The Warrior's Comic Book Den

Tales of Suspense #4: "Beware of the... Robots!" (Al Williamson art)

2011-08-27T06:00:00.000-07:00

Download Tales of Suspense #4

This post concludes Al Williamson's contributions to Tales of Suspense.

Credits

Script: unknown
Pencils: Al Williamson
Inks: Al Williamson

Reprinted:

in Marvel Masterworks: Atlas Era Tales of Suspense (Marvel, 2006 series) #1 (2006)

Tales of Suspense #1: "The Strangers from Space!" (Al Williamson art)

2011-08-20T15:00:00.000-07:00

Download Tales of Suspense #1

Yet another anthology of fantasy and horror from Marvel, Tales of Suspense began late in 1959. For the first four years of its existence, the magazine showcased yet another batch of Stan Lee-Jack Kirby gigantic rampaging monsters. They included Kraa, Sporr, Goom, Googam, and the Green Thing. But then, early in 1963, the magazine presented not one more destructive demon but a brand new superhero.

The thirty-ninth issue (March 1963) introduced "The Newest, Most Breath-Taking, Most Sensational Superhero of All... IRON MAN!" The plot was credited to Lee, the script to Larry Leiber, and the art to Don Heck. After debuting in a thirteen-page original story, Iron Man pushed the monsters aside to become the star of Tales of Suspense. Other heroes who later showed up included Hawkeye and Captain America. From #59 (November 1964) onward, Cap and Iron Man appeared in separate stories each issue. With #100 (April 1968), the magazine became Captain America. Iron Man moved into a new title, Iron Man and Submariner, for one issue and then Iron Man #1 appeared (May 1968) appeared.

Marvel used the Tales of Suspense title for a one-shot in 1995.

Credits

Script: Unkown
Pencils: Al Williamson
Inks: Al Williamson

Reprinted:

in Marvel Masterworks: Atlas Era Tales of Suspense (Marvel, 2006 series) #1 (2006)

The Avengers #96: "The Andromeda Swarm!"

2011-08-15T09:00:00.000-07:00

Download Avengers #96

While other superheroes were thinking big, Henry Pym was thinking small. Up until Ant-Man's arrival, Tales to Astonish was just another showcase for fantasy and horror tales and such Stan Lee-Jack Kirby monsters as Moomba, Vandoom, Trull, and the Creature from Krogarr. In fact, in Pym's first appearance in #27 (January 1962) he displayed no intention of ever becoming a mini-crimefighter.

Possibly influenced by the special effects in the 1957 movie The Incredible Shrinking Man, scientist Pym invented a green fluid that could shrink anything and, to be on the safe side, another green fluid that could cause the shrunken object to grow back to its original size. Pym considered these inventions "a boon to mankind!" To test the stuff, he splashed a bit of the shrinking fluid on himself. In seconds he was the size of an ant. Finding himself in his backyard, Pym wandered into an anthill and had considerable trouble with the residents until he discovered he could use judo on the most belligerent ants. Back in his lab, he used the other fluid to get back to his regular size. Tossing both fluids out, he vowed, "They're far too dangerous to ever be used by any human again!" He also promised himself never again "to knowingly step upon an anthill."

However, by Tales to Astonish #35 (September 1962) the demand for new superheroes had increased. Thinking better of his serums, Pym reinvented them. He designed a costume of "steel mesh consisting of unstable molecules which stretch and contract as his body does." He also whipped up a cybernetic helmet that allowed him to communicate with ants. As fate would have it, just as the young scientist had donned his costume for a tryout, communist agents broke into his laboratory to steal the top-secret "gas to make people immune to radioactivity" that Pym and his assistants were also working on. Returning to the anthill as Ant-Man, he recruited a large quantity of ants and defeated the spies.

The creative team behind Ant-Man consisted of Stan Lee, who thought up the character, his brother Larry Lieber, who wrote the scripts, Jack Kirby, who penciled, and Dick Ayers, who inked. Kirby was soon replaced by the dependable Don Heck. In #44 Ant-Man acquired a tiny female associate known as the Wasp. Then in #49, perhaps tired of risking getting stepped on or swatted, Pym used his growth serum to turn himself into Giant Man. Later he became Goliath and then Yellow Jacket. In each of his alter egos he was accepted for membership in the Avengers.

Credits

Script: Roy Thomas
Pencils: Neal Adams
Inks: Tom Palmer, Neal Adams & Alan Weiss

Reprinted:

in Kree-Skrull War Starring the Avengers, The (Marvel, 1983 series) #2 (October 1983)
in Avengers: The Kree-Skrull War (Marvel, 2000 series) #[nn]
in Essential Avengers (Marvel, 1999 series) #4 [black & white] (2004)
in Avengers: Kree / Skrull War (Marvel, 2008 series) #[nn]
in Marvel Masterworks: The Avengers (Marvel, 2003 series) #10 (May 2010)

The Avengers #95: "Something Inhuman This Way Comes..!"

2011-08-07T10:00:00.000-07:00

Download Avengers #95

"When billionaire industrialist Tony Stark dons sophisticated steel-mesh armor of his own design, he becomes a living high-tech weapon—the world's greatest human fighting machine," explained one issue of The Invincible Iron Man. And thus it's been, with some exceptions, for nearly fifty years. One of the most trouble-ridden heroes of the Silver Age, Iron Man first appeared in Marvel's Tales of Suspense #39 (March 1963). Another of Stan Lee's many inventions, his early adventures were written by Larry Lieber, drawn by Don Heck. Tony Stark, then only a multimillionaire, was not a true superhero. But he gained an incredible array of abilities by putting on "an electrically powered, transistorized smart suit of armor equipped with offensive weaponry."

Stark developed the suit while a prisoner of the Viet Cong. He'd fallen into their hands after stepping on a land mine, which, among other things, caused severe damage to his heart. Initially the suit of super armor kept him alive with a built-in pacemaker device. After escaping from his captors with the help of a black chopper pilot named James Rhodes, Stark eventually returned to civilian life. He served as president and CEO of Stark Industries (later Stark International and later still Stark Enterprises), a member in good standing of the military-industrial complex. Rhodes came to work for him, becoming his best friend.

Iron Man's favorite foe over the years was a sinister Oriental known as the Mandarin. In its early years the saga was, as Gerard Jones has pointed out, "on odd melange of political realism, shrill anti-Communist jingoism and fanciful heroics." Although he eventually became less of a cold warrior, Stark's life was not especially happy. Unmarried, he suffered a series of romantic setbacks. In addition, a bullet wound to his spine left him crippled for a time and later another injury caused neural damage. For quite a while Stark was also an alcoholic. During the periods when Stark's problems incapacitated him, Rhodes, nicknamed Rhodey, put on the armor and served as Iron Man. That suit of armor has undergone many changes in both design, color scheme, and capabilities.

