Nick Fury #5 - Jim Steranko art & cover

Nick Fury, Agent of Shield #5, 1968 - In Jim Steranko's final tale for the series, the opening splash depicts household objects on a breakfast table, flanked by a high-tech gun. The artist places the story title into the newspaper headline. Though often used, this technique has rarely been as well executed as in this case. An attractive black and white photo-montage appears on page four, but it briefly interrupts the visual flow and pacing. A double page spread depicts a wide array of forms and shapes within a technologically advanced setting. Most effective is the arrival of the antagonist Scorpio on pages 6-8, where Steranko cleverly uses mind-numbing optical patterns. His cover, carrying over some of the interior symbolism, is yet another standout for the series. This is number 5 of 7 Nick Fury issues with Steranko art and/or covers. See today's posts or more Steranko or Nick Fury issues. See also this blog's Steranko checklist or Top 10 Steranko comics.
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Steranko cover pencils and inks = ****
"Whatever Happened to Scorpio?" Steranko story pencils (John Tartag inks) 20 pages = ****
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Roy Rogers and Trigger #125 - mis-attributed Alex Toth art

Roy Rogers and Trigger #125, 1958 - A stand-alone page at the end of this issue gives readers some general information about prospectors. Overstreet's guide credits Alex Toth, while an online Toth checklist calls it "questionable". Comparing the page to the artist's other works of the same time period (especially for Dell), there are examples of the same loosely drawn panels on single pages. They are also similar in their educational-themed content rather than fiction stories. Although stylistically consistent overall, the men's faces in the background of panel four appear the least Toth-like in approach. Regardless of the artist credit, the hurried nature of the layout and drawings are decidedly mediocre. See today's posts or more Toth or Roy Rogers and Trigger issues. See also this blog's Toth checklist.
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Plop #11 - Alex Toth art

Plop #11, 1975 - Alex Toth does a loose parody of Hugh Hefner, the eccentric founder of Playboy magazine. A bikini clad female is the focal point of the opening page, followed by a terrific panel sequence (see interior page shown above). The central character's figure is superimposed on top of several smaller panels, creatively marking the passage of time and space. His overly simplified face is distracting at times, but seems allowable given this type of genre. Despite the short page count, the pacing and layouts show Toth at his most innovative. Basil Wolverton continues doing his twisted covers and Sergio Aragones contributes a short story. This is number 1 of 1 Plop issues with Toth art and/or covers. See today's posts or more Plop or Toth issues. See also this blog's Toth checklist.
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Untitled Hubert Hoofner story Toth pencils and inks 5 pages = ***
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Worlds Unknown #1 - Angelo Torres reprint

Worlds Unknown #1, 1973 - This short-lived science fiction series began with a mix of new and old material but eventually became a repository for 1950s and 1960s reprints. A barely passable Angelo Torres reprint from Astonishing #54 appears here as well as new Gil Kane/Mike Esposito story. See today's posts or more Torres issues. See also this blog's Angelo Torres checklist.

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Haunted Love #5 - Steve Ditko art

Haunted Love #5, 1973 - One of Steve Ditko's few gothic romance tales, "Until We Meet Again" is set in an unnamed seafaring village. The artist's graphic style of rendering is fully employed here. Most interesting are his quasar-like shapes for ocean waves and splashes on page 2. The following page (see inset shown above) is his most detailed, and not coincidentally his strongest aesthetically. Other artists in this issue include Joe Staton, Tom Sutton and Sanho Kim (cover). This is number 2 of 2 Haunted Love issues with Ditko art and/or covers. See today's posts or more Ditko or Haunted Love issues. See also this blog's Ditko checklist.
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"Until We Meet Again" Ditko story pencils and inks 7 pages = ***
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Lassie #22 - Matt Baker art

