Hallowe’en Countdown III, Day 4

« ... and suddenly, an ordinary business day becomes a day of horrible visions… »

When he was introduced in 1951 (Star Spangled Comics no. 122), Dr. Terrance Thirteen was a perfect fit for the DC universe: a skeptic who, in the nominally-rational world he inhabited, got to elucidate and debunk all sorts of mock-supernatural shenanigans. When the ghost-breaker made his return in the late 60s (as a foil to his also-returning contemporary The Phantom Stranger), however, the world had changed. The editorial balance had shifted in favour of the mystical, and Dr. 13 wasn’t as fortunate as the kids from Scooby Doo: he now faced bonafide manifestations from the beyond, but he wouldn’t have any of it, becoming a blind, overbearing ideologue in the vein of filmic non-believers Dana Andrews in Night of the Demon (aka Curse of the Demon) or the fabulous Peter Wyngarde in Night of the Eagle (aka Burn, Witch, Burn… adapted from Fritz Leiber’s Conjure Wife).

And things got worse and worse over the years; by now Dr. 13 is treated as a joke and a punching bag (even Matt Howarth blew it, a rare misfire), but that’s the general climate in the modern mainstream: most long-running characters, even the heroes, with a scientific background (Henry Pym, Reed Richards, Tony Stark et al) are frequently depicted as arrogant, misguided and often downright insane.

For a brief time in the early 1970s, Dr. 13 was handled by a sympathetic and skillful writer who understood what the man stood for and what made him tick. For a full example, check out our earlier post on another Dr. 13 case, … and the Dog Howls Through the Night! (1974).

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Scripter Skeates stated, a few years ago: « I quite like this story, especially the beautiful psychedelic scary artwork DeZuniga provided (an artist I very much enjoyed working with; he also illustrated a number of my Supergirl tales), plus the ending in which I somehow decided to treat this yarn as though it were a cautionary tale, the lesson learned being that one shouldn’t commit murder! For the longest time a copy of this comic wasn’t in my collection , but a couple of years ago I came upon a copy at a convention — the price-tag was a bit high due to the origin story that’s also in there! When I told my wife I had shelled out forty bucks for a comic with a story of mine in it that didn’t even have credits on it, she concluded that I was the one who was quite definitely insane!! »

-RG

Hallowe’en Countdown III, Day 3

« Apparently, no one could credit such a grotesque being with any sense of kindliness, and so the wounded monster limped along his way, his hatred of humanity grew in proportion to his size. »

Unleashed upon the world in 1965 by Wonder Books, this generously-illustrated volume of classic adaptations is a collaboration between fellow prolifics Walter Brown Gibson (1897 – 1985), the writer most closely associated with Street & Smith’s The Shadow, and artist Tony Tallarico, a journeyman who produced a bounty of work, as artist and packager, for just about every publisher in the business… save DC and Marvel, and who, upon leaving the mainstream comics field in the mid-1970s carved out a lucrative little niche for himself putting together scads of illustrated books, mostly for children, on just about every subject under the sun.

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« Dracula’s form had materialized now, His long-nailed fingers were gripping the window bars, and the mist had become a swirl of moths behind him. »
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« The man’s  ugly, fiendish look chilled Enfield, but the crowd threatened the ruffian, who finally said that his name was Hyde… »

Tallarico would, the following year, revisit some of the fiends depicted here for a short-lived but infamous trio of series for Dell: Dracula, Frankenstein and Werewolf. Ah, but don’t be so dour: it’s just light, campy fun.

-RG

Hallowe’en Countdown III, Day 2

« In June, 1913, the family moved out in terror! … they simply abandoned the house in the Midlands. There is no record of successors. If you are looking to rent a house, cheap… it may still be there! »

On this second day of our Hallowe’en countdown, let’s peer through the mists of time at 1976, when Will Eisner was still experimenting with marketing formats for comics-type material. This was still a couple of years before his A Contract With God and Other Tenement Stories (1978) appeared. During that period and beyond, Eisner was throwing a lot of material at the wall, in the finest exploitation tradition, hard on the heels of every bankable trend: Will Eisner’s Gleeful Guide to the Quality of Life, 101 Outerspace Jokes, Will Eisner’s Gleeful Guide to Communicating With Plants, Will Eisner’s Gleeful Guide to Living With Astrology, 300 Horrible Monster Jokes… and it wasn’t all good, as you can imagine.

