Some more Comic Book Cats highlights

Since July I have been posting Comic Book Cats entries daily on the Comic Book Historians group on Facebook. The object is to see how many different pencilers I can find artwork by featuring cats. These posts are being archived on First Comics News. Here are 10 more highlights, taken from entries 51 to 100.

Frank Robbins

House of Mystery #241, drawn by Frank Robbins, written by Jack Oleck and lettered by Ben Oda, published by DC Comics in May 1976.

“Paid in Full” is described by House of Mystery host Cain as an “eerie black cat tale.”  Hold-up man Cass, wounded in a shoot-out with the police, hops a freight train out of town.  Coming to in Kentucky, he is nursed back to health by elderly Martha Wright, who lives in a cabin with her cat Lucifer.  Unfortunately for Martha, Cass realizes she is a witch and threatens to shoot Lucifer if she does not use her magic to conjure up money for him.

Cass then orders Martha to give him “a new face, a new body” so that he can evade the police.  She creates a formula that will do this, and the criminal thanks the old lady by murdering her.  Burying her in the woods, Cass downs the formula.  It does indeed give him a “new” body, one that is only six inches tall.  And waiting for the now mouse-sized Cass is a very angry Lucifer, ready to enact revenge.

I know that my experience with Frank Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art.  I feel Robbins’ work was more suited to war, adventure, mystery and horror stories than superheroes.  DC’s horror anthologies were the perfect venue for Robbins’ talents.  He definitely drew the heck out of “Paid in Full,” rendering an atmospheric little tale that is capped off with a strikingly ferocious black cat on the prowl.

Tania Del Rio & Jim Amash

Sabrina the Teenage Witch volume 2 #58, written & penciled by Tania Del Rio, inked by Jim Amash, and colored by Jason Jensen, published by Archie Comics in August 2004.

Archie Comics decided in 2004 to take Sabrina the Teenage Witch in a manga-inspired direction, with stories & artwork by newcomer Talia Del Rio.  This direction lasted for 42 issues, with Del Rio working on the entire run.  She was paired up with frequent Archie inker Jim Amash.

In this scene from Del Rio’s first full issue, Sabrina is bummed at having been chewed out by her aunts for coming home late from a date with her boyfriend Harvey.  Unfortunately for Sabrina, matters soon become even worse, as her cat Salem reminds her that she has a report due at school tomorrow.  As a despondent Sabrina conjures up a can of Zap cola and sets to work on her report, a less than sympathetic Salem observes “It’s going to be a LONG night…”

Joe Eisma

Faith #10, drawn by Joe Eisma, written by Jody Hauser and lettered by Dave Sharpe, published by Valiant Entertainment in April 2017.

The various enemies of Faith Herbert, aka Zephyr, join forces to gain revenge on the telekinetic superhero.  Among the members of the nefarious Faithless is Dark Star, “a parasitic psiot entity currently trapped in a cat.”  Dark Star may look cute and cuddly, but trust me, he’s a major @$$hole.  Just don’t give him any champagne.  He gets drunk REALLY easily.

Faith was a really good comic book series.  Jody Hauser’s stories were both poignant and humorous.  She did a great job developing Faith Herbert’s character.  The artists who worked with Hauser on the miniseries and ongoing all did high quality work.

Joe Eisma has also drawn Morning Glories for Image Comics and several titles for Archie Comics.  He is definitely very adept at drawing teenage characters.

Auraleon

Vampirella #32, drawn by Auraleon and written by Steve Skeates, published by Warren in April 1974.

This back-up story features an early appearance by Pantha, the lovely feline shape-shifter who would go on to become Vampirella’s close friend.  This beautifully illustrated page sees Pantha transforming from her panther form back into her human self.  Pacing along beside her in the final panel is a black cat, who perhaps recognizes her as a kindred spirit.  After all, black cats have often been described as “mini panthers.”

Auraleon, full name Rafael Aura León, was another of the incredibly talented Spanish artists who worked for Warren throughout the 1970s.  He was one of the most prolific artists at Warren, rendering stunning, atmospheric work.

Auraleon also illustrated stories in various genres for Spanish and British publishers.  Tragically, Auraleon suffered from depression, and he committed suicide in 1993.

George Papp

Superboy #131, drawn by George Papp, published by DC Comics in July 1966.