Lassie #22, 1955 - Another wonderful painted cover opens this issue, typical of many Dell titles at the time. Matt Baker once again proves he's capable of drawing this television adventure comics with relative ease. His pair of stories center around Lassie's interaction with other animals, which are generally less compelling than his rendition of people. "Lassie and the Isle of Adventure" is slightly weaker of the two from an aesthetic standpoint. Pages 9-10 look suspiciously inconsistent, as if drawn by someone else. A third story within the same issue is drawn by another artist, so it's conceivable that he filled in those particular pages for reasons unknown. That aside, Baker's last issue still surpasses the art throughout the majority of the series. This is number 3 of 3 Lassie issues with Baker art and/or covers. See today's posts, more Baker or Lassie issues. See also this blog's Matt Baker checklist.
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"The Flying Wolf" Baker story pencils and inks 12 pages = ***
"Lassie and the Isle of Adventure" Baker story pencils and inks 12 pages = ***
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DC 100 Page Super Spectacular #4 / Weird Mystery Tales - Bernie Wrightson art & cover, non-attributed Wrightson art

DC 100 Page Super Spectacular #4 / Weird Mystery Tales, 1971 - DC introduces the first super spectacular, offering up 100 pages for the then-exorbitant price of fifty cents. Mostly reprints from House of Mystery, House of Secrets, Unexpected and the Phantom Stranger, these tales are augmented by Bernie Wrightson's superb contributions. The dark humor of his pitch black cover sets the tone for the rest of the book. It looks even better repeated on the back cover without the text and masthead. Wrightson also illustrates five divider pages, using himself as host and narrator. Each is sumptuously drawn, enhanced by delicately applied strokes. Not attributed in comic book guides is Wrightson's small illo for the text story, "Childhood Haunt". This is number 1 of 1 DC 100 Page Super Spectacular issues with Wrightson art and/or covers. See today's posts or more Wrightson or DC 100 Page Super Spectacular issues. See also this blog's Wrightson checklist or Top 10 Wrightson comics.
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Wrightson front cover (repeated on back cover) pencils and inks = ***
"Macabre Mystery" Wrightson pencils and inks 1 page = ****
"Eerie Adventure" Wrightson pencils and inks 1 page = ****
"Science Fiction" Wrightson pencils and inks 1 page = ****
"Monsters" Wrightson pencils and inks 1 page = ****
"Childhood Haunt" Wrightson text illo pencils and inks 1 page = ***
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Captain Marvel v2 #49 - Jim Starlin art

Captain Marvel v2 #49, 1976 - Not uncommonly, Jim Starlin steps in to help out fellow artist Al Milgrom with the issue. While not credited on the opening page, Starlin's hand is most evident on pages 17, 22 and 27 (see interior page above). Most likely he contributed the layouts, leaving others to finish. Quite frankly, the effort is a far cry from his earlier Captain Marvel issues. Other artists in this issue include Terry Austin and Steve Leialoha. This is number 12 of 12 Captain Marvel issues with Starlin art and/or covers. See today's posts or more Starlin or Captain Marvel issues. See also this blog's Starlin checklist or Top 10 Jim Starlin comics.
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"Asylum Earth” Starlin partial layouts (AL Milgrom pencils, Terry Austin inks) 19 pages = **
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Black Cat Mystery #50 - non-attributed Frank Frazetta art

Black Cat Mystery #50, 1954 - A man's face and hands start to deteriorate from radiation poisoning on this jarringly horrific cover, one of my favorites prior to the establishment of the comics code. The story shown here features an eccentric character that enters a small town and entertains them enough to gain their trust (and their money). Some comic book price guides have attributed the story art solely to Sid Check, but it appears likely that Frank Frazetta provided the inks. Though Check had a vaguely similar approach, the fine lines and meticulous detail are inconsistent with his other works. Note the superb craftsmanship on the characters' faces and most of the backgrounds. One of the most telling moments is page three, panel seven, as the policeman's figure reels from a gunshot. His tightly gripped hand and the detailed folds on his uniform are familiar traits of Frazetta's action scenes.The only other Frazetta/Check collaboration that comes to mind is the cover to Beware #10 and a comparison of both works reveal more similarities. This is number 1 of 1 Black Cat Mystery issues with Frazetta art and/or covers. See today's posts or more Frazetta issues. See also this blog's Frazetta checklist or Top 10 Frazetta comics.
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"Here Today..." Frazetta story inks (Sid Check pencils) 5 pages = ****
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Infinity Inc #12 - Don Newton art

