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Animal Land book 1


By Makoto Raiku, translated and adapted by Stephen Paul (Kondansha USA)
ISBN: 978-1-935429-13-5

Here’s a sly and rather subtle allegory from relative manga newcomer Makoto Raiuku (Newtown Heroes, Genmai Blade, and the enormously popular Konjiki no Gash!! which hit American TV screens as Zatch Bell!!).

Dōbutsu no Kuni or “Animal Country” began in 2009 and follows the incredible life of a seemingly human baby abandoned and cast adrift on a river only to wash up in the land of animals: a dog-eat-dog, literally bestial world of raw savagery where the weak always die and only the strong are able to survive.

‘Word 1: Hello, Baby’ opens proceedings with little Monoko, an orphan Tanuki (a sort of tiny raccoon dog indigenous to Japan). Since her parents were eaten by wild cats she’s been unable to pull her weight in the hard-pressed Tanuki community; all rushing to store enough for the rapidly approaching winter. It doesn’t look like she’s going to make it…

Her world and existence change forever when she adopts the strange hairless monkey cub which washes up on the river bank one cold day. This is a very strange baby and Monoko insanely decides to become its new mother against all the advice of the village.

In Animal Land all creatures are at odds and cannot understand other species cries, but Monoko decides to risk everything – including being eaten by cats such as the fearsome Kurokagi – to steal some milk for the foundling to drink.

Despite a horrifying but successful mission the baby is cold and dying: it has no will to live and the Tanuki elders brusquely tell her to stop wasting everybody’s time and resources.

Desperate Monoko cuddles it with her body, sharing her warmth in a desperate, lonely struggle to keep it alive one more night. When she awakes she discovers something miraculous and staggering game-changing…

The initial episodes ends with another huge shock: the baby can speak Tanuki…

The mystery increases in the second instalment ‘Word 2: Baby’s Power’ when the infant reveals that he can converse and understand the speech of all animals – even the ultimate predator Kurokagi – thereby discovering the dire marauder’s tragic secret and further reshaping the nature and destiny of the savage domain, whilst the third and final chapter ‘Word 3: Baby Cries Over His Name’ sees Monoko’s first maternal crisis as she finds a keepsake from the baby’s biological mother and fears her joyous new world is crumbling around her until once more the wonder baby comes to her emotional and physical rescue…

Despite what the publishers would have you believe this isn’t just another cute kiddie-book. For starters it’s filled with scatological asides and the audience advisory is 13 and older. Moreover, despite being filled with action, adventure and slapstick/social gaffe humour in the grand manga manner, this is a tale filled with scary moments, brutal situations and heartbreaking poignancy, with a lot to say about family, community, integration, unity and understanding through plain-talking and communication.

Also included in this initial monochrome volume are translator’s notes, a guide to Japanese honorifics, Omake pages (“extra” or “bonus”) of short cartoon strips and a longer piece wherein Makuto Raiku lets us in on the background of and inspiration for the strip: sharing the bittersweet story of his and wife’s best friend Riku – an abandoned wounded puppy…

More Animal Farm than The Gruffalo, this is a brilliant piece and impressive slice of social fantasy for kids, and would make a great gift for older children getting too big for traditional kids stuff.

This volume is printed in the traditional front-to-back, right-to-left reading manner.

© 2010 Makoto Raiku. English translation © 2011 Makoto Raiku. All rights reserved.

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Marvel Masterworks: All-Winners 1-4

New Expanded Review

By Joe Simon & Jack Kirby, Stan Lee, Carl Burgos, Bill Everett & others (Marvel)
ISBN: 0-7851-1884-5

Unlike their Distinguished Competition, Marvel Comics took quite a while to get into producing expensive hardbound volumes of their earliest comic adventures. In the cold hard light of day it’s fairly clear to see why. The sad truth is that a lot of Golden Age Marvel material is not only pretty offensive by modern standards but is also of rather poor quality. One welcome exception, however, is this collection of the quarterly super-hero anthology All Winners Comics.

Over the course of the first year’s publication (from Summer 1941 to Spring 1942) the stories and art varied wildly but in terms of sheer variety the tales and characters excelled in exploring every avenue of patriotic thrill that might enthral ten year old boys of all ages. As well as Simon and Kirby, Lee, Bill Everett and Carl Burgos, the early work of Mike Sekowsky, Jack Binder, George Klein, Paul Gustavson, Al Avison, Al Gabriele and many others can be found as the budding superstars dashed out the supplemental adventures of Captain America, Sub-Mariner, The Human Torch, Black Marvel, The Angel, Mighty Destroyer, and The Whizzer.

This spectacular deluxe full-colour hardback compendium opens with a fulsome and informative introduction from Roy Thomas – architect of Marvel’s Golden Age revival – ably abetted by Greg Theakston, after which  All Winners Comics #1 commences with Carl Burgos’ Human Torch adventure ‘Carnival of Fiends’ as Japanese agent Matsu terrorises the peaceful pro-American Orientals of Chinatown whilst the physically perfect specimen dubbed the Black Marvel crushes a sinister secret society known as ‘The Order of the Hood’ in a riotous action romp by Stan Lee, Al Avison & Al Gabriele after which Joe Simon & Jack Kirby contributed a magnificent Captain America thriller-chiller in ‘The Case of the Hollow Men’ as ghastly artificial zombies rampaged through the streets of New York…

Stripling Stan Lee scripted the prose teaser ‘All Winners’ – an affable chat between the four-colour stars – after which an untitled Bill Everett Sub-Mariner yarn saw the errant Prince of Atlantis uncover and promptly scupper a nest of saboteurs on the Virginia coastline whilst the inexplicably ubiquitous Angel travelled to the deep dark jungle to solve ‘The Case of the Mad Gargoyle’ with typical ruthless efficiency in an engaging end-piece by Paul Gustavson.

Issue #2 (Fall 1941) began with the Torch and incendiary sidekick Toro tackling the ‘Carnival of Death!’ – a winter jamboree this time rather than a circus of itinerant killers – in a passable murder-mystery with less than stellar art, after which Simon & Kirby delivered another stunning suspense shocker in the exotic action masterpiece ‘The Strange Case of the Malay Idol’.

Lee graduated to full comic strips in ‘Bombs of Doom!’ as Jack Binder illustrated the All Winners debut of charismatic behind-enemy-lines hero The Destroyer; the text feature ‘Winners All’ saw a Lee puff-piece embellished with a Kirby group shot of the anthology’s cast and second new guy The Whizzer kicked off a long run in an untitled, uncredited tale about spies and society murderers on the home-front. After a page of believe-it-or-not ‘Unsolved Mysteries’ a ghost artist produced ‘The Ghost Fleet’ to end the issue with another Sub-Mariner versus Nazi submariners action romp.

All Winners #3 pitted the Torch against Japanese terrorists in ‘The Case of the Black Dragon Society’, a rather over-the-top slice of cartoon jingoism credited to Burgos but perhaps produced by another anonymous ghost squad. Simon and Kirby had moved to National Comics by this issue and Avison was drawing Captain America now, with scripts by the mysterious S.T. Anley (geddit?) but ‘The Canvas of Doom!’ still rockets along with plenty of dynamite punch in a manic yarn about a painter who predicts murders in his paintings, whilst The Whizzer busted up corruption and slaughter in ‘Terror Prison’ in a rip-roarer from Lee, Mike Sekowsky & George Klein.

