My latest comics gear buy was this cool “Return of the Ant-Man” T-shirt from Stylin Online. I bought it because Marvel has invited me and my Saintly Wife Barb to the world premiere of Ant-Man and the Wasp. Marvel has been great about inviting me to events like this and I thank them for it.

The “Return of the Ant-Man” t-shirt costs $19.88 in small through extra-large. It’s also available in XXL, XXXL and 4xL at a cost of $21.88, $22.88 and $23.88 respectively.

Black Lightning suit

Even if it arrives before we leave for the premiere, I don’t plan on wearing this shirt to the premiere. I’ll be debuting the second of the two new suits I bought this year from Men’s Warehouse. The first was the one I wore to the Black Lightning premiere in D.C. earlier this year. The second, which I just picked up, is a custom-made suit with a label you might find interesting:

The young man who sold me the suits was a James Bond fan and also a comics fan. His label read: You Only Live Twice. When he told me I could get any label I wanted, my choice was obvious.

I’ll be wearing the new suit to the Ant-Man and the Wasp premiere. Look for a report on that event and a review of the movie sometime in the near future. Speaking of other comics-oriented movies and TV shows…

Marvel’s Cloak and Dagger launched on Freeform on June 7 with two episodes. I’ve since watched the third episode. Here’s the quickie introduction from

Two troubled teens find themselves with strange powers, and a mysterious connection that draws them to each other.

Cloak and Dagger were created by writer Bill Mantlo and artist Ed Hannigan. They appeared in Peter Parker, the Spectacular Spider-Man #64 (March 1982) as runaways whose run-in with a criminal chemist connected them and gave them super-powers, which they used to bring down drug dealers. Since then, Cloak (Tyrone Johnson) and Dagger (Tandy Bowen) have sometimes been considered mutants and sometimes not. In truth, the further removed they became from their Mantlo and Hannigan stories, the less interest I had in them. Fortunately, while keeping the most basic of basics, the new TV series doesn’t follow the comic books.

As young children, teens Tyrone (Aubrey Joseph) and Tandy (Olivia Holt) were exposed to energy released when a Roxxon Corporation oil rig collapses. They were in a lake at the time: Tyrone because his older brother had been shot by a bent cop and he dove in to try to rescue him. Tandy because her father, a Roxxon scientist, became distracted when the oil rig exploded while he was driving her home from a ballet lesson. Young Tyrone’s power manifested, as did young Tandy’s, and he rescued her.

Years later, their circumstances are much different. Roxxon pinned the oil rig disaster on Tandy’s father, leaving her and her mother penniless. Tandy lives in an abandoned church, pulling various cons with her boyfriend. Her never-stable mother is an alcoholic and drug abuser (Andrea Roth), chasing the fantasy she will get Roxxon into court and win a huge settlement.

Tyrone attends a Catholic high school and struggles to fit in. His mother (Gloria Reuben) is an activist struggling with the fear she might lose her only remaining child. Tyrone lives with the guilt of his brother’s death and the knowledge that his brother’s killer is still out there.

They meet by chance, reactivating their long-dormant powers. By the end of episode three, they understand they are somehow connected. Which just leaves them with more questions.

Joseph and Holt are terrific in their roles. The storytelling gets a little trippy at times, but it’s intriguing and powerful. This is the journey of two traumatized teens trying to make sense of their world while coping with their circumstances. The chemistry between the two young actors is simply amazing.

In my admiration for Joseph and Holt, I don’t want to sell anyone else short. Reuben is a commanding presence. Roth is a compelling tragic figure. Carl Lundstedt does well as the likeable young con man honestly in love with Tandy. J.D. Evermore is chilling as bent cop Connors. Noëlle Renée Bercy as Tyrone’s girlfriend Evita adds beauty, compassion and maybe a little menace to the proceedings via her voodoo-practicing aunt. It’s a great cast.

Of course, the highest kudos must go to Joe Pokaski, who created the TV show and wrote the first two episodes. He took the best of the characters and molded them into a terrific series. Right now, Cloak and Dagger is my favorite Marvel-based TV series. I’m in for the long haul.

Cloak and Dagger airs Thursdays on Freeform. It’s probably on all kinds of digital platforms, but I’m still working on mastering the remote control. For information on those platforms, you’ll have to go to someone who understands that stuff.


Avengers Grimm Time Wars

The Asylum, maker of Sharknado and other fun films, has established its own shared super-hero universe. Their source material is fairy tales. They started with Avengers Grimm (2015) with heroines Snow White, Cinderella, Sleeping Beauty, Rapunzel and Red (Riding Hood). The villain was Rumpelstiltskin.

The Asylum followed that with Sinister Squad (2016) with Alice of Wonderland fame gathering a team of fairy tale villains to combat a different version of Rumpelstiltskin. Because this is not just a shared universe; it’s a shared multiverse.

In 2018’s Avengers Grimm: Time Wars, Snow White, Sleeping Beauty and Red team with Alice and her Looking Glass organization to try to prevent a shattered multiverse from messing up all reality as we know it. The villains are Magda, the evil queen of Atlantis, and a third incarnation of Rumpelstiltskin.

Yes, the similarities you note to various Marvel and DC super-hero movies are there. The Asylum is known for its “mockbuster” takes on films with much bigger budgets.

Yes, the usual anonymous “critics” on the Internet Movie Database have been merciless in panning this film. Wanna guess how many of them have ever published or released anything? My money would be on single digits. As in zero.

Yes, I thought the movie was good cheesy fun and a terrific way to relax for an hour-and-a-half. We’ve all read much worse super-hero comics and seen much worse super-hero movies and TV shows.

I’m a forgiving viewer when it comes to low-budget movies like this one. I’m not expecting Black Panther, though I would have loved to see the Asylum’s take on that classic. I’m just asking for those 90 minutes of entertainment. If you are of a similar mind, I believe you’ll enjoy Avengers Grimm: Time Wars.


Jessica Jones Season Two poster

I had been planning to write a lengthy review of the second season of Marvel’s Jessica Jones, but realized I didn’t have much to add from my comments on the first season. Jessica Jones is resolutely about people making bad choices again and again. That would usually be a deal-breaker for me, but, in Jessica, so brilliantly played by Krysten Ritter, we have a hero whose bad choices are often defined by her PTSD (posttraumatic stress disorder). Indeed, given that a number of other characters in the series had their minds controlled by the late Killgrave, the bad choices usually worked for me.


Jessica makes some good choices this season and, while they do not offset the bad choices completely, the finale leaves her in a much better place than previously. I liked that a lot.

There are some intriguing life-changes for several members of the supporting cast. I can’t say I was wild about all of these, but I found them interesting and what to see what happens with them next season. Some of these changes will radically alter what have been some of the most solid relationships in Jessica’s life.

The big bads of the second season weren’t as black and white as in the first season. One of them was a victim herself. Though they did not match the villainy of the first season’s Killgrave, they played a necessary part in Jessica’s journey. I give them points for that. Killgrave’s reappearance from Jessica’s troubled mind did nothing for me. Normally I love seeing David Tennant in anything. Here, it seemed utterly forced. Boo on that.


The bottom line? The second season of Jessica Jones was well done with a great many blips in the quality. I definitely look forward to the show’s third season.

