Category: Graphic Novels

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Astro Boy volume 5

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By Osamu Tezuka, translated by Frederik L. Schodt (Dark Horse Manga)
ISBN: 978-1-56971-680-9 (TPB)

From beginning his professional career in the late 1940s until his death in 1989, Osamu Tezuka generated an incomprehensible volume of quality work which transformed the world of manga and how it was perceived in his own country and, ultimately, across the globe. Devoted to Walt Disney’s creations, he performed similar sterling service with Japan’s fledgling animation industry.

The earliest stories were intended for children but right from the start Tezuka’s expansive fairy tale stylisations harboured more mature themes and held hidden pleasures for older readers and the legion of fans growing up with his manga masterpieces…

“The God of Comics” was born in Osaka Prefecture on November 3rd 1928, and as a child suffered from a severe illness. The doctor who cured him inspired the lad to study medicine, and although Osamu began drawing professionally whilst at university in 1946, he persevered with college and qualified as a medical practitioner too. Then, as he faced a career crossroads, his mother advised him to do the thing which made him happiest.

He never practiced as a healer but the world was gifted with such masterpieces as Kimba the White Lion, Buddha, Black Jack and so many other graphic narratives.

Working ceaselessly over decades, Tezuka and his creations inevitably matured, but he was always able to speak to the hearts and minds of young and old equally. His creations ranged from the childishly charming to the distinctly disturbing such as The Book of Human Insects.

Tezuka died on February 9th 1989, having produced more than 150,000 pages of timeless comics, created the Japanese anime industry and popularised uniquely Japanese graphic narrative which became a fixture of world culture.

This fifth monochrome digest volume (173 x 113 mm in the physical world and any size you like if you get the eBook edition) continues to present – in non-linear order – early exploits of his signature character, with the emphasis firmly on fantastic fun and family entertainment…

Tetsuwan Atomu (literally “Mighty Atom” but known universally as Astro Boy due to its dissemination around the world as an animated TV cartoon and one of post-war Japan’s better exports) is a spectacular, riotous, rollicking sci fi action-adventure starring a young boy who also happens to be one of the mightiest robots on Earth.

The series began in 1952 in Shōnen Kobunsha and ran until March 12th 1968 – although Tezuka often returned to add to the canon in later years. Over that period, Astro spawned the aforementioned global TV cartoon boom, starred in comicbook specials and featured in games, toys, collectibles, movies and the undying devotion of generations of ardent fans.

Tezuka frequently drew himself into his tales as a commentator, and in his later revisions and introductions often mentioned how he found the restrictions of Shōnen comics stifling; specifically, having to periodically pause a plot to placate the demands of his audience by providing a blockbusting fight every episode. That’s his prerogative: most of us avid aficionados have no complaints…

Tezuka and his production team were never as wedded to close continuity as fans are. They constantly revised both stories and artwork in later collections, so if you’re a purist you are just plain out of luck. Such tweaking and modifying is the reason this series seems to skip up and down the publishing chronology. The intent is to entertain at all times so stories aren’t treated as gospel and order is not immutable or inviolate.

It’s just comics, guys…

And in case you came in late, here’s a little background to set you up…

In a world where robots are ubiquitous and have won (limited) human rights, brilliant Dr. Tenma lost his son Tobio in a traffic accident. Grief-stricken, the tormented genius used his position as head of Japan’s Ministry of Science to build a replacement. The android his team created was one of the most ground-breaking constructs in history, and for a while Tenma was content.

However, as his mind re-stabilised, Tenma realised the unchanging humanoid was not Tobio and, with cruel clarity, summarily rejected the replacement. Ultimately, the savant removed the insult to his real boy by selling the robot to a shady dealer…

One day, independent researcher Professor Ochanomizu was in the audience at a robot circus and realised diminutive performer “Astro” was unlike the other acts – or indeed, any artificial being he had ever encountered. Convincing the circus owners to part with the little robot, the Prof closely studied the unique creation and realised just what a miracle had come into his hands…

Part of Ochanomizu’s socialization process for Astro included placing him in a family environment and having him attend school just like a real boy. As well as providing friends and admirers the familiar environment turned up another foil and occasional assistant in the bellicose form of Elementary School teacher Higeoyaji (AKA Mr. Mustachio)…

The wiry wonder’s astonishing exploits resume after the now traditional ‘A Note to Readers’ – explaining why one thing that hasn’t been altered is the depictions of various racial types in the stories.

‘Crucifix Island’ originally ran January through April, 1957 in Shōnen Magazine and begins with an explanation of why most robots are generally humanoid before concentrating on obsessive Doctor Tozawa who channelled his ancient ninja lineage to create an ultimate shape-changing mechanoid. He was interrupted and arrested before he could complete his masterpiece but that was then and this is now where our story properly begins…

Following a manic prison break, Tozawa and his new crooked cronies wash up on and take over a desolate island housing one hundred thousand robots operating the deepest and most sophisticated uranium mine on Earth. The merest by-product is a daily fortune in other precious ores and gems…

Meanwhile, at the Isle’s Robot School Astro is having problems with another young automaton. Pook is troubled because he’s incomplete: his “father” was arrested and imprisoned before he could make his boy perfect…

When Pook and Tozawa are reunited, the mad scientist ambushes Astro, harvesting his body for the parts needed to complete his dream robot. The troubled mechanoid finally gains the power to change shape…

Sadly, one thing that never changes is human greed and Tozawa’s fellow fugitives turn on him when he ignores their pleas to plunder the discarded mountain of gems. Inviting their army of criminal comrades to take over the island, they try to kill the now repentant technologist. With his breath fading, the Doctor repairs Astro to tackle the thieves, but nobody anticipated Pook’s reaction to gaining his full powers or how that would affect the multitude of lethal digging robots…

After a tremendous battle order is eventually restored but not everybody makes it out alive…

Running in Shōnen Magazine from February to April 1960, ‘Space Snow Leopard’ details how frosty precipitation across Earth steals energy from robots and machines. Seemingly unaffected, Astro is challenged by a space wizard and his six-legged killer feline Lupe, but barely escapes as they continue softening up the planet for an alien takeover.

On the run, Astro consults his school friends hoping organic humanity can prevail against the bizarre duo. Ultimately however it takes humans and robots working together and the invention of a giant amalgamated mecha comprised of many smaller automatons working in unison to save the world…

‘The Artificial Sun’ first ran between December 1959 and February 1960 and concludes this compilation in glorious style as a ship at sea reports a deadly floating fireball causing weather disruptions. Fearing the worst, the International Council of Police Organizations consult super-cop Sherlock Holmspun to tackle the crisis. His pride in in a swift breakthrough is soon scotched, however, when the council insist he take along some competent backup/additional firepower in the form of a robot codenamed Mighty Atom …

With the game afoot, the odd couple track down prime suspect Professor Hirata and his deadly monster, but will Holmspun’s prejudice jeopardise the mission… or will his dreadful secret shame leave them all unable to fight off the deadly fireball beast and the real culprit behind it?

Breathtaking pace, outrageous invention, slapstick comedy, heart-wrenching sentiment and frenetic action are the hallmarks of these captivating comics constructions: perfect examples of Tezuka’s uncanny storytelling gifts, which can still deliver a potent punch and instil wide-eyed wonder on a variety of intellectual levels.
Tetsuwan Atom by Osama Tezuka © 2002 by Tezuka Productions. All rights reserved. Astro Boy is a registered trademark of Tezuka Productions Co., Ltd., Tokyo Japan. Unedited translation © 2002 Frederik L. Schodt.

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Batman: The Man Who Laughs


By Ed Brubaker, Doug Mahnke, Patrick Zircher & various (DC Comics)
ISBN: 978-1-4012-1622-1 (HB) 978-1-4012-1626-9 (TMB)

This March saw the 80th anniversary of the Bat-Man’s debut in Detective Comics #27. About one year later his inescapable primal nemesis debuted in Batman #1 (cover-dated “Spring” and released on April 25th, 1940. Thus, I’m selfishly pleasing myself and getting my patronising geek on by indulging in a few fond looks back and sharing some books you might like to try for yourselves. Here’s one featuring a superb brace of creative collaborations revelling in the sheer power the Dark Knight has exerted over the decades, and one that’s happily now available in digital formats as well as in a good old-fashioned Hardcover and Trade Paperback tomes…

Grittily devious writer Ed Brubaker teamed with artist Doug Mahnke, colourist David Baron and letterer Rob Leigh treated us to a rather gripping treatment based on the original 1940s debut tales (with a tip of the hat to the Steve Englehart/Marshall Rogers tales of the early seventies), in the form of an impressive prestige one-shot released in February 2005.