“The Dog from S.C.P.A.” sees Krypto the Superdog joining several other super-powered canines as a member of the Space Canine Patrol Agents.  Krypto must rescue the other members of the S.P.C.A. from the clutches of the Canine Caper Gang.  The two sides fight to a draw, at which point the Gang agree to leave if Krypto promises to take them “to a new world, where there aren’t any canine agents.”  Krypto agrees, and the desperado dogs are elated at the thought of being able to carry on their larcenous activities unhindered… until they discover that Krypto has taken them to a planet with a different sort of S.P.C.A., specifically the Space Cat Patrol Agents!

What a great twist ending!  I’m just a bit disappointed that we never got to see Atomic Tom, Crab-Tabby and Power Puss team up with Streaky!

George Papp was one of the regular artists on Superboy from 1958 to 1968.  Among his other credits, Papp drew some of the early Legion of Super-Heroes stories and co-created Green Arrow with Mort Weisinger.  Unfortunately he was one of several older creators who were fired by DC Comics in the late 1960s when they requested health & retirement benefits.  Papp then went into advertising.  He passed away in 1989 at the age of 73.

Reed Waller

The Complete Omaha the Cat Dancer Volume 4, cover artwork by Reed Waller, published by Amerotica / NBM in 2006, reprinting Omaha the Cat Dancer #10-13, written by Kate Worley and drawn by Reed Waller, published by Kitchen Sink Press in 1988 and 1989.

My girlfriend Michele Witchipoo is a huge fan of Omaha the Cat Dancer.  She recommended that I spotlight Omaha in Comic Book Cats.

Omaha the Cat Dancer was created by Reed Waller in 1978.  Omaha initially appeared in several anthologies throughout the late 1970s and early 1980s.  An ongoing series began in 1984, and with the second issue Kate Worley became the writer. Waller and Worley collaborated on Omaha for the next two decades.  Worley unfortunately passed away in 2004. Subsequently her husband James Vance worked with Waller to complete the series.  Omaha was ultimately collected in eight volumes by Amerotica / NBM Publishing.

Omaha the Cat Dancer is set in a universe populated by anthropomorphic “funny animal” characters and is set in Mipple City, Minnesota, a fictionalized version of Minneapolis.  It stars Susan “Susie” Jensen, a feline who under the name Omaha works as a stripper and pin-up model, and her boyfriend Charles “Chuck” Tabey, Jr. aka Chuck Katt.  Initially conceived by Waller to protest against censorship and St. Paul’s blue laws, the series evolved into a soap opera.

As you can no doubt tell from the premise, as well as from Waller’s artwork, there is a great deal of sex and nudity in Omaha the Cat Dancer.  Although explicit, these elements are often utilized in the service of telling the story and developing the relationships between the characters.

B. Kliban

Cats by B. Kliban, written & drawn by Bernard Kliban, published by Workman Publishing Company in September 1975.

Bernard Kliban’s 1975 collection of cat cartoons has been referred to as “the mother of all cat books.” The book was a massive bestseller, and today Kliban’s iconic depictions of felines are recognized the world over. This cartoon from that book all-too-accurately captures the experience of becoming a “cat person.” You start off with just one, and the next thing you know…

Kliban’s cartoons also appeared regularly in the pages of Playboy for throughout the 1970s and 80s. He passed away in August 1990 at the age of 55.

Don Heck

Journey Into Mystery #62, drawn by Don Heck, published by Atlas / Marvel Comics in November 1960.

“There Is a Brain Behind the Fangs” is such an odd little tale. I’m just going to use the Grand Comics Database’s description:

“A man is convinced that dogs are secretly planning to take over the world. His friend hypnotizes a dog and proves that it cannot understand complex questions. Neither suspects that the dog has been hypnotized by the cat.”

Yes, that’s correct, dogs are planning to take over the world, but the actual masterminds behind the scheme are cats! That sounds about right.

Say, the cat in this story sort of resembles my own cat Nettie. You don’t think…? Naah, it couldn’t be!

Seriously, this story features some nice art by the often-underrated Don Heck. As has often been observed, Heck’s strengths lay outside of superheroes, and as that genre came to dominate comic books he was unfortunately asked to work within it more and more often. Heck’s work in mystery, horror, war, romance and Westerns was always very effective. As seen on this page, he was certainly adept at illustrating animals such as dogs and cats.

Kelley Jones & Malcolm Jones III

Sandman #18, penciled by Kelley Jones, inked by Malcolm Jones III, written by Neil Gaiman, lettered by Todd Klein and colored by Robbie Busch, published by DC Comics in November 1991.