I’ll be back next week with more reviews.

© 2018 Tony Isabella


Hey, kids! It’s retro activist Tony Isabella! The first in a series of sartorial shots of your friendly neighborhood tipster, wearing comics or comics-related gear.

This time around, we’re showing my new “People’s Free Food program Hoodie” [$45.99]. My Facebook friend Rahadyan Timoteo Sastrowardoyo wore one to this year’s East Coast Black Age of Comics Convention. I thought it was a cool looking hoodie, even if was a little pricey for my usual tastes.

Created and run by the Black Panther Party in the early 1970s, the People’s Free Food Program provided free food to Black and other oppressed people. It was among the many community outreach services the Party offered. Whatever opinion you might hold of the Party and I admit mine are conflicted, it did some good things and tried to help people often overlooked by the government and, indeed, other Americans.


Charley's War

History also informs this week’s pick of the week. Charley’s War Volume 1: The Definitive Collection by Pat Mills and Joe Colquhoun [Rebellion; approximately $27 in U.S. dollars] reprints the stories originally published in the British weekly Battle Picture Library from January 6, 1979 to October 25, 1980. Over the past decades and in a number of different printings, I have read these chapters four or five times over. That I never tire of them is because Charley’s War is the finest war comics series of all time.

This is the story of Charley Bourne, an underage British soldier who lies about his age to join the British Army during World War I. The recruiters overlook that the sixteen-year-old Charley, not the brightest tool in the shed, can’t get his birth year correct on his application. England needs soldiers.

Before long, Charley is fighting in the trenches and, incredibly, getting smarter all the time. He adapts to the horrors around him and becomes a soldier who is equal parts brave, capable, and often damn lucky. He fights in the Battle of the Somme, one of the most bloody and deadly battles in the history of warfare. It’ has been reported that more than three million men fought in this battle with a million of them being wounded or killed. Mills and Colquhoun depict this brutal struggle in painful detail.

In stark chapters of mostly four pages, Charley’s War introduces us to foppish aristocrats, common men, petty bureaucrats, sadistic officers and clueless relatives who can’t understand why a lad like Charley can’t find the time to thank his auntie for the scarf she sent him. Charley and his mates soldier on, even when the food is terrible, their pay is late and too many of their officers look at them as fodder to be fed to the enemy for the great glory of king and crown. There are moments of humor in these stories, but those moments never last long.

Charley’s War is not an easy series to read, but it’s essential to anyone who considers themselves a supporter of great comics. This is a series you should read. This definitive collection, boasting the best reproduction the series has ever had and presenting over 300 pages of comics and additional features, are books you should have in your comics library.

Charley’s War Volume 1: The Definitive Collection

ISBN 978-1-78108-619-3

Charley’s War Volume 2: The Definitive Collection

ISBN 978-1-78108-620-9


The Pervert

The Pervert by Remy Boydell with words by Michelle Perez [Image; $17.99] is, according to its back cover, “a surprisingly honest and touching account of a trans girl surviving through sex work in Seattle.” It’s the debut graphic novel for its creators and, based on this debut, I’m looking forward to what they do next and hoping it continues the story of this GN’s protagonist.

I don’t come to this graphic novel unaware. I have friends who are trans. I have friends who are sex workers. Each of their stories, each of their outlooks, each of their hopes and dreams for their futures are different. So I didn’t put any expectation on Boydell and Perez beyond telling this character’s story.

Their heroine faces and makes difficult choices. I can’t say that I feel all those choices were wise ones. But a reader with an open heart and mind can connect with her and wish for her happiness. If not now than in the times to come.

I confess I was put off by the graphic novel’s title since that’s a common insult thrown at transpeople and, indeed, many people who don’t fit the traditional “cisgender” or “cissexual” designation. Of course, I’m not wild about most such designations, including the ones that apply to me, and also don’t much hold to the notion of reclaiming such insults. That’s me. The anthropomorphic depiction of the humans in this graphic novel didn’t do much for me either. After so many years of this, it has grown tiresome for me. Boydell and Perez are telling a very human story here. I would have preferred the characters be drawn as human beings. Again, that’s me.

The Pervert is for mature readers and won’t be to everyone’s taste. I recommend it to those of you always looking for new stories told by new creators who want to reflect the world around us.

ISBN 978-1-5343-0741-4


Self Storage

What if Storage Wars had zombies?

Storage Wars is a reality show that airs on A&E. It revolves around buyers who bid on storage units whose original owners have stopped paying rent on those units. They only get a quick glimpse of these units. Then they bid on them and hope to find treasure. I used to be a big fan of this show until it was revealed that the producers seed some of the units with great stuff.

Self Storage by writer/creator Clay McLeod Chapman and artist Matt Timson [451 Media; $19.99] throws zombies into the mix. Chris Smith is a likeable guy who barely gets by hocking stuff from abandoned storage units. Then he opens up a unit and finds a zombie name of Jessica. What the…you know.

This is an entertaining graphic novel. That’s coming from me, who has never been a fan of zombies. Except for maybe Marvel’s Tales of the Zombie, Shaun of the Dead and Robert Kirkman’s The Walking Dead (which I am about a hundred issues behind on.) The writing is good. The art is good. You get to know the characters. You get to watch the mystery of Jessica unfold. You get some shocks. It’s not unlike a fun B-movie.

Self Storage is definitely worth checking out. It would also make a fun movie. Are you listening, Hollywood?

ISBN 978-0-99852-120-6

I’ll be back next week with more reviews.

© 2018 Tony Isabella


My fascination with pre-code horror comics of the 1950s continues, enabled by PS Artbooks and their seemingly endless reprint volumes of that material. I read Pre-Code Classics: Mysterious Adventures Volume One [$49.99] over the weekend and it has earned a permanent place on my bookshelves.

Mysterious Adventures ran 25 issues from March 1951 to August 1955. Though the issues didn’t carry any particular branding, they were published by Story Comics. This volume reprints issues #1-6 of the series. Writing credits for these issues are nonexistent. Artists have been identified for many of the stories, but a number of those identifications seem like a wild guesswork to me.

The covers are fairly garish but not gory. Walter Johnson’s cover for the first issue is indicative of the story-driven nature of the covers. Strangely enough, that cover illustrated the issue’s prose story and not a comics story. Every one of these six issues has a small “Tales of Horror” blurb on the cover along with a reference to these being the strangest tales every heard.

The stories have the usual vampires, monsters, witches, possessed killers and so on found in most of the horror comics of the era. Issue #1’s cover seems to have inspired an actual comics story for the second issue, making me wonder if it that second issue story was originally intended for the first issue. By the end of “The Cabinet of the Living Death,” the male and female protagonists have been reduced in size and turned into Ju-Ju dolls. They can’t move, but they are still alive. Several issues later, that shock ending is used again, but in even more terrifying fashion with a pair of illicit lovers turned into still-sentient shrunken heads.

Another tale had a mother coming back from the grave to protect her daughter from her husband’s second wife. The mother’s spirit turns the second wife into a mad horse who is then shot and killed. The horse disappears and, when they find the second wife, she’s not just dead from a gunshot wound, but, near her body, is jewelry that had been buried with the first wife. I’d rate the writing in these comics a cut above the usual.