The title – and apparently the original inspiration for the Clown Prince of Crime himself – comes from Paul Leni’s seminal 1928 film classic starring Conrad Veidt in the title role. The plot concerns the actions of innocent Gwynplaine who had a permanent smile carved into his face by the King as a punishment for his father’s crimes…

Set not long after the events of Batman: Year One, The Man Who Laughs sees Police Captain Jim Gordon recognise that Gotham City has been changed forever when an outlandish and macabre serial killer goes on a very public, attention-seeking murder spree. Even his secret ally and vigilante outlaw The Batman is daunted by the sheer scale and audacity of the chalk-faced lunatic who seems utterly unstoppable and capable of anything…

The initial ghastly, gore-drenched clash of wills is a trip into hell for all concerned, but even with the Joker behind bars, the prognosis for the future seems grim beyond all reckoning…

The remainder of this book collects a 3-part adventure from Detective Comics #784-786 (September-November 2003). Here Brubaker scripts a generational serial-killer mystery steeped in the continuity of DC’s Golden Age guest-starring the original Green Lantern. Radio tycoon Alan Scott was Gotham City’s superhero-in-residence in the 1940s and early 1950s before mysteriously dropping out of sight as the “Red-baiting”, “Commie-hunting” decade unfolded…

Illustrated by Patrick Zircher, Aaron Sowd & Steve Bird, with hues by Jason Wright & letters by Todd Klein, ‘Made of Wood’ skips to contemporary times as Batman hunts a prolific serial killer who originally terrorised the populace in 1948. This maniac left a nasty signature message carved into his victims way back when and even assassinated the then-Mayor before simply disappearing. Now he’s apparently back to add to his tally

Matters are further complicated when a guilt-plagued and exceedingly short-tempered Green Lantern returns to action, determined to finally close the case he fumbled nearly 50 years previously…

Brubaker is an excellent writer at the peak of his abilities here providing tension and catharsis in equal measure and the art on both stories is effective and compelling. This is one of the better collections in the canon of the Dark Knight and a great treat for any fan or casual browser.
© 2003, 2005, 2008 DC Comics. All Rights Reserved.

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E.C. Segar’s Popeye volume 4: Plunder Island


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-60699-169-5 (HB)

There is more than one Popeye. If your first thought when you hear the name is the cheerful, indomitable sailor in full Naval whites always fighting a hulking great beardy-bloke and mainlining tinned spinach, that’s okay. The Fleischer Studios and Famous Films animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed all based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into the fully cast and firmly established newspaper strip Thimble Theatre and simple wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure.

In the less than ten years Elzie Crisler Segar worked with his iconic sailor-man (from January 1929, until the creator’s untimely death on 13th October 1938), he built an incredible meta-world of fabulous lands and locations, where unique characters undertook fantastic voyages and experienced big, unforgettable thrills as well as the small human dramas we’re all subject to. His was a saga both extraordinary and mundane, which could be hilarious or terrifying and frequently both at the same time. For every trip to the rip-roaring Wild West or sunken kingdom there was a brawl between squabbling neighbours, spats between friends or disagreements between sweethearts – any and all usually settled with mightily swung fists.

Popeye is the first Superman of comics, but he was not a comfortable hero to idolise. A brute who thought with his fists and didn’t respect authority; uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him), a worrisome troublemaker and gambler who wasn’t welcome in polite society …and he wouldn’t want to be.

The sailor-man is the ultimate working-class hero: raw and rough-hewn, practical, with an innate and unshakable sense of what’s fair and what’s not, a joker who wants kids to be themselves – but not necessarily “good” – and a man who takes no guff from anyone. Always ready to defend the weak and with absolutely no pretensions or aspirations to rise above his fellows, he was and will always be “the best of us”…

With this fourth magnificent hardcover collection of Segar’s comic masterpiece the Sunday Colour pages take precedence as, for the first time ever, his magnum opus ‘Plunder Island’ is reprinted in its full, unexpurgated totality. The reprinted selection covers the period December 3rd 1933 to April 7th 1935, with the epitome of stirring sea-sagas taking up the first six months of that time (ending with the July 15th 1934 instalment).

It all kicks off when Popeye’s old shipmate Salty Bill Barnacle invites him to go adventuring in search of fabled Plunder Island; land of stolen treasure, little suspecting that the ghastly villainous Sea Hag has reared her homely head once more…

With her new gang of deadly henchmen – including brutal Mister Skom and the monstrous Goon – she kidnaps Professor Cringly. He is an aged scholar who knows the lost island’s location, and Popeye’s latest voyage is seemingly over before it has begun….

Gathering a bunch of decidedly dubious amateur Argonauts – including but not exclusively comprising – J. Wellington Wimpy, Rough-House, Geezil and private cop G.B. Gritmore, Olive Oyl, Salty Bill and Popeye swiftly give chase, but all seems hopeless until the Witch of the Seas makes her big mistake. When she sends the Goon to take hostages, the uncanny beast returns with the indomitable Popeye and an inexplicably irresistible Wimpy. The latter’s heretofore unsuspected amatory attractions promptly turn the gruesome heads of both the Hag and her Goon (who is apparently a rather decent – if unprepossessing – lady named Alice…)

Rollercoaster adventure, thrills, chills and riotous comedy have never been better blended than in this tale, but even when the victorious crew finally return home the fun doesn’t stop. Next, we examine the bitter aftermath and how the various heroes dispose of or lose the fabulous wealth they’ve won. Wimpy, for example, simply and rapidly eats his way through most of his, whilst Popeye once again gives his away, prompting his return to the world of extreme prize-fighting…

Baby Swee’pea made his Sunday debut on 28th October 1934 (after being initially introduced during a riotous sequence in the daily strip: see E.C. Segar’s Popeye volume 3: “Let’s You and Him Fight”), becoming the focus of many outrageous gags once Popeye, Wimpy and Olive slip back into their slapstick shtick, allowing the audience to comfortably decompress before the next big drama-drenched story…

The ubiquitous Sappo topper strip became even more imaginative in this period, with demented Professor O.G. Wotasnozzle‘s mad science exploits leading to ever-crazier results and the continual breaking of the Fourth Wall. For the unprepared, this was a strip that could regularly make your brain, as well as your sides, split…

The added extra feature ‘Funny Films’ (dioramic scenes through which continuous strips of cartooned “filmstrips” could be moved to create a home cinema) eventually gave way to the fascinatingly informative and entertaining ‘Popeye’s Cartoon Club’, which provided tips and encouragement to budding artists – and Segar’s approach and advice is as sound today as it ever was…

Just because he was setting the world alight with his innovative Sunday adventure serials and complete gag strips is no reason to suppose his daily feature suffered. In fact, the breakneck pace seemed to inspire Segar, as in short order Popeye and his ever-expanding cast of clowns and reprobates rollicked through a memorable run of captivating tales in monochrome from Mondays to Saturdays.

The dailies section here covers 11th December 1933 to 24th July 1934, beginning with the sailor-man – accompanied by Swee’pea, Olive and Wimpy – moving to Puddleburg, ‘The Laziest Town on Earth’ to run their local newspaper and granting the self-deprecating and wickedly trenchant Segar an opportunity to lampoon himself and his profession with the creation of B. Loony Bullony: World Famous Cartoonist…

When Olive inherits 20 million dollars, her marital prospects increase dramatically, but since one of the most ardent converts to her previously well-hidden charms is a certain. J. Wellington Wimpy, she soon realises that money isn’t everything in ‘Romances and Riches’ – especially after Popeye rescues debutante June Vanripple from drowning and becomes the unwilling toast of the “Sassiety Crowd”

This extended morality play on the evils and travails of wealth contains some of the funniest screwball comedy set-pieces of the entire 1930s (books, movies, strips, everything!) with such memorable moments as Popeye in drag (particularly a rather fetching ladies’ swimsuit), the elder Vanripple and the sailor in a wild-oat sowing contest and Olive as a singing, dancing movie star – complete with fake “million-dollar-legs”…

Another classic and beloved sequence is ‘Unifruit or White Savages’ wherein the shock of losing her loot sends Olive into the convulsive shock syndrome of Aspenitis. The only cure is a therapeutic berry that grows on the wacky island of Nazilia, deep in the territory of a lost tribe of hulking man-beasts…

The frantic antics and comedy continue when June and Mr. Vanripple ask Popeye to go west and crush cowboy bandits plundering their gold mines in ‘Black Valley’ (and if you think drag is outrageous, check out Popeye in a tutu as a saloon dance-girl).

Fair warning though: this was an era where casual racial stereotyping was considered completely acceptable and a key part of cartooning. Segar sinned far less than most: his style was far more character-specific, and his personal delight was playing with accents and how folk spoke. George W. Geezil wasn’t merely a cheap Jewish stock figure of fun, but as fully rounded as any one of nearly fifty supporting cast members could be within the constrictions of page and panel count.

In ‘Black Valley’, Castor Oyl has a Negro manservant called Eclipse, who, although superficially little different in speech pattern and appearance from less-enlightened cartoonists’ portrayal of coloured people, played an active role in proceedings. He wasn’t there for cheap easy laughs, but even so it’s clear Segar wasn’t comfortable with him and he wasn’t a permanent addition. He may be quite disquieting to you and I, but please try and recall the tone of the times and – even though there’s still a whole lot of prejudice still to be dealt with today – just how far we’ve come…

The old salt’s greatest “emeny” returned in another bombastic fantasy romp entitled ‘The Sea Hag’s Sister or The Pool of Youth’, as the vile villainess, her scurvy band of cutthroats and Alice the Goon try to seize control of a literal fountain of youth from her own unsavoury sister and 20,000-year-old caveman, Toar.

Unfortunately, Popeye, Castor, Olive and Wimpy are caught in the crossfire…

One less than wonderful “treat” can be experienced at the end of this volume: one that tormented the kids of all ages addicted to Popeye nearly 90 years ago. ‘Popeye’s Ark’ was another spectacular 6-month long lark, wherein the sailor-man attempts to emulate the Biblical mariner who built “Nora’s Ark” to sail the seas in a giant vessel filled with beasts until he found the promised land of “Spinachova”. Sadly, we all get to “enjoy” cliffhanging tension until the next instalment as this sequence ends 12 weeks into the saga. Oh, the unrelenting tension of it all…

At least you can buy this book and its sequel simultaneously now and not wait for my next excessively excitable recommendation…

There is more than one Popeye: most of them are pretty good and some are truly excellent. Elzie Crisler Segar’s comic strip masterpiece features the very best of them all and you’d be crazy to deny it… or miss him.
© 2008 Fantagraphics Books Inc. All comics and drawings © 2008 King Features Inc. All rights reserved.

