enough to face and thwart Candra…

…And in the still and silent aftermath the battered but unbowed Southern Siren is granted one final moving moment with Cody…

Furiously fast-paced and action-stuffed, this gloriously illustrated, mile-a-minute mutant mayhem – with a crazed cod-Cajun flavour to it – is a fearsomely full-on Fights ‘n’ Tights thriller that will astound and delight all fans of the genre.
© 1995 Marvel Entertainment Group, Inc. All rights reserved.

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Showcase Presents the Losers Volume 1


By Robert Kanigher, Ross Andru & Mike Esposito, John Severin, Ken Barr & various (DC Comics)
ISBN: 978-1-4012-3437-9-8

The Losers were an elite unit of American soldiers formed by amalgamating three old war series together. Gunner and Sarge (later supplemented by the Fighting Devil Dog “Pooch”) were Pacific-based Marines; debuting in All-American Men of War #67, (March1959) and running for fifty issues in Our Fighting Forces (#45-94, May 1959-August 1965), whilst Captain Johnny Cloud was a native American fighter pilot who shot down his first bogie in All-American Men of War #82. The “Navaho Ace” flew solo until issue #115, (1966) and entered a brief limbo until the final component of the Land/Air/Sea team was filled by Captain Storm, a disabled PT Boat skipper who fought on despite his wooden left leg in his own eponymous 18-issue series from 1964 to 1967. All three series were created by comicbook warlord Robert Kanigher.

The characters had all pretty much passed their individual use-by dates when they were teamed-up as guest-stars in a Haunted Tank tale in 1969 (G.I. Combat #138 October), but these “Losers” found a new resonance together in the relevant, disillusioned, cynical Vietnam years and their somewhat nihilistic, doom-laden group anti-hero adventures took the lead spot in Our Fighting Forces #123 for a run of blistering yarns written by Kanigher and illustrated by such giants as Ken Barr, Russ Heath, Sam Glanzman, John Severin and Joe Kubert.

With the tag-line “even when they win, they lose” the team saw action all over the globe, winning critical acclaim and a far-too-small but passionate following. This magnificent monochrome tome collects that introductory tale from the October 1969 G.I. Combat and the complete formative run of suicidal missions from Our Fighting Forces #123-150 (January /February 1970-August/September 1974), after which comicbook messiah Jack Kirby took over the series for a couple of years and made it, as always, uniquely his own. For that seminal set you must see Jack Kirby’s The Losers Omnibus (no really, you must. That’s an order, Soljer…)

Kanigher often used his stories as a testing ground for new series ideas, and G.I. Combat #138 (October 1969) introduced one of his most successful. ‘The Losers!’, illustrated by the magnificent hyper-realist Russ Heath, saw the Armoured Cavalry heroes of the Haunted Tank encounter a sailor, two marines and grounded pilot Johnny Cloud, each individually and utterly demoralised after negligently losing all the men under their respective commands.

Guilt-ridden and broken, the battered relics were inspired by tank commander Jeb Stuart who fanned their sense of duty and desire for vengeance until the crushed survivors regained a measure of respect and fighting spirit by uniting in a combined suicide-mission to destroy a Nazi Radar tower…

By the end of 1969 Dirty Dozen knock-off Hunter’s Hellcats had long outlived their shelf-life in Our Fighting Forces and with #123 (January/February 1970) evacuated in the epilogue ‘Exit Laughing’ which segued directly into ‘No Medals No Graves’, illustrated by Scottish artist Ken Barr (whose stunning work in paint and line has graced everything from Commando Picture Library covers, through Marvel DC and Warren, to film, book and TV work) and picked up the tale as Storm, Cloud, Gunner and Sarge sat in enforced, forgotten idleness until the aforementioned Lieutenant Hunter recommended them for a dirty, dangerous job no sane military men would touch…

It appears Storm was a dead ringer for a British agent – even down to the wooden leg – and the Brass needed the washed-up sailor to impersonate their vital human resource. The only problem is that they wanted him to be captured, withstand Nazi torture for 48 hours and then break, delivering damaging disinformation about a vast commando raid that wouldn’t be happening…

The agent would do it himself but he was actually dead…

And there was even work for his despondent companions as a disposable diversionary tactic added to corroborate the secrets Storm should hopefully betray after two agonising days…

Overcoming all expectation the “Born Losers” triumphed and even got away intact, after which Ross Andru & Mike Esposito became the regular art team in #124 when ‘Losers Take All’ showed how even good luck was bad, after a mission to liberate the hostage king of a Nazi-subjugated nation saw them doing all the spectacular hard work before losing their prize to Johnny-come-lately regular soldiers…

‘Daughters of Death’ in #125 found the suicide squad initially fail to rescue a scientist’s children only to blisteringly return and rectify their mistakes, Of course, by then the nervous tension had cracked the Professor’s mind, rendering him useless to the Allied cause…

‘A Lost Town’ opened with The Losers undergoing a Court Martial for desertion. Reviled for allowing the obliteration of a French village, they faced execution until an old blind man and his two grandkids revealed what really happened in the hellish conflagration of Perdu, whilst in ‘Angels Over Hell’s Corner’ a brief encounter with a pretty WREN (Women’s Royal Navy Service) in Blitz-beleaguered Britain drew the unit into a star-crossed love affair that even death itself could not thwart…

In a portmanteau tale which disclosed more details of the events which created The Losers, Our Fighting Forces #128 described the ‘7 11 War’ wherein a hot streak during a casual game of craps presaged disastrous calamity for any unlucky bystander near to the Hard Luck Heroes, after which ‘Ride the Nightmare’ saw Cloud endure horrifying visions and crack up on a mission to liberate a captive rocket scientist, before the team again became a living diversion in #130’s ‘Nameless Target’. However, by getting lost and hitting the wrong target, The Losers gifted the Allies with their greatest victory to date…

John Severin inked Andru in OFF #131, in preparation to taking over the full art chores on the series, and ‘Half a Man’ hinted at darker, grittier tales to come when Captain Storm’s disability and guilty demons began to overwhelm him. Considering himself a jinx, the sea dog attempted to sacrifice himself on a mission to Norway but had not counted on his own brutal will to survive…

Back in London, Gunner & Sarge were temporarily reunited with ‘Pooch: the Winner’ (#132 by Kanigher & Severin), prompting a fond if perilous recollection of an exploit against the Japanese in the distant Pacific. However, fearing their luck was contagious, the soldiers sadly decided the beloved “Fighting Devil Dog” was better off without them…

Dispatched to India in #133’s ‘Heads or Tails’, The Losers were ordered to assassinate the “the Unholy Three” – Japanese Generals responsible for untold slaughter amongst the British and native populations. In sweltering lethal jungles, they only succeeded thanks to the determined persistence and sacrifice of a Sikh child hiding a terrible secret.