‘Jungle Drums’ was standard genre filler-fare after which Everett triumphed with a spectacular maritime mystery as ‘Sub-Mariner visits the Ship of Horrors’ and The Destroyer turned the Fatherland upside down by wrecking ‘The Secret Tunnel of Death!’

The final issue in this compendium was cover-dated Spring 1942 and with enough lead time following the sneak attack on Pearl Harbor, the patriotic frenzy mill was clearly in full swing.

A word of warning: though modern readers might well blanche at the racial and sexual stereotyping of the (presumably) well-intentioned propaganda machines which generated tales such as ‘Death to Nazi Scourge’ and ‘The Terror of the Slimy Japs’, please try to remember the tone of those times and recall that these contents obviously need to be read in an historical rather than purely entertainment context.

The aforementioned ‘Terror of the Slimy Japs’ found the Human Torch and Toro routing Moppino, High Priest of the Rising Sun Temple and saboteur extraordinaire from his lair beneath New York, whilst Cap and Bucky contented themselves with solving ‘The Sorcerer’s Sinister Secret!’ and foiling another Japanese sneak attack before The Whizzer stamped out ‘Crime on the Rampage’ in a breakneck campaign by Howard “Johns” nee James.

‘Miser’s Gold’ was just one more genre text tale followed by Everett’s take on the other war as ‘Sub-Mariner Combats the Sinister Horde!’ …of Nazis, this time, after which the Destroyer brought down the final curtain by hunting down a sadistic Gestapo chief in ‘Death to Nazi Scourge’.

Augmented by covers, house ads and other original ephemera, this is a collection of patriotic populist publishing from the dawn of a new and cut-throat industry, working under war-time conditions in a much less enlightened time. That these nascent efforts grew into the legendary characters and brands of today attests to their intrinsic attraction and fundamental appeal, but this is a book of much more than simple historical interest. Make no mistake, there’s still much here that any modern fan can and will enjoy.
© 1941, 1942, 2003 Marvel Characters, Inc. All Rights Reserved.

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Essential Daredevil volume 4


By Gerry Conway, Steve Gerber, Gene Colan, & various (Marvel)
ISBN: 978-0-7851-2762-3

Matt Murdock is a blind lawyer whose remaining senses hyper-compensate, making him an astonishing acrobat, formidable fighter and a living lie-detector. Very much a second-string hero for most of his early years, Daredevil was nonetheless a striking and popular one, due in large part to the captivatingly humanistic art of Gene Colan. He fought gangsters, a variety of super-villains and even the occasional monster or alien invasion. He quipped and wise-cracked his way through life and life-threatening combat, utterly unlike the grim, moody, quasi-religious metaphor he’s been seen as in latter years.

In these tales from the pivotal era of relevancy, social awareness and increasing political polarisation the Man Without Fear was also growing into the judicial conscience of a generation…

Marvel Comics built its fan-base through audacious, contemporary stories with spectacular art and 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 simply to get a fuller picture of their favourites’ adventures.

This fourth Essential monochrome collection re-presents Daredevil #75-101, covering April 1971 to July 1973 and also includes Avengers #111, wherein twin storylines converged and concluded.

The Marvel Magic opens with a drama of political intrigue and kidnapping as Murdock travelled to the banana republic of Delvadia where ‘Now Rides the Ghost of El Condor!’ by scripter Gerry Conway and the incomparable art team of Gene Colan & Syd Shores: a canny yarn of revolutionary fervour and self-serving greed concluded in ‘The Deathmarch of El Condor!’ in Daredevil #76, with inker Tom Palmer beginning his long association with Colan as perhaps his most effective inker.

Guest stars abounded in ‘…And So Enters the Amazing Spider-Man!’ as an uncanny artefact appeared in Central Park inviting DD, Spidey and the Sub-Mariner to join a fantastic battle in a far-flung lost world. The adventure concluded in the Atlantean’s own comic (#40) but as Daredevil didn’t join the quest that sequel isn’t included in this tome.

As an aside to interested 1980’s post-punk/neo-psychedelic saddoes everywhere, I might mention that this story is where Julian Cope found the phrase “The Teardrop Explodes’…

Issue #78 returned to more traditional territory as ‘The Horns of the Bull!’ followed the downfall of petty thug Bull Taurus after enigmatic mastermind Mr. Kline transformed him into a savage beast and set him upon the Man Without Fear…

Gary Friedrich wrote the cataclysmic conclusion ‘Murder Cries the Man-Bull!’ but Conway was back to spectacularly reintroduce a vintage villain ‘In the Eyes… of the Owl!’ which presaged a major format change for the series from Daredevil #81’s ‘And Death is a Woman Called Widow’ (inked by Jack Abel) wherein former Soviet super-spy Natasha Romanoff burst onto the scene as the ubiquitous Kline was finally unmasked and revealed to be once again behind all DD’s woes…

After a stunning pin-up of the bodacious Black Widow by the incredible Bill Everett the conspiracy drama continued with ‘Now Send… the Scorpion’ as Kline – AKA the Assassin – set the manic artificial arachnid against DD and the Widow whilst his master attempted to suborn Murdock’s greatest friend Foggy Nelson.

At the end of that issue the Scorpion was apparently dead and ‘The Widow Accused!’ by Nelson. A sham trial intended to railroad and pillory the Russian émigré ensued in #83, (art by Alan Weiss, Barry Smith & Bill Everett) with the Assassin dispatching brutish Mr. Hyde to ensure his victory. Against all odds Murdock cleared Natasha of the charges, prompting the hidden mastermind to take direct action in ‘Night of the Assassin!’ (Colan & Shores). Attacking DD and the Widow in Switzerland – whence she had fled to nurse her wounded pride – Kline met final defeat in a shocking climax to the extended saga.

Daredevil #85 found the couple romantically involved and returning to America on a ‘Night Flight!’ hijacked by the bloodthirsty Gladiator, after which another long forgotten foe resurfaced for the last time in ‘Once Upon a Time… the Ox!’ (Palmer inks) before Matt and Natasha relocated to San Francisco and stumbled into one more ancient enemy in #87’s ‘From Stage Left, Enter: Electro!’

The memory lane menaces continued in ‘Call Him Killgrave!’ as the mind-bending Purple Man resurfaced, erroneously convinced DD had tracked him down to queer his nefarious schemes. As the origin of the Black Widow was revealed the sinister spellbinder attacked and was temporarily repulsed: regrouping with Electro and attacking again in ‘Crisis!’ just as a mysterious man from Natasha’s sordid past resurfaced with portentous news of a long-forgotten mission…

Daredevil #90 explored ‘The Sinister Secret of Project Four!‘ as Hornhead began suffering inexplicable, incapacitating panic attacks, explained a month later in ‘Fear is the Key!’ when Mister Fear struck again… only to be revealed as more than he first seemed…

Issue #92 finally bowed to the inevitable and became Daredevil and the Black Widow just as a new menace struck ‘On the Eve of the Talon!’ and the Project Four saga roared to a conclusion as industrialist Damon Dran won ‘A Power Corrupt!’ and was transformed into a monolithic Indestructible Man rampaging through San Francisco; arrogantly aware that ‘He Can Crush the World!’ Only superhuman heroism and an ultimate sacrifice saved that day…

‘Bullfight on the Bay!’ saw the Man-Bull break jail and rampage across America to revenge himself upon Daredevil, forcing Natasha to do her very worst in the concluding chapter ‘The Widow Will Make You Pay!’ (inked by Ernie Chua nee Chan).