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Hellboy Omnibus volume 3: The Wild Hunt


By Mike Mignola & Duncan Fegredo with Dave Stewart & Clem Robins (Dark Horse Books)
ISBN: 978-1-50670-668-9 (TPB) eISBN: 978-1-50670-689-4

Hellboy was first seen 25 years ago in the 1993 San Diego Comic Con programme. Many Happy Returns, Big Red.

After the establishment of the comicbook direct market system, there was a huge outburst of independent publishers in America and, as with all booms, a lot of them went bust. Some few, however, were more than flash-in-the-pans and grew to become major players in the new world order.

Arguably, the most successful was Dark Horse Comics who fully embraced the shocking new concept of creator ownership (amongst other radical ideas). This concept – and their professional outlook and attitude – drew a number of big-name creators to the new company and in 1994 Frank Miller & John Byrne formally instituted the sub-imprint Legend for those projects major creators wanted to produce their own way and at their own pace.

Over the next four years the brand counted Mike Mignola, Art Adams, Mike Allred, Paul Chadwick, Dave Gibbons and Geof Darrow amongst its ranks; generating a wealth of superbly entertaining and groundbreaking series and concepts.

Unquestionably the most impressive, popular and long-lived was Mignola’s supernatural thriller Hellboy.

As previously cited, the hulking monster-hunter debuted in San Diego Comic-Con Comics #2 (August 1993) before formally launching in 4-issue miniseries Seed of Destruction (with Byrne scripting over Mignola’s plot and art). Colourist Mark Chiarello added layers of mood with his understated hues. Once the fans saw what was on offer there was no going back…

This new trade paperback – and digital – series re-presents the succession of long-form tales and miniseries which followed as omnibus volumes, accompanied by a companion series of tomes featuring all the short stories. I’ll get around to them too before much longer…

This third titanic terror tome collects Hellboy: Darkness Calls, Hellboy: The Wild Hunt and Hellboy: The Storm and the Fury as well as short story ‘The Mole’ from Hellboy: Free Comic Book Day 2008.

What You Need to Know: on December 23rd 1944 American Patriotic Superhero the Torch of Liberty and a squad of US Rangers intercepted and almost foiled a satanic ceremony predicted by Allied parapsychologist Professors Trevor Bruttenholm and Malcolm Frost.

They were working in conjunction with influential medium Lady Cynthia Eden-Jones. Those stalwarts were waiting at a ruined church in East Bromwich, England when a demon baby with a huge stone right hand appeared in a fireball. The startled soldiers took the infernal yet seemingly innocent waif into custody.

Far, far further north, off the Scottish Coast on Tarmagant Island, a cabal of Nazi Sorcerers roundly berated ancient wizard Grigori Rasputin whose Project Ragna Rok ritual seemed to have failed. The Russian was unfazed. Events were unfolding as he wished…

Five decades later, the baby had grown into a mighty warrior engaging in a never-ending secret war: the world’s most successful paranormal investigator. Bruttenholm spent years lovingly raising the weird foundling whilst forming an organisation to destroy unnatural threats and supernatural monsters – The Bureau for Paranormal Research and Defense. “Hellboy” quickly became its lead agent.

Moreover, as the decades of his career unfolded, Hellboy gleaned tantalising snatches of his origins, hints that he was an infernal creature of dark portent: born a demonic messiah, somehow destined to destroy the world and bring back ancient powers of evil. It is a fate he despises and utterly rejects, even though the universe keeps inexorably and relentlessly moving him towards it…

The comics cavalcade of chills and thrills commences with a whimsical dreamy vignette by Mignola & Duncan Fegredo from Free Comic Book Day 2008: Hellboy. As the B.P.R.D. top gun spends a little downtime in England with some old – and largely deceased – pals, he has a bit of an extended fright after one of them points out ‘The Mole’ growing on the arcane agent’s left hand…

Re-presenting 2007’s 6-issue miniseries Hellboy: Darkness Calls and including a brace of epilogues created especially for the first collected edition, this tale is especially noteworthy as creator Mignola surrendered visual autonomy over his legendary character to illustrator Duncan Fegredo – with evocative support as always from colourist Dave Stewart and letterer Clem Robins – whilst moving the years-in-the-making saga towards its long-awaited cataclysmic conclusion…

The drama opens beneath rural Italy as accursed wizard Igor Weldon Bromhead hastens the destruction of humanity by summoning and binding the malign witch-goddess Hecate. Bromhead wants revenge and doesn’t care if the world burns in his getting of it. In faraway England, the ripples of his acts alert the fey folk and other supernatural entities that the End Times are finally upon them…

Hellboy is still in Britain; visiting old friends and desperately seeking to sidestep the fate he seems incapable of escaping or thwarting. Restless, he wanders into the woods, seemingly oblivious to the strange signs and portents dogging his heels until he encounters a strange trio of sinister characters and is sucked into a living history lesson…

After also meeting the ghost of witchfinder Henry Hood, Hellboy is made painfully aware of a deadly rising of the covens, as congregated creatures of the night attack him in an abandoned church. After a climactic battle – and more painful revelations of his past and ordained future – the paranormal paragon is suddenly yanked away into the infernal arctic domain of terrifying nemesis Baba Yaga: the Russian witch-queen sworn to destroy him…

In England, witches continue to gather, urged on by minor demon Gruagach; another unclean creature with a grudge against Hellboy. He advocates waking a long-buried queen of the dark to lead their final assault on the world and will not be dissuaded…

Meanwhile in Baba Yaga’s land of eternal chill, Hellboy is holding his own against the sorceress’ legions but is about to meet his match against her greatest thrall: an indomitable, unstoppable warrior dubbed Koshchei the Deathless.

The captive is not without allies. Fallen god Perun, giant wolves and a rebellious Domovoi (house spirit) all offer what aid they can but it’s the ministrations of little dead girl Vasilisa that provide Hellboy with an opportunity to escape the endless war and return to the physical world.

While he has been gone, however, events have moved on. The hags and weird folk have succeeded in freeing the one who will lead them in the final clash with humanity, and the benign spirits who have sheltered Man for so long see that their own long, long lives are finally done…

Offering astounding supernatural spectacle, amazing arcane action, mounting mystical tension and the imminent end of decades of slowly unfolding wonderment, this is merely the beginning of the End…

Climactic 8-issue miniseries Hellboy: The Wild Hunt from 2008-2009 draws together many subtly scattered clues disseminated throughout his innumerable tempestuous exploits and at last provides a conclusion to more than 15 years of slowly boiling magical suspense… as well as the incredible answers to the enigma of the horrific hero’s doom-drenched double destiny…

Mignola & Fegredo resume the fateful tale as the fey folk and other creatures of ancient mythology and legend are fading into non-existence in the face of a bloody rising of witches. The malevolent hags have a new queen who promises blood and slaughter and domination of the world by her kind whilst the only being who might stop her inexorable ascendance is missing…

In rural Italy, Hellboy receives a letter from a most ancient and august society. The paranormal paragon has been hiding; avoiding having to deal with the hard-wired cosmic fate which will not let him go…

Nevertheless, on reading the missive, Hellboy returns to England and meets the oldest members of the aristocratic secret society known as the Wild Hunt. They have been clandestinely defending the Sceptr’d Isles from mystic assault for centuries and – more aware of Hellboy’s destiny-drenched antecedents than the hero himself – urge him to join them in exterminating a band of primordial giants set to ravage the Realm…

The entire affair is a trap, but the mortal warriors are no match for Hellboy who defeats his duplicitous opponents before also despatching the giants in an uncontrollable burst of berserker madness…

In a faraway place, ensorcelled goblin Gruagach of Lough Leane reflects on a long-ago slight inflicted upon him by Hellboy. This has been the cause and trigger of all the carnage and world-shattering destruction about to unfold as soon as the new Queen of Witches is ready. Perhaps he repents it all, just a shade…

The subject of his hate is currently in Ireland, renewing the acquaintance of Alice whom he saved from being abducted as a baby by the Little People. The decades have been uncannily kind, as if some elfin magic rubbed off on her…

As the Red Queen cruelly consolidates her power in England, Hellboy and Alice are visited by former pixie potentate Queen Mab who reveals another missing part of a decades-long puzzle and hints that there might be way to thwart this oppressive, inescapable destiny.

However, when another supposed ally betrays them and Alice is wounded unto death, Hellboy is approached by re-embodied myth Morgan Le Fay who offers to trade for the mortal girl’s life.

Le Fay reveals that although the hell-born hero is certainly the son of the devil. his human mother could trace her own line back to Arthur Pendragon. Hellboy is the doom of mankind but also the True King of England, and she is his many-times removed grandmother…

If he wants to save humanity from an army of darkness, he has his own to call upon – one comprising millennia of Britain’s noble dead. All Morgan’s heir has to do is take up the Sword in the Stone.