Our Fighting Forces #134 saw them brutally fighting from shelled house to hedgerow in Europe until Gunner cracked. When even his partners couldn’t get him to pick up a gun again it took the heroic example of indomitable wounded soldiers to show him who ‘The Real Losers’ were…

Issue #135 began a superb extended epic which radically shook up the team after ‘Death Picks a Loser’. Following an ill-considered fortune telling incident in London, the squad shipped out to Norway to organise a resistance cell, despite efforts to again sideline the one-legged Storm. They rendezvoused with Pastor Tornsen and his daughter Ona and began by mining the entire village of Helgren, determined to deny the Nazis a stable base of operations.

Even after the Pastor sacrificed himself to allow the villagers and Americans time to escape, the plan stumbled when the explosives failed to detonate and Storm, convinced he was a liability, detonated the bombs by hand…

Finding only his wooden leg in the flattened rubble, The Losers were further stunned when the vengeful orphan Ona volunteered to take the tragic sailor’s place in the squad of Doomed Men…

The ice-bound retreat from Helgren stalled in #136 when she offered herself as a ‘Decoy for Death’ leading German tanks into a lethal ambush, after which Cloud soloed in a mission to the Pacific where he found himself inspiring natives to resist the Japanese as a resurrected ‘God of the Losers’…

Reunited in OFF #138, the Bad Luck Brigade became ‘The Targets’ when sent to uncover the secret of a new Nazi naval weapon sinking Allied shipping. Once more using Ona as bait they succeed in stunning fashion, but also pick up enigmatic intel regarding a crazy one-eyed, peg-legged marauder attacking both Enemy and Allied vessels off Norway…

Our Fighting Forces #139 introduced ‘The Pirate’, when a band of deadly reivers attacked a convoy ship carrying The Losers and supplies to the Norwegian resistance. Barely escaping with their lives the Squad was then sent to steal a sample of a top secret jet fuel but discovered the Sea Devil had beaten them to it.

Forced to bargain with the merciless mercenary for the prototype, they found themselves in financial and combat competition with an equally determined band of German troops who simply wouldn’t take no for an answer…

‘Lost… One Loser’ revealed that Ona had been with Storm at the end and was now plagued by a survivor’s guilty nightmares. Almost convincing her comrades that he still lived, she led the team on another mission into Norway, the beautiful traumatised girl again used herself as a honey trap to get close to a German bigwig and found incontrovertible proof that Storm was dead when she picked up his battered, burned dog-tag…

Still troubled, she commandeered a plane and flew back to her home to assassinate her Quisling uncle in #141’s ‘The Bad Penny’, only to be betrayed to the town’s German garrison and saved by the pirate who picked that moment to raid the occupied village for loot.

Even with the other Losers in attendance the Pirate’s rapacious rogues were ultimately triumphant but when the crippled corsair snatched Ona’s most treasured possession, the dingy dog-tag unlocked many suppressed memories and Storm (this is comics: who else could it be?) remembered everything…

Answers to his impossible survival came briskly in OFF #142 and ‘½ a Man’ concentrated on the Captain’s struggle to be reinstated. Shipping out to the Far East on a commercial vessel, he was followed by his concerned comrades and stumbled into an Arabian insurrection with three war-weary guardian angels discreetly dogging his heel.

Back with The Losers again in #143, Storm was soon involved in another continued saga as ‘Diamonds are for Never!’ found the Fatalistic Five sent to Africa to stop an SS unit from hijacking industrial diamonds for their failing war effort. However, even after liberating a captured mine from the enemy, the gems eluded the team as a pack of monkeys made off with the glittering prizes…

Hot on their trail in ‘The Lost Mission’ the pursuers stumble onto a Nazi ambush of British soldiers and determine to take on their task – demolishing an impregnable riverside fortress…

Despite being successful the Squad are driven inland and become lost in the desert where they stumble into a French Foreign Legion outpost and join its last survivor in defending ‘A Flag for Losers’ from a merciless German horde and French traitor…

Still lost in the trackless wastes they survived ‘The Forever Walk!’ in #146, battling equally-parched Nazis for the last precious drops of water and losing one of their own to a terrifying sandstorm…

In ‘The Glory Road!’ the sun-baked survivors encountered the last survivor of a German ambush, but British Major Cavendish seemed unable to differentiate between his early days as a star of patriotic films and grim reality and when a German patrol captures them all the mockery proves too much for the troubled martinet…

Again lost and without water, in #148 ‘The Last Charge’ saw The Losers save a desert princess and give her warrior father a chance to fulfil a prophecy and die in glorious battle against the Nazi invaders, whilst #149 briefly reunited the squad with their long-missing member before tragically separating again in ‘A Bullet for a Traitor!’

This volume concludes with ‘Mark our Graves’ in #150 as The Losers linked up with members of The Jewish Brigade (a special British Army unit) who all paid a steep price to uncover a secret Nazi supply dump…

Although a superbly action-packed and moving tale, it was an inauspicious end to the run and one which held no hint of the creative culture-shock which would explode in the pages of the next instant issue when the God of American Comicbooks blasted in to create a unique string of “Kirby Klassics”…

With covers by Joe Kubert, Frank Thorne and Neal Adams, this grimly efficient, superbly understated and beautifully rendered collection is a brilliant example of how war comics changed forever in the 1970s and proves that these stories still pack a TNT punch few other forms of entertainment can hope to match.
© 1969, 1970, 1971, 1972, 1973, 1974, 2012 DC Comics. All Rights Reserved.

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Shazam! Archives volume 3


By Bill Parker, Rod Reed, C.C. Beck, George Tuska, Pete Costanza, Mac Raboy & others (DC Comics)
ISBN: 01-56389-832-2

One of the most venerated and beloved characters of America’s Golden Age of comics, Captain Marvel was created in 1940 as part of a wave of opportunistic creativity which followed the stunning success of Superman in 1938.

Although there were many similarities in the early years, the Fawcett champion quickly moved squarely into the area of light entertainment and even straight comedy, whilst as the years passed the Man of Steel increasingly left whimsy behind in favour of action, drama and suspense.

Homeless orphan and good kid Billy Batson was selected by an ancient wizard to be given the powers of six gods and heroes to battle injustice. He transforms from scrawny precocious kid to brawny (adult) hero Captain Marvel by speaking aloud the wizard’s acronymic name – invoking the powers of legendary patrons Solomon, Hercules, Atlas, Zeus, Achilles and Mercury.