The art is pretty good as well. Ed Goldfarb (pencils) and Bob Baer (inks) make for an intriguing team. We also get solid artwork from Alvin C. Hollingsworth, Lou Cameron, John D’Agostino, Bill Fraccio and Tony Tallerico. I’m getting more selective about these horror reprint volumes, but I’d recommend this one to anyone interested in the genre.

ISBN 978-1-78636-196-7


All-New Wolverine

I’ve been enjoying All-New Wolverine, the Marvel Comics title that stars Laura Kenney, the clone daughter of the original Wolverine. As X-23, she was created to be the perfect killing machine, was an assassin for an evil organization and eventually found her way to the X-Men and the road to redemption. She’s a terrific character and, save for when Wolverine is played by Hugh Jackman, I like her better than the original. Marvel’s overuse of Logan/Wolverine and its multiple incarnations of him have exhausted my interest in the character. I wish Logan weren’t coming back, but, alas, it isn’t my call and so All-New Wolverine will be ending. At least, Laura will be back for a fourth volume of X-23.

All-New Wolverine #25-32 [$3.99 each], the latest issues I’ve read of the title, were entertaining. At first, I was dismayed by issue #25-30’s “Orphans of X” because it seemed to be just another “self-involved super-heroes” tale, which I define as stories in which the heroes are fighting for themselves and not really to protect other lives. It sometimes seems like a majority of super-hero titles from Marvel and DC fall into this category.

Writer Tom Taylor brought something else into the mix. Yes, Laura and other Weapon X Project creations are being hunted down by the surviving family members of people killed by Laura and the others. Self-interest, right? Yet, by the end of the six-issue arc, Laura has seized control of the conflict and redirected her efforts into helping the survivors get justice without killing her and the rest of the Weapon X alumni. That’s followed by two done-in-one stories that are still connected to the Orphans of X, one of them featuring a guest appearance by Deadpool.

 All-New Wolverine Vol. 5: Orphans of X [$17.99] collects the story arc by Taylor and artist Juann Cabal. I enjoyed it so much that I’m recommending it to you and making it my pick of the week.

ISBN 978-1-30290-561-3


Joe Shuster

The Artist Behind Superman: The Joe Shuster Story by Julian Voloj and Thomas Camp [Super Genius; $19.99] back-cover bills itself as “The Secret Story of Superman’s Creation.” This graphic novel may not live up to that claim precisely – much of that story has been written about elsewhere – but does manage an occasional surprise along the way. The visual format also lends a different perspective to the story of the two guys from Cleveland and how they achieved their dream, fell from the heights and then regained at least some dignity, financial compensation and respect before the end.

The focus on Shuster gives this book a perspective unlike the other books. Writer Jerry Siegel had always been the dominant partner in their collaboration. He came up with the basic Superman as super-hero concept and created the rudimentary world of their character. He was the one who fought, sometimes unwisely, for their rightful due. He was the one whose dramatics finally got the attention of the public at large. But Shuster is the star of this graphic novel and it reveals him as meek and mild as Superman pretended to be in his guise of Clark Kent. More than Siegel, Shuster seems to be the guy caught in the middle of the conflicts, going along with Siegel because of his loyalty to his friend and because he knew they were in the right.

Shuster’s is a sad story. The downside of this otherwise excellent comics work is that readers don’t get to see the light at the end of the Superman tunnel. The book simply ends too soon. Even so, it is a keeper for fans of Superman and students of comics history. It includes a selected bibliography for those who want to know more, as well as over a dozen pages of notes. It should be a contender in next year’s comics awards.

ISBN 978-1-62991-776-4

I’ll be back next week with more reviews.

© 2018 Tony Isabella


It’s been a busy, exciting few weeks for your friendly neighborhood Tipster-Man. I was a guest at the East Coast Black Age of Comics Convention in Philadelphia and Northern Michigan’s Cherry Capital Comic Con. Nominated for a prestigious arts prize, I had to prepare a portfolio of my work.

I’ve been getting ready to launch my 2018 garage sales, my ongoing attempt to reduce my Vast Accumulation of Stuff to something I can honestly call a collection and confine to one or two rooms in my Tardis of a house. As of this writing, the stuff fills three full rooms, parts of four other rooms and three off-site storage units. My “arrgh” is definitely a cry for help.

But, as always, there are always new wonderful comics and comics-related things to delight me. Here are a trio of choice books I’ve read recently.


Let’s start with my pick of the week. The Bridge: How the Roeblings Connected Brooklyn to New York by Peter J. Tomasi with art by Sara Duvall [Harry N. Abrams; $24.99] is the story of the making of the Brooklyn Bridge. This is epic history in graphic novel form and one of the most compelling comics I’ve read all year.

The Brooklyn Bridge remains an architectural marvel over a century after its completion. It was originally designed by John Augustus Roebling, but completed by his son Washington and his daughter-in-law Emily. Its story is rich with history, a tale of perseverance against the most daunting physical and political odds.

The Bridge is also a family story. John died early in the decade-and-a-half construction project. His son Washington saw the bridge to completion, even after his own bridge-related illness kept him from supervising the construction on site. Emily was his eyes and ears on the project and the conduit from which Washington led his builders. As determined as her husband and perhaps wiser, Emily is a magnificent heroine in an era where women were unlikely to wield such power. When this graphic novel is made into a movie – and it should be – the best actresses of our time will vie for the chance to play Emily.

Tomasi turns his lifelong love of “all things bridges” into what is arguably his best comics writing ever. Duvall’s art shows a great attention to historical detail and an impressive skill portraying human emotions. While I don’t have a great deal of faith in comics industry awards, I will be amazed and disappointed if The Bridge is not nominated for multiple awards.

I recommend The Bridge to anyone who loves great comics. I think it would make a great gift for comics and non-comics readers alike. That it belongs in every public and school library in the country goes without saying. Except I’m going to say it because I want to drive home how wondrous this book is.

ISBN 978-1-4197-2852-5


Batman Nightwalker

Batman: Nightwalker by New York Times bestselling author Marie Lu [Random House Books for Young Readers; $18.99] is part of the “DC Icons” series. Aimed at readers 12 and up, this novel puts a just-graduated-from-high-school Bruce Wayne against a terrorist outfit targeting Gotham City’s most elite citizens. Having just come into his inheritance, Wayne is on their list.

Unlike the mercurial young man of TV’s Gotham, Lu’s Bruce Wayne is a remarkable consistent character. He is driven and occasionally reckless, but he has a fierce dedication to justice. He is clever, compassionate and courageous. Unfortunately, those traits put him at odds with the Gotham City police when he attempts to chase one of the Nightwalkers. His circumstances keep him from suffering any serious consequences, but his community service has him mopping the floors at Arkham Asylum.

Forming a connection with a young woman inmate charged with murder who has refused to speak to the police, Bruce is recruited by the police to report on anything he might learn from their encounters. Bruce is fascinated by the brilliant and enigmatic Madeleine. But does she have feelings for him or is she merely using him to move forward the Nightwalkers agenda?

Lu’s writing is first-rate. She does a great job with Bruce and his supporting cast. Some, such as Alfred, Harvey Dent and Lucius Fox, will be recognizable to Batman fans. Others, such as classmates Dianne and Richard, Detective Draccon, and the haunting Madeleine, are fine additions to the Batman mythos.