This 160-page paperback from 1976 is arguably the cream of that crop; an easy choice for those of us who value Eisner’s expert hand at setting a shadowy mood.

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Mr. Eisner’s original back cover.

Publisher Tempo Books seems to have had limited faith in the sales appeal (too gruesome?) of the original cover, as a variant edition was issued in short order, bearing a fine, but non-Eisner cover. Can anyone identify the artist?

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-RG

Tentacle Tuesday: Ladies Kinda, Sorta in Peril

Behold! I return to a topic close to my heart, as close as tentacles are close to human flesh in this post! Namely, PG manifestations of shokushu goukan. But I wouldn’t like you to think that I’m one-track minded: today’s crop has its share of fantasy scenes, scantily-clad women who are about to be even further undressed, but! it also includes panoramas of serious (and unsexy) struggle, tongue-in-cheek héroïnes quite nonplussed by their predicament, tentacles overpowering female protagonists despite their superpowers, etc.

Without further ado, I give you… damsels in tentacular distress.

Cover art by Bernie Wrightson for Nightmare Theater issue 3 (Chaos Comics 1997
Cover painted by Bernie Wrightson for Nightmare Theater no. 3 (Chaos Comics, 1997).
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Cover from Pangaean Sea no. 4 (Basement Comics, 2000); art by Budd Root, the owner of this publishing company.
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Another one from Basement Comics: Jungle Tales of Cavewoman no. 1 (1998), variant cover by Frank Cho. It will come as a surprise to no-one that Cavewoman was created by the aforementioned Budd Root. Cavewoman is Meriem Cooper (I suppose calling her Myriam was too staid). I stumbled upon this amusing quote from Root recently, who said that Meriem was « patterned after pretty much all the women I really respect. She’s got a body with kind of a Little Annie Fannie face with Danni Ashe’s boobs and Nina Hartley’s butt. » No comment.

The maiden doesn’t always need to be rescued, nor does she necessarily *want* to be ravished – here’s a look at some heroines standing their ground against tentacular invasion.

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Page from Wonder Woman: The True Amazon (DC, 2016) by Jill Thompson. I wasn’t much impressed by this graphic novel, but I loved Beasts of Burden, a collaboration between Thompson and writer Evan Dorkin.
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My Greatest Adventure no. 81 (August 1963), art by Bruno Premiani.
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Or you can resort to other, more… creative… means for getting out of the octopus’ embrace. Pages from Lorna: Heaven is Here (Treize Étrange, 2006) by Brüno.

I promised you superheroines, and by Jove, you shall get some!

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Isis no. 4 (April-May 1977), pencilled by Mike Vosburg and inked by Dick Giordano. Isis clearly used to be a ballerina…. or the artists have a knack for awkward anatomy.
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Treasure of Lost Lake is scripted by Jack C. Harris, pencilled by Mike Vosburg and inked by Vince Colletta. I honestly can’t recommend this story to you – the art is about as good as the storytelling, which is not a compliment to either.
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Page from Ferra Naturae, scripted by Bill Mantlo, penciled by Al Milgrom and inked by Jim Mooney, published in Spectacular Spider-Man no. 75 (February 1983).   Obviously many have grappled with Dr. Octopus’ tentacles… but I think this particular scene is worthy of inclusion in this post.

If you’d like more women-tangled-in-tentacles in your life, there’s a number of previous posts you can visit – She Was Asking for It!, Foul as Sewer Slime!, Warren and its Many TentaclesThe PG-13 Edition, and of course the NSFW Edition. You can also visit the backlog of Tentacle Tuesday posts.

Until next Tuesday!