Publishing house Fawcett had first gained prominence through an immensely well-received light entertainment magazine for WWI veterans named Captain Billy’s Whiz-Bang, before branching out into books and general interest magazines. Their most successful publication – at least until the Good Captain hit his stride – was the ubiquitous boy’s building bible Mechanix Illustrated and, as the decade unfolded, the scientific and engineering discipline and can-do demeanour underpinning MI suffused and informed both the art and plots of the Marvel Family titles.

Captain Marvel was the brainchild of writer/editor Bill Parker and brilliant young illustrator Charles Clarence Beck who, with his assistant Pete Costanza, handled most of the art on the series throughout its stellar run. At first the full-grown hero was a serious, bluff and rather characterless powerhouse whilst junior alter ego Billy was the true star: a Horatio Alger archetype of impoverished, bold, self-reliant and resourceful youth overcoming impossible odds by pluck, grit and sheer determination…

After homeless orphan newsboy Billy was granted access to the power of legendary gods and heroes he won a job as a roaming radio reporter for Amalgamated Broadcasting and first defeated the demonic Doctor Thaddeus Bodog Sivana, setting a pattern that would captivate readers for the next 14 years…

At the height of his popularity Captain Marvel outsold Superman and was even published twice-monthly, but as the Furious Forties closed tastes changed, sales slowed and Fawcett saw the way the wind was blowing. They settled an infamous long-running copyright infringement case begun by National Comics in 1940 and the Big Red Cheese vanished – as did so many superheroes – becoming little more than a fond memory for older fans…

This third magnificent deluxe full-colour hardback compendium re-presents a strip from anthology compendium America’s Greatest Comics, the second and third issues of Captain Marvel Adventures, his exploits from the fortnightly Whiz Comics #21-24 and also happily includes a selection of stunning covers from the plethora of extra and reprint editions generated by the Good Captain’s overnight success.

Although there was increasing talk of inevitable war amongst the American public; all these tales – spanning March to November 1941 – were created long before Japan’s attack on Pearl Harbor and consequently have their share of thinly-veiled saboteur and spy sagas which permeated the genre until official Hostilities were finally established. Of more interest perhaps is that at this period the stories – many of them still sadly uncredited – still largely portray Marvel as a grimly heroic figure not averse to slaughtering the truly irredeemable villain and losing no sleep over it…

Following a nostalgic and highly educational Foreword by movie producer, author, historian and fan Michael Uslan, the wonderment commences with the magnificent Mac Raboy cover to America’s Greatest Comics #1 and the C.C. Beck illustrated thriller ‘Ghost of the Deep’ which led off that issue.

The merits of the ongoing court-case notwithstanding, Fawcett undeniably took many of their publishing cues from the examples of Superman and Batman. Following on from a brace of Premium editions celebrating the New York World’s Fair, National Comics had released World’s Finest Comics; a huge, quarterly card-cover anthology featuring a host of their comicbook mainstays in new adventures, and early in 1941, Fawcett produced a 100-page bumper comic dedicated to their own dashing new hero and the other mystery-men in their stable: Spy Smasher, Bulletman, Minute Man and Mr. Scarlet & Pinky and others.

‘Ghost of the Deep’ was an extra-long saga and canny mystery wherein a hooded mastermind used purloined technology to wage a campaign of terror against American Naval interests on both coasts before Billy and the Captain scotched his plans in a tale very much the template for the character’s future…

Meanwhile in Captain Marvel Adventures #2 (Summer 1941) the hero was still undergoing some on-the-job cosmetic refinements. In those formative years as the World’s Mightiest Mortal catapulted to the first rank of superhero superstars, there was actually a scramble to fill pages and just as CMA #1 had been farmed out to up-and-coming whiz-kids Joe Simon & Jack Kirby, the next two issues were rapidly compiled by mostly anonymous scripters and another rising star who drew the issues in a hurry, working from Beck and Parker’s style guides.

Young George Tuska added a raw, lean humanist vivacity to the tales beginning with ‘World of the Microscope’ wherein Sivana returned and dosed Billy and erstwhile ally Queen Beautia with a shrinking solution and left them at the mercy of bacterial monsters until Captain Marvel turned the tiny tables on him, after which a deadly stampede of giant spider robots presaged an ‘Invasion from Mars’, until the Big Red Cheese taught our planetary neighbours a lasting lesson in getting along.

DC/National Periodical Publications had filed suit against Fawcett for copyright infringement as soon as Whiz Comics #2 hit the stands and the companies slugged it out in court until 1953 when, with the sales of superhero comics decimated by changing tastes, Captain Marvel’s publishers decided to capitulate.

As a result most merchandising outfits steered well clear of Fawcett, compelling the publisher to generate toys, games, premiums and promotions themselves. The only notable exception was the blockbusting Adventures of Captain Marvel Movie Serial from Republic Pictures. Consequentially Fawcett used their magazines comicbooks to promote the films and practically invented Product Placement to plug their in-house merchandise.

‘The Curse of the Scorpion’ was an uncredited text feature which recapped the first episode of the movie serial and urged readers to follow the saga at their local cinemas after which the strip thrills resumed with Tuska’s ‘The Pirate’s Treasure’ (written by Rod Reed) as Billy investigated the murder of an old sailor and was press-ganged onto a modern-day buccaneer’s boat. Before long the radio reporter and his mighty avatar were embroiled in a war between rival South Seas rogues and the issue rousingly concluded with the Reed & Tuska saga of ‘The Arson Fiend’, a murderous supernatural firebug who acted out the frustrations of his ineffectual fire-insurance salesman alter ego…

Captain Marvel Adventures #2 (Fall 1941) opened with ‘The Menace of Muscles McGinnis’ wherein the toughest gangster in town tried to take over Billy’s radio station and literally had the wickedness beaten out of him by the unbeatable Crimson Crime-crusher, after which he was again targeted by the World’s Maddest Scientist who wanted to conquer the USA with ‘Sivana’s Paralyzing Gas’…

‘The Terror of the Goptas’ saw an ancient cult attack tall buildings and their architects, but although the devotees were acting to defend their cloud-living gods their new leader had far more mundane motives… The issue ended with another Sivana scheme as the Devil Doctor devised a synthetic zombie powered by the life-force of 1000 animals but little dreamed that ‘The Beast-Ruler’ might have his own agenda, such as uniting all of nature to eradicate humanity…

Whiz Comics #21 (September 5th 1941) featured ‘The Vengeful Four’ (illustrated by Beck) and saw Sivana gather three other villains to attack the hero in his youthful identity. What luck then that three other kids named Billy Batson were in town and that the magic of Shazam apparently extended to them…