Batman: Nightwalker is a page-turning thriller. I recommend it to fans who cherish a more realistic, sane hero than usually seen in the comic books and movies.

Also available in the “DC Icons” series: Wonder Woman: Warbringer by Leigh Bardugo and Catwoman: Soulstealer by Saran J. Mass. Coming in January 2019 will be Superman: Deathfighter by Matt de la Pena.

Batman: Nightwalker

ISBN 978-0-399-54978-6

Catwoman: Soulstealer

ISBN 978-0-399-54969-4

Wonder Woman: Warbringer

ISBN 978-0-399-54973-1



Princess Jellyfish 8

Ahiho Higashimura’s Princess Jellyfish Volume 8 [Kodansha Comics; $9.99] is the penultimate volume in this utterly delightful Josei manga series about the otaku women – NEETS who refer to themselves as the “Amars” (nuns) – who live in an apartment building in Tokyo. Yeah, I know I just threw around some words than some of you will not know. Consider this a teaching moment.

Josei manga is a manga subset aimed at women in their late teens on into adulthood. Though I’m pretty obviously not a member of this demographic, I enjoy manga of this type because it emphasizes the characters and human interactions more than most battle, horror and science fiction manga.

Otaku is a Japanese term for people with obsessive interests, most usually referring to their interest in anime or manga. I am otaku for so many different things that it would take an entire column to list all of them.

The acronym NEET originated in the United Kingdom and has spread to Japan and other lands. It refers to a young people who are “Not in Education, Employment or Training.” Get a job, you slackers!

Real estate developers have cast avaricious eyes on Amamizukan, the home of the Amars. To save their home, the woman decide to conquer the fashion industry with jellyfish-inspired clothing designed by the series romantic lead Tsukimi. Their knight in dazzling dresses and heels is Kuranosuke, the son of a politician who crossdresses to avoid following in his father’s footsteps.

Princess Jellyfish combines romantic comedy, political satire, pop culture and corporate intrigue. It’s one of my favorite manga ever. I recommend it to both female and male readers.

ISBN 978-1-63236-563-7

That’s all for now. I’ll be back next week with more reviews.

© 2018 Tony Isabella


I’ve started charging for my signature on comics and other things I’ve written. My first signature is free and additional signatures cost a mere $2 per item. If you buy items from my convention table, I’ll sign those items for free.

In addition to covering hotel, meals and travel expenses, I’ve also started charging an appearance fee to most conventions and events. It’s not an inconsequential fee, but it is inexpensive compared to what many other guests receive.

Why am I doing this? Because the fans have shown a willingness to pay far more for signatures from movie, television and wrestling celebrities and barely celebrities, and because the conventions and other events now routinely pay appearance fees to such celebrities and barely celebrities. But that’s only a partial answer.

My main reason for charging these appearance and signature fees is because I want the money. There are a great many projects I want to create before I kick the bucket. It would be swell if I had a cadre of editors and publishers lining up to bring these works to the marketplace, but that’s not the case. In lieu of that, I’m hoping to finance the projects by making more money from the conventions I attend and the books I sign.

If a fan doesn’t want to pay for that second signature, I have no problem with their decision. I mean, I might be a tad disappointed in them if they have just shelled out $40 for a signed photo of some guy who plays a background zombie on TV and won’t pay for my signature. But I won’t hold it against them.

If a convention or event doesn’t want to pay my appearance fee, I’m not going to get upset with them either. From the decades I worked on my friend Roger Price’s Mid-Ohio-Con, I know putting on events is a demanding, expensive proposition. If the budget doesn’t have room for me, I understand that. But, odds are, this means I won’t be attending their convention. I’ll stay home and either relax or work. It’s all good for me.

Sooner rather than later, I think most comics creators will come to the same place I am today. Many already have. As for the fans, I’m hoping they will understand the realities of our changing world and continue to support us. Thank you.


This week’s pick of the week is Batman ’66 Meets Steed & Mrs. Peel by Ian Edginton with artist Matthew Dow Smith [DC Comics; $16.99]. Dismayed by the utter soul-crushing bleakness of the Batman movies and most of the Batman comics books, I found myself increasingly drawn to lighter Batman adventures such as those found in various animated series, comic books based on those series, the mid-1960s Batman TV series and, of course, the recent series of comic books based on it. I have a new appreciation for the charming camp of the TV series and absolutely love the Batman ‘66 comics.

After 30 issues of Batman ‘66 and a special issue presenting a lost script written by Harlan Ellison and adapted to comics by Len Wein, DC switched over to mini-series teaming the Caped Crusaders with other legends of that era: Green Hornet, The Man from U.N.C.L.E., Wonder Woman and, from across the Atlantic, the avenging Steed and Mrs. Peel. They had me from the get-go.

A Catwoman jewel heist leads to a bigger case involving Batman’s aristocratic antagonist Lord Ffogg and the mechanical Cybernauts who vexed Steed and Peel on more than one occasion. Edginton nails all of the characters in a story filled with action, surprises and a healthy dose of British charm and wit. Smith is less ceratin with his visualizations of the characters, but not so much that is hurts the series. The six-issue series is great fun and I recommend it to all looking for a more friendly Batman.

ISBN 978-1-4012-7384-2


Founders Fandom

Historian and author Bill Schelly has again turned his attention to fans in Bill Schelly Talks with the Founders of Comic Fandom Volume One [Pulp Hero Press; $17.95]. It was in the 1960s that comic-book fans began to form the community that has grown larger with every passing year. In this book, Schelly interviewed six of the founders of that fandom. His subjects:

Richard and Pat Lupoff, the science fiction fans whose fanzine Xero ran nostalgic articles on the comics of the 1940s by themselves, Don Thompson, Richard Kyle, Roy Thomas and others.

Jerry Bails, the “Father of Comic Book Fandom” and the creator of Alter Ego, CAPA-alpha (the first amateur press association devoted to comic books), the first comics newszine and the first comics adzine.

Ronn Foss, legendary fan artist who followed Bails as the editor as many of the Bails-created fanzines.

Richard “Grass” Green, creator of countless comics for fanzines and underground comics and the most prominent black member of comics fandom in its formative years.

John Benson, the scholarly interviewer of comics greats like Will Eisner, Harvey Kurtzman and Gil Kane, as well as a noted author and editor. Squa Tront, the beloved EC Comics fanzine, was his fanzine.

Schelly may well be our greatest comics fandom historian. If you’re interested in that subject, you’ll want this book and the volumes to follow.

ISBN 978-1683901198


Star Wars Thrawn

Though the Star Wars Universe has grown too vast for me to really comprehend, Marvel’s Star Wars comic books continue to be old man friendly and entertaining. Their opening pages contain enough info to give me a leg-up into the stories with those stories themselves being relatively self-contained.

Star Wars: Thrawn #1-2 [$4.99 and $3.99, respectively) introduced me to a character first seen in Star Wars novels by Timothy Zahn. Thrawn is from “an unnamed planet in wild space, beyond the outer rim in the unknown regions.” A cunning strategist and warrior, he places himself in the service of the Galactic Empire and begins his rise to power within those ranks.

I can’t say I like Thrawn – after all, he’s a willing member of an evil empire – but I find him fascinating. I don’t know what his end game might be, but I enjoyed these first two issues and am looking forward to future issues.