Iron Man has been a member of the Avengers and later Avengers West Coast. Numerous other artists and writers have had a hand in producing his adventures, including Gene Colan, Archie Goodwin, George Tuska, John Romita Jr., Scott Lobdell, whilce portacio, Kurt Busiek, Robin Laws, and Robert Teranishi.

Although Tony Stark has died now and then, he appears to have incredible recuperative powers.

Credits

Script: Roy Thomas
Pencils: Neal Adams
Inks: Tom Palmer

Reprinted:

in Mitico Thor, Il (Editoriale Corno, 1971 series) #63
in Kree-Skrull War Starring the Avengers, The (Marvel, 1983 series) #2 (October 1983)
in Avengers: The Kree-Skrull War (Marvel, 2000 series) #[nn]
in Essential Avengers (Marvel, 1999 series) #4 [black & white] (2004)
in Avengers: Kree / Skrull War (Marvel, 2008 series) #[nn]
in Marvel Masterworks: Inhumans (Marvel, 2009 series) #1
in Marvel Masterworks: The Avengers (Marvel, 2003 series) #10 (May 2010)

The Avengers #94 "More Than Human!"

2011-08-03T12:00:00.000-07:00

Download Avengers #94

The Avengers, who bickered like most Marvel hero groups, proved a popular saleable bunch. Over the next few years there was a considerable fluctuation in the basic membership. In 1965, for example, Hawkeye, Quicksilver, and the Scarlett Witch joined on. Later on Hercules, the Vision, Goliath, and Yellow Jacket were added. These last two were other manifestations of Ant-Man. Among the guest stars were Spider-Man, the Fantastic Four, and Wonder Man. On the list of major villains were the Living Laser, the Red Skull, Diablo, the Red Guardian, the Mandarin, the Executioner, Magneto, and Klaw.

The creative team changed as well. Other early pencilers included Don Heck, John Buscema, Gene Colan, and Neal Adams. George Roussos, Dick Ayers, and Joe Sinnott all served as inkers. Roy Thomas, who wrote a great many scripts, eventually also became editor in the summer of 1972. The original series reached 402 issues, ending in 1996. The makeup of the gang continued to fluctuate. Hellcat, the Falcon, the Beast, and She-Hulk all were members. Some later artists and writers were John Byrne, Joe Staton, and Walt Simonson.

In 1984 the Avengers set up a branch office that resulted in West Coast Avengers. Among the members were Hawkeye and Iron Man. At the end of the eighties, John Byrne assumed the scripting and drawing. With #48 (September 1989) the title was switched to Avengers West Coast, and as such the magazine continued until #102 (January 1994).

A second series of The Avengers commenced in 1996. Among the members were Captain America, Hawkeye, Thor, and the Vision. Jim Valentino wrote the scripts; Rob Liefeld did the drawing on the first issue. This version continued for thirteen issues. Early in 1998, The Avengers started all over again and continues to this day. Kurt Busiek was the initial writer, George Perez the artist. And the rallying cry, "Avengers assemble!" is still heard in the land.

Credits

Script: Roy Thomas
Pencils: Neal Adams
Inks: Tom Palmer

Reprinted:

in Kree-Skrull War Starring the Avengers, The (Marvel, 1983 series) #1 (September 1983) [interior, 1/16 page size]
in Avengers: The Kree-Skrull War (Marvel, 2000 series) #[nn]
in Essential Avengers (Marvel, 1999 series) #4 [black & white] (2004)
in Avengers: Kree / Skrull War (Marvel, 2008 series) #[nn]
in Marvel Masterworks: The Avengers (Marvel, 2003 series) #10 (May 2010)

The Avengers #93: "This Beachhead Earth"

2011-08-01T16:00:00.000-07:00

Download Avengers #93

As the team spirit spread through comics in the early 1960s, a gang of Marvel characters got together and decided to call themselves the Avengers. Perhaps one of them had been over to Great Britain recently and caught The Avengers show on the telly. The original members of the new Marvel group were the Hulk, Thor, Iron Man, Ant-Man, and the Wasp. The plot for "The Coming of the Avengers" was cooked up by Stan Lee and Jack Kirby, scripted by Lee and and drawn by Kirby. The premiere issue of The Avengers had a cover date of September 1963.

Touted as a "book-length super-epic" that featured "some of the Earth's greatest super-heroes!" the introductory episode had the superfolks gathering from hither and yon to overcome Loki, the Norse god of evil who'd already frequently troubled Thor. After dispatching Loki, they decided to work as a team. It was the Wasp, the one female in the bunch, who came up with the name Avengers in the final panel. The Hulk observes, "I pity the guy who tries to beat us!" Thor, magic hammer held high, declares, "We'll NEVER be beaten! For we are... THE AVENGERS!"

By the second issue Ant-Man, who'd grown tired of being teenie-weenie, had turned himself into the towering Giant Man, thus revising the Avengers roll call. Over the next two issues a couple of early Marvel heroes returned. This time, however, the Sub-Mariner was in one of his surly moods and did a turn as a villain in "one of the great battles of all time!" Then in #4 (March 1964) the super-patriot Captain America was found floating inside a block of ice in the Atlantic, where he'd apparently been languishing for twenty years. Eventually thawed out, he joined the Avengers, even though he was a bit fuzzy on current events. This represented Cap's Silver Age return.

Credits

Script: Roy Thomas
Pencils: Neal Adams
Inks: Tom Palmer

Reprinted:

in Kree-Skrull War Starring the Avengers, The (Marvel, 1983 series) #1 (September 1983)
in Essential Avengers (Marvel, 1999 series) #4 [black & white]
in Avengers: The Kree-Skrull War (Marvel, 2000 series) #nn
in Avengers: The Kree/Skrull War (Marvel, 2008 series) #n

Adventure Into Mystery #4: "None Are So Blind!" (Al Williamson art)

2011-07-30T08:00:00.000-07:00

Download Adventure Into Mystery #4

Credits

Cover: Carl Burgos
Script: Unknown
Pencils: Al Williamson
Inks: Al Williamson

Reprinted:

In Secrets Of The Unknown (Alan Class, 1962 series) #185.

Amazing Fantasy #15: "Spider-Man!"