~ ds

Hallowe’en Countdown III, Day 1

« Of course I believe in ghosts. Doesn’t everybody? » — Red Skelton*

Quite a task it was, keeping to just a handful of Jim Flora’s illustrations from Grosset & Dunlap‘s 1965 anthology, A Red Skelton in Your Closet.

First, matched to Arthur Guiterman‘s 1918 poem, The Superstitious Ghost:

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I’m such a quiet little ghost,
Demure and inoffensive,
The other spirits say I’m most
Absurdly apprehensive.

Through all the merry hours of night
I’m uniformly cheerful;
I love the dark; but in the light,
I own I’m rather fearful.

Each dawn I cower down in bed,
In every brightness seeing,
That weird uncanny form of dread —
An awful Human Being!

Of course I’m told they can’t exist,
That Nature would not let them;
But Willy Spook, the Humanist,
Declares that he has met them!

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Nine Little Goblins, by James Whitcomb Riley

They all climbed up on a high board fence —
Nine little goblins, with green-glass eyes —
Nine little goblins that had no sense,
And couldn’t tell coppers from cold mince pies;
And they all climbed up on the fence, and sat —
And I asked them what they were staring at.

And the first one said, as he scratched his head
With a queer little arm that reached out of his ear
And rasped his claws in his hair so red —
“This is what this little arm is fer!”
And he scratched and stared, and the next one said,
“How on earth do you scratch your head?”

And he laughed like the screech of a rusty hinge —
Laughed and laughed till his face grew black;
And when he choked, with a final twinge
Of his stifling laughter, he thumped his back
With a fist that grew on the end of his tail
Till the breath came back to his lips so pale.

And the third little goblin leered round at me —
And there were no lids on his eyes at all —
And he clucked one eye, and he says, says he,
“What is the style of your socks this fall?”
And he clapped his heels — and I sighed to see
That he had hands where his feet should be.

Then a bold-faced goblin, gray and grim,
Bowed his head, and I saw him slip
His eyebrows off, as I looked at him,
And paste them over his upper lip;
And then he moaned in remorseful pain —
“Would — Ah, would I’d me brows again!”

And then the whole of the goblin band
Rocked on the fence-top to and fro,
And clung, in a long row, hand in hand,
Singing the songs that they used to know —
Singing the songs that their grandsires sung
In the goo-goo days of the goblin-tongue.

And ever they kept their green-glass eyes
Fixed on me with a stony stare —
Till my own grew glazed with a dread surmise,
And my had whooped up on my lifted hair,
And I felt the heart in my breast snap to,
As you’ve heard the lid of a snuff-box do.

And they sang “You’re asleep! There is no board fence,
And never a goblin with green-glass eyes! —
’tis only a vision the mind invents
After a supper of cold mince pies. —
And you’re doomed to dream this way,” they said, —
“And you sha’n’t wake up till you’re clean plum dead!”

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« It blew into the village from the sea one stormy night — a ghostly ship, with a ghostly crew and ghostly ways… » — Richard Middleton, The Ghost Ship. Read and/or listen to the entire yarn here!
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The Spook Upon the Stair, by Andrew McCullen, aka Robert Arthur (1965)

I met a spook upon the stair;
He was a haunt who had no hair.
In fact, he didn’t have a head
(Which made me think he might be dead).

His head I saw beneath his arm,
Safely tucked away from harm,
But still to me it spoke, and said,
“Before you go on up to bed,
Please let me say you should not stare
At ghosts you meet upon the stair.”

Thus spoke that spook, I do not lie,
Before I could quite pass it by.
“The thoughtful, gentle thing to do,”
It said to me, as I say to you,
“Is act as if they were not there,
And never, never, never stare,
Even though beneath an arm
Their heads they carry, safe from harm.”

“However frightful they may be,
Act as if you did not see,
And if you  did, would not have cared.
Above all, never show you’re scared.”

This spook he spoke so plain and fair,
I heeded him, right then and there.

I hurried on up to the top
And as I went I heard a pop.
I turned — and there was nothing there.
The spot the spook had been was bare.