Steve Gerber took over scripting with #97 (from Conway’s plots) for ‘He Who Saves’ as a street acrobat suffered a calamitous accident and was subsequently mutated by sinister hidden forces into proto-godling the Dark Messiah. The already unstoppable Agent of Change was joined by three equally awesome Disciples of Doom in #98’s ‘Let There be… Death!’ but even though physically overmatched, DD and the Widow’s psychological warfare proved fatally effective.

‘The Mark of Hawkeye!’ by the now autonomous Gerber, Sam Kweskin & Shores, found Natasha’s old boyfriend turn up determined to reclaim her, leading to the Archer’s sound and well-deserved thrashing and a quick jump into Avengers #111. ‘With Two Beside Them!’ (by Steve Englehart, Don Heck & Mike Esposito) had the West Coast vigilantes join a ragtag team of heroes to rescue a number of X-Men and Avengers enslaved by the malevolent Magneto.

Back in the City by the Bay and dumped by Natasha for his anniversary issue, Daredevil agonisingly relived his origins and danger-drenched life in ‘Mind Storm!’ (Gerber, Colan & John Tartaglione) whilst a savage and embittered psionic terrorist launched a series of mind-mangling assaults on the populace, culminating in a shattering showdown between the blind hero and Angar the Screamer as well as a shaky reconciliation with the Widow in ‘Vengeance in the Sky with Diamonds!’, illustrated by Rich Buckler & Frank Giacoia.

This supremely enticing volume also has one last treat in store: two unused Gil Kane covers for issues #90 and 91, to supplement his superb stint as the features premier cover artist.

As the social upheaval of this period receded the impressively earnest material was replaced by fabulous fantasy tales which strongly suggested the true potential of Daredevil was in reach. These beautifully illustrated yarns may still occasionally jar with their heartfelt stridency and sometimes dated attitudes but the narrative energy and sheer exuberant excitement of these classic adventures are delights no action fan will care to miss. And the next volume heads even further into uncharted territory…

© 1971, 1972, 1973, 2007 Marvel Characters, Inc. All Rights Reserved.

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Sensational Spider-Man: Nothing Can Stop the Juggernaut


By Roger Stern, John Romita Jr. & Jim Mooney (Marvel)
ISBN: 978-0-87135-572-0

Here’s one more slim yet elegant lost treasure from the early days of graphic novel compilations that might amuse and will certainly delight all-out aficionado and neophyte Spidey fans alike – and perhaps the odd X-Men completist also.

Released in 1989, this full-colour 48 page compendium collects two supremely impressive issues of Amazing Spider-Man (#229-230 from June-July 1982) which perfectly encapsulate everything that made the wondrous Wall-crawler such an unalloyed superstar and icon of youthful exuberance.

The drama opens as Peter Parker is warned by blind, paraplegic clairvoyant Madame Web that her life is about to be endangered by a monstrous and uncompromising force of nature – and that he is her only hope of survival. The Arachnid Adventurer has had experience of the seer’s psychic prowess before and his usual scepticism is tinged with genuine foreboding…

Meanwhile out at sea, a nondescript freighter is carrying mutant menaces Black Tom Cassidy and Cain Marko, the inhuman colossus known as The Juggernaut towards New York. Tom is determined to destroy the X-Men and plans to kidnap Madame Web and exploit her gifts to that end. Unfortunately, he has no idea that if she is unplugged from her life-support chair for even seconds she will die…

Brutish and impatient the mystic man-monster Marko, drops into the ocean and walks through the airless depths of the Atlantic sea-floor across the remaining miles to the Big Apple, for truly ‘Nothing Can Stop the Juggernaut’…

Striding ashore determined and oblivious to all attempts to stop him, the Juggernaut ponderously proceeds in a direct line to his target, smashing through people, cars, buildings and Spider-Man. Unable to defeat or even slow the monster and with no other super-heroes available the Web-Spinner redoubles his efforts but fails to save Web…

Realising he has failed when the savant collapses into a coma, Marko callously turns away and starts his long, slow, immensely destructive walk back to his ship…

The saga concludes with ‘To Fight the Unbeatable Foe!’ wherein an impossibly overmatched and righteously enraged Wall-crawler determines to make the monster pay for his crimes at any and all costs, resulting in one of the most improbable and incredible triumphs of his career.

This spectacular David and Goliath clash, riotously referencing the classic monster-invaders-and-trashes-the-big-city film genre, is a perfect slice of what makes Spider-Man great: tension-packed drama, heroic ingenuity, indomitable courage and astounding action. This yarn is indubitably one of the best individual collections of the hero ever assembled another perfect primer for anyone looking to discover the magic for the first time.
© 1989 Marvel Entertainment Group, Inc. All rights reserved.

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The Flash: Blitz

New revised review

By Geoff Johns, Scott Kolins, Phil Winslade & various (DC)
ISBN: 978-1-84023-986-7

Blitz brings to an end a stunning storyline which has already filled previous editions Blood Will Run, Rogues and Crossfire – so you’d better have read those first – and sees third incarnation of the Flash Fastest Man Alive Wally West end his protracted war against a veritable army of super-villains in triumph and tragedy as potentially his greatest foe, the “Reverse Flash” called Zoom, strikes his cruellest blow.

This climactic collection gathers the tumultuous epic conclusion from Flash volume 2, #192-200 and opens with ‘Run Riot, part 1: Awakened’ scripted, as ever, by Geoff Johns and illustrated by Scott Kolins & Doug Hazlewood wherein an army of apes invades Extreme-Security metahuman penitentiary Iron Heights to free diabolical super-gorilla Grodd, consequently liberating most of the Rogues Flash had spent so much time and energy capturing.

Instantly on the scene, Wally is hard-pressed to contain the chaos before ‘On the Run’ ramps up the tension as the monstrous anthropoid casually, callously cripples Wally’s friend Rogue-profiler Hunter Zolomon and leaves the Scarlet Speedster a physically and emotionally broken man before escaping.

‘Dead or Alive’ finishes the Run Riot triptych as an almost-restored and vengeful Vizier of Velocity visits the hidden Gorilla City which spawned Grodd in search of allies and answers just as that hirsute horror attempts to conquer the apes who first spurned him…

After that catastrophic combat Wally returns to America in ‘Off Balance’ where his wife Linda is experiencing some odd symptoms as her pregnancy progresses. And in the Twin Cities of Keystone and Central, deceased villain The Top has returned in a borrowed body… Meanwhile, wheelchair-bound Zolomon finds it impossible to accept his new condition…

Phil Winslade applies his gritty realist art-style to ‘Helpless’ as explosive teleporter Peek-a-boo returns and Zolomon presses Wally to use his time-travelling technology to undo the attack which incapacitated him.