It should be easy. His new occult opponent – now calling herself the Mor-Rioghain – also wants to awaken the dragons from the beginning of time and wipe out humanity: the fore-ordained role Hellboy has sworn never to enact…

With horror Hellboy realises he has not been running from one unwanted Destiny, but two…

With fate closing in all around him, Hellboy is uncharacteristically nonplussed, but an ethereal visitation prompts him to ferocious action and as he confronts his own inherently evil nature to finally throw off all the sly influences attempting to sway him and once again choose his own path…

The opportunity came via twinned 3-issue miniseries, entitled Hellboy: The Storm and Hellboy: the Fury and opens in England as the police investigate bizarre grave desecrations: ancient church crypts and stone sarcophagi all lacking the knights and nobles who once lay in them…

The constabulary are grateful for the assistance of noted parapsychologist Hellboy, but he’s not saying much…

As Hellboy and Alice review the situation they are again attacked by elements of Britain’s mythical past sworn to the new Witch Queen even as, elsewhere, Gruagach is confronted by the land’s greatest mage who reveals the shocking truth of the red-handed harridan. The petty-minded cause of humanity’s last war is given one last chance to repent and redeem himself, but with carnage and malevolence mounting in every realm, it might be too late…

As Hellboy and Alice catch their breath in the strangest tavern in the benighted kingdoms, the duties of his office and the risen army of nobles assemble and await his decision to accept or reject his twin destinies: King of Britain and all Mankind or Lord of Hell…

And as he struggles with his decision, Hellboy’s oldest enemies gather to confront him one last time and as he reels with the force of the choices the primal forces of Ragna Rok are finally awakened to Fight the Last Battle: the Champion of Man against the Great Dragon…

All that is left now is the killing and the final judgement… or is there still a chance to save the world and evade damnation?

Offering astounding supernatural spectacle, amazing arcane action, and unfolding with the pace of a mythic saga, the majestic mystery of Hellboy is a true landmark of comics storytelling and one every comics fan and fantasy aficionado should read.

Rounding out this occult endeavour is a stunning Hellboy Sketchbook Section which includes behind-the-scenes insights, author commentary, character designs, breathtaking drawings and roughs detailing the development and visual evolution of the beasties and bad guys populating the stories to sweeten the pot for every lover of great comics art.

Baroque, grandiose, alternating suspenseful slow-boiling tension with explosive catharsis, Hellboy mixes apocalyptic revelation with astounding adventure to enthral horror addicts and action junkies alike. This is another cataclysmic compendium of dark delights you simply must have.
Hellboy™ The Wild Hunt © 1993, 2018 Mike Mignola. Hellboy, Abe Sapien, Liz Sherman and all other prominently featured characters are trademarks of Mike Mignola. All rights reserved.

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Shazam!: A Celebration of 75 Years


By Bill Parker, Otto Binder, Elliot S. Maggin, Denny O’Neil, E. Nelson Bridwell, Roy Thomas, Paul Kupperberg, Alan Grant, Jerry Ordway, Joe Kelly, David Goyer, Geoff Johns, Jeff Smith, C.C. Beck, Marc Swayze, Mac Raboy, Pete Costanza, Chad Grothkopf, Curt Swan, Kurt Schaffenberger, Don Newton, Rich Buckler, Barry Kitson, Peter Krause, Duncan Rouleau, Leonard Kirk, Gary Frank & various (DC Comics)
ISBN: 978-1-4012-5538-1 (HB)

At their most impressive, superhero comics combine the gravitas of mythology with all the sheer child-like fun and exuberance of a first rollercoaster ride. A perfect example of this is the original happy-go-lucky hero we can’t call Captain Marvel anymore.

First seen in the February 1940 issue of Whiz Comics (#2 – there was no #1) and cashing in on the comicbook sales phenomenon of Superman, the big red riot eventually won his name after narrowly missing being Captain Flash and Captain Thunder. He was the brainchild of Bill Parker and Charles Clarence Beck. Originally dispensing the same sort of summary rough justice as his contemporaries, the character soon distanced himself from the pack – Man of Steel included – by an increasingly light, surreal and comedic touch, which made him the best-selling comics character in America.

Billy’s alter ego could beat everybody but copyright lawyers; during his years of enforced inactivity the trademarked name passed to a number of other publishers before settling at Marvel Comics and they are never, never, never letting go. You can check out and compare their cinematic blockbuster version with the DC Extended Universe’s Shazam! flick too…

Publishing house Fawcett had first gained prominence through an immensely well-received magazine for WWI veterans entitled 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 comicbook 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.

As previously stated, the big guy was created by writer/editor Bill Parker and brilliant young artist Charles Clarence Beck who, with his assistant Pete Costanza, handled most of the art on the series throughout its stellar run. Other writers included William Woolfolk, Rod Reed, Ed “France” Herron, Joe Simon, Joe Millard, Manley Wade Wellman and the wonderfully prolific Otto Binder.

Before eventually evolving his own affable personality, the Captain was a serious, bluff and rather characterless powerhouse whilst his junior alter ego was the true star: a Horatio Alger archetype of impoverished, boldly self-reliant and resourceful youth overcoming impossible odds through gumption, grit and sheer determination…

Collecting in a big bold hardback trade paperback (and assorted digital formats) Whiz Comics #2, 21, Captain Marvel Adventures #18, 38, 39, 137, 148, Captain Marvel Jr. #12, Marvel Family #1, Hoppy the Marvel Bunny #6, Shazam! #1, 29, Superman #176, World’s Finest Comics #275, DC Comics Presents #49, L.E.G.I.O.N. ’91 #31, The Power of Shazam! #1, 2, 33, Action Comics #768, JSA #48, Shazam!: The Monster Society of Evil #2, Justice League #21 and The Multiversity: Thunderworld #1 this is a magnificent primer of key moments and triumphs for a hero to whom change is everything…

The action opens in the Golden Age as Part I 1940-1953: The Big Red Cheese offers an abridged version of writer and historian Richard A. Lupoff’s 1992 Introduction to the Shazam Archives volume #1: a context-setting appreciation and appraisal covering the facts of his creation and his impact, after which Whiz Comics #2, (February 1940) provides our glimpse of the boy hero…

Drawn in a style reminiscent of early Hergé, ‘Introducing Captain Marvel’ sees homeless orphan Billy Batson lured into an abandoned subway tunnel to a meeting with millennia-old wizard Shazam. At the end of a long, long life fighting evil, the white-bearded figure grants the lad the power of six gods and heroes (Solomon, Hercules, Atlas, Zeus, Achilles and Mercury) and urges him to carry on the good fight. In thirteen delightfully clean and simple pages crafted by Bill Parker & C.C. Beck, Billy gets his powers, has his secret origin revealed (he’s heir to a fortune embezzled by his crooked uncle Ebenezer), wins a job as a roaming radio reporter for Amalgamated Broadcasting on Station WHIZ, and defeats the mad scheme of Doctor Thaddeus Bodog Sivana who is holding the airwaves of America hostage. Defeating the demonic mad scientist sets a pattern that would captivate readers for the next 14 years…

Next, from Whiz Comics #21 ‘The Vengeful Four’ (September 5th 1941 – fortnightly, remember?) is an uncredited script limned by Beck wherein Sivana gathers three other villains to attack the hero in his youthful identity. What luck then that three other kids named Billy Batson are in town and that the magic of Shazam apparently extends 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…

Billy soon found a companion in peril when Fascist überman Captain Nazi almost murders newsboy Freddie Freeman. Guilt-plagued Billy brings the dying lad to Shazam’s mystic citadel where the old wizard saves his life by granting him access to the power of the ancient gods and heroes. Physically cured – except for a permanently maimed leg – there is a secondary effect: whenever he utters the phrase “Captain Marvel” Freeman transforms into a super-powered, invulnerable version of his mortal self…

That origin isn’t included here but does lead into the debut of Billy’s long-lost twin sister. Cover-dated December 11th 1942, Captain Marvel Adventures #18 cover features ‘Captain Marvel Introduces Mary Marvel’ (by Otto Binder, Marc Swayze & Mac Raboy) as radio contest competitor Mary Bromfield – a wealthy (adopted) heiress – is kidnapped. While saving her, Billy and Freddie uncover the family connection and Mary discovers that shouting “Shazam!” has a remarkable effect upon her too…

While the adult Captain Marvel was having increasingly light-hearted adventures, Freddie’s adventures in Master Comics and Captain Marvel Jr. were dark and dramatic: illustrated with potent, dynamic verve and grace by one of the most gifted draughtsmen of the era. A typical magnificent example features here as Captain Marvel Jr. #12, (October 1943, by Binder & Mac Raboy) provides the boy hero with a brutal arctic rematch against Captain Nazi in ‘Baffin Land’…

Fawcett in full bloom was a true publishing innovator and marketing dynamo – now regarded as the inventor of many established comicbook sales-tactics, and storytelling innovations we all take for granted today were invented by their creative folk. Fawcett was responsible for creating crossover-events and also devised a truly unforgettable villain as part of a two-year long continued story!

The “Monster Society of Evil” began in March 1943’s Captain Marvel Adventures #22, and blazed away until ending with issue #46 (May 1945). The alien tyrant in charge was a malevolent worm from Venus dubbed Mr. Mind. Included here are two chapters – #17 and 18 from Captain Marvel Adventures #38 & 39 September and October 1944. Crafted by Binder & Beck, ‘Mr. Mind’s Movie Madness’ and ‘Peril Behind the Camera’ pits Billy and his older self against the utterly vile ubi vermis (that’s Latin for worm, science fans) during the making of the world’s worst monster movie…

‘The Mighty Marvels Join Forces’ (December 1945 by Binder, Beck & Pete Costanza) finds Billy, Mary and Freddie battling the depraved and corrupted Black Adam, who was old Shazam’s first gods-empowered champion 5000 years ago in the lead tale from team-title Marvel Family #1 (December 1945).

