Just came back from Magers & Quinn Booksellers here in Minneapolis. They’ve had a fantastic comic book/graphic novel/manga section for years, but they recently expanded it to include their comic strip books as well!
It seems only natural they’d be put together, but no one does (not even libraries for the most part). So kudos to Magers & Quinn!
First one off is the graphic novel Road to Perdition written by Max Allan Collins, with fantastic art by Richard Piers Rayner.
Set during the prohibition era of Al Capone and Elliot Ness, the protagonist is Michael O’Sullivan, a ruthless but honorable enforcer of Irish mob boss John Rooney. When he is betrayed – resulting in his wife and child being murdered – O’Sullivan sets out to protect his only surviving child and exact revenge.
In 2002 it was adapted into a film starring Tom Hanks and Paul Newman.
Follow up graphic novels by Max Allen Collins include On the Road to Perdition drawn by José Luis García-López and Steve Lieber, and Return to Perdition drawn by Terry Beatty.
From Banshee to Siryn to Silver Banshee it seems like many Irish comic book characters have superhuman vocal traits – drawn from the old Irish folklore of the Banshee. The Black Canary is no exception.
Created by the writer-artist team of Robert Kanigher and Carmine Infantino, the Black Canary is a master in hand-to-hand combat. Her superpower is the canary cry, an ultrasonic vibration when she screams that can disable an opponent.
Daredevil was created by writer-editor Stan Lee and artist Bill Everett – and later retooled by Wally Wood.
While growing up in the gritty Irish-American neighborhood of Hell’s Kitchen in New York City, Matt Murdock saves a pedestrian by pushing him out of the way of an oncoming truck but in doing so is struck by a radioactive substance that falls from the vehicle.
His exposure to the radioactive chemicals blinds him, but also heightens his remaining senses giving him superhuman abilities.
The Netflix series Daredevil draws heavily from Frank Miller’s take on the character.
I HIGHLY recommend the acclaimed graphic novel Daredevil: Born Again by writer Frank Miller and artist David Mazzucchelli (pictured above).
Secret Agent X-9
I’m sneaking a comic strip character into the mix here…
Secret Agent X-9 was created by writer Dashiell Hammett (The Maltese Falcon) and drawn by artist Alex Raymond (Flash Gordon) and first ran in newspapers on January 22, 1934. In the 1960s it was written by Archie Goodwin and drawn by Al Williamson and relaunched as Secret Agent Corrigan.
Though never referred to as Irish, when I wrote and drew a cross-over story between Secret Agent X-9 and Flash Gordon in the year 2000, my version of X-9 was always an Irish-American.
And when X-9 and Flash first come face-to-face, I had no other than legendary EC artist George Evans draw the page…
And last but not least…
Captain America was created by the legendary team of Joe Simon and Jack Kirby in 1941. The iconic cover of Captain America punching Hitler in the face came out a full 8 months before the United States even entered the war.
From a 2016 Buzz.ie article by Ruairi Scott Byrne:
While Captain America may be a representation of the ultimate American, it turns out that the Marvel superhero is actually just a good ole Irish lad at heart.
Chris Evans, who portrays Cap in the Marvel Cinematic Universe, has revealed the character’s deep Irish roots and how his own Irish family made him a better man.
“There are a lot of similarities between us. I was raised a good Catholic Irish boy at heart, so was ‘Cap’,” the actor told the Irish Sun. “Our sensibilities and ideologies come from that. That sense of morality, very much stems from that.”
“The difference is Cap was first generation Irish. His folks actually came from Ireland, they came over at the turn of the last century. Yeah, I read all this in the notes, Marvel sends it to you, they want you knowing your research.
“So everything he knew from a young age was Irish. And that’s a big part of who he is, that moral code he lives by, you know, you could totally call him Captain Ireland,” he said.
Evans hails from Boston and revealed that ‘being a good catholic boy’ helped to teach him his manners.
“My heritage is a little more diluted, there’s Italian but we were definitely an Irish Catholic house. I’m a good Catholic Irish boy. And I like to think I’ve held onto that.
“I think my attitude is very reflective of that. I like to be direct and to the point but also polite and respectful at the same time,” he added.
I recently did an interview for the Cosmic Geppeto Podcast. Listen and see how my brain works in so much as I hardly ever finish a sentence before jumping off to some other tangent. Plus, I only got bleeped a couple of times – so family friendly as well!