Unable to comply, Flash abandons the angry profiler but is totally unprepared when Linda becomes a casualty of Peek-a-boo’s detonating departures and utterly unaware that the furious ex-cop – obsessed with changing his recent history at all costs – has stolen the time-bending Cosmic Treadmill…

Kolins & Hazlewood return for the eponymous story-arc Blitz and ‘Rogue Profile: Zoom’ wherein Hunter Zolomon’s tragic history is fully revealed and the horrific consequences of his desperate, doomed act become apparent before ‘Rush’ finds him as the newly-minted Zoom hunting everybody Wally holds dear…

‘Into the Fast Lane’ reveals the hideous effects the Treadmill have wrought on Zolomon as his campaign of terror extends to Wally’s hometown: his malign warped intent to inflict maximum suffering on his erstwhile friend, before the spectacular, brutally shocking conclusion ‘The Final Race’ wherein all the Flash’s greatest allies gather to protect Wally and Linda, but simply aren’t enough to forestall a ghastly tragedy…

The culmination of years of high-octane tension and action, this tale cleared the decks for a startling new direction and is prime Fights ‘n’ Tights fiction of the highest quality.
© 2003, 2004 DC Comics. All Rights Reserved.

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Marvel Masterworks Golden Age Captain America vol. 1


New expanded review
By Joe Simon & Jack Kirby and various (Marvel Comics)

ISBN: 0-7851-1619-2

Over the last twenty years a minor phenomenon developed in the world of comic collecting. The success of DC’s Archive imprint – which produced luxury hardback reprints of rare, expensive and just plain old items out of their mammoth back-catalogue – gradually resulted in a shelf-buckling array of Golden and Silver Age volumes which paid worthy tribute to the company’s grand past and still serves a genuine need amongst fans of old comics who don’t own their own software company or Money Bin.

It should also be noted that many volumes, at least latterly, seemed to coincide with the release of a film or TV show.

From tentative beginnings in the 1990’s DC, Marvel and Dark Horse have pursued this (hopefully) lucrative avenue, perhaps as much a sop to their most faithful fans as an exercise in expansion marketing. DC’s electing to spotlight not simply their World Branded “Big Guns” but also those idiosyncratic yet well-beloved collector nuggets – such as Doom Patrol, Sugar and Spike or Kamandi – was originally at odds with Marvel’s policy of only releasing equally expensive editions of major characters from “the Marvel Age of Comics”, but in recent times their Dawn Age material has been progressively released.

A part of me understands the reluctance: sacrilegious as it may sound to my fellow fan-boys, the simple truth is that no matter how venerable and beloved those early stories are, no matter how their very existence may have lead to classics in a later age, in and of themselves, most early Marvel tales just aren’t that good.

This Marvel Masterworks Captain America volume reprints more or less the complete contents of the first four issues of his original title (from March to June 1941) and I stress this because all the leading man’s adventures have often been reprinted before, most notably in a shoddy, infamous yet expensive 2-volume anniversary boxed set issued in 1991.

However, the groundbreaking and exceptionally high quality material from Joe Simon & Jack Kirby is not really the lure here… the real gold nuggets for us old sods are the rare back-up features from the star duo and their small team of talented youngsters. Reed Crandall, Syd Shores, Alex Schomburg and all the rest worked on main course and filler features such as Hurricane, the God of Speed and Tuk, Caveboy; strips barely remembered yet still brimming with the first enthusiastic efforts of creative legends in waiting.

Captain America was created at the end of 1940 and boldly launched in his own monthly Timely title (the company’s original name) with none of the customary cautious shilly-shallying. Captain America Comics, #1 was cover-dated March 1941 and was an instant monster smash-hit. Cap was the absolute and undisputed star of Timely’s “Big Three” – the other two being the Human Torch and the Sub-Mariner – and one of the very first to fall from popularity at the end of the Golden Age.

Today, the huge 1940s popularity of the other two just doesn’t translate into a good read for modern consumers – excluding, perhaps, those far-too-few Bill Everett crafted Sub-Mariner yarns. In comparison to their contemporaries at Quality, Fawcett, National/All American and Dell, or Will Eisner’s Spirit newspaper strip, the standard of most Timely periodicals was woefully lacklustre in both story and most tellingly, art. That they survived and prospered is a Marvel mystery, but a clue might lie in the sheer exuberant venom of their racial stereotypes and heady fervour of jingoism at a time when America was involved in the greatest war in world history…

However, the first ten Captain America Comics are the most high-quality comics in the fledgling company’s history and I can’t help but wonder what might have been had National (née DC) been wise enough to hire Simon & Kirby before they were famous, instead of after that pivotal first year?

Of course we’ll never know and though they did jump to the majors after a year, their visual dynamic became the aspirational style for super-hero comics at the company they left and their patriotic creation became a flagship icon for them and the industry.

This lavish and exceptional hardback volume opens with ‘Case No. 1: Meet Captain America’ by Simon & Kirby (with additional inks by Al Liederman) wherein we first see how scrawny, enfeebled young patriot Steven Rogers, continually rejected by the US Army, is recruited by the Secret Service. Desperate to counter a wave of Nazi-sympathizing espionage and sabotage, the passionate young man was invited to become part of a clandestine experiment intended to create physically perfect super-soldiers.

When a Nazi agent infiltrated the project and murdered its key scientist, Rogers became the only successful graduate and America’s not-so-secret weapon.

Sent undercover as a simple private he soon encountered James Buchanan Barnes: a headstrong, orphaned Army Brat who became his sidekick and costumed confidante “Bucky”. All of that was perfectly packaged into mere seven-and-a-half pages, and the untitled ‘Case No. 2’ took just as long to spectacularly defeat Nazi showbiz psychics Sando and Omar.

‘Captain America and the Soldier’s Soup’ was a rather mediocre and unattributed prose tale promptly followed by a sinister 16-page epic ‘Captain America and the Chess-board of Death’ and the groundbreaking introduction of the nation’s greatest foe whilst solving ‘The Riddle of the Red Skull’ – a thrill-packed, horror-drenched master-class in comics excitement.

The first of the B-features follows next as Hurricane, son of Thor and the last survivor of the Greek Gods (don’t blame me – that’s what it says) set his super-fast sights on ‘Murder Inc.’ – a rip-roaring but clearly rushed battle against fellow-immortal Pluto (so not quite the last god either; nor exclusively Norse or Greek…) who was once more using mortals to foment pain, terror and death.