Superheroes began to fall from popularity as WWII ended and every publisher began searching other genres. Fawcett had already applied their winning formula to the all-ages cartoon critters market with Fawcett’s Funny Animals #1 (December 1942), which featured a lop-eared costumed crusader. Hoppy the Marvel Bunny (by Chad Grothkopf) got his own title as hostilities died down, and from #6 (November1946) comes ‘Phantom of the Forest’ as the mighty rabbit exposes supposed ghosts terrorising woodland folk…

The post-war years were simply magical times, with the creative crew at the top of their game. Captain Marvel Adventures #137 (October 1952) provides ‘King Kull and the Seven Sins’ by Binder, Beck wherein a beast-king from a pre-human civilisation frees the embodiments of Man’s greatest enemies from Shazam’s custody to plague the planet. These are wholesome tales for the entire family, however, so don’t worry – “Lust” has become “Injustice” and “Wrath” is “Hatred”, here…

The last yarn is from the Good Captain’s final year of Golden Age publication: a year that generated some of the best tales in the entire run, represented here by the wonderfully surreal ‘Captain Marvel Battles the World’ from Captain Marvel Adventures #148 (September 1952, by Binder and Beck) wherein Earth decides it has had enough of humanity mistreating it and tries to wipe out life and start again…

DC, in their original identity of National Periodical Publications, had filed suit against Fawcett for copyright infringement as soon as Whiz Comics #2 was released, and the companies had slugged it out ever since. In 1953, with sales of superhero comics decimated by changing tastes, Captain Marvel’s publishers decided to capitulate. They settled and the “Big Red Cheese” vanished – like so many other superheroes – becoming no more than a fond memory for older fans…

In Britain, where an English reprint line had run for many years, creator/publisher Mick Anglo had an avid audience and no product, and so swiftly transformed Captain Marvel into the atomic age hero Marvelman, continuing to thrill readers into the early 1960s.

DC eventually acquired all rights, titles and properties to the Captain Marvel characters. Beck returned to commercial and magazine illustration, while Binder & Schaffenberger joined the victorious opposition, becoming key Superman creators of the next few decades….

At the height of his popularity Captain Marvel was an international franchise across the world. However, tastes and the decade changed, and the mighty marvel faded away. Time passed, other companies and heroes were created and also failed, as America lived through another superhero boom-and-bust. We call it the Silver Age now…

The Bronze Age of the 1970s dawned with a shrinking industry and a wide variety of comics genres servicing a base that was increasingly founded on collector/fans and not casual or impulse buys. We rejoin our hero with the new decade fully founded as Part II 1973-1993: Cancellation and Revival sees his glorious return…

National Periodicals – rebranded as DC Comics – needed sales and were prepared to look for them in unusual places. After 1953’s settlement with Fawcett, they had secured the rights to Captain Marvel and Family, and even though the name itself had been taken up by Marvel Comics (via a circuitous and quirky robotic character published by Carl Burgos and M.F. Publications in 1967), DC decided to tap into that discriminating older fanbase.

In 1973, DC turned to the Good Captain to see if his unique charm could work another sales miracle during one of comics’ periodic downturns. Riding a wave of mass-media and movie nostalgia, they revived the entire beloved Captain Marvel cast in their own kinder, weirder universe.

To circumvent the intellectual property clash, they entitled the new comic book Shazam! (‘With One Magic Word…’) the trigger phrase used by the majority of Marvels to transform to and from mortal form and a word that had already entered the American language due to the success of the franchise the first time around.

Recruiting the top talent available, the company tapped editor Julie Schwartz – who had a few notable successes with hero revivals – to steer the project. He teamed top scripter Denny O’Neil with original artist C.C. Beck for the initial story…

All this is succinctly covered in E. Nelson Bridwell’s essay (originally published in 1978’s All-New Collectors Edition #C-58) which leads off this eclectic second section…

Strangely positioned before that debut, however, comes Superman #176 (June 1974): Elliot S. Maggin, Curt Swan & Bob Oksner’s ‘Make Way for Captain Thunder!’ The sales and fan rivalry between fans of the Man of Steel and Big Red Cheese (Sivana’s pet name for his stout-hearted nemesis) had endured for decades, and Schwartz took full advantage by having the two finally – if notionally – meet, courtesy of magical trans-dimensional jiggery-pokery in a titanic tussle to delight 10-year-olds of all ages.

You will recall, I’m sure, that Captain Thunder was one of the options considered in 1940 before Fawcett went with the Marvel name…

Finally, then comes Shazam! #1 (February 1973)… ‘In the Beginning’ recounts, in grand old self-referential style, the classic origin whilst ‘The World’s Wickedest Plan’ relates how the Captain, his super-powered family and all the supporting cast (there’s a very useful seating chart-cum-biography page provided for your perusal) had been trapped in a timeless state for 20 years by the invidious Sivana Family who had subsequently been trapped in their own Suspendium device too.

Two decades later, they are all freed, baddies included, to restart their lives and resume their feuds.

Beck was profoundly unhappy with the quality of stories he was given to draw and soon left the series. One of his assistants and stable-mates from the Fawcett days had been a Superman Family mainstay for decades and smoothly fitted into the vacated lead-artist position. Kurt Schaffenberger was delighted to again be drawing one of his all-time favourite assignments again, and his shining run is represented here by Shazam! #29 (June 1977), as ‘Ibac meets Aunt Minerva’ (Bridwell, Schaffenberger & Vince Colletta. Set in Buffalo, New York and at Niagara Falls, it features a comedic battle of the sexes that was heavy on the hitting. Although the series was not a soaring success, it had spawned a hit kids TV show, introducing the Big Red Cheese to a new generation of viewers…

When the title was cancelled, the Shazam Family began appearing in anthology titles such as World’s Finest Comics with the scent gradually shifting from whimsy to harder-edged contemporary superhero stories. Here WF #275 (January 1982) supplies ‘The Snatching of Billy Batson’ by Bridwell, Don Newton & Dan Adkins; a stirring crime thriller mystery with Freddie taking the lead role…

Team-up title DC Comics Presents #49 (September 1982) then features ‘Superman and Shazam’ (Roy Thomas, Paul Kupperberg, Rich Buckler & John Calnan) which sees the immortal wizard enlist the Action Ace’s assistance to create a Captain Marvel for Earth-1. It does not go well after Black Adam interferes…

Now fully part of the DC universe, Captain Marvel popped up everywhere. He was even a long-suffering straight man in Justice League International for a while, and here (from L.E.G.I.O.N. ’91 #31, September 1991) Alan Grant & Barry Kitson concoct a wickedly funny slugfest as the big red boy scout tries to reason with drunk and hostile super-lout Lobo in ‘Where Dreams End’…

After a number of ill-received reinventions of the Shazam! concept and franchise – revised over and over again to seem relevant to a far darker, more hopeless and uncompromising world and readership – in 1994 a fresh new treatment by Jerry Ordway revitalised the heroic legend; offering a thoroughly modern but spiritually pure reboot that finally held the interest of modern readers.

Following Ordway’s introduction to Part III 1994-2010: The World’s Mightiest Mortal, a too-brief selection of those tales begins with ‘Things Change’ and ‘The Arson Fiend’ (by scripter Ordway, Peter Krause & Mike Manley from The Power of Shazam! #1 & 2, March and April 1995).

The monthly series had resulted from an original graphic novel (which I’ll be covering imminently as it’s not here) which transplanted Billy to Fawcett City in the DC Universe and enticingly added all the old plot points the readership loved: abandoned street kid, lost sister, talking tigers, and manic villains such as Sivana and Black Adam…

In the initial yarn Billy confronts his evil, embezzling uncle Ebenezer just as a lethal supernatural pyromaniac sets the Batson mansion ablaze. To make things worse, old Shazam has just cut off his rebellious protégé from the wellspring of his superpowers…

The series balanced superb Fights ‘n’ Tights clashes with potent emotional tension, and issue #33 (December 1997, by Ordway, Krause & Dick Giordano) offers a remarkable human-interest tale with ‘Yeah – This is a Face Only a Mother Could Love’: a powerful, poignant yet ultimately uplifting treatment of intolerance and the collateral damage of superhero encounters where Billy tries to help a school-friend hideously scarred by the Arson Fiend. It’s possibly the best-executed and least known story in the book…

Superman and Captain meet again in Action Comics #768, (August 2000 by Joe Kelly, Duncan Rouleau & Jaimie Mendoza) as ‘O Captain, My Captain’ sees a goddess-controlled Marvel Family attack the Man of Tomorrow in a fun-filled romp after which JSA #48 (July 2003) provides ‘Enlightenment’ courtesy of David Goyer, Geoff Johns, Leonard Kirk & Keith Champagne.

Extracted from extended epic ‘Princes of Darkness’, this sidebar yarn finds Billy deprived of his adult alter ego, and battling to survive beside teen hero Star Girl as mystic night closes over Earth.