2011-07-23T11:00:00.000-07:00

Download Amazing Fantasy #15

After changing its name twice, Amazing Fantasy suspended operations. That fifteenth and final issue (August 1962) guaranteed the magazine a place in comics history, however, since it was the birthplace of Spider-Man. Starting up in the spring of 1961 under the title Amazing Adventures, it had dealt in the usual Marvel brand of fantasy and sci-fi. Among the monsters prowling the initial half dozen issues were Manoo, Sserpo, and Monsteroso, this latter billed as "the MOST FEARFUL creature of all time!" Scripts were chiefly the work of Stan Lee, the main artists were Jack Kirby, in charge of the Monster-of-the-Month, and Steve Ditko. With the seventh issue, the title was switched to Amazing Adult Fantasy and the book promised "spine-tingling, supernatural thrillers for the more mature reader!" One of the creatures provided for the mature reader was a huge chap called Tim Boo Ba.

For the fifteenth issue the title was shortened to just plain Amazing Fantasy. On the cover, as drawn by Kirby, Spider-Man was seen for the first time. In the eleven-page story inside, written by Lee and illustrated by Ditko, readers met Peter Parker, Aunt May (quite a bit plumper back then), and, of course, Spidey. At the yarn's end, Lee said, "And so a legend is born and a new name is added to the roster of those who make the world of fantasy the most exciting realm of all!" Early the next year, the first issue of The Amazing Spider-Man was released.

Credits

Cover: Jack Kirby (pencils) and Steve Ditko (inks)
Script: Stan Lee
Pencils: Steve Ditko
Inks: Steve Ditko
Letters: Artie Simek

Note: Winner of the 1962 "Best Short Story" Alley Award.

Reprinted:

in Marvel Tales Annual (Marvel, 1964 series) #1 (1964)
in Origins of Marvel Comics (Simon and Schuster, 1974 series) #[nn] (1974)
in Spindelmannen (Atlantic Förlags AB, 1978 series) #1/1978 (January 1978) [as "Spindelmannen", Swedish translation]
in Marvel Tales (Marvel, 1966 series) #137 (March 1982)
in Amazing Spider-Man, The (Marvel, 1963 series) #275 (April 1986)
in Marvel Masterworks (Marvel, 1987 series) #1 (1987)
in Uomo Ragno, L' (Edizioni Star Comics, 1987 series) #70 (April 1991) [as "L'Uomo Ragno", Italian translation]
in Spider-Man Classics (Marvel, 1993 series) #1 (April 1993)
in Essential Spider-Man, The (Marvel, 1996 series) #1 (1996) [black and white]
in Origins of Marvel Comics Revised Edition (Marvel, 1997 series) #[nn] (1997)
in Marvel Masterworks: The Amazing Spider-Man (Marvel, 2002 series) #1 (2002)
in Marvel Visionaries: Stan Lee (Marvel, 2005 series) #[nn] (2005)
in Wha...Huh? (Marvel, 2005 series) #[nn] (2005)[pp1–3]
in Spider-Man Collectible Series (Marvel, 2006 series) #1
in The Amazing Spider-Man Omnibus (Marvel, 2007 series) #1 (2007)
in Amazing Fantasy Omnibus (Marvel, 2007 series) #[nn] (2007)
in Marvel Deluxe: Stan Lee (Panini, 2007 series) #1

Monsters Unleashed #7: "The Monster In the Mist!" (Al Williamson art)

2011-06-16T23:00:00.000-07:00

Download Monsters Unleashed #7

Back in the old days, before the comics industry felt the need to censor its own product, EC Comics produced some of the finest science fiction comics ever published. One of the reasons why Weird Science, Weird Fantasy (and later, Weird Science-Fantasy) were so good was the work of a lanky young man named Al Williamson. At 21, Williamson was the youngest of the EC family, but everyone was in awe of his draftsmanship. Williamson could draw bravura science fiction adventure like no one else, though it didn't hurt that he had the likes of Frank Frazetta, Roy Krenkel, and Angelo Torres assisting him with backgrounds and inking.

After the collapse of the EC line of comics. Williamson worked for such companies as ACG, Atlas, and Harvey, to name just a few, bringing to the stories what he did for their SF and mystery titles the same superb rendering and palpable sense of atmosphere that made his EC work so memorable. In addition to the comic books he did, Williamson also made significant contributions to the art of the comic strip, ghosting several weeks of Flash Gordon for Dan Barry, and assisting John Prentice on Rip Kirby. These last two assignments are particularly ironic when you consider that it was Alex Raymond's Flash Gordon that inspired Williamson to become a comics artist in the first place. Indeed, Williamson had been the primary proponent of heroic realism in comics, and is the rightful heir to the Flash Gordon mantle of Alex Raymond, something Williamson proved with his superb work on the King Flash Gordon title of the mid '60s, and on the Flash Gordon movie album adapted from the (otherwise wretched) DeLaurentiiss film.

Credits

Cover painting: Richard Hescox
Script: Unknown
Pencils: Al Williamson
Inks: Ralph Mayo

Reprinted:

From ASTONISHING #60 (April 1957).

In Monsters Unleashed (Marvel, 1973 series) #7 (August 1974).

House of Mystery #185: "The Beautiful Beast" (Al Williamson art)

2011-06-05T06:00:00.000-07:00

Download House of Mystery #185

House of Mystery started out as a horror anthology, featuring tales of the supernatural as well as supernatural-themed mystery stories. However, with the growing backlash against horror comics in the mid-1950s, as well as the advent of the Comics Code Authority and its restrictions on horror-themed storylines (banning stories dealing with such supernatural fare as werewolves, vampires, and such), the series quietly was revamped into dealing with science-fiction type monsters and other mystery-suspense type tales that were permitted by the comic code.

With issue #174, EC Comics veteran Joe Orlando was hired by DC to take over as editor of House of Mystery. As the Comics Code Authority was now being challenged by both DC and Marvel over content restrictions, the series returned to its overt horror themes. The first issue under Orlando would be a reprint issue of old horror/suspense stories, as the new direction would truly begin with #175 (July/August 1968). The issue would introduce a new figure to the series, Cain, the "able care taker" of the House of Mystery who would introduce nearly all stories that would run in the series before its cancellation.

Credits

Cover: Neal Adams
Script: Joe Gill
Pencils: Al Williamson
Inks: Al Williamson

Reprinted:

in Showcase Presents: The House of Mystery (DC, 2006 series) #1.