 

If you dig his work (of course you do!), Jim Flora (1914-1988) you’ll be right chuffed to learn that his œuvre has been the subject of a quartet (at last count) of definitive and definitely gorgeous monographs, The Curiously Sinister Art of Jim Flora, The Mischievous Art of Jim Flora, The Sweetly Diabolic Art of Jim Flora and The High Fidelity Art of Jim Flora. Dig in!

– RG

*actually (fittingly) ghost-writing editor Robert Arthur (1909-1969), chiefly remembered as the creator of the Three Investigators series. We took a not-so-furtive peek at one of his excellent anthologies during last year’s countdown.

Tentacle Tuesday: Newspaper Ink

Greetings! Today we take another foray (I started with Tentacle Tuesday: the Many-Armed Tentacle Strip) into (modern) newspaper strips. It’s easy to assume that everything published in your paper’s comics page is drivel, but there’s some reassuring exceptions to this rule.

First, we have Canadian Pooch Café, around since 2000. One wouldn’t think that a strip about a dog (Poncho, the terror of the neighbourhood) and its owners and friends would have tentacles in it,  but it does, much to my delight.

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The fish in the bowl (named Fish) is a recurring character, cohabiting (and occasionally having his life and safety threatened by) Poncho.
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All cats in this strip are purple and are indistinguishable one from another.

Scary Gary, by Mark Buford, follows the everyday tribulations of a 700-hundred year old vampire who’s gone quite soft and suburban. The most excitement he can hope for is purchasing a new bag of chips… on the other hand, his henchman Leopold’s life is a whirl of nefarious, villainous schemes and ploys.

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In case you didn’t know what a mind flayer is, it’s the same thing as an illithid 😉

My colleague has talked in detail about a certain crotchety witch in Growing Old Gracelessly With Broom-Hilda, so I’ll just leave this one strip here (and politely inquire why Broomie thinks that the octopus isn’t good enough to cuddle with, huh, HUH??)

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Mark Tatulli’s Lio is a riot of tentacles, given that Lio’s best friend is a giant squid. All of it is pretty fun, but once in a while I’m so charmed that I save the strip to my computer. Here are some of those saved, favourite strips:

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No doubt Dr. Zoidberg would rush towards the seafood buffet offer with similar speed. Or is Ishmael just angry for friends of his that have been fried?

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Ishmael painting by Lio fan Nina Levy. Visit her blog Daily Napkins!

Bizarro – ah, to be able to rely on something that’s still good some thirty-plus years later -, has already had a Tentacle Tuesday of its own (see Let’s Get Bizarro), but since then I’ve accumulated a few extra strips.

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Bizarro-eyeball

~ ds

Hot Streak: Chris Samnee’s Daredevil

« Oh, this is perfect . . . this is exactly what comic books are supposed to look like. » — Chris Samnee on encountering Frank Robbins‘ “Man-Bat Over Vegas” [ source ]

For a change of pace, here’s an artist in the prime of life and at the peak of his powers.

Chris Samnee, born in 1979, first caught my interest when he collaborated with Roger Langridge on Thor: The Mighty Avenger, for which he reaped the 2011 Harvey Award for Most Promising New Talent. But some of my superhero-lovin’ friends had been raving about Samnee’s work for a while.

While obviously a man of his time, he’s clearly drunk deep from the well of classic illustration, comic books and most of all, comic strips. It’s hard to miss in his work echoes of Alex Toth, Doug Wildey, Frank Robbins, Milton Caniff, Will Eisner, Roy Crane… an artistic heritage not too unlike his fellow Daredevil alumnus David Mazzucchelli‘s… fine company, plumb in that sweet spot between ‘realistic’ and ‘cartoony’, and wisely drawing from both.

As befits a first-rate cover artist, Samnee thoroughly thinks and feels his pictures through, thumb-nailing his layouts and planning his moves. Here are some of his preliminaries from The Rocketeer: Cargo of Doom (2011), for which he shared (with David Aja) the 2013 Will Eisner Award for Best Penciller/Inker.