A true return to greatness came in 2007 when Jeff Smith rebooted the magic in Shazam!: The Monster Society of Evil. You can find the entire saga recently reviewed here, represented in this titanic tome by issues #2’s ‘NZIB GZPVH GSV XZPV! [Mary Takes the Cake!]’

Bringing us almost up to date, final chapter Part IV 2011 and Beyond: The New 52 focuses on the latest reboot which grew out of a new Justice League configuration.

Set as a series-within-a-series (in issues #7-11, #0 and #14-17) and again turning to a far harder-edged street kid persona ‘Shazam!’ was reimagined by Geoff Johns & Gary Frank and in Justice League #21 (August 2013) where the confused kid finds his Marvel Family and earns his hero stripes in final battle with murderous Black Adam…

Rounded out with stunning covers by Beck, Costanza, Mac Raboy, Chad Grothkopf, Nick Cardy, Murphy Anderson, Schaffenberger, Rich Buckler & Dick Giordano, Dan Brereton, Jerry Ordway, Duncan Rouleau & Lary Stucker, Carlos Pacheco & Jesus Merino, Jeff Smith & Gary Frank, this is a glorious tribute to a truly mercurial comics champion.

The original Captain Marvel is a genuine icon of American comics history and a brilliantly conceived superhero for all ages. This stunning flag-of-convenience collection only scratches the surface of the canon of delights produced over the years, but is still a perfect introduction to the world of those ever-changing comics charm and one that will appeal to readers of any age and temperament, especially after a few hours in a darkened movie theatre…
© 1940, 1941, 1942, 1943, 1944, 1945, 1946, 1952, 1973, 1974, 1977, 1982, 1991, 1995, 1997, 2000, 2003, 2007, 2013, 2014, 2015, DC Comics. All Rights Reserved.

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Deadpool Classic volume 1


By Fabien Nicieza, Rob Liefeld, Mark Waid, Joe Kelly, Joe Madureira, Ian Churchill, Lee Weeks, Ken Lashley, Ed McGuiness & various (Marvel)
ISBN: 978-0-7851-3124-3 (TPB)

Bloodthirsty killers and stylish mercenaries have long made for popular protagonists. Here’s one we prepared earlier. Deadpool is Wade Wilson: a survivor of genetics experiments that have left him a scarred, grotesque bundle of scabs and physical unpleasantries – but practically invulnerable and capable of regenerating from literally any wound.

In his modern incarnation he’s also either one of the few beings able to perceive the true nature of reality or a total gibbering loon…

Collecting – in paperback and digital editions – his early outrages from New Mutants #98, Deadpool: The Circle Chase, Deadpool: Sins of the Past and Deadpool #1 (spanning February 1991 to January1997), this tome is the first in a series archiving his ever more outlandish escapades…

The wisecracking high-tech “merc with a mouth” was created by Rob Liefeld & Fabian Nicieza and first appeared in the aforementioned New Mutants #98 in ‘The Beginning of the End’. A throwaway killer in a convoluted saga of mutant mayhem with little else to recommend it, he was another product of the Canadian “Weapon X” project that created Wolverine and so many other second-string mutant and cyborg super-doers. Here he fails to kill future warrior Cable and his teen acolytes (imminently rebranded as X-Force)…

His first shot at stardom came with 4-issue miniseries The Circle Chase from August to November 1993 and by Nicieza, Joe Madureira & Mark Farmer. A fast-paced if cluttered thriller sees Wade pursuing an ultimate weapon as one of a large crowd of mutants and variously enhanced ne’er-do-wells trying to secure the fabled legacy of arms dealer and fugitive from the future Mr. Tolliver.

Among the other worthies after the boodle in ‘Ducks in a Row’, ‘Rabbit Season, Duck Season’, ‘…And Quacks Like a Duck…’ and ‘Duck Soup’ are Black Tom and the Juggernaut, the then-latest iteration of Weapon X, shape-shifter Copycat and a host of disposable yet fashionable cyborg loons with odd names like Commcast and Slayback.

If you can swallow any nausea associated with the dreadful trappings of this low point in Marvel’s tempestuous history, there is a sharp and entertaining little thriller underneath…

The second miniseries (from August to November 1994) revolves around Black Tom and Juggernaut.

Collaboratively contrived by writer Mark Waid, pencillers Ian Churchill, Lee Weeks, Ken Lashley and inkers Jason Minor, Bob McLeod, Bub LaRosa, Tom Wegryzn, Philip Moy & W.C. Carani, ‘If Looks Could Kill!’, ‘Luck of the Irish’, ‘Deadpool, Sandwich’ and ‘Mano a Mano’ offer a hyperkinetic race against time heavy on explosive action.

During the previous yarn it was revealed that Irish arch-villain Black Tom was slowly turning into a tree. Desperate to save his life the bad guy and his best bud Juggernaut manipulate Wade by exploiting the mercenary’s relationship with Siryn (a sonic mutant and Tom’s niece).

Believing Deadpool’s regenerating factor holds a cure, the villains cause a bucket-load of carnage at a time when Wilson is at his lowest ebb. Packed with mutant guest stars, this is a shallow but immensely readable piece of eye-candy.

Closing this debut Classic collection is the first fun-&-fury filled issue of Deadpool by Joe Kelly, Ed McGuiness, Nathan Massengill & Norman Lee. Opting for devious, daring, near-the knuckle comedy to balance the manic action, it is the true beginning of the killer clown we all know and love…

Extra-sized spectacular ‘Hey, It’s Deadpool!’ reintroduces the mouthy malcontent, and depicts his “office” and “co-workers” at the Hellhouse where he picks up his contracts. We are also afforded a glimpse at Wade’s private life in San Francisco where he has a house and keeps an old, blind lady as a permanent hostage. This was never your regular run-of-the-mill hero comic…

The insane action part of the tale comes from the South Pole where the Canadian government has a super-secret gamma weapon project going, guarded by the Alpha Flight strongman Sasquatch. Somebody is paying good money to have it destroyed so cue merc, mouthiness, and mayhem…

Featuring a frenetic blend of light-hearted, surreal, fighting frolics and incisive, poignant relationship drama that is absolutely compulsive reading for dyed-in-the-wool superhero fans who might be feeling just a little jaded with four-colour overload, this is the real deal and promises more and better to come…
© 1993, 1994, 1996, 2012 Marvel Characters, Inc. All rights reserved.

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Daredevil Marvel Masterworks volume 9


By Gerry Conway & Gene Colan, with Tom Palmer, Syd Shores, Ernie Chan & various (Marvel)
ISBN: 978-0-78519-152-0 (HB)

Matt Murdock is a blind lawyer whose remaining senses hyper-compensate, making him capable of astonishing acrobatic feats, a 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 roster of brilliant artists who had illustrated the strip. He only really came into his own, however, after artist Gene Colan signed up for the long haul…

DD battled thugs, gangsters, mad scientists and a plethora of super-villains; quipping his way through life and life-threatening combat, utterly unlike the grim, moody quasi-religious metaphor he was seen as in later years.

Covering March 1972 to February 1973 and re-presenting Daredevil (and the Black Widow) this ninth swashbuckling compilation (available in both hardback and eBook formats) sees the once staid and so-very-Establishment Murdock cohabiting with a Russian spy and dumping New York for the sunny climes of the West Coast, the reason for which are covered in writers Gerry Conway’s Introduction ‘Matt and Natasha’s San Francisco Adventure or Wherever you go, There You Are’…

This volume opens in the aftermath of a grand cataclysmic clash against future-born hidden mastermind Mr. Kline which leaves the odd couple in Switzerland and #85 sees the couple tentatively beginning a romantic alliance and returning to America on a ‘Night Flight!’ courtesy of Conway, Gene Colan & inker Syd Shores.

Typically, the plane is hijacked by the bloodthirsty Gladiator, after which another long-forgotten foe resurfaces – for the last time – in ‘Once Upon a Time… the Ox!’ (with stunning Tom Palmer inks) before Matt and Natasha relocate from the Big Apple to San Francisco and stumble into one more ancient Daredevil enemy in #87’s ‘From Stage Left, Enter: Electro!’

The memory lane menaces continue in ‘Call Him Killgrave!’ as the mind-bending Purple Man emerges from the anonymous shadows, erroneously convinced his nemesis has tracked him down to queer his nefarious schemes.

As the origin of the Black Widow is revealed for the first time (something that has been overwritten, back-written and chucked in a plot blender interminably ever since) the sinister spellbinder attacks and is temporarily repulsed only to regroup with Electro and attack again in ‘Crisis!’ just as a mysterious man from Natasha’s sordid past resurfaces with portentous news of a long-forgotten mission…

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

Issue #92 finally bowed to the inevitable and became Daredevil and the Black Widow, just as a new menace manifests ‘On the Eve of the Talon!’ before the Project Four saga roars to a conclusion with the introduction of industrialist and paranoid arms-dealer Damon Dran who claims ‘A Power Corrupt!’ before being transformed into a proto-Kaiju and monolithic Indestructible Man rampaging through San Francisco…

Callously, arrogantly aware that ‘He Can Crush the World!’, Dran severely underestimates the power of superhuman heroism and an ultimate sacrifice which tragically saves the day…

Ending this collection – and the trawling of the Scarlet Swashbuckler’s rogues gallery – ‘Bullfight on the Bay!’ saw the metamorphic Man-Bull break jail and start a storm of destruction 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 Chan), a complex tale of love, obsession, revenge and mutagenic potions in the water supply….