It’s been quite a few years since I’ve read Sandman. I had the first few trade paperbacks, but I lent them to someone over a decade ago, never got them back, and haven’t seen them since. So I had to be reminded of “A Dream of a Thousand Cats” from issue #18, which several people suggested I showcase. Here is a page of that story, taken from the digital edition. One of these days I should replace my copies of the physical books. Fortunately the trade paperbacks are easy to find.

Kelley Jones is yet another of those artists who when I first saw his work I was not especially fond of it, finding his figures to be grotesque and distorted. However, I very quickly came to appreciate Jones’ art. He excels at creating moody, atmospheric scenes. As seen here, he also draws some wonderfully detailed, expressive cats. Inking is by Malcolm Jones III, who was also paired with Jones on the Batman & Dracula: Red Rain graphic novel.

Gus Arriola

Gordo by Gus Arriola, published on November 6, 1977.

Comic book creator and fellow cat-lover Richard Howell introduced me to Gordo, the newspaper comic strip created by Gustavo “Gus” Arriola that ran from 1941 to 1985.  The series chronicled the life of Mexican bean farmer, and later tour guide, Perfecto Salazar “Gordo” Lopez. There were a number of animals that appeared regularly in Gordo, including three cats: an orange tabby named Poosy Gato, a black cat named PM, and PM’s kitten Bête Noire.

In this Sunday strip, we see Poosy trying to figure out a new place to take a nap, since he’s bored with all of the usual locations. Arriola definitely draws a cut cat and invests him with personality.

Arriola passed away on February 2008 at the age of 90.

Thanks for stopping by. Once again, please remember to check out First Comics News for the rest of the Comic Book Cats entries, as well as for the Daily Comic Book Coffee archives.

Joe Giella comic book mail call

Due to the Covid-19 pandemic all of the major comic book conventions are cancelled.  It’s unfortunate, but certainly understandable.  “Con crud” is a real thing at the best of times, and any huge comic con would be a major health hazard.

I enjoy going to comic cons for the opportunity to meet creators and get their autographs on books that they worked on.  Obviously that is NOT happening this year.  So this summer I contacted a few creators via social media and asked if I could mail them books to get signed.

One of these creators was longtime artist Joe Giella.  I reached out to him via his son Frank Giella, who I’ve known for a couple of decades.  I’ve gotten a couple of things signed by Joe in the past, but I had a few others I was hoping to have him autograph, so I asked Frank if I could mail them to him to pass along to his father, and he very kindly agreed.

I sent Joe Giella a few Bronze Age comic books.  I don’t have any of the really classic issues he worked on for DC Comics in the 1950s and 60s since the majority of those are out of my budget.  Whatever the case, I’m happy I had the opportunity to get these books signed.

All-Star Comics #73 (July 1978) has Giella inking the pencils of Joe Staton, another artist whose work I love.  The writing is by Paul Levitz.  I only got into the 1970s revival of the Justice Society of America in recent years when I picked up the trade paperbacks, but I immediately became a fan.  I guess I’ve always liked the JSA a bit more than the Justice League because the JSA members don’t have their own solo titles, which enables more character development to take place in their series.  Also, the Earth-2 setting allowed the original JSA members to age, and to mentor a new generation of heroes, which I enjoyed.

Joe Giella began working for DC Comics in 1949, and some of the earliest characters he ever drew for them were the members of the JSA.  Then in the early 1960s Giella was one of the artists on the stories that introduced the Earth-2 concept and which brought the JSA back into print for the first time in a decade.  Given his historic connection to these characters, I was glad to have him autograph All-Star Comics #73.

Captain America #182 (Feb 1975) was a rare Marvel Comics job by Giella.  He inked a few odd issues for Marvel during the 1970s, as well as doing full artwork on various one-off projects such as a few t-shirts and The Mighty Marvel Superheroes’ Cookbook, which was an actual thing.  Here Giella is inking Frank Robbins.  This was during the period following the classic “Secret Empire” storyline by Steve Englehart when a disillusioned Steve Rogers abandoned the Cap identity and became Nomad.

I know that my experience with Robbins’ work parallels a number of other readers, in that initially I disliked it, over time I gradually learned to appreciate it, and now I now really enjoy his art.  I feel Robbins’ work was more suited to war and mystery and horror stories than superheroes, but even on the later genre I find there’s quite a bit to appreciate.  I think Giella did a very nice job inking Robbins on this issue, and I wish they had worked together more often.

Superman Family #200 (March 1980) was a really fun “imaginary story” written by Gerry Conway.  Set 20 years in the future (late 1999 to be specific) it featured Clark Kent and Lois Lane married with a teenage daughter named Laura.