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Cargo of Doom marks the first time ever when the character of Betty isn’t sexualized to the hilt. That’s got to count for something.
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This is Daredevil no. 9 (Dec. 2014). Incidentally, after the intrusion of bar codes on covers in 1975, followed by an increasingly hard-sell culture, the kind of elegantly spare, striking design I personally gravitate to hasn’t had it easy. A surprising step in the right direction came in recent years with the demise of the Comics Code, the introduction of digital editions and the appearance of a handful of enlightened editors (take a bow, Axel Alonso!), first at DC/Vertigo, then (as usual) later at Marvel.
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This is Daredevil no. 10 (Jan. 2015). Another example of a digital edition: compare this to a 1970s Marvel cover!
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This is Daredevil no. 11 (Feb. 2015). The Stunt-Master, seen here, first appeared in Daredevil no. 58 (Nov. 1969). It was the era of Evel Knievel and his Daredevils.
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This is Daredevil no. 11 (Feb. 2015). Hey, even more room for the art!
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And this is Daredevil no. 13 (Apr. 2015).

And speaking of inks, he sharply stands out in that regard in today’s assembly-line industry. It’s different for every artist, but Samnee loves to ink. He claims: « My pencils are just awful. I can’t imagine anybody else inking me nowadays because most of the work is done in the ink. ». I can relate.

While I greatly enjoyed Thor: The Mighty Avenger, the covers were solid but not outstanding. But Mr. Samnee’s still improving (!), and so a couple of years down the pike, and with the crucial input of colourist Matthew Wilson, a man without fear of colour saturation, we have a hot streak! And yeah, surrounding issues 8 and 14 kind of fell flat, so it’s a fairly short one. But there are quite a few quite outstanding covers outside of this subjective selection, so keep an eye out, and prepare to have it dazzled.

-RG

The Prodigious William Stout

« You know, the dog food that Billy Jack loves! » — The Firesign Theatre

Ah, September the 18th. Today’s the birthday of the staggeringly accomplished William Stout (born in 1949), master of ancient reptiles, bootleg record covers, friend of The Firesign Theatre, former Russ Manning assistant (none but the best would do!), and I’ll spare you the illustrious details of his career in cinema. Still, let’s look around a bit, shall we?

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Here’s an unforgettable cover from Alien Worlds no. 3 (July, 1983, Pacific Comics). This scene gave me nightmares, and still raises a shudder. These critters look like a hybrid of a platypus and a piranha. Happy landings!
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Stout’s wonderful original logo for Rhino Records, circa 1974.

Speaking of ’74, isn’t that rhino a dead ringer for Swan’s oleaginous right-hand man, Philbin, from Phantom of the Paradise?

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This is the back cover (the recto is equally sumptuous) for The Firesign Theatre‘s 1975 opus, In the Next World, You’re On Your Own, featuring a pair of classic sidelong suites, Police Street and We’ve Lost Our Big Kabloona.
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A clutch of underground classics? Sure. Here’s Cocaine Comix no. 1 (Feb. 1976, Last Gasp).
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Another number one (with a bullet, of course): 50’s Funnies no. 1 (1980, Kitchen Sink). More lies inside!
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A favourite page from Stout’s masterpiece (or certainly his great labour of love, at the very least): The Dinosaurs: A Fantastic New View of a Lost Era (1981, edited by Byron Preiss). This piece (the first he drew for the book) is entitled Hot Weather. « After lifting his head for air, he drank more and then wallowed his whole length and breadth into the ooze, vocalizing for the first time that day, and loudly. »
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Say hello to friendly Ed Gein. Weird Trips no. 2 (1978, Kitchen Sink). Please note the sinisterly customized Kitchen Sink Enterprises logo, Wrightsonbrand coffee, and EC Comics narrator The Old Witch impishly peeking from a lower-right shelf. And yes, can’t go disemboweling your fellow man and woman without a copy of Gray’s Anatomy. Preparation is everything!
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Well, there never was any doubt that Mr. Stout was an EC Comics überfan. The Comics Journal no. 81 (May, 1983, Fantagraphics).
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I did bring up his Hollywood work, so here’s a sample. I wasn’t going to go with his the far-too-familiar Rock ‘n’ Roll High School poster… you all know it already, so where’s the fun in that? Of course, Joe Dante’s Amazon Women on the Moon again (1987) raises the eternal question: « Who made Steve Guttenberg a Star? »

And that’s Bill Stout for you: stunningly versatile, but always himself. Could any artist strive for more?