Topped off with a far too short selection of original art pages, and despite a few bumpy, dated moments, this book highlights a period where Daredevil blossomed into a truly potent example of Marvel’s compelling formula for success: smart, contemporarily astute stories, human and fallible characters and always, always magnificent illustration. These bombastic tales are pure Fights ‘n’ Tights magic no fan of stunning super-heroics can afford to ignore.
© 1970, 1971, 2015 Marvel Characters, Inc. All rights reserved.

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Adventures of Tintin: Land of Black Gold


By Hergé, and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-814-7 (HB) 978-1-40520-626-6 (TPB)

Georges Prosper Remi, known all over the world as Hergé, created an incontrovertible masterpiece of graphic literature with his tales of a plucky boy reporter and his entourage of iconic associates.

Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the select Hergé Studio, he created 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

On leaving school in 1925, he worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, Remi produced his first strip series The Adventures of Totor for the monthly Boy Scouts of Belgium magazine the following year, and by 1928 was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

He was illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette, written by the staff sports reporter when Wallez asked Remi to create a new adventure series. Perhaps a young reporter who roamed the world, doing good whilst displaying solid Catholic values and virtues?

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist and by providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands and allowed the artist and his team to remaster past tales: excising material dictated by and unwillingly added to ideologically shade the war time adventures as well as generally improving and updating great tales that were about to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. But although these freedoms seemed to guarantee a new beginning the life of the creator was far from trouble-free.

In 1949 he returned to Tintin au pays de l’or noir which had been abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siécle, running from 28th September 1939 until 8th May 1940 when the paper was closed down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs sabotaging oil supplies in the Middle East…

Now safely able to resume the tale – with some necessary updating – the story began afresh on 16th of September 1948 and ran to its conclusion on February 23rd 1950, and was promptly collected into a full-colour album the same year. It remained problematical: and publication was suspended on August 4th 1949 until 27th October. Hergé had suffered a nervous breakdown and could not work for months. As he recuperated in Switzerland, the magazine turned disaster into a publicity stunt: declaring “Shocking News! Hergé has Disappeared!” It is a tribute to his skills and those of his studio team that the finished tale reveals none of his personal problems, but is an almost seamless and riveting yarn of political and criminal gangsterism; exotic, rocket-paced, surreal, hilarious and breathtakingly exciting.

The story concerns a plot to destabilise global peace by sabotaging petrol. All oil is somehow made more flammable, causing engines to explode when refuelled. Tintin traces the sabotage to the freighter Speedol Star, which he joins as Radio Officer. The dim-witted detectives Thomson and Thompson are also aboard, but much less discreetly, and soon all three are the targets of a numbers of attacks and assaults. When the ship reaches the Arabian port of Khemikhal they are all framed as drug smugglers and arrested.

At that moment Tintin is abducted by rebel tribesmen who believe he is a gunrunner and the now-vindicated detectives go in search of their friend in the desert. After many hardships the intrepid boy and Snowy discover villainous spymaster Doctor Müller (last seen in The Black Island) is trying to ingratiate himself with the oil-rich Emir. Mohammed Ben Kalish Ezab is wise and tolerant, but “blessed” with a wilful and spoiled son, Abdullah, who is kidnapped when he rejects the doctor’s offers. Tintin befriends the Ruler and goes undercover to find the Prince.

Tracking down Müller, Tintin attempts to rescue the prince (whose incessant practical jokes have made him a most unpopular but un-chastisable captive), only to be trapped in a brutal fire-fight in the catacombs beneath the spy’s villa. From nowhere, Captain Haddock (a supremely popular mainstay of latter adventures but unknown at the time of the first iteration) effects a rescue and the plot is revealed and thwarted. He bombastically first appeared after the original Land of Black Gold was abandoned, in The Crab with the Golden Claws and would increasingly steal the spotlight from his goody-goody juvenile partner…

Action-packed and visually delightful, this breezy mystery-thriller is full of humour and chases, with only the last-minute arrival of the dipsomaniac sea captain to slightly jar the proceedings. Presumably the original pages were recycled as much as possible with the popular Haddock inserted at a new breakpoint.

Studio Hergé was formed in 1950 to produce the adventures of Tintin as well other features and Bob De Moor became an invaluable and permanent addition to the production team, filling in backgrounds and most notably rendering the unforgettable Lunar landscapes that feature in the next extended adventure. He was also a vital component of Tintin’s gradual domination of the book market. Frequently despatched on visual fact-finding missions, De Moor revised the backgrounds of The Black Island for a British edition, and repeated the task for the definitive 1971 release of Land of Black Gold. The 1950s book was set in British-Occupied Palestine, but history and taste dictated the creation of a fictitious nation and erasure of many dated and contentious background scenes…

Surviving a troubled genesis, this short tale remains a grand adventure romp, full of epic events and hilarious moments once seen can never be forgotten. This so-modern yarn is a high point in the series, blending heroism and drama with genuine moments of irresistible emotion and side-splitting comedy.

Land of Black Gold: artwork © 1950, 1977 Editions Casterman, Paris & Tournai.
Text © 1972 Egmont UK Limited. All Rights Reserved.

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Silver Surfer: Parable


By Stan Lee & Moebius; Keith Pollard, with Tom DeFalco & various (Marvel)
ISBN: 978-0785162094 (HB) 978-0785106562 (TPB)

With a celebratory 30th Anniversary Edition due out in summer here’s a cheap look at an earlier edition, collecting a landmark reboot tale featuring the fabled Sentinel of the Spaceways (and also including one not so well known).

The most eclectic of comicbook cult figures, the Silver Surfer saga began with the deservedly lauded and legendary introductory story. Although pretty much a last-minute addition to Lee’s plot for Fantastic Four#48-50’s ‘Galactus Trilogy’, Jack Kirby’s gleaming creation became a watchword for depth and subtext in the Marvel Universe, and one Lee kept as his own personal toy for many years.

Sent to find planets for star god Galactus to consume, the Silver Surfer discovers Earth, where the latent nobility of humanity reawakens his own suppressed morality. He rebels against his master and helps the FF save the planet and in retaliation, Galactus imprisons the Surfer on Earth, the ultimate outsider on a planet remarkably ungrateful for his sacrifice.

The Galactus Saga was a creative highlight of a period where the Lee/Kirby partnership was utterly on fire: an adventure with all the power and grandeur of a true epic and one which has has never been surpassed for drama, thrills and sheer entertainment.

That’s not here but can be found in many other compilations. Sorry.

‘Parable’ was released as an Epic Comics micro-series in 1988-1989, featuring an all-new interpretation of Galactus’ initial assault on our backwards world, illustrated by legendary French artist Jean Giraud/Moebius. As with the 1978 Fireside Books/Simon & Schuster Silver Surfer book by Lee & Kirby, the story is removed from normal Marvel continuity, allowing the creators to focus on the unique philosophical nature of the Surfer and his ravenous master without the added distraction of hundreds of super-heroes.

It’s a beautiful piece of work you really should read.

Following is The Enslavers: a self-indulgent but oddly entertaining slice of intergalactic eye-candy featuring the legendary icon of the counter-culture generation. Once again it depicts the ex-herald of planet-devouring Galactus as a tragic saviour and Christ metaphor. Now however it’s not our troubled humanity but the overwhelming power of slavers from space that threatens humanity, and there’s a lot less breast-beating and soul-searching and far more cosmic action.

The story by Stan Lee (and Keith Pollard) has a rather odd genesis. Commissioned in the early 1980s by Jim Shooter, Lee’s original plot was apparently much transformed in the eight years it took to draw. By the time it was dialogued, it was a much different beast and Lee almost jokingly disowns it in his Afterword. Nevertheless, there’s lots to enjoy for the fan who doesn’t expect too much in this tale of love and death in the great beyond. It’s inked by Josef Rubinstein, José Marzan & Chris Ivy, coloured by Paul Mounts and lettered by Michael Heisler.

After a frantic rush through cosmic gulfs, Silver Surfer Norrin Radd crashes into the home of Reed and Sue Richards, just ahead of the colossal invasion craft of monstrous Mrrungo-Mu, who has been drawn to our world by the well-intentioned but naïve Nasa probe Voyager III.

The Surfer’s homeworld Zenn-La has already been depopulated by the awesome space slaver and Earth is next…

Moving swiftly, and exploiting the good intentions of an Earth scientist, the Enslavers incapacitate all our world’s superbeings and prepare to enjoy their latest conquest, but they have not accounted for the vengeful resistance of the Surfer or the debilitating power of the love Mrrungo-Mu is himself slave to: for the unbeatable alien warlord is weak and helpless before the haughty aloofness and emotional distance of his supposed chattel Tnneya…

Despite being dafter than a bag of space-weasels in far too many places, there is still an obvious love of the old, classic Marvel tales delivered at an enthusiastic pace informing these beautifully drawn pages and the action sequences are a joy to behold. If you love cosmic adventure and can swallow a lot of silliness, this might just be worth a little of your time and money.

Altogether a very strange marriage, this is a compelling tome spanning the vast divide of comics from the ethereal and worthy to the exuberant and fun: a proper twofer you can get your teeth into…
© 1988, 1989, 1990, 2012 Marvel Entertainment Group/Marvel Characters, Inc. All rights reserved.