There were several art teams on Superman Family #200.  The portions of this issue that Giella inked were penciled by Bob Oksner, another great artist whose work I have grown to appreciate in recent years.  Oksner & Giella made an effective art team.  That’s another collaboration I wish we had seen occur more frequently.

Finally, here is the variant cover that Giella drew for the sixth issue of the Archie Meets Batman ‘66 miniseries published by DC and Archie Comics (March 2019).  Giella is apparently the oldest living Batman artist, so I really wanted to have him sign something featuring the Dark Knight of Gotham City.  This cover is a nice piece which demonstrates that Giella, now in his early 90s, is still going strong as an artist.

Thanks again to Joe Giella for autographing these books, and to his son Frank for arranging everything.

Happy 75th birthday Roy Thomas

Today is the 75th birthday to influential comic book writer, editor and historian Roy Thomas, who was born on November 22, 1940.  Additionally, this year marks 50 years of Thomas’ professional involvement in the comic book field, having started in it in the summer of 1965.

Happy birthday to Roy Thomas from Conan the Barbarian

It has sometimes been opined that while Stan Lee, Jack Kirby and Steve Ditko created the majority of the building blocks of the modern Marvel universe, it was Thomas, along with Steve Englehart, who structured them into a cohesive whole.  Thomas was often the writer who was chosen by Stan Lee to take over on various Marvel series as the editor-in-chief’s workload increased and the line of titles expanded.

Some of my favorite early work by Thomas was on Avengers.  He chronicled the adventures of Earth’s mightiest heroes from issue #35 (Dec 1966) thru #104 (Oct 1972).  During this six year period Thomas, often working with penciler John Buscema, introduced the Vision, Ultron, the Grim Reaper, the Black Knight, Yellowjacket, Arkon, Red Wolf, the Squadron Supreme and the Zodiac.

From Avengers #89 to #97, Thomas, paired with artists Neal Adams, Sal Buscema, John Buscema and Tom Palmer, crafted a lengthy storyline of intergalactic warfare & intrigue that came be known as “The Kree-Skrull War.” In addition to establishing ties between two extraterrestrial races first devised by Lee & Kirby, this story arc set the groundwork for the lengthy relationship between the Vision and the Scarlet Witch.

Looking back on Thomas’ work on Avengers, one can see that he devised characters and stories that numerous other writers at Marvel would continue to utilize and built upon for decades to come.

Avengers 58 pg 10

Thomas was instrumental in convincing Lee and Marvel publisher Martin Goodman to approve a comic book starring Conan, the barbarian adventurer created by Robert E. Howard.  Conan the Barbarian #1 debuted in 1970, written by Thomas, with pencils by a young Barry Windsor-Smith.  Within a year and a half Thomas’ old collaborator John Buscema took over as penciler.  Thomas also wrote Marvel’s black & white magazine Savage Sword of Conan, which began in 1974, as well as a newspaper strip that ran from 1978 to 1981.

By encouraging Marvel to publish the Conan the Barbarian comic book, and then writing so many epic, memorable stories featuring the character, Thomas played a major role in making Conan a well-known, popular character.

Another landmark in Thomas’ career was the World War II superhero series The Invaders.  Thomas worked with veteran artist Frank Robbins on this book.  The Invaders was Thomas’ love letter to the Golden Age of superhero comics which he had grown up reading and for which he possesses a deep fondness.

Initially a team-up of Timely Comics big three Captain America, Namor the Sub-Mariner, and the Human Torch, Thomas would gradually introduce an entire cast of costumed heroes.  These were both of the genuine Golden Age variety, such as the Whizzer and Miss America, and of brand new characters he created to retcon back into the Marvel universe of the early 1940s, such as Spitfire and Union Jack.

Another aspect of The Invaders was that Thomas, Robbins and their collaborators devised a number of Axis villains.  If you look back at the actual Timely comic books of the early 1940s, aside from the Red Skull there really were no major super-villains who made a lasting impact, just a number of oddball menaces who were all-but-forgotten a couple decades later.  To rectify that, Thomas and Robbins introduced Master Man, Warrior Woman, U-Man, and Baron Blood as arch-foes for their heroes to fight.

Invaders 20 pg 1

Although the original run of The Invaders lasted less than five years, from 1975 to 1979, the various characters have been the subject of numerous revivals in the decades since.  Thomas himself has been involved in a few of these, returning to Marvel at various points to write new adventures of his Nazi-smashing heroes.