-RG

Tentacle Tuesday: Cute Critters

Sometimes I stumble upon a comic with a fight-to-the-death scene in which something-or-other- with-tentacles plays the role of a lethal enemy for our hero – but upon closer inspection, in turns out that the ferocious creature is… gosh-darned cute. I mean, how can you kill anything that has adorable whiskers, or tufted eyebrows like Oscar the Grouch?

When your attackers are carrots with tentacles, and they really get on your nerves (although I think Ann is safer with them than with Dr. Maylor), I’d suggest throwing them into a nice big pot of soup, maybe… but if you please, do consider abstaining from flinging acid at them.

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I do believe that prehensile vegetables fit into the category of “cute” – just look at their precious little root-legs! Page from Heroes Out of Time!, scripted by Manly Wade Wellman (hey, cool!), with some very stylish art by Bob Oksner on pencils and Bernard Sachs on inks, printed in Mystery in Space no. 3 (August-September 1951).

While we’re on that topic: things get delightfully wacky and madcap (not much) later in the story. Namely, Napoleon Bonaparte and Benjamin Franklin are summoned for help against the tentacled carrot-horde.

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The Flaming Carrot would not be pleased by this massacre. If only to admire the art, you can read Heroes Out of Time! here.

Thank you kindly for suppressing your urge to sock the creature sporting a unibrow and bloodshot eyes worthy of Christopher Lee; it’s also not his fault he got lumbered with such a shaggy wig.

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Detail from the cover of The Marvel Family no. 80 (February 1953), pencils by C. C. Beck and inks by Pete Costanza.

Have the goodness to think twice before pitching lethal ice cubes at an owl, even if it somehow grows metal tentacles and threatens to make mince-meat of humanity, because owls are the very cutest.

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Panels from The Man-Ape Skin Diver!, scripted by Robert Bernstein and drawn by Howard Sherman, published in Action Comics no. 257 (October 1959).
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“Wiggle-thing”? Excuse me?

Pray, don’t kill anything that looks like it’s wearing a dragon wearing a really bad disguise, including a moustache that looks like a pile of hay.

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A panel from Fate is the Killer (a preview of a Masters of the Universe story), scripted by Paul Kupperberg, pencilled by Curt Swan and inked by Dave Hunt, published as a promotional bonus in several DC titles cover-dated November, 1982.

If you would be so good as to spare the creature that looks like a mashup of a seal and a mole, especially if it gazes at you mournfully with world-weary sadness.

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Masters of the Universe: The Vengeance of Skeletor! (1982), cover by Alfredo Alcala.

~ ds

Walter Gibson and His Shadow

« The stranger’s face was entirely obscured by a broad-brimmed felt hat bent downward over his features; and the long, black coat looked almost like part of the thickening fog. » –Harry Vincent first encounters his future employer. (Shadow Magazine, April/June, 1931)

We note today the birth anniversary of Walter B. Gibson (September 12, 1897 – December 6, 1985), an extremely prolific writer and professional magician. Gibson is best known for developing the radio character of The Shadow, through nearly three hundred stories he wrote under the collective nom de plume of Maxwell Grant.

The Shadow’s had an interesting and varied career in comics, but Gibson’s novels (and the radio shows… Orson Welles!) are where it’s at. Still, let’s take a look around, shall we?