Fat Billy, Tall Billy and Hill Billy took to trouncing thugs in a trice and, as the Three Lieutenant Marvels, would become frequent guest stars in years to come…

Written and illustrated by Beck, #22’s ‘The Temple of Itzalotahui’ was a turning point for the series. Tying into and deriving from the continuity of the movie serial, Billy gained an assistant in the form of Whitey Murphy, who was a co-star in the film iteration, but the real sea-change was the shift to light-hearted, tongue-in-cheek adventure as the lads travelled to Central America to search for a third cast member and found ancient Mayans and modern resource raiders…

Whiz #23 began a two-part thriller that again derived from product placement. ‘The Bal Masque’ found Billy and Whitey travelling to Washington DC to safeguard an Ambassador and his daughter at a grand soiree. The diplomats were unwitting couriers for a new defence code and when ruthless German agents struck Captain Marvel was drawn into a twisted web of cross and double-cross which culminated in a blistering sea battle in ‘The Secret of the Ring’ (24th November 28th 1941, by Beck & Costanza)…

With the code lost the Solomon-inspired Marvel swiftly devised a new cipher, and from that issue onwards, readers could decode secret messages in every story… as long as they were fully paid-up members of the new Captain Marvel Fan Club…

This nostalgic delight concludes not only with pages of biographical details on all the creators but also a brace of covers from two unique reprint compilations rushed out to satisfy the voracious demands of the hero’s burgeoning readership. Captain Marvel Thrill Book sports a stunning piece of Beck brilliance whilst Xmas Comics #1 by Raboy is a slice of pure comicbook mythology every art lover dreams of possessing.

DC eventually acquired the Fawcett properties and characters and in 1973 revived the Captain for a new generation to see if his unique charm would work another sales miracle during one of comics’ periodic downturns.

Re-titled Shazam! due to the incontestable power of lawyers and copyright convention, the revived heroic ideal enjoyed mixed success before being subsumed into the company’s vast stable of characters…

Nevertheless Captain Marvel is a true icon of American comic history and a brilliantly conceived superhero for all ages. These magical tales again show why The Big Red Cheese was such an icon of the industry and proves that these timeless, sublime comic masterpieces are an ideal introduction to the world of superhero fiction: tales that will appeal to readers of any age and temperament…
© 1941, 2002 DC Comics. All Rights Reserved.

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Wolverine and the X-Men: Regenesis


By Jason Aaron, Chris Bachalo, Duncan Rouleau, Matteo Scalera, Nick Bradshaw & others (Marvel/Panini UK)
ISBN: 978-1-84653-513-0

Radical revision – or at least the appearance of such – is a cornerstone of modern comics. There must be a constant changing of the guard, a shifting of scene and milieu and, in latter times, a regular diet of death, resurrection and rebirth. However, with such regular re-fitting, even getting back to basics can be just as new and fresh as completely starting over…

A case in point is this wonderfully fun and frolicsome return to the old days, set immediately after the catastrophic events of X-Men Schism.

What You’ll Need To Know…

When the world’s mutant population was reduced to a couple of hundred desperate souls, most of them banded together in self-imposed exile on Utopia Island in San Francisco Bay, in a defensive enclave led and defended by the X-Men. Although generally welcomed by most of the easygoing residents of the city, tensions were high and leader Cyclops ran the colony in an increasingly draconian and military manner.

His relationship with war-weary second-in-command Wolverine was slowly, inexorably deteriorating as they squabbled over the methods and ideology of the X-nation, each interpreting the idealistic, Cooperative Co-existence dream of Professor Charles Xavier in increasingly different ways…

Matters came to head after Logan refused to train the latest batch of mutant children as warriors, concerned that they were being cheated of their childhoods. Then 16-year old anarchist telepath Quentin Quire – who called himself Kid Omega – provoked a terrified armed response from humanity by disrupting an arms-limitation conference intended to convince Homo Sapiens to abandon their “defensive” anti-mutant weapons – giant robotic Sentinels. All hell broke loose…

With the world once again panicked into insanity and individual nations declaring war on Homo Superior, the assembled mutants and assorted superheroes are kept busy saving humans from their own bellicose paranoid folly, allowing a bunch of very human, sociopathic rich kids to make a lethal power-play against their own parents.

The greedy, remorseless, ambitious and impatient scions of munitions millionaires, human traffickers and deranged scientists had waited too long for what they considered theirs and, after murdering their adult guardians, took over the Hellfire Club to initiate a bold scheme of ruling the Earth before they hit puberty…

Their cynical, vicious plan involved using the threat of mutants to stampede humans into buying the Club’s new, outrageously expensive Super-Sentinels, profiting from death and terror as the wisely wealthy always had…

In a devastating, if brief, war the embattled Utopians become the unwitting target of increasingly bloody attacks and Cyclops and Wolverine catastrophically clashed over the role of the super-powered children in their care, and although Utopia was ultimately saved in the nick of time, the policy-split led to a sundering of the Mutants as Wolverine took many of the youngest kids and some of Cyclops’ oldest, but most disappointed and disaffected, friends to a place where they could attempt to rekindle Xavier’s first endeavour – a school where mutants could live relatively normal lives…

The separation hopefully left Utopia Island as the highly visible fortress against and target for human aggression; populated by warriors and militaristic genocide-survivors ready to take the Race – or perhaps more correctly, Species – War to the oppressors, with the kids allowed to grow up in peace and safety…

Of course it didn’t work out that way…

Following on from the epochal events of X-Men Schism, this utterly engrossing tome (collecting Wolverine and the X-Men #1-7, from 2011) returns to the far lighter, fun-laced thrills of the 1960s Merry Mutants and opens with a 3-part epic in ‘Welcome to the X-Men… Now Die!’

Reluctant and decidedly unsure headmaster Wolverine is getting a much needed pep-talk from Professor X as the new Jean Grey School for Higher Learning opens on the site of the old X-Mansion…

Nervously occupying a daily evolving super-scientific facility, the faculty staff includes the Beast, Iceman, Kitty Pryde, Husk, Cyclops’ telepathic daughter Rachel Grey and other former X-Men, whilst the ever-growing student population comprises a number of earthly mutants old and new and even selected aliens such as a gentle and compassionate Brood and the obnoxious, troublesome, belligerent spoiled-brat heir to the star-spanning Shi’ar.

Admittedly Lord Kubark was only grudgingly accepted in return for past favours and cutting-edge alien tech…

Even as Chief administrator Kitty desperately attempts to convince the local School Board Inspectors that the institution poses no threat to the community or kids, the first crisis erupts as Kade Kilgore, Black King of the pre-pubescent Hellfire Club, launches an attack on the school, which he considers a personal affront to his plans.