Eerie #13: "The Success Story" (Al Williamson art)

2011-04-28T22:00:00.000-07:00

Download Eerie #013

Of particular fame (or is it infamy?) in Warren Publishing lore is Creepy #1's "The Success Story," written by Archie Goodwin and expertly drawn by Al Williamson, which legend has it was based on a real-life comic strip artist, Don Sherwood, who, according to George Evans and others, over-relied on "ghost" artists—behind-the-scenes creative contributors who received no credit. The tale, a scathing critique of that all-too-common practice in cartooning of signing one's name to another's work, was allegedly about Sherwood (cast here in the guise of smug comic-strip artist "Baldo Smudge") and his daily strip, "Dan Flagg." Williamson, renowned for using photographic reference, looks to have used the likenesses of Archie Goodwin, and artists Angelo Torres and Alden McWilliams, with Al himself serving as model for Smudge. (It should come as no surprise that all of these creators, also Warren contributors, worked uncredited on "Dan Flagg." Ahh, sweet revenge...!

Note: Eerie #13 reprints this story as it originally appeared in Creepy #1.

Credits

Cover painting: Vic Prezio
Script: Archie Goodwin
Pencils: Al Williamson
Inks: Al Williamson
Letters: Ben Oda

Reprinted:

from Creepy (Warren, 1964 series) #1 (January 1965)

in Eerie (Warren, 1966 series) #13 (February 1968)
in Comix: A History of Comic Books in America (Bonanza, 1971 series) #[nn]
in Comix: A History of Comic Books in America (Outerbridge & Dienstfrey, 1971 series) #[nn]
in Eerie (Gold Star Publications, 1972 series) #4 (1973)
in Creepy (Warren, 1964 series) #137 (May 1982)
in Creepy The Classic Years (Harris Comics, 1991 series) #[nn]
in Creepy Archives (Dark Horse, 2008 series) #1

Eerie #5: "The Jungle" (Al Williamson art)

2011-04-20T21:00:00.000-07:00

Download Eerie #5

During Eerie's "dark period," many of the artists drew, perhaps without the sophistication of an Al Williamson, but with a lovely eye for the ugly and mundane. Perhaps it's a lack of experience rather than deliberate artistic choice, but it means that many of the later stories read like a surprisingly fun movie shot by a disturbed amateur.

Credits

Cover painting: Frank Frazetta
Script: Archie Goodwin
Pencils: Al Williamson
Inks: Al Williamson
Letters:Ben Oda

Reprinted:

in Eerie (Warren, 1966 series) #18 (November 1966.

Eerie #3: "The Lighthouse!" (Al Williamson art)

2011-04-15T21:00:00.000-07:00

Download Eerie #3

Comic book fans, and specifically EC fanatics, must have lost their minds when the first issues of Creepy and Eerie appeared on the newsstands. Not only were they the first real attempts to do an EC-like horror anthology in ages, their pedigrees were simply beyond dispute. Warren hired the best of the best, the most talented comics artists (many of whom had worked for EC before its unfortunate end) and the most brilliant of writers.

One writer in particular set the tone for the magazine: the late, lamented Archie Goodwin. Archie is still spoken of with the quiet tones one uses when speaking of saints, but beyond being an extraordinary editor, he had this format down cold. In those first issues, we see again and again how he manages to give a literary quality to even the most galloping bit of shaggy-monster goings-on. He knew how to deliver the punch line to a story like few ever learn these days, with shotgun volume, but sniper-rifle accuracy. And above all, he had taste.

His artists rose to the occasion. You could see the incredible line work of Reed Crandall, the inimitable curves and shadows of Gene Colan, and a who's who of the best, most tasteful, and most accomplished artists the industry had to offer. Adams, Toth, Ditko, on and on... these people must have been delighted at the macabre delicacies offered in Creepy and Eerie. Breaking the censoring shackles of the Comics Code Authority must have been a bloody pleasure.

Then everything went to hell, somehow. The money dried up, Archie had to leave as editor, and the company was forced to rely, after issue #11, on lesser-known creative talents and reprints until regaining their funding and reputation in their salad days, a few years later.

I'm told this is called Warren's "dark period."

And I think it's apt, but not in the way most collectors mean. I don't find this period to be without merit. To the contrary, I think this is one of the most entertaining periods in the magazine's history.

Story after story by artists who either left comics or never really managed to get a proper toehold. Writers whose names I do not recognize. Lacking Archie Goodwin's experience and discernment, these people had to use the tools they had to tell their stories... a little grubbier, a little grittier, and a little... shall I say it?

A little eerier.

Credits

Cover painting: Frank Frazetta
Script: Archie Goodwin
Pencils: Al Williamson
Inks: Al Williamson
Letters: Ben Oda

Reprinted:

in Eerie Greatest Hits (Harris Comics, 1994 series) #[nn]
in Eerie (K. G. Murray, 1974 series) #5

Eerie #2: "The Thing from the Sea!" (Wally Wood art)

2011-04-06T23:00:00.000-07:00

Download Eerie #2

A gifted but self-destructive artist, Wally Wood's heyday occurred during the 1950s. In that decade he was one of the stars of the innovative EC Comics line and also ghosted The Spirit, worked with Jack Kirby on an SF comic strip called Sky Masters, drew illustrations for the SF magazine Galaxy, worked for both Marvel and DC, and handled some advertising accounts.

Wood, born in Minnesota and basically untutored in art, moved east and began working in comic books in the late 1940s. Some of his earliest work was done in collaboration with writer/artist Harry Harrison. He signed on with EC in 1949 and was soon a major contributor to most of their titles, from Weird Fantasy to Mad. Wood was also good at drawing people, especially pretty girls, but he also excelled at things mechanical—whether WWII submarines or twenty-fifth century rocket ships. At the end of a story in Weird Science he addressed the reader directly, explaining, "My world is the world of science fiction." The alien worlds and spacecraft that Wood invented for his stories were much copied by later and less gifted artists. For Mad he used an informal, cartoony style that was influenced by one of his idols, Walt Kelly. In later years Wood also worked with erstwhile Mad editor Harvey Kurtzman on such humor magazines as Trump and Humbug.

As the demand for his stuff increased, Wood set up a sort of free-form shop. He worked a lot and apparently drank a lot. Initially his drawing didn't suffer much. He created The T.H.U.N.D.E.R. Agents for the short-lived Tower line of comic books and drew Daredevil for Marvel. For armed forces publications he produced raunchier material, such as Sally Forth, about a young lady who frequently shed her clothes. And he inked Jack Kirby's Challengers of the Unknown.