Kudos to writer Jody Houser, who always delivers fine scripts, and artist Luke Ross, an equally fine artist and storyteller. If I see their names on a comic book, I read it. ‘Nuff said!

If you’d like to comment on this week’s column, you can e-mail me at You can also find me on Facebook and Twitter. I’ll be back next week with more news, views and reviews.

© 2018 Tony Isabella


The CW’s Black Lightning has concluded its first season. Since so many friends and readers have asked me what I thought of the season finale, here are my quick comments:

The season finale was everything I could’ve hoped for. Salim Akil has said Black Lightning #5 from my second comic-book series was a big inspiration for that finale, but he and his team went so much further. There were great character moments, including Mama Pierce with a shotgun. There were exciting action scenes, like Jefferson  and his family under siege. There was a satisfying ending and also a nice tease to the next season.

One of the things I most loved was how Tobias Whale, played so well by Marvin ‘Krondon’ Jones III, has built a sort of new family for himself. While I don’t know what Salim has planned for the second season, I think we may be seeing the establishment of a family feud for the ages. By the way, Marvin was one of the friends who asked me what I thought of the finale.

Moving on…my next appearance will be at The Toys Time Forgot in Canal Fulton, Ohio. That will be on Free Comic Book Day, May 5. My fellow guests include Matt Horak, artist on Marvel’s The Punisher and Spider-Man/Deadpool. In keeping in the spirit of the day, I’ll be signing for free. Not free will be the various Black Lightning and Isabella items I’ll be selling at the event. But, hey, let the old comic-book writer make a buck, okay?


MAD #1 [$5.99] gets better paper, a new editorial team, new design and some new features to go along with that new numbering. What it doesn’t get is a completely new cover. Alfred E. Newman holding his middle finger to his nose is a repeated idea from several decades ago. It’s not edgy. It’s not shocking, although, depending on their location, some stores could have a problem displaying and selling it. It’s a terrible way to kick off the new era I’d been and still am looking forward to.

Many old favorites remain. There’s a parody of the latest Star Wars movie by Desmond Devlin and artist Tom Richmond. Sergio Aragones is here with “A MAD look at Harassment” and marginal cartoons. Peter Kuper is still entertaining me with his Spy vs. Spy pages and the legendary Al Jaffee is still amazing and entertaining me with his fold-ins. Sometime, because of these fold-ins, Jaffee’s mind should be named one of the greatest in the history of mankind.

My second-favorite of the new features was Potrzebie Comics with a DC super-hero story by Kerry Callen; a Luke McGarry contribution about Heaven’s 27 Club – where the stars who died at the age of 27 go – and a new strip by Bob Fingerman. All of these efforts speak well to MAD’s future.

But the feature that made me laugh out loud was writer Ian Boothby and artist Tom Richmond’s “Starchie Reconstituted.” It starts with an Archie take-off not unlike the one that appeared in the 1950s. It morphs into a parody of Riverdale. It’s as clever a piece as I have seen in MAD this decade.

MAD #1 gets my recommendation. It’s a good start to what I hope is going to be a long run of making America laugh again.


Astro City 51

Astro City is near the end of its current run with a brilliant and heartrending two-issue tale of Miranda’s Friends, a support group for those who have lost loved ones in the fantastic battles fought by the heroes and villains of the city. “Brilliant” is redundant, of course, when it comes to the series and stories created by Kurt Busiek, Brent E. Anderson and Alex Ross.

Issues #50 and #51 [Vertigo; $3.99] each have a special meaning in today’s world where the names of victims of violence are forgotten while the names of their infamous killers are so much better known. This is especially true for Michael, the founder of the group, but that is something for you to discover when you read these issues.

For most of its existence, Astro City has been my favorite super-hero comic book. I mean, there was the six months when my own Black Lightning: Cold Dead Hands was coming out, but, other than that, it was Astro City that spoke most deeply to me and my love for super-heroes in general. Busiek’s writing, Anderson’s art, Ross’ covers, and the amazing work of letterer John G. Roshell and colorist Peter Pantazis. If there’s been a bad issue of Astro City, I sure never read it.

Astro City #52 will be the final issue. From here on, the stories will be present in a series of original graphic novels. I’ll miss my near-monthly visit to the city, but I’m excited for what comes next. While I’m waiting, I plan to buy the Astro City collections and reread all their great stories. Though I’m actively reducing my Vast Accumulation of Stuff, Astro City is and will always forever be a keeper.


Luke Cage 170

Luke Cage #170 [Marvel; $3.99] wraps the hero’s current series with one of the most heartwarming comic books of the year. Written by David F. Walker with art by Guillermo Sanna and striking colors by Marcio Myers, this done-in-one story is about Luke “reconnecting with what matters most.”

Luke has been on the road for most of this run. Now he’s returned to New York and reunited with wife Jessica Jones and their daughter Danielle. Bullied by one of the other kids at day care, Danielle is feeling blue. She doesn’t want to talk about it. She just wants her dad to tell her a story.

After Danielle rejects the story about how Luke beat up Doctor Doom because he owed her money – “You tell that one all the time.” – and the one about how he and Uncle Danny (Iron Fist) became the best super-hero team in the world – “You tell that one all the time, too. It’s boring.” – she demands a brand-new story, one Luke makes up from his head.

What follows is comic-book magic. Luke starts his story. Danielle keeps changing it and adding things to it. At the end, it’s a story they most created. This gives me major good feelings.

This is a award-deserving winning issue of Luke Cage. I’d vote for it a heartbeat. Unless it was against an issue of Black Lightning: Cold Dead Hands, but that’s my ego fail. Not only do I urge you to track down and read this splendid comic book, I’m naming it my pick of the week.

I’ll be back next week with more reviews.

© 2018 Tony Isabella


My admittedly biased choice for the biggest news this time around is that Black Lightning: The Complete First Season will be released on DVD and Blu-ray on Tuesday, June 26, 2018. The TV series stars the character created by a guy name of Tony Isabella. Gosh, where have we heard that name before?

Though I have no official role in the show, you don’t have to look too deep to find my creative DNA in the mix. Early on, before DC hired show runners Salim and Mara Brock Akil, I was asked to write a paper on Black Lightning’s core values. After the amazing Akils were hired, we had a long conference call on all things Lightning. That was followed by my visit to the Black Lightnings writers room in Burbank. I call myself the show’s unofficial head cheerleader, constantly applauding the adherence to Jefferson Pierce’s values, the great writing and the award-caliber acting from Cress Williams and the entire cast. I love this series and am so honored to have been even a small part of it.

Besides the 13 episodes of the first season, the Blu-ray and DVD sets will feature these extras: Black Lightning Comic-Con panel, A Family of Strength, Black Lightning Come Visit Georgia, a gag reel and deleted scenes. I hope the last includes the extended scene of Jeff at the roller rink with daughters Anissa and Jennifer. I saw that scene during my Burbank visit when Salim showed me the full presentation video that sold the series. It’s what made me proclaim from the beginning that Williams was the perfect choice to play my creation. He’s proven me right in every scene since.

The suggested retail price for the two-disc Blu-ray set is $39.99. The SRP for the three-disc DVD set is $29.99. Needless to say, but I’m gonna say it anyway, either version would make a wonderful gift for those you love throughout the year.