Launching an attack by his lab-grown army of Frankenstein’s Monsters, Kade mischievously transforms the inspectors into ravening horrors. With the very land under the establishment turned into a colossal monster determined to eradicate everything above it, things look bleak until Iceman leads the other teachers in a spirited counterattack.

Quire is deemed an “Omega-level threat” by the Avengers, so Wolverine’s plans to turn him into a socialised asset are being closely scrutinised by Captain America, but when Rachel – with the unsuspected aid of Kid Omega – divines that the tectonic assault is being perpetrated by a cloned and brainwashed seed of Krakoa the Living Island (see Marvel Masterworks volume 11) the tide begins to turn…

With a little deft psychic surgery by the arrogant anarchist – for reasons even he can’t really explain – the all-terrain terror becomes the latest addition to the student body and repulses the other attacks after which Wolverine and cameo-star Matt “Daredevil” Murdock retaliate in a way little Kade least expects…

In a tale delightfully depicted by Nick Bradshaw and with the scene firmly set, the tone switches to raucous, action-packed hilarity as the long-suffering faculty come to grips with the unique daily challenges presented by their charges. The cyborg assassin and guest lecturer Deathlok foreshadows horrors to come when he demonstrates his Tachyon vision on the class. Broodling Broo, Shi’ar Student Prince Kid Gladiator and particularly Genesis (a boyish clone of arch-horror Apocalypse) hear predictions that give everyone cause for concern…

Meanwhile, another First-Class X-Man returns to the fold; but Warren Worthington is not the Angel of old and gives old friends Iceman and the Beast extreme cause for concern…

Of course the one with most cause for concern is celibate headmistress Kitty Pryde who went to bed with a headache and woke up eight months pregnant…

Trouble is mounting and the school is close to bankruptcy. Desperate for funds, Wolverine takes Kid Omega to an alien gambling station in a dubious ploy to win billions through Quire’s psionic abilities, whilst at the school the Beast diagnoses the true cause of Kitty’s condition. Somehow she’s been infected by a horde of microscopic Brood (the real, ghastly, voracious body-stealing, egg-implanting cosmic horror kind utterly unlike the erudite, genteel freak Broo), and after the headstrong Kid Gladiator invades her body via shrinking technology, the Beast has no choice but to follow, leading a determined team of students on a Fantastic Voyage into the Headmistress’ bloodstream…

Meanwhile, in space a deadly alien hunter who uses Brood as hunting dogs is hurtling towards Earth and the School…

On Planet Sin, Wolverine and Quentin are making millions but have underestimated the casino owners’ ingenuity and determination to discourage cheating, whilst within Kitty’s circulatory system, the mutants’ school field trip is slowly eradicating the micro-Brood infestation. However, when full-sized Brood-warriors invade the School, young Broo and Kitty are forced into a deadly game of cat-and-mouse simply to survive before über-alien Xanto Starblood reveals himself as the cause of all their woes…

An Extreme Xeno-Zoolologist, Starblood’s entire universe-view is offended by the existence of a benign Broodling and he’s taken drastic measures to correct the Cosmos’ mistake, but even as the micro-students finish cleaning up Kitty’s small parasite problem Broo, pushed to far, suddenly proves to the alien academic that he’s not that far removed from his mercilessly marauding forebears…

And in deep space, Quire pilots the ship back from Planet Sin. He and Wolverine have escaped the Gambler’s wrath… but hardly intact…

Fast, furious, funny and fulfilling, the whole splendid affair was scripted by the wickedly sharp Jason Aaron, illustrated by Chris Bachalo, Duncan Rouleau, Matteo Scalera and Nick Bradshaw with additional inking from Jaime Mendoza, Tim Townsend, Al Vey, Mark Irwin, Victor Olazaba, Walden Wong, Norman Lee, Jay Leisten & Cam Smith. As always there’s a glorious gallery of covers and variants from the likes of Bachalo, Townsend, Bradshaw, Frank Cho, Ed McGuinness and Mark Brooks.

If you crave full-on, uncomplicated yet witty and rewarding Fights ‘n’ Tights fiction this is another near-perfect one-stop shop for your edification and delectation.

™ & © 2011, 2012 Marvel and subs. Licensed by Marvel Characters B.V. through Panini S.p.A, Italy. All Rights Reserved. A British edition published by Panini UK, Ltd.

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Superman’s First Flight


By Michael Jan Friedman & Dean Motter (Scholastic)
ISBN: 978-0-43909-550-1

We parochial and possessive comics fans too often regard our purest and most powerful icons in purely graphic narrative terms, but characters such as Batman, Spider-Man, the X-Men and Superman long ago outgrew their four-colour origins and are now fully mythologized modern media creatures instantly familiar in mass markets, platforms and age ranges.

Another captivating case in point is this beguilingly enthralling retelling of the Man of Steel’s formative journey to self-discovery retold for the very young as part of the Hello Reader early-learning program devised by Children’s publisher Scholastic.

Categorised as Level 3 (school years 1 and 2, with Level 2 being kindergarten and 1 as pre-schoolers) the story crosses that crucial divide wherein parents still read to their kids, but the little tykes are also beginning that wonderful, magical journey into literacy by themselves…

This clever, sensitive and age-appropriate retelling by Michael Jan Friedman encapsulates and addresses every maturing child’s growing feelings of potential alienation, sense of growth, self-discovery and independence by focussing on High School kid Clark Kent on the day that the solitary teen discovered why he had always felt somehow different from his classmates.

When Clark suddenly, impossibly, heard and saw a car crash from miles away, without thinking he found himself running and jumping over buildings. Arriving on the scene he tore metal doors off burning cars and outraced an explosion to save a trapped driver…

Terrified that he might be a monster he confided in his parents, who promptly shared a secret they’d been harbouring all Clark’s life. In the barn they showed the lad a tiny one-man spaceship which had crashed to Earth years ago, carrying an alien baby…

As Clark approached the capsule a hologram activated and the boy saw his birth-parents Jor-El and Lara who explained why he could perform feats no one else could…

Shocked and distraught, Clark ran away as fast as he could and before he knew it was flying high above the world. The glorious shock at last made him realise that different didn’t mean bad…

And soon the world was daily made better by a visitor from afar known as Superman…

This enthralling little adventure is a cleverly weighed introduction into the Man of Tomorrow’s past, magnificently complemented by 31 painted illustrations by gifted design guru and illustrator Dean Motter that will amaze kids and astound even their jaded, seen-it-all-before elders.

