What do you think?
Rate this book
Marvel Masterworks: Golden Age Marvel Comics #2
Marvel Masterworks: Golden Age Marvel Comics, Vol. 2
Collects Marvel Mystery Comics #5-8.
It's no mystery why MARVEL COMICS took the four-color hero world by storm - it featured some of the greatest characters and creators of comics' Golden Age! And today you can experience the stories that founded Marvel as the Golden Age Marvel Masterworks march on. In our second volume, the Human Torch joins the police force, the Sub-Mariner is put on trial - and gets the electric chair! - the Angel takes on the mob, Ka-Zar defends his jungle kingdom, and Electro and Professor Zog continue their wild adventures. You'll also see history made when the Human Torch and the Sub-Mariner cross over into each other's series for comics' first hero vs. hero battle!
It's no mystery why MARVEL COMICS took the four-color hero world by storm - it featured some of the greatest characters and creators of comics' Golden Age! And today you can experience the stories that founded Marvel as the Golden Age Marvel Masterworks march on. In our second volume, the Human Torch joins the police force, the Sub-Mariner is put on trial - and gets the electric chair! - the Angel takes on the mob, Ka-Zar defends his jungle kingdom, and Electro and Professor Zog continue their wild adventures. You'll also see history made when the Human Torch and the Sub-Mariner cross over into each other's series for comics' first hero vs. hero battle!
273 pages, Kindle Edition
First published January 7, 2014
15 people are currently reading
85 people want to read
About the author
Carl Burgos
241 books8 followersMax Finkelstein created Jim Hamond, the Human Torch, for Timely Comics (later evolved into the Marvel Comics) in 1939, using the pen-name Carl Burgos. He also created the Thunderer for Daring Mystery Comics. Both series were published by Timely Comics, the forerunner of Marvel. He was drafted in 1942 and did mostly commercial art in subsequent years, occasionally drawing science fiction stories for Marvel, by that time known as Atlas. He also drew the first story featuring the Beetle (Abner Jenkins) in Strange Tales #123, starring Johnny Storm, the second Human Torch. Two years later, in Fantastic Four Annual #4, Marvel published a battle between the two Human Torches, resulting in the death of Jim Hamond. Although his daughter tried to preserve as much as possible, Burgos set fire to much of the Human Torch materials he had retained from the 1940s, considering the story an excuse to reassert trademark on a character they were not using simply to spite him.
Ratings & Reviews
Friends & Following
Create a free account to discover what your friends think of this book!
Community Reviews
Displaying 1 - 11 of 11 reviews
April 3, 2018
Golden Age Marvel Comics Vol. 2 reprints Marvel Mystery Comics Nos. 5-8. The origins of the Marvel Cinematic Universe and the Marvel Universe in general start in this important book, wherein The Sub-Mariner and the Human Torch meet and battle it out! Never before had two Marvel characters interacted in a shared universe.
As with the previous volume, Bill Everett's work on Sub-Mariner is the best in the book - it packs a punch, with the mariner acting more like Osama Bin Laden than a Marvel hero. Also great is Steve Dahlman's art for the underrated Electro: the Marvel of the Age series. Ferret: Mystery Detective has a ferretless story near the end; his series would soon be supplanted by Terry Vance, boy detective. The rest of the features are primitive, but fascinating as time capsules, and The Angel was about to get a lot weirder in the next volume.
Also features an introduction by Roy Thomas and contemporary ad reproductions.
As with the previous volume, Bill Everett's work on Sub-Mariner is the best in the book - it packs a punch, with the mariner acting more like Osama Bin Laden than a Marvel hero. Also great is Steve Dahlman's art for the underrated Electro: the Marvel of the Age series. Ferret: Mystery Detective has a ferretless story near the end; his series would soon be supplanted by Terry Vance, boy detective. The rest of the features are primitive, but fascinating as time capsules, and The Angel was about to get a lot weirder in the next volume.
Also features an introduction by Roy Thomas and contemporary ad reproductions.
January 13, 2025
Ah, nostalgia! As Kundera said, "happiness is the longing for repetition." But even nostalgia couldn’t salvage this one. I understand the significance—this is where it all began for Marvel Comics, the foundation of a cultural phenomenon. Over the years, I’ve read many of these stories randomly and even snagged some hardcovers during past Amazon sales.