Suicide Squad

Since we’re on the subject of DC Entertainment home video, I bought and watched Suicide Squad: Hell To Pay on DVD [$18.96]. The Blu-ray version [$24.96] is also available. Here’s the brief summary from the Internet Movie Database:

Task Force X targets a powerful mystical object that they will risk their lives to steal.

Written by Alan Burnett, one of my favorite DC animation scribes, this R-rated animated feature is not for the faint of heart. There are a great many gory deaths with some of the victims being well-known DCU characters. There aren’t really any heroes in this movie, though there are characters who act with a surprising morality that plays nicely against the evil goings-on. That “R” rating isn’t kidding: strong bloody violence throughout, sexual content, brief graphic nudity and some drug material.

The 86-minute film is tight. Amanda Waller wants a mystic “Get Out of Hell” card because, let’s face it, that’s where she’s going as she is as much of a ruthless monster as any member of the Suicide Squad. She sends two teams of villains after it, though few of her agents or their opponents, come out of this alive. Shocking scenes and surprising moments are frequent. It’s a knuckle-squeezing film, but it does have a satisfying ending. I appreciated that because, of late, so many comic books fail in that regard.

Characters include Deadshot [voiced by Christian Slater], Waller [Vanessa Williams], Harley Quinn [Tara Strong], Bronze Tiger [Billy Brown], Killer Frost [Kristin Bauer van Straten], Captain Boomerang [Liam McIntyre], Copperhead [Gordon Emery] and many others. Black Lightning’s Tobias Whale [Dave Fennoy] also appears and, honestly, he’s the reason I bought this movie.

Suicide Squad: Hell to Pay follows Justice League: The Flashpoint Paradox [2013], which I haven’t yet seen. But Hell to Pay stands on its own. Extreme violence or not, I enjoyed this movie quite a bit. I’m glad I bought it.


Squirrel Girl

The Unbeatable Squirrel Girl [Marvel; $3.99 per issue] doesn’t work for everyone. I have friends who find the notion of a super-hero whose powers seem like a better fit for DC’s Legion of Substitute Substitute Heroes – the little known team made up of super-heroes rejected by the Legion of Super-Heroes, the Legion of Substitute Heroes and the Legion of Super-Pets – absurd. I don’t disagree. I just think Squirrel Girl elevates absurd to wonderful.

In issues #27-30’s “The Forbidden Pla-Nut,” Squirrel Girl with pals Nancy and Tippy travel to a planet of squirrels who fare they are about to be the next meal of Galactus. Because they’ve been conned by a Silver Surfer imposter. By the time the funny story concludes, we get guest appearances by Loki (currently the Sorcerer Supreme), Dormammu, Drax the Destroyer, the real Silver Surfer and the Star Wars recap screen crawl. This adventure works for me because it’s in Squirrel Girl’s world, which is in a part of the Marvel Universe that doesn’t take itself too seriously. I might not believe it in Avengers, but, in this title, no problem. Kudos to writer Ryan North, artist Erica Henderson and the editors who encourage their delicious absurdity. They make Squirrel Girl a breath of fresh air month after month. I appreciate that.

The Unbeatable Squirrel Girl Volume 8: My Best Friend’s Squirrel [$17.99], which will reprint issues #27-32 of the title, is due to be released in June of this year. It’s just the ticket for summer reading. Surf’s up!

ISBN 978-1302910761


Alter Ego 152

Edited by Roy Thomas, Alter Ego #152 [TwoMorrows; $9.95] devotes much of that 100-page issue to Larry Ivie, the comics fan, comics pro, artist, writer and visionary who first came up with the notion of a modern (ala 1960s) version of the Justice Society of America. Ivie even called it the Justice League.

Sandy Plunkett, a terrific artist himself, was a friend of Ivie’s. His study of the man is breathtakingly inclusive. Though Ivie may seem like a minor comics professional, his work and his enthusiasm encouraged many better-known creators. Ivie is controversial to the extent that some comics folks doubt some of his claims. But, in my own brief correspondence with him when I was still in my teens, he was a great source of history and insight. To this day, I feel Ivie should have been a more major part of the industry. If awards were given out for individual articles, Plunkett’s would get my vote for best of the year.

The issue also features a brief excerpt from a memoir by legendary comics writer John Broome, Michael T. Gilbert’s look at some sleazy romance comics of the 1950s, Bill Schelly on his new book (Sense of Wonder), a tribute to artist Sam Glanzman and more.

Alter Ego remains my favorite comics-oriented magazine. This issue is particularly terrific. It’s my pick of the week.


One more note before I take my leave. My next convention appearance will be at the East Coast Comicon, April 27-29, at the Meadowlands Exposition Center in New Jersey. The guest list includes Jose Luis Garcia Lopez, Howard Chaykin, Larry Hama, Roy Thomas, Larry Lieber, Jim Salicrup, Nancy Silberkleit, Jim Starlin, Joe Sinnott, Wendy & Richard Pini, and many others. I’m looking forward to hanging out with so many old friends, making new friends and generally having a blast. Hope to see you there.

I’ll be back next week with more reviews.

© 2018 Tony Isabella


This week’s pick of the week is Marvel’s Werewolf by Night Omnibus [$125]. I’m talking nearly 1200 pages of 1970s comics and features by Doug Moench, Gerry Conway, Marv Wolfman, Don Perlin, Mike Ploog and others.

The Werewolf by Night series made its debut in Marvel Spotlight #2 [February 1972]. Conceived by Roy and Jean Thomas and written by Gerry Conway, it introduced the cursed Jack Russell to comicdom and the Marvel Universe in particular. It also debuted decades of jokes about the lead character’s name. The jokes were officially declared old in March of 1972.

Not every story in this volume, which collects every Werewolf tale from Marvel Spotlight #2 to Werewolf by Night #43 [March 1977] was terrific, but nearly every one was entertaining. Conway delivered some nice gothic tales. Len Wein brought his lyrical word-smithing chops to others, including a Marvel Team-Up with Spider-Man. Marv Wolfman – “At last – Werewolf written by a Wolfman” – created two of Russell’s classic villains in the Hangman and Taboo, as well as the Eisner-esque Topaz. But it’s Moench who had the longest run on the feature, developing the supporting cast, taking Russell and his friends all over the world, delving into supernatural dimensions, and, when sales started dipping, ushered in a surprising change in the Werewolf’s course. I would have liked to have seen Moench take that further, but, alas, sales figures are a harsh mistress.

Werewolf By Night’s first artist was the remarkable Mike Ploog and he was perfect for the feature. He was also greatly in demand, so other artists were recruited. Tom Sutton and Gil Kane did some fine work on the strip, but it was Don Perlin who made the Werewolf his own. Not as flashy as the above-mentioned artists, Perlin was one heck of a storyteller and handled every wacky notion Moench threw at him. They were a terrific team.

Sidebar. Don drew my Tigra debut from Giant-Size Creatures #1 [July 1974], also included in this omnibus and was just wonderful to work with. I wish I could have done more than one story with him back in the day. I think we were a good team.