With the Amazing Spider-man comic strip going to reprints for the time being, Roy Thomas and Alex Saviuk’s run on the strip has come to an end. March 17 was the last Sunday with March 23 being the last daily.
The Spider-Man strip started out January 3, 1977 written by Stan Lee and drawn by John Romita. Following Stan Lee’s run on the strip Roy Thomas had written the strip uncredited for a number of years (more on that at SyFy.com). Artists that followed Romita included Fred Kida, Larry Lieber, and most recently Alex Saviuk with Joe Sinnott inks.
After the announcement of the strip’s finale, Joe Sinnott’s son Mark posted the following to his Dad’s Facebook page.
Truly the end of an era!
With adventure strips being far and few between on today’s comics page, I thought it would be of interest to look at a few notable comic strip finales.
Buz Sawyer was created by Roy Crane and first appeared November 1, 1943. Crane worked on the strip until his death in 1977. Crane’s replacement was Henry G. Schlensker who worked on the strip from 1977-1983. Schlensker was followed by John Celardo who worked on it from 1983–1989. Upon Celardo’s sign-off, King Features discontinued the strip.
Buck Rogers by writer Philip Francis Nowlan and artist Dick Calkins debuted on January 7, 1929. Writers following Nolan included Rick Yager (who also drew it), Jack Lehti, Ray Russell, Fritz Leiber and Howard Liss. Artists following Calkins included Russell Keaton, Rick Yager and George Tuska.
Howard Liss and George Tuska’s finale strip appeared June 13, 1965.
The strip was given a second life in 1979 by writer Jim Lawrence and artist Gray Morrow, followed by writer Cary Bates and artist Jack Sparling. The finale strip appearing December 25, 1983.
One of the most memorable finales for a comic strip happened before the strip in question actually even ended. I’m talking of course of Milton Caniff’s Terry and the Pirates.
Looking to have the financial stability of ownership of his strip (something Caniff was denied at Tribune-News Syndicate with Terry), he accepted an offer from the Field Newspaper Syndicate to create a new strip that he would have ownership of. That strip would be Steve Canyon.
In Caniff’s iconic final Sunday page Terry says goodbye to Jane Allen as Caniff says goodbye to his Terry and the Pirates readers.
The story so far – Romance is in the air for Terry and Jane Allen until it’s discovered that her old flame, Snake Tumblin, is still alive and in a base hospital somewhere in Australia. Sacrificing his own happiness, Terry secures Jane a flight and escorts her to the airfield…
That last panel is the killer as Caniff adds a double meaning to the writing on the wall.
As pointed out by R.C. Harvey in the foreward to the Complete Terry and the Pirates Volume 6, the Sunday page was not the last strip Caniff drew. Because the Sunday pages were due well in advance of the dailies, the following daily strip – printed the day before the momentous final Sunday page – was actually the last strip drawn.
Caniff’s replacement on Terry and the Pirates would be George Wunder, who would go on to draw the strip for another 26 years. Here’s Wunder’s last Sunday page.
Terry and the Pirates would be revived in 1995 by Michael Uslan with art by the Brothers Hildebrandt. The following year they left the strip and were replaced by writer Jim Clark and artist Dan Spiegle. A year after that the strip was discontinued.
Secret Agent X-9 began on January 22, 1934. It was created by writer Dashiell Hammett (The Maltese Falcon) and drawn by artist Alex Raymond (Flash Gordon). Writers that followed Hammett in those early years included Don Moore and Leslie Charteris. The artists that followed after Raymond left the strip were Nicholas Afonsky and Austin Briggs. In the 1940s Mel Graff took over the writing and drawing chores, followed by Bob Lubbers (pseudonym “Bob Lewis”) in the 1960s.
From 1967 to 1980 the strip was written by Archie Goodwin and drawn by Al Williamson and relaunched as Secret Agent Corrigan. Here’s Goodwin and Williamson’s last strip from February 2, 1980.
Following Goodwin and Williamson was veteran cartoonist George Evans. Evans would write and draw the strip until 1980. Upon Evans’s decision to retire from producing the strip, King opted to discontinue it.
Another comic strip Alex Raymond started back in 1934 was the topper to his famous Flash Gordon strip, and that was Jungle Jim. Artists that followed Raymond on the strip were John Mayo and Paul Norris. After a 20 year run Jungle Jim wrapped up in 1954.