His work seriously deteriorated in the 1970s. His health deteriorated, too, and he suffered kidney failure. His last professional work consisted of some crude and badly drawn pornographic comics. Wood ended his life as the 1980s began.

Credits

Script: Unknown
Pencils: Wally Wood
Inks: Wally Wood

Reprinted:

in Eerie (Avon, 1951 series) # 16
in Nightmare (Skywald, 1970 series) #1
in Nightveil's Cauldron of Horror (AC, 1989 series) #1
in Four Color Fear (Fantagraphics, 2010 series) #[nn]

Eerie Comics #1: "The Man-Eating Lizards!" (Early Joe Kubert art)

2011-04-03T06:00:00.000-07:00

Download Eerie Comics #1

While never an especially innovative or inventive publisher of comic books, Avon Periodicals did issue the very first horror comic book. A single issue of Eerie Comics was published in 1947, offering creepy twist-ending yarns of the sort heard on such popular radio shows of the day as Inner Sanctum and Lights Out. They dealt with demons, walking corpses, and giant man-eating lizards. Art was by such as Joe Kubert, Fred Kida, and Bob Fugitani, already a horror expert from his association with The Hangman.

In 1951, Avon began again, shortening the title to just plain Eerie. This version made it through seventeen issues before succumbing in the summer of 1954. Kubert was again one of the artists, as were Wally Wood and Joe Orlando.

Credits

Script: Edward Bellin
Pencils: Joe Kubert
Inks: Joe Kubert

Reprinted:

in Out of This World Adventures (Avon, 1950 series) #1

Epic Illustrated #12: Marada, the She-Wolf in "Royal Hunt"

2011-03-26T06:00:00.001-07:00

Download Epic Illustrated #12

Script: Christopher Claremont
Pencils and inks: John Bolton
Letters: Tom Orzechowski

I already have the other two stories uploaded on my other blog:

Read Epic Illustrated #22

Read Epic Illustrated #23

Epic Illustrated #11: Marada, the She-Wolf in "The Shattered Sword" (Part 2 of 2)

2011-03-25T12:00:00.000-07:00

Download Epic Illustrated #11

Script: Christopher Claremont
Pencils and inks: John Bolton
Letters: Tom Orzechowski

Epic Illustrated #10: Marada, the She-Wolf in "The Shattered Sword" (Part 1 of 2)

2011-03-24T21:00:00.000-07:00

Download Epic Illustrated #10

Marada, the She-Wolf is a fantasy comic book fictional character created for Epic Comics by writer Chris Claremont and English artist John Bolton. She first appeared in Epic Illustrated #10 (Feb. 1982). The story was originally planned for the character of Red Sonja, Conan's sometime partner, but had to be changed due to issues surrounding the then-in-production Red Sonja movie with Brigitte Nielsen. Claremont moved the historical milieu from the Hyborian Era to the Roman Empire, and changed her hair from red to silver. Marada is also more sensual than Red Sonja, perhaps due to Bolton's drawings. (This change of character from Red Sonja to Marada resulted in some dispute over ownership of the character. Since Marada's adventures were first published in the creator-owned series Epic Illustrated, the rights to her character were eventually given to writer Claremont and artist Bolton.)

Marada is introduced as "her mother was the first born of Caesar," though it is unclear if this refers to Julius Caesar or to a current emperor (bearing the generic title of "Caesar") during the Imperial age. Her adventures are a mix of fantasy and history, told from an adult point of view. Together with her friend, the princess Arianrod, she fights against evil demons, wizards, witches and other fantastic creatures, but also against the threats a woman could expect from a world ruled by males.

In a tip of the hat to New Mutants #32, Marada met a woman named Ashake in the graphic novel, and in a nod to Giant-Size Dracula #2, a demon named Y'Garon.

Script: Christopher Claremont
Pencils and inks: John Bolton
Letters: Tom Orzechowski

Originally posted 7/18/09.

Forbidden Worlds #1: "Demon of Destruction" (Frank Frazetta and Al Williamson art)

2011-03-14T13:00:00.000-07:00

Download Forbidden Worlds #1

Another boy wonder, Frank Frazetta entered comics while in his teens. After working as an assistant to John Giunta, he joined the Bernard Baily shop in 1945. The next year he was appearing in such Ned Pine titles as Startling Comics and Thrilling Comics. He was doing mostly light stuff at this point, teenage characters, funny animals, and a hillbilly strip called Looie Lazybones. By the time he went to work for Vincent Sullivan's Magazine Enterprises in 1949, Frazetta had perfected his straight illustration style, which owed a good deal to his idol Hal Foster. For ME he drew Dan Brand in the Durango Kid and produced some striking covers for Ghost Rider. His most ambitious work for ME was the first issue of Thun'da. Next at DC Frazetta drew some episodes of Tomahawk and The Shining Knight. Over at Famous Funnies, he did a series of memorable covers featuring Buck Rogers and also drew some true stories for Heroic Comics. Frazetta did a few jobs for EC before taking on the newspaper racing-car strip Johnny Comet in the early 1950s. He also began a several-year run ghosting Li'l Abner for Al Capp, who was later outraged that many fans could tell Frazetta's work from his.

By the 1960s he had pretty much left comic books, except for the black-and-white Creepy. He painted covers for Vampirella and for the Ace reprints of the Conan novels. He went on to become a highly successful and much collected painter and illustrator and even set up his own museum.

Credits:

Cover: Ken Bald
Script: Unkonwn
Pencils: Frank Frazetta
Inks: Al Williamson

Teen Titans #22: "Halfway to Holocaust!" (Neal Adams art)

2011-03-13T06:00:00.000-07:00

Download Teen Titans #22

The New Teen Titans were introduced in DC Presents #26 and were given their own title in 1980. The new group included Robin, Kid Flash, an alien girl named Starfire, and a black youth named Cyborg. This title, with Wolfman scripts and Perez art, proved more popular than the earlier ones. It was in this book in 1984 that Dick Grayson shed his Robin identity to become Nightwing.

The magazine continued until early in 1984. Late in 1988, it changed its name to simply The New Teen Titans. In later incarnations it has been called Team Titans, the Titans, and Teen Titans.

Credits:

Cover: Nick Cardy
Script: Neal Adams
Pencils: Neal Adams
Inks: Nick Cardy

Reprinted:

in Best of DC, The (DC, 1979 series) #18 (November 1981)
In Showcase Presents (DC, 2006 series) #2

Teen Titans #21: "Citadel of Fear" (Neal Adams art)

2011-03-12T06:00:00.000-08:00

Download Teen Titans #21

When the trio of sidekicks first teamed up in The Brave and the Bold #54 (June-July 1964) (Pictured inset), they didn't have a group name. They got together to help some small-town teenagers who'd run afoul of a supervillain named Mr. Twister while trying to get the stodgy town adults to build them a clubhouse.