That said, the art reflects its era, but the storytelling leaves much to be desired. The plots are overly simplistic and linear, with little to no development. It’s easy to predict every twist and turn, and unfortunately, this rinse-and-repeat formula extends to most of the characters. While it’s an interesting historical artifact, the content feels dated and lacks the depth needed to keep modern readers engaged.
That said, the art reflects its era, but the storytelling leaves much to be desired. The plots are overly simplistic and linear, with little to no development. It’s easy to predict every twist and turn, and unfortunately, this rinse-and-repeat formula extends to most of the characters. While it’s an interesting historical artifact, the content feels dated and lacks the depth needed to keep modern readers engaged.
November 22, 2014
It's getting interesting. Some world-building with Human Torch and Sub-Mariner. The message of #8 seems to be, "If your hands are tied, put your hands in the nearest fire because the bindings will be destroyed before your hands." The Angel, Ka-Zar, and Steve Burnett (in the text story) all do this, and the latter is the only one who even uses any sort of ointment afterwards! I can only assume this was intended for comics' high readership among G.I.s at the time, because the information isn't the best advice for kids, who might try to do it in play.
It's amusing that Roy Thomas's introduction puts Namor's "murders" in quotation marks, as though he is completely oblivious to the fact that in the previous volume, he was shown intentionally killing three cops, to the point that he went back to kill the one that was only injured. For this he is electrocuted, but all that serves to do is negate the effect of the drugs that they put in his food. He blames Betty Dean for this, who denies it without much effect.
Comics in these days weren't consistent about matching the cover to the issue--one of the Angel covers matches with a story from last volume, and has nothing to do with this volume. This is the first time that we get Angel's real name--Thomas Hallaway--he is recognized immediately by his real name by a woman he rescues. For some reason, later sources give his name as "Halloway," mach as later sources double the Ms in Jim Hamond, the way it is consistently spelled throughout the volume here.
Thomas continues to give his most disparaging comments for Electro. It feels like the perfect concept for a 1960s adventure series, but such a series would develop the twelve Elctro agents as unique characters. Although some of them are identified by name, as in the previous volume, the characterization is not particularly important. The important thing is using this big robot (the illustrations seem pretty inconsistent as to how big) to do amazing feats, which Thomas says just couldn't thrill readers the way seeing human beings do such things could (or people who appear to be human, like The Human Torch, who is an android).
The battle between the Human Torch and Sub-Mariner only begins in this issue and goes on through issues 9 and 10, and unsurprisingly, vol. 3 seems to be sold out at the stores I've browsed recently, so as with my review of The Mighty Thor vol. 3, this one essentially ends on a cliffhanger, too, although with an anthology book, it's pretty much the nature never to have all stories end in the same issue. I'll be back for the next volume even if it really is a mixed bag. I'm still not crazy about the Angel, Ferret, or Masked Raider, and I've already said what I think of Electro. Thompson seems to try very hard to make Ka-Zar not seem too racist. The authors of the text stories can put together great sentences from time to time laden with similes and metaphors that suggest that they are either avid readers or English majors, but their narratives are pretty simplistic and don't expect too much of the audience. Martin Goodman, was, after all, going based on surveys of hobo camps (as someone who lives in a homeless shelter, the term "hobo" bothers me, but it's the word used in both the introductions and in Sean Howe's descriptions of Goodman's early life) for what they liked, not achieving the collegiate appeal that Stan Lee's writing mustered.
Amusingly, Namor gives up going nearly nude (I've always found this making for an off-putting read as a straight male) for a spiffy costume consisting of a red shirt, blue pants, and yellow cape after a one-panel visit to his mother (I had to add Princess Fen's appearance to comicbookedb.com) that he wears for two issues. I don't think the creators working that closely, but the Ka-Zar story in issue #8, in which the villain complains of seeing "a naked white man," who is, of course, Ka-Zar, who wears only a loincloth. Kevin Plunder at least wore boots most of the time (Daredevil #24, one page of X-Men #10 that is continuity inconsistent, and the Neal Adams X-Men cover on which he was featured).