Hurricane was a rapid reworking and sequel to Kirby’s ‘Mercury in the 20th Century’ from Red Raven Comics #1 (August 1940) but ‘Tuk, Caveboy: Stories from the Dark Ages’ is all-original excitement as a teenaged boy in 50,000 BC raised by a beast-man determines to regain the throne of his antediluvian kingdom Attilan from the usurpers who stole it: a barbarian spectacular that owes as much to Tarzan as The Land that Time Forgot…

Historians believe that Kirby pencilled this entire issue and although no records remain, inkers as diverse as Liederman, Crandall, Bernie Klein, Al Avison, Al Gabrielle, Syd Shores and others may have been involved in this and subsequent issues…

Captain America Comics #2 screamed onto the newsstands a month later and spectacularly opened with ‘The Ageless Orientals Who Wouldn’t Die’, blending elements of horror and jingoism into a terrifying thriller, with a ruthless American capitalist the true source of a rampage against the nation’s banks…

‘Trapped in the Nazi Stronghold’ saw Cap and youthful sidekick Bucky in drag and in Europe to rescue a pro-British financier kidnapped by the Nazis whilst ‘Captain America and the Wax Statue that Struck Death’ returned to movie-thriller themes in the tale of a macabre murderer with delusions of world domination, after which the Patriotic Pair dealt with saboteurs in the prose piece ‘Short Circuit’. Tuk then tackled monsters and mad priests in ‘The Valley of the Mist’ (by either the King and a very heavy inker or an unnamed artist doing a passable Kirby impression) and Hurricane speedily and spectacularly dealt with ‘The Devil and the Green Plague’ in the depths of the Amazon jungles.

17-page epic ‘The Return of the Red Skull’ led in #3 – knocking Adolf Hitler off the cover-spot he’d hogged in #1 and #2 – as Kirby opened up his layouts to utterly enhance the graphic action and a veritable production line of creators joined the art team (including Ed Herron, Martin A, Burnstein, Howard Ferguson, William Clayton King, and possibly George Roussos, Bob Oksner, Max Elkan and Jerry Robinson) whilst eye-shattering scale and spectacle joined non-stop action and eerie mood as key components of the Sentinel of Liberty’s exploits.

The horror element dominated in ‘The Hunchback of Hollywood and the Movie Murder’ as a patriotic film was plagued by sinister “accidents” after which Stan Lee debuted with the text tale ‘Captain America Foils the Traitor’s Revenge’ before Simon & Kirby – and friends – recounted ‘The Queer Case of the Murdering Butterfly and the Ancient Mummies’; blending eerie Egyptian antiquities with a thoroughly modern costumed psychopath.

Tuk (drawn by either Mark Schneider – or perhaps Marcia Snyder) reached ‘Atlantis and the False King’ after which Kirby contributed a true tale in ‘Amazing Spy Adventures’ and Hurricane confronted ‘Satan and the Subway Disasters’ with devastating and final effect.

The last issue in this fabulous chronicle opens with ‘Captain America and the Unholy Legion’ as the heroes crushed a conspiracy of beggars terrorising the city, before taking on ‘Ivan the Terrible’ in a time-busting vignette and solving ‘The Case of the Fake Money Fiends’, culminating on a magnificent high by exposing the horrendous secret of ‘Horror Hospital’.

After the Lee-scripted prose-piece ‘Captain America and the Bomb Sight Thieves’ young Tuk defeated ‘The Ogre of the Cave-Dwellers’ and Hurricane brought down the final curtain on ‘The Pirate and the Missing Ships’.

An added and very welcome bonus for fans is the inclusion of all the absolutely beguiling house-ads for other titles, contents pages, Sentinels of Liberty club bulletins and assorted pin-ups…

Although lagging far behind DC and despite, in many ways having a much shallower Golden Age well to draw from, it’s great that Marvel has overcome an understandable reluctance about its earliest product continues to re-present these masterworks – even if they’re only potentially of interest to the likes of sad old folk like me – but with this particular tome at least the House of Ideas has a book that will always stand shoulder to shoulder with the very best that the Golden Age of Comics could offer.
© 1941 and 2005 Marvel Characters, Inc. All Rights Reserved.

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Showcase Presents Superman volume 1


By Otto Binder, Jerry Coleman, Bill Finger, Jerry Siegel, Wayne Boring, Al Plastino, Curt Swan & various (DC Comics)
ISBN: 978-1-4012-0758-8

Although we all think of Jerry Siegel and Joe Shuster’s iconic creation as the epitome of comicbook creation the truth is that very soon after his launch in Action Comics #1 he became a multimedia star and far more people have seen or heard the Man of Steel than have ever read him – and yes, that does include the globally syndicated newspaper strip. By the time his 20th anniversary rolled around he had been a regular on radio, starred in a series of astounding animated cartoons and two movies and just ended his first smash live-action television serial. In his future were three more (Superboy, Lois & Clark and Smallville), a stage musical, a franchise of stellar movies and an almost seamless succession of TV cartoons beginning with The New Adventures of Superman in 1966 and continuing ever since. Even Krypto got in on the small-screen act…

It’s no wonder then that the tales from this Silver Age period should be so draped in the wholesome trappings of Tinseltown – even more so than most of celebrity-obsessed America. It didn’t hurt that editor Whitney Ellsworth was a part-time screenwriter, script editor and producer as well as National DC’s Hollywood point man.

However, that’s not all there is to these gloriously engaging super-sagas culled from Action Comics #241-257 and Superman #122-133, reliving the period June 1958 to November 1959 in crisp, clean black and white in this first economical Showcase Presents collection.

By the mid-1950s Superman had settled into an ordered existence. Nothing could really hurt him, nothing would ever change, and thrills seemed in short supply. With the TV show cementing the action, writers increasingly concentrated on supplying wonder, intrigue, imagination and, whenever possible, a few laughs as well.

The adventure begins with Action Comics #241 and ‘The Key to Fort Superman’ a fascinating and clever puzzle-play guest-featuring Batman, written by Jerry Coleman and illustrated by Wayne Boring & Stan Kaye, wherein an impossible intruder vexes the Man of Steel in his most sacrosanct sanctuary, after which Superman #122 (July, 1958) presented three yarns by veteran scripter Otto Binder beginning with ‘The Secret of the Space Souvenirs’ (illustrated by Al Plastino) as a temporary madness seemed to grip the Man of Tomorrow as he gathered artefacts for a proposed time-capsule, ‘Superman in the White House’ a fanciful dream by Jimmy Olsen also drawn by Plastino and the Boring/Kaye bamboozler which finds the hero investigating an outbreak of super-powers at a US military base in ‘The Super-Sergeant’…

That same month Binder & Plastino introduced both the greatest new villain and most expansive new character concept to the series had seen in years in The Super-Duel in Space’ (Action Comics #242) which saw an evil alien scientist named Brainiac attempt to add Metropolis to his collection of miniaturised cities in bottles.

As well as a titanic tussle in its own right, this tale completely changed the mythology of the Man of Steel, by introducing Kandor, a city full of Kryptonians who had escaped the planet’s destruction when Brainiac captured them. Although Superman rescued his fellow survivors, the villain escaped to strike again, and it would be years before the hero could restore the Kandorians to their true size.