Infinity Inc #12, 1985 - Don Newton’s next to last comic book work resides on the first three pages, showing various super-heroes in more mundane settings. On page one, one of the characters awakens to answer a Captain Carrot telephone by his bedside, a bit of industry humor and reference to another DC series. Whereas many artists struggle with the ordinary interaction between people, Newton excels in these types of scenes. Although scant, his prelude offers a quieter tone before the pace of the story picks up. Other artists in this book include Tom Burgard and Tony DeZuniga. This is number 2 of 3 Infinity Inc. issues with Newton art and/or covers. See today's posts or more Newton or Infinity Inc. issues. See also this blog's Don Newton checklist.
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"Press Conference" Newton story pencils (Joe Rubinstein inks) 3 pages = ***
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Mystery Comics Digest #9 - Al Williamson, Angelo Torres reprints

Mystery Comics Digest #9, 1972 - Comprised of older material from Gold Key's mystery comics, the small digests offer an alternative to the scarcer original issues. Angelo Torres' artfully drawn "Lost Oasis" is reprinted from Twilight Zone #14. Al Williamson's "Revolt of the Machines" has its panels reconfigured to mostly two per page, maintaining detail but sacrificing the original pacing and layouts from Twilight Zone #12. Other artists in this issue include Dan Spiegle, Reed Crandall, Frank Thorne, Al McWilliams and others (all reprints). See today's posts or more Williamson, Torres or Mystery Comics Digest issues. See also this blog's Williamson checklist or Torres checklist.
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Red Circle Sorcery #8 - Alex Toth art

Red Circle Sorcery #8, 1974 - Eighteenth century Paris is the setting for this swashbuckling mystery by Alex Toth. A talented swordsman bargains with Death in return for eternal life. Toth's opening page is a masterful design of loosely stacked panels, anchored by a dangling sword. The monochromatic colors only heighten the effect. The remaining pages are drawn equally well and are quickly, but efficiently paced. Even in an obscure title, Toth delivers excellence. Other artists in this issue include Frank Thorne, Carlos Pino and Gray Morrow (art and cover). This is number 1 of 2 Red Circle Sorcery issues with Toth art and/or covers. See today's posts or more Toth or Red Circle Sorcery issues. See also this blog's Toth checklist.
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"The Man Who Tried to Kill Death" Toth story pencils and inks 5 pages = ****
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Nick Fury #4 - Jim Steranko cover

Nick Fury, Agent of Shield #4, 1968 - One of the finest montages ever done in comics, this Jim Steranko cover incorporates illustration, photography and op art sensibilities. The black and white background purposefully contrasts against the large central figure. Note how the Marvel title "stamp" on the upper left cover is also devoid of color, which was a rarity during the 1960s. Frank Springer's story art struggles but fails to match the calibre of Steranko's contributions. This is number 4 of 7 Nick Fury issues with Steranko art and/or covers. See today's posts or more Steranko or Nick Fury issues. See also this blog's Steranko checklist or Top 10 Steranko comics.
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Steranko cover pencils and inks = *****
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Batman and the Outsiders annual #1 - Frank Miller cover

Batman and the Outsiders annual #1, 1984 - Series artist Jim Aparo inks this sole cover by Frank Miller. Although his pencils are mostly repressed, the strength of his composition and individual figures still come forward. The heroes' diminishing sizes increase depth is a commonly used motif. The American flag in the background is decorative yet appropriate, obscuring the masthead but much less than I would have expected. This is number 1 of 1 Batman and the Outsiders issues with Miller art and/or covers. See today's posts or more Miller or Batman and the Outsiders issues. See also this blog's Miller checklist.
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Miller cover pencils (Jim Aparo inks) = ***
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Jungle Jim v3 #5 - Wally Wood cover