An advertising page shows the eighteen winners of the vintage contest that was announced in the previous volume. Of the eighteen winners, between 8 and 12 are female (several names are gender ambiguous, and that's with assuming that the Marion is female). This is interesting, since the readership for comic books, and adventure comics specifically, has pretty universally be considered more than 90% male, and the figures here are pretty close to Sandman proportions. I have heard several comic shop owners say that The Sanmdan was really the first time they saw a noticeable number of women come to buy comics for themselves (as opposed to for boyfriends or sons), which is reflected in The Sandman A Game of You 's interior content.
It's amusing that Roy Thomas's introduction puts Namor's "murders" in quotation marks, as though he is completely oblivious to the fact that in the previous volume, he was shown intentionally killing three cops, to the point that he went back to kill the one that was only injured. For this he is electrocuted, but all that serves to do is negate the effect of the drugs that they put in his food. He blames Betty Dean for this, who denies it without much effect.
Comics in these days weren't consistent about matching the cover to the issue--one of the Angel covers matches with a story from last volume, and has nothing to do with this volume. This is the first time that we get Angel's real name--Thomas Hallaway--he is recognized immediately by his real name by a woman he rescues. For some reason, later sources give his name as "Halloway," mach as later sources double the Ms in Jim Hamond, the way it is consistently spelled throughout the volume here.
Thomas continues to give his most disparaging comments for Electro. It feels like the perfect concept for a 1960s adventure series, but such a series would develop the twelve Elctro agents as unique characters. Although some of them are identified by name, as in the previous volume, the characterization is not particularly important. The important thing is using this big robot (the illustrations seem pretty inconsistent as to how big) to do amazing feats, which Thomas says just couldn't thrill readers the way seeing human beings do such things could (or people who appear to be human, like The Human Torch, who is an android).
The battle between the Human Torch and Sub-Mariner only begins in this issue and goes on through issues 9 and 10, and unsurprisingly, vol. 3 seems to be sold out at the stores I've browsed recently, so as with my review of The Mighty Thor vol. 3, this one essentially ends on a cliffhanger, too, although with an anthology book, it's pretty much the nature never to have all stories end in the same issue. I'll be back for the next volume even if it really is a mixed bag. I'm still not crazy about the Angel, Ferret, or Masked Raider, and I've already said what I think of Electro. Thompson seems to try very hard to make Ka-Zar not seem too racist. The authors of the text stories can put together great sentences from time to time laden with similes and metaphors that suggest that they are either avid readers or English majors, but their narratives are pretty simplistic and don't expect too much of the audience. Martin Goodman, was, after all, going based on surveys of hobo camps (as someone who lives in a homeless shelter, the term "hobo" bothers me, but it's the word used in both the introductions and in Sean Howe's descriptions of Goodman's early life) for what they liked, not achieving the collegiate appeal that Stan Lee's writing mustered.
Amusingly, Namor gives up going nearly nude (I've always found this making for an off-putting read as a straight male) for a spiffy costume consisting of a red shirt, blue pants, and yellow cape after a one-panel visit to his mother (I had to add Princess Fen's appearance to comicbookedb.com) that he wears for two issues. I don't think the creators working that closely, but the Ka-Zar story in issue #8, in which the villain complains of seeing "a naked white man," who is, of course, Ka-Zar, who wears only a loincloth. Kevin Plunder at least wore boots most of the time (Daredevil #24, one page of X-Men #10 that is continuity inconsistent, and the Neal Adams X-Men cover on which he was featured).
An advertising page shows the eighteen winners of the vintage contest that was announced in the previous volume. Of the eighteen winners, between 8 and 12 are female (several names are gender ambiguous, and that's with assuming that the Marion is female). This is interesting, since the readership for comic books, and adventure comics specifically, has pretty universally be considered more than 90% male, and the figures here are pretty close to Sandman proportions. I have heard several comic shop owners say that The Sanmdan was really the first time they saw a noticeable number of women come to buy comics for themselves (as opposed to for boyfriends or sons), which is reflected in The Sandman A Game of You 's interior content.
July 14, 2022
This volume reprints the contents of Marvel Mystery Comics #5-8 from 1940. The introduction by Roy Thomas points up the contrast with the publisher’s other anthology title of the time, Daring Mystery Comics. This one had star characters like the Human Torch and the Sub-Mariner, and decent backup features like Ka-Zar, while the other had a succession of characters who didn’t last more than a couple issues each and are known primarily for cameos in later Marvel comics.