Superman #123 (August 1958) featured ‘The Girl of Steel’ by Binder, Dick Sprang & Kaye which tested the potential of a distaff Supergirl as part of a three-chapter yarn involving a magic wishing totem, which tragically segued into ‘The Lost Super-Powers’ before granting the hero’s greatest dream and facilitating ‘Superman’s Return to Krypton’. Action #243 by Binder & Boring saw Superman mysteriously transformed into a beast in ‘The Lady and the Lion’ after which Superman #124 provided the intriguing menace of ‘The Super-Sword’ by Coleman & Plastino, Binder & Kurt Schaffenberger’s delightful desert island drama wherein Lois Lane became ‘Mrs. Superman’ and Clark Kent’s investigation of construction industry corruptions which compelled him to become ‘The Steeplejack of Steel’ (Binder, Boring & Kaye).

Curt Swan pencilled Binder’s ‘Super-Merman of the Sea’ (inked by Kaye) in Action #244: a canny mystery wherein the Man of Steel abandoned the surface world for an alien aquatic princess, after which Boring & Kaye delineated Binder’s compelling thriller ‘The Shrinking Superman!’ featuring an insidious menace from the Bottle City of Kandor…

‘Lois Lane’s Super-Dream’ (Coleman & Schaffenberger) opened Superman #125 (October-November 1958) with another potentially offensive and certainly sexist parable wherein the plucky news-hen learnt a salutary lesson about powers and responsibility whilst ‘Clark Kent’s College Days’ (illustrated by Plastino) began an occasional series of Untold Tales of Superman by revealing just how, when and why Superboy became the Man of Tomorrow, before Boring & Kaye concluded Coleman’s hat-trick with ‘Superman’s New Power’ as the hero gained new and incomprehensible abilities with catastrophic consequences

Action #246 featured ‘Krypton on Earth!’ (Binder, Boring & Kaye) as a trip to tourist attraction “Krypton Island” revealed a crafty criminal scam whilst #247 presented ‘Superman’s Lost Parents!’ (Binder & Plastino) wherein a criminal scheme to reveal the hero’s secret identity prompted an extreme face-saving solution, after which Superman #126 had Binder, Boring & Kaye reveal ‘Superman’s Hunt for Clark Kent’ a thrilling tale of amnesia and deduction whilst ‘The Spell of the Shandu Clock’ by Coleman, Boring & Kaye, provided spooky chills and clever ploys to outwit a malevolent mastermind and ‘The Two Faces of Superman’ (Coleman & Schaffenberger) again saw conniving Lois learn a much-needed lesson in humility.

Action #248 (January 1959) was a rare contribution from Bill Finger, illustrated by Boring & Kaye as the Caped Kryptonian became ‘The Man No Prison Could Hold!’ to topple a war criminal tyrant whilst Superman #127 opened with another Untold Tale of Superman, ‘When There Was No Clark Kent!’ (Coleman, Swan & Kaye) as an accident temporarily deprived the hero of his treasured alter ego, after which Coleman, Boring & Kaye exposed ‘The Make-Believe Superman’ as a depressed dad tried to impress his son with a most preposterous fib before another hugely popular character debuted in ‘Titano the Super-Ape!’. The chimpanzee who became a giant ape with Kryptonite vision was one of the most memorable “foes” of the period, courtesy of Binder, Boring & Kaye’s sublime treatment combining action, pathos and drama to superb effect.

‘The Kryptonite Man!’ by Binder & Plastino in Action #249, saw Lex Luthor deliberately irradiate himself with Green K to avoid capture, but his evil genius was no match for the hero’s sharp wits, used with equal aplomb in ‘The Eye of Metropolis!’ (Finger & Boring) as a prominent TV journalist sought to expose Superman’s secret identity in #250.

Bill Finger scripted the entirety of #128 as ‘Superman versus the Futuremen’ (Boring & Kaye) and ‘The Secret of the Futermen’ saw the Metropolis Marvel framed for heinous crimes and hijacked to the impossible year of 2000AD before outwitting his abductors and retuning in time to encounter ‘The Sleeping Beauty from Krypton!’ – actually Lois in another hare-brained scheme to trap her beloved into marriage, illustrated by the unmistakable and deliciously whimsical Kurt Schaffenberger.

‘The Oldest Man in Metropolis!’ by Robert Bernstein & Plastino, saw an unfortunate lab accident age Superman decades overnight in Action #251 whilst Superman #129 (May 1959) revealed ‘The Ghost of Lois Lane’ (Coleman, Boring & Kaye) to be anything but and Binder & Plastino’s ‘Clark Kent, Fireman of Steel!’ depicted the reporter’s aggravating and hilarious “luck” as a temporary fire-fighter before introducing the bewitching mermaid Lori Lemaris in ‘The Girl In Superman’s Past’ – another moving Untold Tale of Superman (from Finger & Boring) which again refined the Man of Steel’s intriguing early life.

Action Comics #252 (May 1959) would have been significant enough merely for introducing the threat of John Corben, a criminal whose crushed body was replaced by a robot body and Kryptonite heart to become ‘The Menace of Metallo!’ (by Bernstein & Plastino) but a new back-up feature also began in that issue which utterly revolutionised the Man of Tomorrow’s ongoing mythology.

‘The Supergirl from Krypton!’ introduced Kal-El’s cousin Kara Zor-El in another captivating, groundbreaking yarn by Binder & Plastino. The Maid of Might would occupy the back of Action and alternate covers for a decade and more to come, carving her own unique legend (see Showcase Presents Supergirl volumes 1 and 2)…

Issue #253 featured ‘The War Between Superman and Jimmy Olsen!’ by Alvin Schwartz, Swan & Kaye as an alien presence gave the boy reporter super-powers and a mania to conquer the world whilst Superman #130 presented ‘The Curse of Kryptonite!’ by Binder & Plastino, wherein the Man of Tomorrow relived his past experiences with the lethal mineral; ‘The Super-Servant of Crime!’ by Bernstein, Swan & John Sikela which finds the hero turning the tables on a petty crook who thinks he’s fooled the Action Ace, and ‘The Town That Hated Superman!’ (Binder, Boring & Kaye): a happy hamlet which had outlawed the hero and he simply had to know why…

‘The Battle with Bizarro!’ (Action Comics #254, by Binder & Plastino) re-introduced an imperfect duplicate super-being who had initially appeared in a well-received Superboy story (#68, from the previous year), courtesy of Luthor’s malfunctioning duplicator ray. Even way back then high sales trumped death and so popular was the fatally-flawed character that the tale was continued over two issues, concluding with ‘The Bride of Bizarro!’ in #255, an almost unheard of luxury back then, but here that bombastic, traumatic conclusion is separated by the contents of Superman #131, which firstly reintroduced a long-vanished pestiferous annoyance with ‘The Menace of Mr. Mxyzptlk!’ by Coleman & Plastino, before Lois Lane was granted a tantalising glimpse of ‘Superman’s Future Wife’ (Bernstein & Schaffenberger) and ‘The Unknown Super-Deeds’ revealed hitherto hidden connections with the Daily Planet staff long before Superboy left Smallville in another Untold Tale of Superman from Binder & Plastino.

Action #256 seemingly unleashed ‘The Superman of the Future’ (Binder, Swan & Kaye) whilst in Superman #132 (October 1959) Batman and the projections of a super-computer showed what might have happened if Superman had grown up on an unexploded Krypton in the three chapter epic ‘Superman’s Other Life’, ‘Futuro, Super-Hero of Krypton!’, ‘The Superman of Two Worlds!’ by Binder, Boring & Kaye.