The heroic trio returned in Brave and Bold a year later as the Teen Titans, with Wonder Girl added. After an appearance in Showcase, the group was promoted to a book of its own. Haney continued as scripter, but the excellent Nick Cardy took over as artist, providing striking interior art and a series of first-rate covers.

The membership fluctuated, with Green Arrow's Speedy joining in some issues and new characters such as Beast Boy (later known as Changeling) being added. The book halted with the forty-third issue in 1973, then returned for another ten issues from 1976 to 1978.

Credits:

Cover: Nick Cardy
Script: Neal Adams
Pencils: Neal Adams
Inks: Neal Adams

Reprinted:

In Best of DC, The (DC, 1979 series) #18 (November 1981)
in Showcase Presents: Teen Titans (DC, 2006 series) #2

Teen Titans #20: "Titans Fit the Battle of Jericho" (Neal Adams art)

2011-03-11T06:00:00.000-08:00

Download Teen Titans #20

They've been around so long that they probably should be called Middle-Aged Titans. The Teen Titans were introduced by DC Comics in 1964. Originally Robin, Kid Flash, and Aqualad, three teen sidekicks of grown-up heroes, made up the first group. The membership changed and expanded over the years. In the 1980s, as the New Teen Titans, they became one of the most popular groups in comics. Writer Bob Haney and artist Bruno Premiani were responsible for the original team, Marv Wolfman and George Perez for the new, improved bunch.

Teen Titans are Robin (Dick Grayson); Wonder Girl (Donna Troy); Speedy (Roy Harper); Kid Flash (Wally West); Joshua.

Credits:

Cover: Nick Cardy
Script: Neal Adams
Pencils: Neal Adams (pp.1-10, 13-23); Sal Amendola (pp.11, 12)
Inks: Nick Cardy

Reprinted:

in Best of DC, The (DC, 1979 series) #18 (November 1981).
In Showcase Presents: Teen Titans (DC, 2006 series) #2.

Showcase #84: Nightmaster in "Come Darkness, Come Death" (Early Bernie Wrightson art)

2011-03-10T06:00:00.000-08:00

Download Showcase #84

Later contestants for a permanent job at DC included Metal Men, the updated Spectre, the Inferior Five, the Creeper, Bat Lash, and a new version of the Doom Patrol.

Among the characters who didn't quite click were the Human Eel, Fireman Farrell, and B'wana Beast. Showcase shut its doors with the 104th issue in 1978. DC revived the title as Showcase '93, etc., from 1993 to 1996.

Credits:

Cover: Joe Kubert
Script: Denny O'Neil
Pencils: Bernie Wrightson
Inks: Bernie Wrightson

Showcase #83: Nightmaster in "Sing a Song of Sorcery" (Early Bernie Wrightson art)

2011-03-09T06:00:00.000-08:00

Download Showcase #83

A stage devised by Julius Schwartz on which to audition potential new stars, Showcase was first published in 1956. The fourth issue of the bimonthly (October 1956) introduced the Silver Age Flash, the sixth, Challengers of the Unknown, and the twenty-second, the new, improved Green Lantern. Showcase also resuscitated Aquaman and launched the diminutive Atom. Adam Strange made his maiden voyage to the planet Rann in the magazine, the Sea Devils (formerly the Frogmen) debuted there as did the time-traveling Rip Hunter.

Credits:

Cover: Joe Kubert
Script: Denny O'Neil
Pencils: Bernie Wrightson
Inks: Bernie Wrightson

Showcase #82: Nightmaster in "Some Forbidden Fate"

2011-03-08T10:00:00.001-08:00

Download Showcase #82

“	Friend, it's possible you've been missing something. It's possible you've lived this long without digging a wonderful species of storytelling loosely labeled the literature of Sword and Sorcery. Maybe you've never lost yourself in the adventures of John Carter, slayer of malevolent Martians. Or followed the mighty barbarian Conan as he bests black magic with wit and an active blade. Or conspired with the Grey Mouser and Fafhrd against absolutely slimy noblemen. Or--is it possible?--even shared the perils of the Hobbits in their quest for the Ring. You've just finished reading NIGHTMASTER. If you liked it, I suggest you buy or borrow the works of Edgar Rice Burroughs, Robert E. Howard, Fritz Leiber, and J. R. R. Tolkien, the creators of the characters mentioned above. While you're at it, you might want to look up Michael Moorcock's Stealer of Souls and Stormbringer, volumes which chronicle the saga of the doomed King Elric and his Runesword.	”
	— Denny O'Neil

Credits:

Script: Denny O'Neil
Pencils: Jerry Grandenetti
Inks: Dick Giordano

Originally posted on 7/20/09.

Creatures on the Loose #10: King Kull in "The Skull of Silence!"

2011-03-03T23:00:00.000-08:00

Download Creatures on the Loose #10

Kull of Atlantis or Kull the Conqueror is a fictional character created by American writer Robert E. Howard, also creator of Conan the Barbarian, Solomon Kane, and Bran Mak Morn. The character was more introspective than the subsequent Conan, whose first appearance was in a re-write of a rejected Kull story.

His first published appearance was "The Shadow Kingdom" in Weird Tales (August, 1929). Kull was portrayed in the 1997 movie Kull the Conqueror by actor Kevin Sorbo.

Credits

Script: Roy Thomas
Pencils and inks: Bernie Wrightson (as Berni Wrightson).
Colors: Marie Severin

Reprinted:

in Savage Tales (Marvel, 1971 series) #2 (October 1973).

Adventures Into The Unknown #27: "The Lost Lives of Laura Hastings" (Al Williamson art)

2011-03-01T07:00:00.000-08:00

Download Adventures into the Unknown #27

Introduced in the fall of 1948, the American Comics Group's Adventures into the Unknown was the first regularly issued horror comic book. Despite the setbacks and collapses most of the later rivals suffered in the early 1950s, it thrived until the summer of 1967. This was chiefly due to the fact that the magazine served up a relatively restrained and polite type of supernatural material. Unknown was especially fond of witches, werewolves, sorcerers, and all sorts and conditions of ghosts.