The length and breadth of Thomas’ five decade involvement in comic books is something that I cannot even begin to do justice in a short blog post.  For an in-depth look at his career, however, you need look no further than the magazine Alter Ego.  Edited by Thomas, this excellent magazine has been published by TwoMorrows Publishing since 1999.

Thomas was interviewed at length by Jim Amash on several occasions for Alter Ego.  Each of these examined roughly a decade of Thomas’ career, with the 1960s being covered in Alter Ego #50, the 1970s in #70, the 1980s in #100, and the 1990s in the just-released #136, with the late 1990s and beyond scheduled to be covered in the upcoming #139.  I’ve found these interviews to be extremely informative.  Thomas presents an honest and insightful recounting of his career.

Alter Ego 136 cover

Here’s the cover to Alter Ego #136.  In the center is a humorous cartoon of Thomas drawn by veteran artist Marie Severin.  Surrounding it are images taken from the covers of some of the series Thomas worked on at Marvel in the 1990s, specifically the four issue revival of The Invaders with penciler Dave Hoover, Doctor Strange, Secret Defenders, Avengers West Coast, and Thor.

I want to wish both a happy birthday and a happy anniversary to Roy Thomas.  Here’s hoping for many more years to come.

Comic books I’m reading, part two: trade paperbacks

After I wrote my post about what I was reading from Marvel and DC, I realized that I had left out something crucial: trade paperbacks.

Trade paperbacks have the advantage of containing a complete story or, in the case of the black & white Marvel Essential and DC Showcase Presents volumes, several hundred pages of reprints for twenty dollars or less.  TPBs often give you a lot more value for your money than a single issue “pamphlet” which only contains 22 pages, and they are much more durable.  I find it easier to take a TPB on the train or bus to read, because if it gets knocked around a bit, it won’t end up being destroyed.

I recently picked up a pair of trades published by DC which both featured the artwork of Jose Luis Garcia-Lopez.  The first one, JLA: The Hypothetical Woman, was written by Gail Simone.  It has to be one of the best Justice League stories that I have read in years.  Simone absolutely understands  how to write the JLA’s team dynamics, highlighting the particular strengths of each member while still showing that the whole is greater than the sum of its parts.  And she gives the team a truly worthy adversary in General Tuzik, a ruthless Machiavellian dictator who seems to spend the majority of the story one step ahead of the League.  You really are left wondering how the JLA is going to get through this one.

JLA: The Hypothetical Woman
JLA: The Hypothetical Woman

The artwork is stunning.  This is some of the finest penciling by Garcia-Lopez in his entire career.  He draws a story on a truly epic scale, with both superhuman spectacles and intimate personal moments.  And his Wonder Woman… she is absolutely breathtaking, especially in the story’s second half, when we see her on the field of battle, a commanding portrait of beauty & strength.  Garcia-Lopez is very ably complemented by inkers Klaus Janson and Sean Phillips on this book.

I believe that JLA: The Hypothetical Woman is out of print, but a number of copies are still available on Amazon.com.  I definitely recommend picking it up.

The other TPB with Garcia-Lopez’s pencils is Batman: King Tut’s Tomb, which reprints “A New Dawn” from Batman Confidential #s 26-28.  Yes, the comic books actually use the television bad guy King Tut, but he is completely revamped into a credible, dangerous criminal by writers Nunzio DeFilippis & Christina Weir.  Batman is forced to team up with his long-time foe the Riddler to track down Tut.  DeFilippis & Weir do a great job with that character, making him a very mischievous, devil-may-care rogue.  In a way, you have to admire their version of the Riddler.  Unlike most of Batman’s foes, he isn’t a homicidal maniac.  Instead, the Riddler’s goal is to commit clever crimes and outwit Batman, proving his the superior intellect.

Again, Garcia-Lopez’s artwork is of a high quality.  He is inked by Kevin Nolan, who has an extremely slick, polished style.  I think Nolan can often overwhelm other artists with his inks, but he works very well with Garcia-Lopez.  The finished artwork is a pleasant blending of their styles.  Additionally, I liked the vibrant coloring by David Baron.

Batman: King Tut’s Tomb also contains a trio of Batman stories Garcia-Lopez drew in the early 1980s.  I don’t have any of those issues, so they were a nice bonus.

I purchased Showcase Presents: The Unknown Soldier back in December of last year.  I read the book when I had to stay in the hospital for a few days.  I’m re-reading it now, and thoroughly enjoying it once again.  It contains the character’s appearances from Star Spangled War Stories #s 151 to 188, which were originally printed in the 1970s.