Action #257 revealed Clark Kent as ‘The Reporter of Steel!’ after he was hit by a ray from mad scientist Luthor in a cunning yarn by Binder, Boring & Kaye before the contents of Superman #133 brings to a close this premier compendium with ‘The Super-Luck of Badge 77’ (Binder & Plastino) as the reporter tried his hand as a beat cop, before the first new tales by co-creator Jerry Siegel in nearly a decade: ‘How Perry White Hired Clark Kent’ (art by Plastino) and the wryly light-hearted ‘Superman Joins the Army!’ illustrated by Boring & Kaye.

Superman has proven to be all things to all fans over his decades of existence and with the character undergoing another radical overhaul at this time these timeless tales of charm and joy and wholesome wit are more necessary than ever: not just as a reminder of great tales of the past but as an all-ages primer of the wonders still to come…
© 1959-1963, 2005 DC Comics. All Rights Reserved.

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Adventures of Aaron: My Mom’s Meatloaf Moves!


By Aaron Warner (Amazing Aaron Productions)
ISBN: 1-889509-00-0

As a result of the 1980s boom in self-publishing the comics industry underwent a radical and permanent change in creative access wherein eager or talented – and sometimes neither – new strip-makers found themselves given unprecedented access to the buying public. A plethora of comics appeared by artists and writers who no longer had to wait to be discovered by DC or Marvel. The majority of these liberated Young Turks used comicbooks as their forum but a few, such as Aaron Warner, first began to find fame with the venerable but dying newspaper comic strip.

After much fruitless portfolio bombardment to (paying) comicbook publishers and a few commercial art gigs Warner began contributing a semi-fictionalised autobiographical weekly strip to the Young Adults weekend entertainment section of the Kalamazoo Gazette and his self-deprecatingly wry yet frantically over-the-top frat-boy humour and spectacularly fresh and impressive cartooning soon found him an appreciative and constantly growing audience.

Still fortune eluded him until Warner began a wave of guerrilla-marketing and began pedalling the strip to other local papers. This self-syndication eventually led to The Detroit News, a stage play, comicbook compilations from Image and, eventually, the Tribune Media Syndicate who picked up the feature in 1994. The Adventures of Aaron debuted nationally on October 20th 1995; ten years of whacky, unconventional, irreverent fun…

Since then Warner has created A College Girl Named Joe and You Are Here whilst running his own commercial arts business.

This large monochrome landscape collection gathers two years worth of the pre-syndication strips: a bold period of innovation as the artist explores the limits of his page and mirthful, pictorial self-abuse as young, dumb and feckless Aaron relates the latest low point – and occasional high – of his crummy mid-western existence.

Aaron lives with – and is hassled by – his mother and arrogant ineffectual, parsimonious, baldness-obsessed dad, his diabolical older sister (married, a mom, living elsewhere but still terrorising him and ruining his lazy life).

The boy can’t keep a job and often hangs out a lot in the print copyshop; quietly adoring the gorgeous Michelle who works there. Like most kids he has a couple of close friends – Brad and Scott – and they’re both worse than him. His dog and sister are both insane and possibly possessed by Satan…

Peppered with lushly drawn daydreams of hot chicks, a regular girlfriend, coolness not perpetual shame, untold wealth and acquiring superpowers, the early Adventures of Aaron are wildly experimental, fabulously exuberant, gloriously, infectiously fun, whacky, absurdist, astonishingly intimate and delightfully off the wall, and include delightful text features on the poor suckers good friends who were the basis of the strip’s wide and varied cast.

Still readily available this splendid self-published tome is well worth tracking down for a great read; and most worthy of your attention if you’re a cartoonist in dire need of an inspirational success story…
© 1996 Aaron Warner. All rights reserved.

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Marvel Masterworks volume 10: Amazing-Spider-Man 21-30 & Annual 1


By Stan Lee & Steve Ditko (Marvel)
ISBN: 0-87135-596-5

The third magnificent full-colour hardback collection of Spider-Man’s earliest adventures sees the World’s Most Misunderstood Hero begin to challenge the dominance of the Fantastic Four as Marvel’s premier comicbook both in sales and quality. Steve Ditko’s off-beat plots and unconventionally inspirational art had gradually reached an accommodation with the slick and potent superhero house-style Jack Kirby was developing (at least as much as such a unique talent ever could), with less line-feathering, more controlled, moody backgrounds and fewer totemic villains.

Although still very much a Ditko vehicle, Spider-Man had by this time attained a sleek pictorial gloss. Stan Lee’s scripts were comfortably in tune with the times if not his collaborator’s tastes and, although his assessment of the audience was probably the more correct one, all disagreements with the artist over the strip’s editorial direction were still confined to the office and not the pages themselves.

Thematically, there’s still a large percentage of old-fashioned crime and gangsterism here. The dependence on costumed super-foes as antagonists was still finely balanced with ordinary thugs, hoods and mobsters, but those days were rapidly coming to an end too.

When Ditko abruptly left the series and the company, the dreaded loss in quality and sales never happened. The mere “safe pair of hands” that John Romita (senior) considered himself blossomed into a major talent in his own right, and the Wall-Crawler continued his unstoppable rise at an accelerated pace but that’s a bridge crossed in another volume…

This terrific tome (reprinting Amazing Spider-Man #21-30 and Amazing Spider-Man Annual #1) kicks off with ‘Where Flies The Beetle’ featuring a hilarious love triangle as the Human Torch’s girlfriend used Peter Parker to make the flaming hero jealous. Unfortunately the Beetle, a villain with a high-tech suit of insect-themed armour, was simultaneously planning to use her as bait for a trap. As ever Spider-Man was simply in the wrong place at the right time, resulting in a spectacular fight-fest.

‘The Clown, and his Masters of Menace’ saw a return engagement for the Circus of Crime with splendidly outré action and a lot of hearty laughs provided by increasingly irreplaceable supporting stars Aunt May, Betty Brant and J. Jonah Jameson whilst #23 presented a superb thriller blending the ordinary criminals that Ditko loved to depict with the arcane threat of a super-villain attempting to take over the Mob. ‘The Goblin and the Gangsters’ was both moody and explosive, a perfect contrast to ‘Spider-Man Goes Mad!’ in #24. This psychological stunner found a clearly delusional hero seeking psychiatric help, but there was more to the matter than simple insanity, as an insidious old foe made an unexpected return…

Issue #25 once again saw the obsessed Daily Bugle publisher take matters into his own hands: ‘Captured by J. Jonah Jameson!’ introduced Professor Smythe – whose robotic Spider-Slayers would bedevil the Web-Spinner for years to come – hired by the bellicose newsman to remove Spider-Man for good.

Issues #27 and 28 comprised a captivating two-part mystery exposing a deadly duel between the Green Goblin and an enigmatic new masked criminal. ‘The Man in the Crime-Master’s Mask!’ and ‘Bring Back my Goblin to Me!’ together form a perfect Spider-Man saga, with soap-opera melodrama and screwball comedy leavening tense thrills and all-out action.