While the editor Richard Hughes was a prolific writer, many of the early yarns were written by an assistant editor named Norman Fruman. "Richard rarely wrote the supernaturals," Fruman says in Michael Vance's history of ACG. "They, by all odds, were the most difficult ones to write. I wrote the supernaturals and the science fictions." Ogden Whitney drew a great many of the horror tales and provided numerous covers throughout the magazine's lifetime. Among the many other regular artists were Al Williamson, Paul Reinman, Charles Sultan, and the exceptional and virtually unsung Emil Gershwin.

By the time Unknown was well into its second decade, superheroes were back in favor and selling again. Somewhat reluctantly, Richard Hughes added a superhero to the lineup. Nemesis, written by Hughes under his pen name of Shane O'Shea and drawn by Pete Costanza, was introduced in #154 (August 1967). Rather a silly-looking fellow, he wore black-and-blue striped shorts, a red tunic with an hourglass insignia, a blue hood, and several other pieces of non-matching haberdashery. His origin, pretty much borrowed from that of DC's Spectre, explained that he was a dead law officer who came back to Earth to fight crime. The sand ran out of Nemesis's hourglass sixteen issues later. Four issues after that Adventures into the Unknown followed him into the unknown.

Credits:
Script: Not credited and unknown
Pencils: Al Williamson
Inks: Roy Krenkel

Note: Inks: Krenkel added by Greg Theakston, 2002-05-29 (Per Sandell ed.) Pencils CORRECTED by Mark Gordon, 2007-02-10 (Per 36th Edition Overstreet Pricing Guide).

Creepy #32: "Rock God" (Frank Frazetta and Neal Adams)

2011-02-15T02:00:00.001-08:00

Download Creepy #32

Another boy wonder, Frank Frazetta entered comics while in his teens. After working as an assistant to John Giunta, he joined the Bernard Baily shop in 1945. The next year he was appearing in such Ned Pine titles as Startling Comics and Thrilling Comics. He was doing mostly light stuff at this point, teenage characters, funny animals, and a hillbilly strip called Looie Lazybones. By the time he went to work for Vincent Sullivan's Magazine Enterprises in 1949, Frazetta had perfected his straight illustration style, which owed a good deal to his idol Hal Foster. For ME he drew Dan Brand in the Durango Kid and produced some striking covers for Ghost Rider. His most ambitious work for ME was the first issue of Thun'da. Next at DC Frazetta drew some episodes of Tomahawk and The Shining Knight. Over at Famous Funnies, he did a series of memorable covers featuring Buck Rogers and also drew some true stories for Heroic Comics. Frazetta did a few jobs for EC before taking on the newspaper racing-car strip Johnny Comet in the early 1950s. He also began a several-year run ghosting Li'l Abner for Al Capp, who was later outraged that many fans could tell Frazetta's work from his.

By the 1960s he had pretty much left comic books, except for the black-and-white Creepy. He painted covers for Vampirella and for the Ace reprints of the Conan novels. He went on to become a highly successful and much collected painter and illustrator and even set up his own museum.

Cover: Frank Frazetta
Script: (Redacted) (based on the Frazetta cover painting).
Pencils and inks: Neal Adams.

Note: "Rock God" won the 1970 Best Illustrated Story Award. Cover story.

Reprinted:

in Harlan Ellison's Dream Corridor Quarterly (Dark Horse, 1996 series) #1.

Vampirella #19: "The Soft, Sweet Lips of Hell!"

2011-02-13T23:00:00.000-08:00

Download Vampirella #19

The Bettie Page of the vampire world, Vampirella was introduced by Warren Publishing in 1969. The Vampirella magazine, like Warren's Creepy and Eerie, was black-and-white, aimed at a somewhat older audience, and sold for fifty cents. A Frank Frazetta color cover introduced Vampi to readers, showing her in her terse crimson costume, posing with one spike-heeled foot resting on a human skull. Sci-fi maven Forrest J. Ackerman, who was editing Famous Monsters for Warren, came up with the name, and in the early issues Vampi was played for laughs. When Tom Sutton became the artist with the eighth issue things got serious. Scripts by Archie Goodwin helped convert Vampirella into a viable vampire. A typical good/bad girl, she sometimes gave in to the urge to sink her teeth into somebody's throat, but she also built a career as a sexy ghostbuster, aided by her mentor Pendragon. Vampi usually appeared in the opening story with the rest of the issue given over to assorted horror tales. The magazine ended in 1983.

Since then the virtuous vampire has been brought back to life several times and is now published by Dynamite Entertainment.

Credits

Script: Denny O'Neil
Pencils and inks: Neal Adams, Steve Englehart

The Spectre v1 #5: "The Spectre Means Death" (Neal Adams art)

2011-01-30T06:00:00.000-08:00

Download The Spectre v1 #5

When he next returned the Ghostly Guardian was nastier and meaner. He came back in Adventure Comics #431 late in 1973 in a story written by Michael Fleisher and drawn by Jim Aparo. His goal was to destroy "the vermin of the underworld." His career has waxed and waned ever since and he's returned as a guest and in titles of his own. In 1999 Jim Corrigan's spirit went on to glory and the ghost of Hal Jordan, the hero formerly known as Green Lantern, assumed the role. The Spectre still has blank eyeballs. The new Spectre recently explained that he was no longer "the vessel of the Lord's wrath. Now I serve as the spirit of redemption."

Credits

Script: Neal Adams
Pencils: Neal Adams
Inks: Neal Adams

Reprinted:

in Adventure Comics (DC, 1938 series) #498.

The Spectre v1 #4: "Stop That Kid.. Before He Wrecks The World!" (Neal Adams art)

2011-01-29T06:00:00.000-08:00

Download The Spectre v1 #4

Not an especially likeable fellow, the Spectre never achieved great popularity. He was dumped from More Fun Comics in 1944. He remained in limbo for two decades and finally made a comeback in Showcase #60. Gardner Fox wrote the scripts and Murphy Anderson did the drawing. In 1967 the Spectre was given a book of his own, but that lasted for only ten issues.

When the Spectre next returned the Ghostly Guardian was much nastier and meaner.

Script: Neal Adams
Pencils: Neal Adams
Inks: Neal Adams

Reprinted:

in Adventure Comics (DC, 1938 series) #497


Click here to read The Spectre v1 #2.
Click here to read The Spectre v1 #3.

The Spectre v1 #3: "Menace of the Mystic Mastermind" (Neal Adams art)

2011-01-28T12:00:00.000-08:00

Download The Spectre v1 #3

The Spectre's early adventures were decidedly odd. He had frequent conversations with the Almighty, made occasional trips to the hereafter to get clues from departed souls. He could walk through walls, turn crooks into skeletons, and grow as tall as a downtown office building. A grim, uniquely talented fellow, he didn't simply catch criminals, he enjoyed himself by destroying them. After one instance of spectral vigilantism, he observed, "One less vermin to peril decency."