Since this series had the good fortune to have a steady lineup for all four issues, let’s go by character rather than strict issue order.
The Human Torch (art and writing by Carl Burgos) is not, strictly speaking, human. He is an android, an artificial male humanoid constructed by Professor Phineas Horton. A flaw in his construction caused him to burst into flame without being consumed when exposed to air. He was sealed away until criminals tried to steal his body for nefarious purposes, and released him to their cost. He learned how to control his flames, and even at this point showed an almost mystical power over all fire. Fortunately, Professor Horton had programmed “Jim Hammond” with basic ethics, so he used his powers for good.
In these issues, first the Torch flies medical supplies to a snowbound town in Lake Superior, then battles arsonists who’ve stolen the plans for incendiary bombs, and joins the police force with his first target there being a crooked politician. Due to his habit of burning off his outside clothing whenever he flames on, the Torch is allowed not to wear the standard police uniform. As a representative of the law, the Human Torch is then asked to battle Namor, the Sub-Mariner.
Speaking of whom, Namor is the child of a surface-dweller man and an Atlantean princess, which makes him amphibious and gives him hybrid vigor and useful superpowers. He initially intended to conquer the land people, but was soon persuaded by pretty policewoman Betty Dean that they weren’t all bad. She even persuaded him to rescue a “neutral” American freighter from Nazi warships.
At the beginning of this volume, bored with escort duty, Namor gets permission from his grandfather the emperor to return to America. Unfortunately he decides to don a costume with a cape for the return, and when he tries to evade capture, it tangles in the landing gear of a plane and the Sub-Mariner is taken prisoner. He convinces Betty to let him go to rescue people from a subway flood, and stops Treasury robbers in their tracks.
Despite this, and other heroic deeds, it’s determined that Namor must still stand trial for his earlier crimes. As expected from Marvel civilians, the jury decides the possible good the Sub-Mariner could do if freed does not outweigh the possible harm he could inflict if he turned enemy again, and finds him guilty on all charges. Namor is sentenced to death in the electric chair and drugged to keep him from struggling. The voltage clears the drugs, Namor escapes, and swears off trying to work with the American justice system.
After checking with the Emperor to get permission to rampage again, Namor makes his headquarters at the Statue of Liberty and starts wreaking havoc. There’s only one being that might stand a chance against the Scion of Atlantis, the Human Torch!
And so in Marvel Mystery Comics #8, the first superhero crossover event! These first two chapters of the storyline are inconclusive, Namor dashing from place to place causing mischief that the Torch has to mitigate, clashing only briefly before the Sub-Mariner flies off again. They both underestimate each other, but it’s clear this is the first time either of them has had a nearly equal opponent. Thrilling stuff!
The Angel is socialite Tom Hallaway, here rendered by Paul Gustavson. He’s a non-powered hero who wears a costume, but not a mask, and doesn’t really hide his identity. (Later on he’ll get a cloak that allows him to fly, but doesn’t use it often.) Despite the lack of actual powers, the Golden Age Angel performs acrobatic and fighting feats that verge on the superhuman. The two covers he’s on depict battles against cults and monsters that don’t match any of the interior stories.
In the actual stories, the Angel first thwarts bank robbers by flipping cars on their sides so they can’t be used for a getaway, much to the bemusement of an old Irish-American cop who’s unconscious for most of the action. Then he assists a woman kidnapped for her (fake) necklace, another one whose father is being poisoned for the inheritance, and a third to force her dad to see his steel company shares. The women are different people, but all share a strong resemblance…I think Mr. Gustavson had a type.
The Masked Raider is a Lone Ranger-style Western character who wanders about righting wrongs while wearing a mask. Illustrated here by Al Anders, only recently has he gotten a modern Marvel counterpart. He “disguises” himself by taking off the mask. The Masked Raider helps a sheriff get re-elected despite a series of arrow murders framing “Injun Joe.” Next, he assists a man trying to buy back his border ranch from rustlers. Another ranch is rich in minerals, but when the Masked Raider tries to defend it, the town marshal wants to arrest him! And then there’s a bank robbery with a twist, and the Raider is joined by his new sidekick Mexican Pete. (A mild stereotype.)