No Supermaniac could consider their collection complete without a copy of this wonderful little gem and Superman’s First Flight is the ideal introduction for youngsters to their – surely – life-long love affair with reading…
© 2000 DC Comics. All Rights Reserved. All Rights Reserved.

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Batman’s Dark Secret


By Kelley Puckett & Jon J Muth (Cartwheel Books/Scholastic)
ISBN: 978-0-43909-551-8

We insular and possessive comics fans tend to think of our greatest assets in purely graphic narrative terms, but characters such as Superman, Spider-Man and Batman have long-since grown beyond their origins and are now fully mythologised modern media creatures instantly familiar in mass markets, platforms and age ranges.

A case in point is this beguilingly enthralling retelling of Batman’s origin intended for the very young as part of the Hello Reader early-learning program devised by Children’s publisher Scholastic.

Categorised as Level 3 (school years 1 and 2, with Level 2 being kindergarten and 1 as pre-school) the story crosses that crucial divide wherein parents still read to their kids, but the little tykes are also beginning that wonderful, magical journey into literacy by themselves…

This clever, sensitive and age-appropriate retelling by Kelly Puckett follows young Bruce Wayne as he enjoys a movie-night revival of the swashbuckling film Zorro and the life-altering encounter and tragic fate of his parents in that dank, enclosed, lightless alley behind the cinema. The loss and trauma led to the orphan becoming solitary, sad and afraid of the dark despite every effort of butler-turned-guardian Alfred until an unhappy accident turned the boy’s life around forever…

One day Bruce stayed out in the rolling grounds of Wayne Manor far too late until he suddenly realised that the sun was setting. Racing back to the bright, luminescent safety of the big house he abruptly fell through a weak patch of ground into a huge cave beneath the mansion and found himself in utter blackness.

Fighting blind panic he brushed past many tiny bats, but they didn’t scare him. However when a giant, red-eyed, leather-winged monster started towards him Bruce swung wildly at it and realised that the big bat was actually afraid of him. Something changed in him then and fear left his heart forever…

He knew that he could fight wicked things with fear and the dark as his weapons…

This enthralling little adventure is a perfectly balanced and well-gauged baptism into Batman’s world, magnificently complemented by thirty stunning painted illustrations by master of mood and mystery Jon J. Muth that will delight kids and astound even their jaded, seen-it-all-before elders.

No Batfan should consider their collection complete without a copy of this wonderful little gem and Batman’s Dark Secret is the ideal introduction for youngsters to their – hopefully – life-long love affair with reading…
© 1999 DC Comics. All Rights Reserved. All Rights Reserved.

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More Brilliant Advice


By Annie Lawson (Deirdre McDonald/Bellew Publishing)
ISBN: 978-0-94779-224-4

British cartooning has been magnificently serviced over the centuries by masters of form, line, wash and most importantly clever ideas repeatedly tickling our funny bones whilst poking our pomposities and fascinations. However one glaring imbalance in that dishonourable tradition has only been comparatively recently addressed – the relative paucity of women gagsters…

Annie Lawson is a jobbing illustrator, animator and textiles designer/facilitator (specialising in rug-making): a sublimely inspired and dedicated creator who happily inhabits the fine-arty, wryly clever, socially aware end of the makes-you-laugh market. Since 1981 she has worked as a freelance cartoonist for Honey, The Guardian, The Observer, City Limits and others. As well as being the uniquely stylish in-house cartoonist for the ethical beauty products chain Lush and featuring heavily in their free newspaper Lush Times, she has also been the star of many gallery exhibitions and has multiple book compilations to her name.

Here her startlingly economical, pared-down and deceptively simplified strips explored what it meant to be a young intellectual feminist looking for love – or often merely a straight answer – in the eternal questing dance between men and women, mothers and daughters, BFFs, food, booze and fashions, as well as the more baffling, frustrating and intolerable aspects of less crucial aspects of modern living.

More Brilliant Advice was released in 1989, the sequel to an earlier incisive and uncompromising collection and, as well as exploring man-hunting, party etiquette, gender cues, partnership insecurities, clubbing, middle-class cash-poverty, shameful guilty pleasures, masculine weaknesses and squeamishness, also continually self-dissects and reappraises the role of the nominal self-loathing singleton dubbed ‘the Wet Lettuce’.

With frenetic energy and a scathing eye – jaundiced far too young – topics such as ‘I’ve Got to Find a way to Make a Living’, ‘Clubbing It’, ‘If You Find to your Horror that your Children are either Selfish or Raving Mad…’, ‘Drunkenness… a Bane?’, ‘Perfect Logic’, ‘My Overdraft’, ‘Irritating Foibles’ ‘Assertiveness Training’ and other perennial pithy imponderables are tackled in both abrasive, energised stick figure strips and a multitude of gloriously lavish colour pastel and paint full-pages.

Since the glass studio-door was finally shattered, many women have reenergised the field and this selection comprises a nice slice of a lesser known but still-pithily opinionated pen-smith and brush-monger whose contributions have been forgotten for far too long.

Happily still available from numerous online sources, More Bad Advice is certainly something you should take heed of…
© 1989 Annie Lawson. All rights reserved.

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Batman and the Outsiders: The Snare


By Chuck Dixon, Carlos Rodriguez, Julian Lopez, Ryan Benjamin, Bit & Saleem Crawford (DC Comics)
ISBN: 978-1-84856-136-6

Following the forcible dissolution of Nightwing’s covert and pre-emptive strike force, Batman resumed leadership of the Outsiders and, after a daunting series of on-going auditions, settled on a core squad comprising Metamorpho, Grace, Katana, Geo-Force, Batgirl and Green Arrow, keeping mass-moving powerhouse Thunder on a short probationary leash and with standby options on a number of others…

This second slim tome collects issues #6-10 of the return run of the Dark Knight’s covert operatives – the first occurring during the 1980s and as yet only partially re-presented in Showcase Presents Batman and the Outsiders volume 1. This epic middle section of a triptych of books (the last still forthcoming) deals with an epic struggle against a terrifying extraterrestrial plot which threatened to engulf the Earth…

Written throughout by Chuck Dixon, the action starts with ‘Ghost Star’ – illustrated by Carlos Rodriguez & Bit – as elemental changeling Rex Mason drifts helplessly in space, trapped aboard a space shuttle commandeered by the employees of mystery plutocrat Mr. Jardine.