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This is The Shadow Comics Vol. 3, no. 12 (March, 1944, Street and Smith); cover possibly by Vernon Greene. That Thade seems like a friendly sort, mayhap a tad overly so.
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This is The Shadow Comics Vol. 7, no. 12 (March, 1948, Street and Smith); cover by Bob Powell.
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Now why were Archie Comics allowed to take such ridiculous (though I’ll grant, perversely entertaining) liberties with The Shadow? Must have been a lull in the revival market, I suppose. This is The Shadow no. 1 (August, 1964, Archie), cover by Paul Reinman. You just wait until the subsequent issues…
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This, however, is not quite how Gibson envisioned and portrayed the mysterious Shadow. This off-model rendition hails from Archie Comics’ 8 issue, 1964-65 run, helmed by Superman co-creator Jerry Siegel and Golden Age journeyman Paul Reinman. This be The Shadow no.8  (September, 1965).
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A privileged peek at Frank Robbinsoriginal cover art for The Shadow no.7 (Nov. 1974), second of his four (or so) covers for DC, featuring Night of the Beast!, scripted by Denny O’Neil. Yummy… but too short.
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Two great Street & Smith pulp heroes face off! Mr. Kaluta takes some artistic license here, however, since Ike (as The Avenger calls his throwing knife), is supposed to be small and almost needle-like, not a freakin’ butcher knife. Come to think of it, the Shadow’s trusty automatics look like something a Rob Liefeld character would wield. One doesn’t encounter often the final three issues of DC’s initial run of The Shadow. Post-Kaluta (save the covers) and post-Robbins, the art was handled by Filipino artist E.R. Cruz, who did a commendable job, while series regular Denny O’Neil (who wrote all issues except for number 9 and 11, Michael Uslan ably filling in) stayed until the curtain was drawn.
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Skipping the heinous Howard Chaykin revival, in which he delighted in sadistically dispatching The Shadow’s aged former operatives in gruesome ways (why do these people always call themselves fans of the original series?), we move on to the Andrew Helfer-Bill Sienkiewicz regular book. Better, but still not great. This is The Shadow no. 3 (Oct. 1987). Cover by Bill Sienkiewicz.
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Ah, now things perk up. A nasty but excellent tale, worthy of Michael Fleisher at his bugfuck best; the shade of Marshall Rogers and smart up-and-comer Kyle Baker were a good visual match. This is The Shadow no. 7 (Feb. 1988).
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This is Kyle Baker’s cover for the finale of his and scripter Andrew Helfer’s thrilling and hilarious Seven Deadly Finns saga (no. 13, March 1988) that made The Shadow such a must-read title. To quote Kate Bush, « What made it special made it dangerous », and the folks at Condé Nast, who hold the rights to the classic Street & Smith characters (also including Doc Savage and The Avenger) reportedly got twitchy* at the reckless liberties the Helfer-Baker team were taking and pulled the plug after issue 19, where a beheaded Shadow gets a big action robot body. The Shadow was rebooted the following year in more obedient hands, with quite pedestrian results.

As a bonus, let’s slightly depart from comics proper and admire a couple of paperback reissues from the brush of noted fabulist James Steranko.

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Steranko comes up with one of his subtlest, most unctuously moody covers for Pyramid’s 1974-78 series of Shadow paperbacks that introduced these classic pulp adventures to a new audience, picking up where its predecessors Belmont (1966-67) and Bantam (1869-70) had left off. Pyramid had one extra trick in its bag, though: Jim Steranko, who painted tantalizing covers for each of Pyramid/Jove’s twenty-three volumes. This particular case file, MOX, « from The Shadow’s annals as told to Maxwell Grant » originally appeared in The Shadow Magazine vol. 7, no. 6 (November, 1933).
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Natty dresser Jim Steranko has built up, over the years, quite a biography for himself. Of his numberless and prodigious accomplishments, my favourites are those that actually happened, such as a stunning series of cover paintings for Pyramid Books’ reprints of vintage Shadow pulps from the 30s and 40s. This one, twenty-second in a set of twenty-three, was published in March of 1978. The Silent Death initially saw print in The Shadow Magazine, Vol. 5, no. 3 (April 1, 1933.)

-RG

*which everyone apparently’s been denying since.