Rip Kirby premiered March 4, 1946 and was also created by Alex Raymond. Raymond’s work on Rip Kirby would win him the Reuben Award in 1949 for “Outstanding Cartoonist of the Year.”
Alex Raymond’s career was cut short in 1956, when at age 46, he was killed in a car crash. King Features sought out a replacement and found it in John Prentice. After John Prentice died in 1999 (after an amazing 43 year run on Rip Kirby) the decision was made by King Features to discontinue the strip. Frank Bolle would ghost the final week (to “ghost“ is when an artist fills in for another artist by mimicking his style).
Alex Raymond’s most renowned comic strip, Flash Gordon, first appeared January 7, 1934. It has had a number of artists and writers over the years (myself included), some of whom I highlighted on this Sunday page.
The Flash Gordon Dailies were discontinued on two occasions. The first in 1944 shows Flash, Dale and Dr. Zarkov in a ticker tape parade having returned from Mongo after successfully saving the Earth.
The dailies were revived in the 1950s with artist Dan Barry at the helm. In 1990 the dailies were taken over by Bruce Jones as writer and Ralph Reese as artist, followed by artist Gray Morrow upon Reese’s departure. A Buenos Aires studio of artists were hired in 1991 with writing alternating between Kevin Van Hook and Thomas Warkentin. The last daily would be in 1993
Meanwhile the Flash Gordon Sunday page had been running continuously since 1934. I started my tenure writing/drawing Flash on January 21, 1996. It was a fun run, but after a failed contract renegotiation, I deciding to bow out. My last strip, and Flash Gordon’s finale, appeared March 16, 2003.
The inspiration for my sign-off was the ending of the first Flash Gordon serial starring Buster Crabbe (Flash Gordon), Jean Rogers (Dale Arden) and Frank Shannon (Dr. Zarkov).
Originally I had a slightly more surreal ending planned in a Sunday page I did in collaboration with Mutts creator Patrick McDonnell. It was never meant to be though as the page was rejected by the editor up at King Features – his thoughts being “It really didn’t work as a Flash Gordon page.”
Patrick did an end run though and asked the editor, that if it wasn’t going to see print as a Flash Gordon page, could it be used as a Mutts page. The go ahead was given and it eventual saw print on March 23, 2003 as a Mutts Sunday page (with the Flash Gordon title kept intact).
Note: As mentioned, these are just a FEW notable adventure strip finales. Any more you think are missing? Enter your suggestions in the comments section below.
Adventure strips reigned when newspapers comic strips were printed large and there was room to tell a story. Just compare the two Sunday pages below from 1934 and 2002.
Since 2002 (the image on the above right) comic strip Sunday pages have regrettably shrunken even smaller. Here’s an example of my hometown paper the Star Tribune (my hand shown on the bottom left for scale). Unless you have a jewelers eye loupe you’re at a loss…
Here’s a comic page artist Terry Beatty (Ms. Tree, Rex Morgan M.D.) wrote and drew for Big Funny back in 2009 that really drives the point home.
Granted all is not doom and gloom – whereas adventure strips in the newspaper may be withering on the vine, we’re in a golden age as far as comic strip collections being published. Check out the Library of American Comics, and Fantagraphics to name just a few.
I also feel like comic strips, and in particular continuity strips, are being given a renewed life and readership online as fans of the medium now have the ability to binge weeks worth at a time. The big two comic strip sites being King Feature’s Comics Kingdom and AMU’s GoComics.
And even though comic book sales have shrunk over the years, graphic novels have increased in popularity. From a recent article in Publishers Weekly;“Over the past five years, the North American graphic novel market has welcomed a wave of new readers and grown from about $805 million in sales in 2012 to more than $1 billion in 2017.”
In the early 1900s onwards comic strips reigned supreme. By the 1940s comic books had taken off. In the 1960s indie comics/undergrounds entered the fray. In the 1980s self-published/alternative comics joined in at the same time graphic novels were just getting their sea legs. In the 1990s online content joined the mix. And now in the 21st century graphic novels have taken flight. And that’s not to say comic strips and comic books have been replaced and have gone away, it’s just that they aren’t the only game in town anymore.
Cartoons, comics, graphic novels – whatever you want to call it – the packaging keeps changing, but sequential art is just as popular now as it’s ever been. And as long as the stories are strong and the artwork delivers, the art form will continue to have an audience.
And that’s my two cents. See you in the funny papers…