Who is the Unknown Soldier?  He is an unnamed American soldier who, in the early days of World War II, was horribly disfigured in combat during the Japanese invasion of the Philippines.  Trained as an expert at infiltration and a master of disguise, he is dispatched on missions behind enemy lines to sabotage the Axis war effort.  When not wearing one of his lifelike masks, the Soldier is typically clad in trench coat & fedora, his face completely covered in bandages.

Showcase Presents: The Unknown Soldier
Showcase Presents: The Unknown Soldier

When I first read this collection of Unknown Soldier stories, it occurred to me that the concept was very similar to the Sam Raimi movie Darkman… except that film came out a good twenty years later.  Coincidence or influence?  I don’t know.  I recall that when I saw Darkman in the theater in 1990, I thought to myself that it would make a great ongoing comic book series, and I was right.  What I did not know then was that such a series already existed in the adventures of the Unknown Soldier.

This Showcase Presents volume contains work by a number of talented writers & artists.  The Unknown Soldier was created by the legendary Joe Kubert, and he collaborated with writers Bob Haney and Robert Kanigher on the first several stories.  After the first dozen or so stories, Kubert slips into the role of cover artist, also providing many of the very striking opening splash pages which combine his artwork with photo montages.  Jack Sparling takes over art chores for a time, before Filipino illustrator Gerry Talaoc becomes the regular artist for the remainder of the Unknown Soldier’s adventures.  Other writers who worked on the book are Archie Goodwin, Frank Robbins and David Michelinie.

(It is a bit of a pity that Robbins does not also provide any artwork.  He is one of those artists who when I was much younger I could not stand his work, considering it weird and rubbery.  But over time I’ve grown to greatly appreciate his immense talents.  Nowadays, when I come across a story he has illustrated, it is a real treat.)

I am not generally a fan of war comics, but I instantly became a fan of the Unknown Soldier.  I think a major reason for this is the fact that, at his core, the Unknown Soldier is really an anti-war figure.  His origin is the personification of the horror of war.  There is nothing glamorous about what he does.  Really, the Soldier’s whole reason for being is to bring an end to the conflict that destroyed his life.

I hope that one of these days DC releases a second Showcase Presents collection of the Unknown Soldier’s adventures.  The final half-dozen tales in the first volume are written by Michelinie, who really ramped up the dark moral ambiguity.  His first story, “8,000 to One,” very much drives home just what a grim, horrific role the Soldier has had to take on to carry out his mission.  And the superb artwork by Talaoc is a perfect fit for the tone of Michelinie’s writing.  I definitely want to read the rest of their work on the character.

Before I close out this blog, I would be remiss if I did not mention a magazine that I regularly follow, Back Issue from TwoMorrows Publishing.  Superbly edited by Michael Eury, Back Issue has featured a diverse selection of articles on the comic books of the 1970s and 80s, and occasionally beyond.  The current issue spotlights the Avengers (just in time for the movie) and has some fascinating, informative interviews & commentary from Roger Stern, Steve Englehart, George Perez, Al Milgrom, Brett Breeding, and Mike Carlin, among many others.

Back Issue #56
Back Issue #56

The reason why I had to bring up Back Issue is that many of the articles that have appeared in it have led me to pick up trade paperbacks or, in the absence of collected editions, actual back issues themselves.  I’ve learned about a number of characters, series, and creators of whom I previously only had a passing knowledge.  The Unknown Soldier is one of those.  There was a pair of articles authored by Michael Aushenker in Back Issue #s 37 and 52, the first on the character of the Soldier, the second on artist Gerry Talaoc.  Thanks to these, I was sufficiently intrigued to pick up the Showcase Presents: The Unknown Soldier collection.  So, the magazine has definitely broadened my interests & horizons as a comic book reader.

BI #52, incidentally, covered DC Comics’ horror titles from the 1970s, and also got me to buy one of the Showcase Presents: The House of Mystery volumes. Going back to BI #25, Aushenker conducted an interview with Deathlok creator Rich Buckler which helped motivate me to purchase the Marvel Masterworks collection of that series.  Really, I think both DC and Marvel ought to be paying Eury and Aushenker a small commission for helping to drum up their sales!

Back Issue is definitely worth picking up.  It’s an entertaining, informative read, and you never know what else it might lead you to discover.

Anyway, next time I do one of these “comic books I’m reading” posts, I will definitely be talking about independent (i.e. non-DC and Marvel) titles.  I just need to really collect my thoughts together on what is going to be a very diverse selection of material.