‘The Menace of the Molten Man!’ from #28 was a tale of science gone bad and remains remarkable today not only for the spectacular action sequences – and possibly the most striking Spider-Man cover ever produced – but also as the story in which Peter Parker finally graduated from High School.

‘Never Step on a Scorpion!’ saw the return of that lab-made villain, hungry for vengeance against not just the Web-Spinner but also Jameson for turning a disreputable private eye into a super-powered monster, and the chronological tales here conclude with #30’s off-beat crime-caper which cannily sowed the seeds for future masterpieces. ‘The Claws of the Cat!’ featured the city-wide hunt for an extremely capable burglar (way more exciting than it sounds, trust me!), plus the introduction of an organised mob of thieves working for mysterious new menace the Master Planner.

Out of place but never unwelcome, this volume ends with the timeless landmark and still magnificently thrilling battle against the ‘Sinister Six’ which actually first appeared between Amazing Spider-Man #16 and 17.

When a team of villains comprising Electro, Kraven, Mysterio, Sandman, Vulture and Doctor Octopus abducted Aunt May and Peter Parker’s girlfriend Betty, Spider-Man was forced to confront them without his Spider-powers. A staggeringly enthralling Fights ‘n’ Tights saga, this influential tale also featured cameos (or more likely product placement ads) by every other extant hero of the budding Marvel universe. Also included are special feature pages on ‘The Secrets of Spider-Man!’ and the comedic short ‘How Stan Lee and Steve Ditko Create Spider-Man’ and a gallery of pin-up pages featuring ‘Spider-Man’s Most Famous Foes!’

Full of energy, verve, pathos and laughs, gloriously short of post-modern angst and breast-beating, these fun classics are quintessential comic magic and with the Fantastic Four form the very foundation of everything Marvel became. This sturdy compendium is another unmissable opportunity for readers of all ages to celebrate the magic and myths of the modern heroic ideal in delightfully decadent luxury – and would make an ideal gift.
© 1964, 1965, 1989 Marvel Characters, Inc. All Rights Reserved.

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Marvel Masterworks Invincible Iron Man volume 2: Tales of Suspense 51-65


By Stan Lee, Don Heck, Jack Kirby & various (Marvel)
ISBN: 978-0-7851-0886-3 or 978-0-7851-1771-1

There are a number of ways to interpret the life and moonlighting career of Tony Stark, glamorous millionaire industrialist/inventor and his armoured alter-ego, Iron Man.

Created in the aftermath of the Cuban Missile Crisis and at a time when “Red-baiting” and “Commie-bashing” were American national obsessions, the emergence of a brilliant new Thomas Edison, using Yankee ingenuity and invention to safeguard and better the World, seemed inevitable. Combine the then-common belief that technology could solve any problem with the universal imagery of noble knights battling evil and the proposition almost becomes a certainty. Of course it might simply be us kids thought it both great fun and very, very cool…

This glorious full colour deluxe hardback compendium of the Golden Avenger’s early days reprints his further early adventures, with a smattering of feature pages and pin-ups from Tales of Suspense #51 (cover-dated March 19664) through #65 (May 1965), a period when Marvel built steadily and irresistibly on their creative inspiration and began scoring solid commercial successes: a time that would see them start to topple DC Comics from a position of dominance, but before the flashy underdogs became the darlings of the student counter-culture. In these tales Tony Stark is still very much the patriotic armaments manufacturer, and not the enlightened capitalist dissenter he would become.

Behind the first of fifteen fabulous Jack Kirby covers the wonderment begins with TOS #51 and ‘The Sinister Scarecrow’ (by Stan Lee & Don Heck) wherein the Golden Avenger tackled a tricky contortionist who quickly became a major menace after stealing vital weapons plans, after which Soviet femme fatale The Black Widow debuted with a savage partner who almost destroyed Iron Man in a Russian-made armour-suit when ‘The Crimson Dynamo Strikes Again!’ scripted, as was the next issue, by the enigmatic “N. Kurok”.

She was back in #53 when ‘The Black Widow Strikes Again!’ a far deadlier threat on her own after stealing an anti-gravity ray but nevertheless still failed to hit her gleaming target and the oriental mastermind who would become Stark’s greatest enemy returned in Tales of Suspense #54 to exact ‘The Mandarin’s Revenge!’; a two-part tale which concluded in ‘No One Escapes the Mandarin!’

Happily Iron Man did, and after bonus factoid-featurettes ‘All About Iron Man’ and ‘More Info About Iron Man’, plus pinups of devoted friends and confidantes Happy Hogan and Pepper Potts, our hero was attacked by Commie super agent ‘The Uncanny Unicorn!’

The Widow resurfaced to beguile budding superhero ‘Hawkeye, the Marksman!’ into attacking the Golden Avenger in #57, before a true landmark event occurred in the next issue. Iron Man had monopolised Tales of Suspense since his creation but ‘In Mortal Combat with Captain America’ (inked by Dick Ayers) an all-out battle between the two heroes – resulting from a clever impersonation by evil impressionist The Chameleon – hinted at a big change in the title.

The clash was a primer for the next issue when Cap would begin his own solo adventures, splitting the monthly comic into a shared anthology featuring Marvel’s top patriotic heroes.

Iron Man’s outing in TOS #59 was against high-tech bandit ‘The Black Knight!’ as a result of which Stark was unable to remove the armour without triggering a heart attack, a situation which hadn’t occurred since the initial heart injury forced Stark to devise his iron-shod alter-ego. Up until this time he had led a relatively normal life by simply wearing the life-sustaining chest-plate under his clothes but now he was a trapped by his own tech…

The introduction of soap-opera sub-plots were a necessitated by the shorter page counts, as were continued stories, but this seeming disadvantage worked to improve both the writing and the sales.

With Stark’s “disappearance,” Iron Man was ‘Suspected of Murder!’ – a tale which featured the return of Hawkeye and the Black Widow – leading directly into ‘The Death of Tony Stark!’ and after another stunning pin-up, ‘The Origin of the Mandarin!’.

After that extended epic, a change of narrative pace occurred as short, complete exploits returned. The first was #63’s industrial sabotage thriller ‘Somewhere Lurks the Phantom!’, followed by the surely self-explanatory ‘Hawkeye and the New Black Widow Strike Again!’ (inked by Chic Stone and disclosing the sultry spy’s conversion into a wall-crawling super-character), before this gold-plated triumph ends with ‘When Titans Clash!’ (inked by Mike Esposito under the pseudonym Mickey Demeo) as a petty thief steals the new armour and Stark must defeat his greatest invention clad only in his clunky old suit.

Iron Man developed amidst the growing political awareness of the Viet Nam Generation who were the comic’s maturing readership. Wedded as it was to the American Military-Industrial Complex, with a hero – originally the government’s wide-eyed golden boy – gradually becoming attuned to his country’s growing divisions, it was, as much as Spider-Man, a bellwether of the times.

That these tales also remain such a thrilling rollercoaster riot of classic super-hero fun is a lasting tribute to the talents of the superb creators who worked on them and this sturdy invincible tome is absolutely the best way to review these masterpieces of Marvel mettle.
© 1964, 1965, 2005 Marvel Characters, Inc. All Rights Reserved.