Orbiting the far side of the Moon, Metamorpho observes a titanic alien structure under construction. When the marooned hero finally contacts Earth, Batman, who had assumed his agent had burned up in the ship’s launch, immediately sets a rescue-plan in motion. Worryingly, it involves stealing a rocket from a top-secret and ultra-secure Chinese military base…

Meanwhile Rex has infiltrated the mystery construct and discovered it to be manned by possessed human astronauts all working like soulless drones to complete the cosmic conundrum…

And on Earth, Outsiders Green Arrow, Grace and Katana are captured by Chinese metahuman guards Dragonfire, Angry Wizard and Barefoot Tiger. A massive international incident seems inevitable but the general in charge seems to prefer a quieter, far more final solution…

In ‘The Snare’ Batman allows his new boffin Salah Miandad access to the Batcave supercomputers to defeat the Chinese electronic security measures as, half a world away, Batgirl attempts to free the captives from their brutal interrogators and Geo-Force seeks assistance from the US Pacific Fleet.

Beyond the Moon, Metamorpho is running for his life from the mindless construction slaves only to be ejected from the bizarre artefact into hard vacuum…

The rescue of Rex’s rescuers gets underway when the Dark Knight brings in old Outsiders team-leader Nightwing, but before he can begin, Batgirl is forced to very publicly save her comrades from a firing squad in ‘The Hard Way’ (pencilled by Julian Lopez). Out in space Rex manages to find sanctuary on the space-shuttle he’d previously vacated and discovers the purpose of the mystery device when it unleashes a devastating particle beam at the Lunar surface, shattering the crust and vaporising untold tons of dust, rock and lunar ice…

In Inner Mongolia things look bleak for Batman’s overmatched and outgunned operatives until Nightwing and Thunder appear, teleported in by the reconfigured and repurposed Observational Metahuman Activity Construct – now dubbed Remac.

The former Omac – originally designed to nullify metahumans – is under the telemetric control of Salah (still safely closeted away in the Batcave) and together they make short work of the Chinese super-squad, leaving Nightwing and Thunder free to help the already-liberated Outsiders trash the conventional military forces on the base before beaming back to Gotham City…

By the time ‘The Uninvited’ begins, Metamorpho has returned to Earth and been arrested by the Europeans for hijacking their space-shot – although he quickly escapes in his own uniquely embarrassing manner – whilst Outsiders science officer Francine Langstrom has been piecing together the informational snippets Mason had gleaned whilst aboard the astral weapon…

For months Jardine has been covertly co-opting astronauts from many nations, using them to build his honking giant space-gun; returning them to earth with their memories erased. His goal, now apparently realised, was to vaporise moon ice and store it beneath the satellite’s surface. Luna now has an underground sea at its core… but why?

To answer that question Batman determines to probe the subconscious of the unwitting astronauts and calls on the particular talents of Lia Briggs: once the psionic Outsider Looker and now an even more formidable telepath, thanks to her death and resurrection as a Vampire Queen…

Her mental probing almost costs Lia’s undead life but she discovers that the abductees’ minds were temporarily switched with those of incomprehensibly alien mentalities with dark designs upon our world. She also finds a connection to a rave-bondage club in old Gotham…

This tome concludes with ‘Monsters’ (illustrated by Ryan Benjamin & Saleem Crawford) as a raid on the club reveals a ghastly form of Russian Roulette where thrill-seeking kids pay to be attacked by a monstrous alien parasite. For most it is instant death, but a very lucky few find the fatal bite activates their latent metahuman powers…

However the gullible super-stooges have no idea just what their benefactor’s true agenda actually is and, even as Batman and his team pursue the creature, back at base, Francine and her newly-returned husband Kirk (Man-Bat) Langstrom can only watch in horror as Salah’s consciousness is absorbed into and trapped within Remac…

To Be Concluded… One day, I hope.

Fast, furious, cynically clever, beautifully illustrated and utterly compelling, this is another old-fashioned rollercoaster romp that fulfils every dyed-in-the-spandex Fights ‘n’ Tights fan’s fevered dreams and art-lovers will also adore the gallery of superbly evocative covers by Doug Braithwaite, J. Calafiore, Mark McKenna & Brian Reber.

Straight-shooting rough and tumble comicbook clamour at its very best…
© 2007, 2008, DC Comics. All Rights Reserved.

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Superman: the Action Comics Archives volume 4


By Jerry Siegel & Joe Shuster, Don Cameron, John Sikela, Ed Dobrotka, Sam Citron, Ira Yarbrough, Jack Burnley & Stan Kaye (DC Comics)
ISBN: 1-56389-710-5

Without doubt the creation of Superman and his unprecedented adoption by a desperate and joy-starved generation quite literally gave birth to a genre if not an actual art form.

Within three years of his 1938 debut the intoxicating blend of eye-popping action and social wish-fulfilment which hallmarked the early exploits of the Man of Tomorrow had grown to encompass cops-and-robbers crime-busting, reforming dramas, science fiction, fantasy and even whimsical comedy, but once the war in Europe and the East snared America’s consciousness, combat themes and patriotic imagery dominated most comicbook covers if not interiors.

In comic book terms at least Superman was master of the world, and had already utterly changed the shape of the fledgling industry. There was the popular newspaper strip, a thrice-weekly radio serial, games, toys, foreign and overseas syndication and the Fleischer studio’s astounding animated cartoons.

Thankfully the quality of the source material was increasing with every four-colour release and the energy and enthusiasm of Jerry Siegel and Joe Shuster had informed and infected the burgeoning studio that grew around them to cope with the relentless demand.

Superman was definitely every kid’s hero, as confirmed in this classic compendium, and the raw, untutored yet captivating episodes reprinted here had also been completely embraced by the wider public, as comicbooks became a vital tonic for the troops and all the ones they had left behind…

Due to the exigencies of periodical publishing, although the terrific tales collected in this fourth hardback tome putatively take the Man of Steel to January 1944, since cover-dates described return-by, not on-sale dates they were all prepared well in advance, and real-world events and reactions took a little time to filter through to the furious four-colour pages, so many of the stories have a tinge of uncertainty and foreboding that was swiftly fading from the minds of the public as the far more immediate movie-newsreels showed an inexorable turning of the tide in the Allies’ favour…

Nevertheless since invaders, spies and saboteurs had long been a tried-and-true part of the narrative currency of the times, patriotic covers – which had been appearing on many comicbooks since the end of 1940 – piled on the galvanising pressure and resulted here in some of the most striking imagery in Superman’s entire history.