Besides the Marvel Spotlight issues and the Werewolf’s own title, this hefty hardcover includes Marvel Team-Up #12, the crossover with a notable count from Tomb of Dracula #18, Giant-Size Creatures #1, a prose story from Monsters Unleashed #6-7, all the new stories from Giant-Size Werewolf #2-5, and the big monster bash from Marvel Premiere #28. That last one teamed the Werewolf with Ghost Rider, Man-Thing and Morbius in a wild adventure by Bill Mantlo and Frank Robbins. There’s also a generous helping of special feature pages in this book. Amazing stuff.

If you’re into 1970s Marvel in all its glory and weirdness, you’ll want this not-inexpensive book. However, InStock Trades, the fine outfit that sponsors this column, is currently offering it at a 42% discount. Worth looking into.

ISBN 978-0-7851-9908-3


Bingo Love

Bingo Love by Tee Franklin with artist Jenn St-Onge [Image Comics; $9.99] will surely and deservedly be an Eisner and other awards contender. Rated “T” for “Teen,” it’s the life-story of two girls who meet and fall in love in 1963. Their families are horrified by the sight of their first kiss and with a determination born of both bigotry and ignorance, separate them. As this sometimes bittersweet graphic novel unfolds, we watch the adult lives of Hazel and Mari, the choices they make and their amazing reunion. There is sadness and turmoil in their story, but what stands out most of all is how joyously they commit to one another.

Franklin’s characters are easy to embrace. Her dialogue strikes the right notes. St-Onge’s drawings are charming and flirty and filled with emotion. Colorist Joy San does a fine job, as does letterer Cardinal Rae. I love this original graphic novel a lot.

My one quibble is that, at two different places in the book, just as something vital is happening in this story, readers are directed to digital episodes. Not cool. Those episodes should have been in this book. Hopefully, this will be corrected in some future edition of the graphic novel.

Bingo Love is something special. I recommend it highly.

ISBN 978-1-5343-0750-6



Rashomon: A Commissioner Heigo Kobayashi Case by Victor Santos [Dark Horse; $19.99] is such a stylishly told crime noir story is really needs to have its own category. Swank noir? Fine art noir? I’m not sure what that category should be named. What I’m sure of is that, beyond a superficial similarity to Frank Miller’s Sin City works, Rashomon is unlike any crime comics story I have ever read and one of the best I’ve read in recent years.

Santos was inspired by the works of Ryunosuke Akutagawa, regarded as the father of the Japanese short story. Some Akutagawa stories featured the heroic commissioner Heigo Kobayashi.

In this take on the classic Rashomon, the body of a famous samurai is found along a road in feudal Japan. Investigating the slaying, Kobayashi interviews a number of suspects and witnesses, none of whom give the same testimony. The most unnerving of the characters in the tale is the widow of the samurai, a calculating, sensuous woman who might have been behind the murder and subsequent actions bring her into repeated contact with the commissioner and may also have inspired other violent acts.

There are no real answers in this graphic novel. Certainly Santos leaves much open for speculation. Yet what drew me to the book and gave me such delight was his telling of his tale. There were pages that made my eyes grow wide. This is a great story with astonishing art in a beautiful hardcover volume.

Rashomon would appeal to fans of crime noir, historical fiction and manga. I definitely recommend it to those fans.

ISBN 978-1-50670-317-6

Hope you enjoyed this column. I’ll be back next week with another three-pack of reviews. See you then.

© 2018 Tony Isabella


Black Lightning: Cold Dead Hands #6 was released last week and the reviews have been wonderful. Outside of the few benighted critics who believe super-hero comics should consist of powered individuals punching each other in the head and those who object to non-white  heroes or diversity in comics in general, the initial reviews have been overwhelmingly positive.

The first season of Black Lightning is drawing to a close and it’s common for viewers to tell me each new episode is their favorite to date. I don’t disagree as week after week has delivered brilliant acting, crazy good acting and surprising twists. Thirteen episodes just doesn’t seem like enough to me. While we’re waiting for season two – the series received an early renewal – check your convention listings for appearances by Black Lightning cast members. They’re a great group of people who I know you’ll enjoy meeting. Heck, if I wasn’t otherwise committed, I’d follow them around the country. Which maybe sounds creepy now that I think about it.

While I wait to see what my next comics gig will be, I’ve started work on four different books and getting ready for my famous Vast Accumulation of Stuff garage sales. I’ll have more to say about all these projects in the near future. In the meantime, I’m delighted to bring you this week’s reviews. Every item I’m writing about this week should be considered my “pick of the week” because they’re all that good.

From the Burger Books imprint at Dark Horse, Incognegro: A Graphic Mystery by Mat Johnson with artist Warren Pleece [$19.99] has a new edition to celebrate the graphic novel’s tenth anniversary. It’s  a handsome hardcover book with enhanced toned art, an afterword by Johnson, character sketches and other added material. The add-ons are terrific, but it’s the story that makes this a classic.

Zane Pinchback, a reporter for a black-owned New York newspaper in the early 20th century, is light-skinned enough to pass for white. He has used this to investigate lynchings and other crimes against black people throughout the American South. After a near escape, he plans to retire his “Incognegro” identity. Until his own brother is arrested in Mississippi and charged with killing a white woman. It is a grim chronicle of murderous racists, the acceptance of their heinous crimes and even the elevation of those crimes to some sort of carnival entertainment, including postcard souvenirs of those crimes. Today, when we have a racist president surrounded by white supremacists, Johnson’s story resonates more strongly than when it was first published.

Pleece’s art and storytelling are top-notch, drawing readers into the era and the horrors of that era. He and Johnson put a spotlight on the setting, the disgusting racism and the things people would do to survive and be themselves. That this graphic novel is taught in schools doesn’t surprise me. Indeed, it should be taught in more schools. It is an important reflection of our history, a truth that saddens me, albeit not as much that it’s a truth many Americans do not yet recognize.

Also being published by Berger Books and Dark Horse is Johnson and Pleece’s Incognegro Renaissance [$3.99 per issue], a five-issue origin story of Zane’s other identity. A hardcover collection of this series is scheduled for October publication.

Incognegro: A Graphic Mystery [$19.99]

ISBN 978-1506705644

Incognegro: Renaissance [$19.99]

ISBN 978-1506705637


Puerto Rico Story

There are at least two other Puerto Rico benefit anthologies in the works, but Lion Forge hits the comics shops first with its amazing Puerto Rico Strong [$12.99]. The anthology is just over 200 pages of stories and art, which makes it a true bargain.

So many talents came together, united by their horror for what has befallen the island and their desire to do something to support the relief efforts. The anthology is more than stories of Puerto Rican life in this time of need. Latinx creators tell their own stories and also delve into the culture and history of the island. There is so much power in their drawings and words that I’m reading the book for a second time, savoring a story or two each day as part of my morning routine.

Dozens of creators contributed to this anthology. You’ll recognize some names from your favorite comics of the past. You’ll wonder why you haven’t heard of others before this. I hope I get to see more work from both groups.

Puerto Rico Strong is a breathtaking reflection of creators coming together for a good cause. It is a book to be cherished.

ISBN 978-1-941302-90-3


Dave Hunt

If you read mainstream comic books during the 1970s through 2000 or so, you’ll have seen the name “Dave Hunt” hundreds of times. From his start working in production at Marvel, Dave was a colorist, letterer, background inker, inker and penciller for Marvel, DC and other publishers. I didn’t socialize with Dave, maybe a lunch here and there when we both worked at Marvel, but he struck me as a real salt-of-the-earth guy, an amiable and friendly fellow, and a solid professional. Even in a comics career filled with as much stellar work as Dave’s, my fondest memory of him is personal.