Jungle Jim v3 #5, 1967 - Sadly, there appears to be only the minimum of effort on this silver age Wally Wood cover. The layout looks more like an enlarged reproduction of a smaller panel than an original drawn to appropriate size. The top spear is oddly placed (assuming it misses the woman's head), the figures lack clarity and the background is too sparse. Wood would find more success on later issues of this same series. This is the only issue published by King and the interiors are reprinted from Jungle Jim v2 #5 (the first Dell series). This is number 1 of 3 Jungle Jim issues with Wood art and/or covers. See today's posts or more Wood or Jungle Jim issues. See also this blog's Wood checklist.
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Wood cover pencils and inks = **
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Marvel Super-heroes v2 #19 - Barry Windsor Smith cover

Marvel Super-heroes v2 #19 featuring Ka-Zar, 1969 - In one of his earliest covers, Barry Smith tries his best to emulate Jack Kirby but falls far short. The figure drawing lacks credibility (is Ka-Zar swinging or dangling?) and the layout is uninspired. Stylistically, it looks earlier than the issue's publication date. Within a year, Smith would take over the Ka-Zar feature in Astonishing Tales. These issues would mark a transition in style, comparable to his seminal work on Conan the Barbarian. This is number 1 of 1 Marvel Super-Heroes issues with Smith art and/or covers. See today's posts or more Smith, Ka-zar or Marvel Super-Heroes issues. See also this blog's Barry Windsor Smith checklist.
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Smith cover pencils (Herb Trimpe inks) = *
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Kong the Untamed #2 - Bernie Wrightson cover

Kong the Untamed #2, 1975 - The title character rests by a campfire, unaware of the danger that creeps up behind him. Bernie Wrightson's extraordinary cover displays his mastery of light and shadow. The boy's illuminated figure is nicely detailed, his attackers less so as they emerge from the darkness. The brushwork on the distant trees is faintly impressionistic, and the grass and embers in the foreground are meticulously drawn. This is arguably Wrightson's best cover of the mid 1970s. Alfredo Alcala also does a fine job on the interior art. This is number 2 of 2 Kong issues with Wrightson art and/or covers. See today's posts or more Wrightson or Kong the Untamed issues. See also this blog's Wrightson checklist or Top 10 Wrightson comics.
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Wrightson cover pencils and inks = ****
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Forbidden Worlds #5 - Al Williamson art

Forbidden Worlds #5, 1951 - Suspected of murdering his father, a young man heads for home and stumbles across a portal to the afterlife. Al Williamson makes the best of this convoluted tale, bringing a lush realism not often seen in 1950s comics. The exotic woman's dramatically backlit face on page three, panel six nicely fits her lengthy monologue. Williamson also takes pride in drawing the grandiose, almost futuristic settings of the spirit world. As an inside joke, he and inker Roy Krenkel combine their names on the first panel. Other artists in this issue include Lou Cameron. This is number 3 of 7 Forbidden Worlds issues with Williamson art and/or covers. See today's posts or more Williamson or Forbidden Worlds issues. See also this blog's Williamson checklist.
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"Land of the Living Dead" Williamson story pencils (Roy Krenkel inks) 8 pages = ***
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Love Romances #99 - Jack Kirby art & cover

Love Romances #99, 1961 - Only marginally better than the previous issue, Jack Kirby's artwork is relatively tame compared to other works from the early 1960s. He illustrates the entire issue, including the poorly composed cover and four tales of nearly the same length. Full page splashes open two of the stories, one overladen with dialogue and the other too lacking in information. The opener, "Teenager And The Truck Driver", is a tad more lively and engaging than the rest. On the positive side, Kirby does some clever panel sequencing with the story endings of both the first and final stories, making these predictable scenes all the more interesting, See today's posts or more Kirby or Love Romances issues.
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Kirby cover pencils (Vince Colletta inks) = *
"The Teenager And The Truck Driver" Kirby story pencils (Vince Colletta inks) 7 pages = **
"In My Sister's Shadow" Kirby story pencils (Vince Colletta inks) 6 pages = **
"Fun Girl" Kirby story pencils (Vince Colletta inks) 5 pages = **
"Don't Break My Heart" Kirby story pencils (Vince Colletta inks) 5 pages = **
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