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Legends of the Dark Knight: Jim Aparo volume 2


By Jim Aparo with Bob Haney, Cary Burkett, Archie Goodwin & various (DC Comics)
ISBN: 978-1-4012-4296-1 (HB)

After periods as a historical adventure and try-out vehicle, The Brave and the Bold won critical as well as commercial acclaim through old-fashioned team-ups. Pairing regular writer Bob Haney with the best artists available, a succession of DC stars joined forces before the comicbook hit its winning formula.

The said format – featuring media superstar Batman with other rotating, luminaries of the DC universe in complete stand-alone stories – paid big dividends, especially after the feature finally found a permanent artist to follow a variety of illustrators including Ramona Fradon, Neal Adams, Ross Andru & Mike Esposito, Irv Novick, Nick Cardy, Bob Brown and others…

At that time editors favoured regular – if not permanent – creative teams, feeling that a sense of visual and even narrative continuity circumvented confusion amongst younger readers. The slickly versatile Jim Aparo was a perfect match for a drawing brief that encompassed DC’s entire DC pantheon and all of time, space and relative dimensions in any single season…

James N. Aparo (August 24, 1932 – July 19, 2005) was a true quiet giant of comicbooks. Self-taught, he grew up in New Britain, Connecticut, and after failing to join EC Comics whilst in his 20s, slipped easily into advertising, newspaper and fashion illustration. Even after finally becoming a comics artist he assiduously maintained his links with his first career.

For most of his career Aparo was a triple-threat, pencilling, inking and lettering his pages. In 1963 he began drawing Ralph Kanna’s newspaper strip Stern Wheeler, and three years added a wide range of features for go-getting visionary editor Dick Giordano at Charlton Comics. Aparo especially shone on the minor company’s licensed big gun The Phantom…

When Giordano was lured away to National/DC in 1968 he brought his top stars (primarily Steve Ditko, Steve Skeates and Aparo) with him. Aparo began his lengthy, life-long association with DC, illustrating and reinvigorating moribund title Aquaman – although he continued with The Phantom until his duties increased by way of numerous short stories for the monolith’s burgeoning horror anthologies and revived 1950s supernatural hero The Phantom Stranger…

Aparo went on to be an award-winning mainstay of DC’s artistic arsenal, with stellar runs on The Spectre, The Outsiders and Green Arrow, but his star was always inescapably linked to Batman’s…

Aparo and scripter Bob Haney continue their run of enticing all-action epics in this second sturdy hardback and/or eBook compilation, gathering B&B #123-136, 138-145, and 147-151 plus the lead stories from Detective Comics #437 & 438 (cumulatively spanning December 1975 through June 1979) in a fabulous celebration that opens sans preamble.

With this collection of Batman’s pairings with other luminaries of the DC universe we find a creative team that had gelled into a perfect machine producing top-notch yarns aimed at the general readership – which would often annoy and appal the dedicated fans and continuity-obsessed reader.

B&B #123 brought back and united Plastic Man and Metamorpho with the Darknight Detective in ‘How to Make a Super-Hero’ as well as featuring a rare incidence of a returning villain: ruthless tycoon Ruby Ryder, once again playing her seductive mind-games with the pliable, gullible Elastic Ace.

Always looking for a solid narrative hook, Haney spectacularly broke the fourth wall in ‘Small War of the Super Rifles’ when Batman and Sgt. Rock needed the assistance of artist Aparo and editor Murray Boltinoff to stop a gang of ruthless terrorists. This is another one that drove many fans batty…

‘Streets of Poison’ in #125 is a solid drug-smuggler yarn with exotic locales and a lovely hostage for Batman and the Flash to deal with, after which John Calnan stepped in to ink #126’s Aquaman team-up, solving the sinister mystery of ‘What Lurks Below Buoy 13?’

It was back to basics next when Wildcat returns to help quash a people-smuggling racket in the ‘Dead Man’s Quadrangle’ whilst #128’s ‘Death by the Ounce’ finds the Caped Crusader recruiting Mister Miracle and Big Barda to help him rescue a kidnapped Shah and save a global peace treaty.

Ever keen to push the envelope, the next yarn is actually a jam-packed 2-parter with #129’s ‘Claws of the Emperor Eagle’ pitting Batman, Green Arrow and the Atom against the Joker, Two-Face and a host of bandits in a manic race to possess a statue that had doomed every great conqueror in history. The epic, globe-trotting saga concluded with an ironic bang in ‘Death at Rainbow’s End’.

The last time Wonder Woman appeared (B&B #105) she was a merely mortal martial artist but in Brave and the Bold #131 she exults in all her super-powered glory to help Batman fight Catwoman and ‘Take 7 Steps to… Wipe-Out!’

When DC cautiously dipped its editorial toe in 1970s Martial Arts craze #132 found Richard Dragon, Kung Fu Fighter joining ‘Batman… Dragon Slayer??’, as Denny O’Neil succeeded editor Boltinoff, resulting in a rather forced and silly tale of duelling fight stylists and purloined historical treasures.

Normal service resumes and Deadman steps in to deliver ‘Another Kind of Justice!’ to rum-runner Turk Bannion as his heir and murderer turns to a more modern form of smuggling before ‘Demolishment!’ (#134) sees Green Lantern defect to the soviets, a la The Manchurian Candidate with Batman’s hasty rescue attempt going badly awry…

In #135 the robotic Metal Men re-emerge to solve the mystery of a 19th century artificial intelligence in ‘More Than Human!’, but when Ruby Ryder is unmasked as behind the plot, it costs Bruce Wayne everything he owns and only the timely assistance of Green Arrow in concluding chapter ‘Legacy of the Doomed!’ is able to restore the status quo.

Mister Miracle is back in #138, tackling a ‘Mile High Tombstone!’ with Batman to save a missing geologist and thwart deranged escapologist Cosimo (and a killer computer), after which ‘Requiem for a Top Cop!’ sees Commissioner Jim Gordon targeted by alien bounty hunter Vorgan, forcing the Gotham Gangbuster to call in alien cop Hawkman…

‘Dastardly Events Aboard the Hellship!’ in B&B #140 pits Wonder Woman and Batman against circus-obsessed billionaire super-spy Dimitrios, whilst Black Canary pops in to help quash the Joker‘s byzantine extortion scheme in ‘Pay – Or Die!’

In #142, ‘Enigma of the Death-Ship!’ sees Aquaman and his wife Mera battle the Dark Knight to suppress a ghastly family secret, before the sordid trail leads to the most respected man in America and a confrontation with the Creeper in ‘Cast the First Stone’ (as Cary Burkett teams with Haney on script).

Haney solos on the magical mystery tale of ‘The Arrow of Eternity’ as Caped Crusader and Emerald Archer head back in time to Agincourt to foil a wicked plot by time-tamperer the Gargoyle after which the Phantom Stranger and Batman face ‘A Choice of Dooms!’ pursuing voodoo crimelord Kaluu…

Supergirl enjoyed her first ever B&B Bat team-up (she had paired with Wonder Woman in #63, co-starring in the ferociously-dated and indefensible ‘Revolt of the Super-Chicks!’) in issue #147 where Burkett and Aparo’s ‘Death-Scream from the Sky!’ sees her and Batman save the world from extermination by satellite and a surprise super villain…

‘The Night the Mob Stole X-Mas!’ is a piece of seasonal fluff scripted by Haney and pencilled by Joe Staton with Aparo applying his overwhelming inks to a tale of cigarette smugglers and aging mafioso with the still-itinerant Plastic Man helping the provide a Christmas miracle.

The disbanded Teen Titans briefly reform in #149 for Haney’s ‘Look Homeward, Runaway!’, hunting a kid gang moving from petty crime to the big leagues after which ‘Today Gotham… Tomorrow the World!’ celebrates a landmark anniversary with an extended tale of Bruce Wayne’s abduction by terrorists and the undercover superhero who secretly shadows him. No hints here from me…

The brave, bold portion of our entertainment comes to a close with a rather era-specific yarn co-starring the Flash as #151 features a predatory haunt feeding off patrons at the ‘Disco of Death’.

This stunning compilation concludes with a brace of gripping thrillers from Archie Goodwin, after he took over the editor’s desk from Julie Schwartz in Detective Comics #437 (November 1973). He also wrote a stunning run of experimental yarns, beginning with ‘Deathmask’: a brilliant supernatural murder-mystery featuring an Aztec curse and seemingly unstoppable killer; all magnificently depicted by Jim Aparo. Following that, Detective #438 brought forth ‘A Monster Walk Wayne Manor’ wherein the abandoned stately pile (Batman having relocated to a bunker under the Wayne Foundation building) became home to a warped and dangerous old enemy…

By taking his cues from news headlines, popular films and proven genre-sources Bob Haney continually produced gripping adventures that thrilled and enticed with no need for more than a cursory nod to an ever-more-onerous continuity. Anybody could pick up an issue and be sucked into a world of wonder. Consequently, these tales are just as fresh and welcoming today, their themes and premises are just as immediate now as then and Jim Aparo’s magnificent art is still as compelling and engrossing as it always was. This is a Bat-book literally everybody can enjoy.

These are some of the best and most entertainingly varied yarns from a period of magnificent creativity in the American comics industry. Aimed at a general readership, gloriously free of heavy, cloying continuity baggage and brought to stirring, action-packed life by one of the greatest artists of the art form, this is a Batman for all seasons and reasons with the added bonus of some of the most fabulous and engaging co-stars a fan could imagine. How could anybody resist? Seriously: in this anniversary year, how can you…?
© 1975, 1976, 1977, 1978, 1979, 2013, 2017 DC Comics. All Rights Reserved.