Script: Mike Friedrich
Pencils and inks: Neal Adams

Synopsis: When interdimensional forces accidentally grant superpowers to "Sad" Jack Dold, he embarks on a crime spree and battles Wildcat and the Spectre.

Reprinted:

in Adventure Comics (DC, 1938 series) #496 (February 1983).

Click here to read The Spectre v1 #2.

The Spectre v1 #2: "Die, Spectre--Again!" (Neal Adams art)

2011-01-27T21:00:00.000-08:00

Download The Spectre v1 #2

For someone who died back in 1940, the Spectre has done pretty well for himself and can still be found in comic books. The Spectre was given a two-part send-off in DC's More Fun Comics #52 and #53 early in 1940. Jerry Siegel, who was already doing very well with Superman, wrote the scripts, and Bernard Baily provided the drawing. Baily also designed the costume and gave the Spectre his ghostly look and blank eyeballs.

According to the original story, a tough, redheaded cop named Jim Corrigan was murdered by gangsters by being dumped in the river in the traditional barrel of cement. He returned as a spirit. cloaked in green and sporting a pasty white complexion. Corrigan could cause his spirit to look like his former body. Early on, he would turn himself into the Spectre, but later the Spectre was a projection that left the defunct policeman's body to sail off and fight crime. Originally he operated in the city of Cliffland, obviously a surrogate for Siegel's native Cleveland.

Script: Gardner Fox
Pencils and inks: Neal Adams

Synopsis: The evil etheric body of magician Dirk Rawley emerges and forces him into crime.

Reprinted:

in Adventure Comics (DC, 1938 series) #495 (January 1983).

Note: I am including the advertising for the purpose of historical interest.

Lone Wolf and Cub Volumes #1-5

2011-01-19T17:00:00.000-08:00

Download Lone Wolf and Cub Vol. #1

Download Lone Wolf and Cub Vol. #2

Download Lone Wolf and Cub Vol. #3

Download Lone Wolf and Cub Vol. #4

Download Lone Wolf and Cub #5*

In America it has been a very successful and influential Japanese import. Lone Wolf and Cub was first seen in Japan in 1970, written by Kazuo Koike and drawn by Goseki Kojima. It was in 1987 that a series of American translations began, published by First Comics. After First went under a few years later, the title didn't appear again in the United States until 2000. At that point Dark Horse began an ambitious series of 296-page black-and-white trade paperbacks aimed at reprinting the entire nine-thousand-some pages of the saga.

A sweeping and complex picaresque set several hundred years in the past, the comic deals with the wanderings of Ogami Itto, a warrior known as the Shogun's assassin, and his three-year-old son, Daigoro. The series is rich with combat, intrigues, bloodshed, ritual, and somewhat fantasized history. It has fascinated not only many American readers but also such artists as Frank Miller.

*Special thanks goes out to oddiz27 for scans of Lone Wolf and Cub #5 in PDF format.

Phantom Stranger #4: "There Is Laughter in Hell This Day!" (Neal Adams art)

2011-01-08T18:00:00.000-08:00

Download Phantom Stranger #4

The Phantom Stranger is a fictional character of unspecified paranormal origins who battles mysterious and occult forces in various titles published by DC Comics, sometimes under their Vertigo imprint. The Phantom Stranger first appeared in his own series, publication date August/September 1952, by John Broome and Carmine Infantino. It lasted six issues. After an appearance in Showcase #80 (February, 1969), he received another series on May-June 1969 that lasted until February-March 1976. The first four issues (including the Showcase) consisted of reprints from both the Stranger's 50s title and the Dr. 13: Ghost-Breaker feature from the last nine issues of Star Spangled Comics at the same time, with new, brief framing sequences. These had Thirteen, certain that the Stranger was a fake, determined to expose him. Beginning with issue #4, November-December 1969, the comic went all-new, with stories produced by Robert Kanigher, Len Wein, Jim Aparo, Neal Adams, Tony DeZuniga, and others.

Not counting cover art and reprints, issue #4 is the only Neal Adams-drawn Phantom Stranger.

Note: this was originally posted on 10/9/09, but a software conflict with a widget forces me to post this anew.

World's Finest Comics #176: "The Superman-Batman Split!" (Neal Adams art)

2011-01-07T06:00:00.000-08:00

Download World's Finest #176

Among the new heroes introduced in World's Finest were Lando, yet another magician, and Drafty, a humorous soldier, drawn first by Ed Moore and then by Stan Kaye. Henry Boltinoff did just about his only serious comic-book work on Young Doctor Davis. Others who frequented World's Finest in its early years were the Star Spangled Kid, the Green Arrow, the Boy Commandos, the Wyoming Kid, and Tommy Tomorrow.

With the seventy-first issue (July-August 1954) the magazine, which had long since shed its cardboard covers, dropped its price to ten cents and cut its page count. In another innovation, it teamed its headliners, Batman and Superman-- "Your two favorite heroes together in one adventure!" Robin also joined in. The initial artist for these amalgamated yarns was Dick Sprang, who held on until 1963.

World's Finest continued until its 323rd issue (January 1986), fluctuating in price, page count, and lineup. As the magazine grew older, the Superman-Batman combo did not always appear, and considerable reprint material was used. In 1990 DC used the title for a three-issue series teaming Batman and Superman once again. This was written by Dave Gibbons, illustrated by Karl Kesel and Steve Rude. There was also a World's Finest one-shot published in 2001.

Note: this was originally posted on 9/24/09, but a software glitch forces me to repost this.

World's Finest Comics #175: "The Superman-Batman Revenge Squads!" (Neal Adams art)

2011-01-06T06:00:00.001-08:00

Download World's Finest #175

The first regularly issued comic book featuring both Superman and Batman, it was inspired by New York World's Fair Comics, which came out once in 1939 and once in 1940. DC introduced this fifteen-cent ninety-six page comic book in the early spring of 1941. The first issue was called World's Best Comics and from the second on the title was World's Finest. What this fat, cardboard-covered anthology offered was new adventures of DC's most popular characters and, in addition to Superman and Batman, there were new stories featuring Zatara, Johnny Thunder, and the Sandman, plus characters created just for the magazine.

Note: this was originally posted on 9/24/09, but a glitch with a widget forces me to post this anew.