When Dave learned I spent my first Thanksgiving in New York alone, a turkey sandwich from a Brooklyn deli for a meal that represented pretty much my last money until my next paycheck (which, luckily, was just days away), he was mortified. If he had known, he said, he would have invited me to spend the day with his family. He was one of the good ones. Heck, one of the best ones. That he is no longer with us diminishes our world.

Dave Hunt: An Artist’s Life by Hunt and Lee Benaka [ComicArtAds; $25] is an autobiography and more. The beautiful book presents the artist’s story in his own words. It has a foreword by the great Joe Sinnott, who hired Dave to do background inks for him. It has more photographs and more examples of Dave’s work than I can count. The examples include Hunt’s fine arts creations. All topped off with an exhaustive checklist of Dave’s comics work.

The title of the book says more than it appears on the surface. In detailing his life, Hunt wrote an informative essay or sorts on the lives of other artists. His dedication to his craft, his numerous inspirations and the business of being an artist. It’s a fantastic book and reference resource.

Copies of the book can be had by sending $25 to Benaka via PayPal. His PayPal ID is:

ISBN 978-1-54392-875-4

That wraps another week’s worth of tips. I’ll be back in seven days with more reviews. I hope you’ll join me.

© 2018 Tony Isabella


Black Lightning: Cold Dead Hands #6 will be hitting the comic-book shops this week. Due in no small part to the great art of Clayton Henry, the editorial support of Jim Chadwick and Harvey Richards, and the amazing color art of Pete Pantazis, I think the six issues represent my best comics work ever. It was a thrill to reinvent my signature creation for a new era and I hope I’ll return to him in the near future.

I have a pretty light appearance schedule in April. I’ll be filming a public service announcement for literacy and Free Comic Book Day at WBNX-TV, our local CW station. The PSA will be aired during the various DC Comics and other shows. Beyond that, I’ll be speaking to a group of students for their special projects.

That means I’ll have a lot of time to work on my own new projects. By the time this column posts, I’ll have decided what that will be. It could be a new book of comics history. It could be a movie. It could be a graphic novel. So many choices.

While I’m making those choices, here are the items I’ve selected to write about this week…

I didn’t purchase Pre-Code Classics Ghostly Weird Stories Volume 1 [PS Artbooks; $44.99] because I thought the stories reprinted in this hardcover collection from the U.K. were classics. I bought it because of my fascination with the horror comics of the 1950s and the production thereof.

Published by Star Publications, Ghostly Weird Stories ran but five issues, continuing its numbering from Blue Bolt and Blue Bolt Weird Tales of Terror. Issues #120-124 are cover-dated September 1953 to September 1954. L.B. Cole drew all the covers with the cover copy consisting of the caption from the splash panel of the cover story. The cover tale, usually written and drawn by Jay Disbrow, was often the only original material in an issue.

Disbrow’s work is intriguing its own right. Artistically, he has a style of its own. Lots of grim faces and horrifying creatures. As a writer, boy howdy, is he one wordy wordsmith. Huge captions and word balloons that required smaller than normal lettering so as to not crowd out the art.

His stories are entertaining, but only one of them – “Death Ship” – is memorable. That one is a character study of a spaceship captain who can’t resist the call of the stars no matter how good his life on Earth is. He’s looking for something out there, but whether he finds it or not, is left to the reader to decide.

The other stories are a mixed bag. Reprints of jungle heroes Jo-Jo, Rulah and Tonaka appear. Heroes like Torpedo Man and the Mask are in some of the issues as well. Horror tales and even a crime story are reprinted. Besides the Disbrow lead stories, the only other new story is “The Last Man Alive,” an off-beat tale about a surly guy who doesn’t like sharing the world with people. It’s drawn by the equally off-beat A. C. Hollingsworth. Many of these stories would be reworked with additional gore to appear in the notorious black-and-white comics magazines by Eerie Publications in the late 1960s and mid-1970s.

Sidebar. Marvel Comics had a similar business plan for some of the 1970s “mystery” comics it published around the same time as those Eerie magazines. After several issues, titles like Tower of Shadows would feature only one new story and then fill out the rest of their pages with reprints.

Pre-Code Classics Ghostly Weird Stories Volume 1 isn’t a must-have for anyone who doesn’t share my fascination with the horror comics of the past. But, if you are one of our maniacal number, I suspect you’ll enjoy the collection.

ISBN 978-1-78636-181-3


Punisher Max

Punisher Max: The Complete Collection Volume Seven [Marvel; $39.99] is grindhouse gore in super-hero drag. It reprints PunisherMAX #1-22 from January 2010 to April 2012.

Written by Jason Aaron with art by Steve Dillon and colorist Matt Hollingsworth, this is the most brutal series of Punisher comics I have ever read. There are no good guys among the combatants here. There are monsters in human guise…and Frank Castle is every bit as monstrous as those he hunts and slaughters.

Clearly set in an alternate Marvel Universe, the players in these stories include the Kingpin, Bullseye and Elektra. There are quick violent deaths in these stories and lingering torturous killings. These are more horrifying crime comic books than I imagined before I read them. They make the crime comic books of the 1950s look like TV’s afternoon specials. That said…the writing, the art and the coloring are all of the highest quality. Each issue had me wanting to see what happened next and, when I got to the last issue of the series, I was satisfied by the overall ending. This isn’t for the faint-of-heart, but if your intestinal fortitude is higher than most readers, I think you’ll find this collection to be worth reading.

ISBN 978-1-302-90912-3


How to Go Steady

My pick of the week is the long-titled How to Go Steady: Timeless Dating Advice, Wisdom, and Lessons from Vintage Romance Comics by comics historian and love comics expert Jacque Nodell [CreateSpace; $12.99]. The back cover calls it “history book meets how-to guide,” which is pretty good short hand for what Nodell has created here.

The field of romance comics in general has not been covered as well as it should be. It was a leading genre from the late 1940s through the mid-1970s. Its target audience were girls and young woman, but it had plenty of male readers as well.

Nodell has been collecting and writing about romance comics for as long as I can remember. Her “Sequential Crush” blog was one I would visit frequently. I always enjoyed her articles and learned a lot from them. What she has done in this book is focus on one part of the romance comics allure: the advice columns.

Though often written by men, these columns actually contained some useful lessons. Nodell went through hundreds of comic-book advice columns to put together a dating/relationship guide with some solid suggestions for young women and men. Though the advice offered in the comic books tended to be very conservative, the basics hold up pretty well today.

Though I’ve been safely and happily married for over thirty years, I found this book to be entertaining. If I’m ever again fortunate enough to edit a romance comic – I was the editor of Young Love at DC Comics for a short time in 1976 – you can be sure I’ll include an advice column in that comic book.

Entertaining and informative, shining a light on a part of comics history never before covered in such detail, How to Go Steady would make a great gift for anyone even remotely interested in romance comics. I recommend it highly.

ISBN 9781983612909

That’s all for now. I’ll be back next week with more reviews.

© 2018 Tony Isabella