Spanning October 1942 to January 1944, this fourth delicious deluxe hardcover collection of the Man of Tomorrow’s exploits reprints the lead strip from issues #53-68 of totemic, groundbreaking anthology Action Comics, following the never-ending battle for Truth, Justice and the American Way to a point where War’s end was perhaps in sight and readers could begin considering a life without potential invasion and subjugation, seen here by an almost imperceptible shift from a war footing to stories of home-grown domestic dooms and even some whimsically fun moments…

Co-creator Jerry Siegel was finally called up in 1943 and his prodigious scripting output was somewhat curtailed, necessitating more and more contributions from the ingenious and multi-faceted Don Cameron and with Shuster – increasingly debilitated by failing eyesight and tied up in producing the newspaper strip, the trusty, ever-changing stalwarts of the Superman Studio were drawing most of the comicbook output at this time. Following a fulsome Foreword from publisher and long-time fan Bill Schelly the wonderment commences with Action Comics #53 and Siegel & John Sikela’s fantastic thriller ‘The Man Who put Out the Sun!’ wherein bird-themed menace Night-Owl uses “black light” technology and ruthless gangsters to plunder at will until the Man of Steel takes charge. In #54 ‘The Pirate of Pleasure Island!’ followed the foredoomed career of upstanding citizen Stanley Finchcomb, a seemingly civilised descendent of ruthless buccaneers, who succumbed to madness and became a ruthless marine marauder. Or perhaps he truly was possessed by the merciless spirit of his ancestor Captain Ironfist in this enchanting supernatural thriller by Siegel & Sikela…

Ed Dobrotka stepped in to ink the whimsical Li’l Abner spoof ‘A Goof named Tiny Rufe’ as the desperate cartoonist Slapstick Sam began to plagiarise – and ruin – the simple lives of a couple of naïve hillbillies until Superman interceded, whilst ‘Design for Doom!’ in Action #56, by Siegel & Sikela, pitted the Man of Tomorrow against a deranged architect who created global, city-wrecking catastrophes simply to prove the superiority of his own creations.

Superman was pitifully short on returning villains in the early days so #57’s return of the Prankster as ‘Crime’s Comedy King’ made a welcome addition to the Rogues Gallery, especially as the Macabre Madcap seemed to have turned over a new philanthropic leaf. Of course there was malevolence and a big con at the heart of his transformation, after which the Action Ace stepped into Batman territory for #58’s gruesome drama ‘The Face of Adonis!’ (illustrated by Sam Citron & the Superman Studio) which saw a rogue plastic surgeon transform an aging movie star into a grisly grotesque, holding his face hostage and turning the celluloid hero into his personal thief. Even Superman could not prevent this dark drama from ending in tragedy…

Sheer fanciful fantasy featured in 59#s ‘Cinderella – a la Superman’ (Sikela) as in an early experiment in continuity-busting, Clark Kent had to babysit Lois’ niece Susie Tomkins and dreamed his heroic alter ego into becoming the Fairy Godmother in a witty and imaginative re-enactment of the classic tale. Susie would return over and again as a pestiferous foil for both Clark and Superman…

A different kind of prototype Imaginary Tale was seen in #60 with ‘Lois Lane – Superwoman!’ wherein the hospitalised and concussed go-getter dreamed that she developed abilities equal to the Metropolis Marvel’s after a blood transfusion from the Man of Steel. Despite proving her worth over and again as a costumed crusader, in the end Lois fell into cliché by cornering Superman and demanding they marry…

Siegel & Sikela ended their Action Comics partnership in #61 with ‘The Man they Wouldn’t Believe!’ as Lois seemingly fell for a flamboyant playboy and Clark was panicked into revealing his secret identity in a vain attempt to win her back. Typically she refused to believe him and every effort Kent made to prove his Kryptonian mettle ended in humiliating disaster. How fortunate, since Lois was playing a part to expose a ruthless criminal…

Don Cameron took over as scripter with #62, kicking off a fine run with the utopian future shocker ‘There’ll Always be a Superman!’ (with art by Dobrotka) as an aged sage in 2143AD regaled his grandchildren with tales of how the ancient Man of Tomorrow polished off Nazis who had enslaved their ancestor as part of a plan to build U-Boat bases under America – an old sea yarn confirmed by the storyteller’s other houseguest, Superman himself…

Shifting gears to nail-biting suspense, Action #63 revealed ‘When Stars Collide!’ (Cameron & Ira Yarbrough), the cosmic calamity that caused Superman to lose his memory and fall under the sway of devious and manipulative crooks. As if that wasn’t enough, the debris from the stellar smash was falling inexorably to Earth and the only man who could save us had no idea what to do until Lois shook his wits clear…

Another returning villain debuted in #64 in the Dobrotka- illustrated classic ‘The Terrible Toyman’, wherein an elderly inventor of children’s novelties and knick-knacks began a spectacular spree of high-profile and potentially murderous robberies, with Lois as his unwilling muse and accessory after which ‘The Million-Dollar Marathon!’ purloined the venerable plot of George Barr McCutcheon’s 1902 novel Brewster’s Millions (and filmed four times – 1915, 1921, 1926 & 1935 – before Action Comics #65 made it the subject of the October 1943 issue) to show Superman helping a poor doctor spend $1,000,000 in twenty-four hours to inherit twice that amount for a children’s hospital. Trying to queer the deal was the poor medic’s rascally cousin and a pack of very violent thugs…

Heartstrings were further tugged in #66 when an elderly blind millionaire was reunited with his long-lost grandson in ‘The Boy who Came Back!’ Even after Superman reluctantly exposed the cruel scam there was still a shocking (and still surprising today) twist in the tale, whilst ‘Make Way for Fate!’ (#67 and illustrated by Citron) saw the Man of Steel turn back time and reunite stubborn lovers separated for decades as part of a larger plan to build a new Officer Training School in Metropolis…

This spectacular collection closes with ‘Superman Meets Susie!’ (Yarbrough & Stan Kaye) as little Miss Tomkins returned as a teller of huge fibs, which the Man of Tomorrow undertook to make real, all in an attempt to teach Lois a little patience. However the incorrigible brat goes too far when she starts reporting her fantasies to the papers and crooks take advantage…

The main bulk of the stunning covers in this collection were by Jack Burnley and almost exclusively war-themed (excluding The Prankster on #57) until the Toyman’s launch in #64, after which the overseas struggle quickly gave way to scenes of homeland crime and fantastic adventure, with artists John Sikela, Ed Dobrotka & Stan Kaye generally taking that lead spot.

These Golden Age tales offer irresistible and priceless enjoyment at an absurdly affordable price and this superbly robust and colourful format has inestimably advanced the prestige and social standing of the medium itself as well as preserving a vital part of American popular culture.

Still some of the very best Fights ‘n’ Tights any fan could ever find, these tales belong on your bookshelf in a prideful place you can easily reach for over and over again.
© 1942, 1943, 1944, 2005 DC Comics. All Rights Reserved.