Electro: The Marvel of the Age by Steve Dahlman concerns a remote controlled robot of immense power created by the wealthy Professor Zog to perform amazing feats. The Professor has a squad of young agents who go to the sites where Electro is needed to guide and control it. The first story in these issues has Electro going to the country of Molivia, which has been invaded by the dictatorial forces of Torpis. The leader of Torpis, Kalph Belgri, is a pretty transparent stand in for Hitler, and commits suicide when Electro dismantles his entire army.
Next, Electro deals with the national dope-running racket. (Some stereotypical Chinese people are incidental characters.) This is followed by flood relief in the Ohio Valley, but Electro also smashes a gang of looters taking advantage of the chaos. “Boss” Sarpo, their leader, returns in the next story to kidnap Professor Zog and force him to use Electro for evil. The professor is unable to figure out a way to escape before the dragonmen of planet Ligra show up to abduct Zog and Electro for their own nefarious purposes. Okay, suddenly aliens. Why not?
The Ferret is a long-nosed snooper with a pet ferret, Nosy, who acts as an amateur detective. (Stories by Bob Davis, art by Irwin Hasen.) First, he solves a murder by cadging an apparently blank piece of paper off the police investigators. Next, a case with a bald woman (this is a clue) which has multiple red herrings and a lift from Agatha Christie’s playbook. The third story reveals that Ferret is independently wealthy, as kidnappers expect he’ll be able to pay fifty thousand dollars in ransom. And finally, he tricks bank robbers into leading him to their loot. Nosy is in the tradition of pets that are way too well trained for belief. I don’t think Ferret has ever been brought back in the modern day.
Ka-Zar the Great by Ben Thompson carried over a character from the pulp magazines, a Tarzan clone. His name means “brother of Zar”, Zar being the lion that raised him after the young boy was stranded in the jungle by the murder of his father. #5 concludes his origin by allowing Ka-Zar to get revenge on his father’s murderer. Next, he fights an ivory poacher. This is followed by a story in which a botanist and his daughter are betrayed by their pilot, who is actually an escaped criminal. Finally, a greedy gold mine operator bribes a local chief to supply him with slaves for the digging.
To no surprise, there are stereotypical depictions of native Africans in these stories, worst in the initial story. But it’s worth noting that each tale also has an evil white man, who’s even worse than the black people in every case. Ka-Zar was eventually “modernized” by having him come from a hidden jungle of prehistoric creatures in Antarctica.
Each issue has a throwaway text story as well because of postal regulations back in the day.
Overall, it’s an amusing collection of early comic book goodness with mostly still pretty crude art. The Torch/Namor crossover is historically important, so Marvel fans will definitely want this and the next volume which completes the crossover. Less enthused fans might want to check this out at the library.
Since this series had the good fortune to have a steady lineup for all four issues, let’s go by character rather than strict issue order.
The Human Torch (art and writing by Carl Burgos) is not, strictly speaking, human. He is an android, an artificial male humanoid constructed by Professor Phineas Horton. A flaw in his construction caused him to burst into flame without being consumed when exposed to air. He was sealed away until criminals tried to steal his body for nefarious purposes, and released him to their cost. He learned how to control his flames, and even at this point showed an almost mystical power over all fire. Fortunately, Professor Horton had programmed “Jim Hammond” with basic ethics, so he used his powers for good.
In these issues, first the Torch flies medical supplies to a snowbound town in Lake Superior, then battles arsonists who’ve stolen the plans for incendiary bombs, and joins the police force with his first target there being a crooked politician. Due to his habit of burning off his outside clothing whenever he flames on, the Torch is allowed not to wear the standard police uniform. As a representative of the law, the Human Torch is then asked to battle Namor, the Sub-Mariner.
Speaking of whom, Namor is the child of a surface-dweller man and an Atlantean princess, which makes him amphibious and gives him hybrid vigor and useful superpowers. He initially intended to conquer the land people, but was soon persuaded by pretty policewoman Betty Dean that they weren’t all bad. She even persuaded him to rescue a “neutral” American freighter from Nazi warships.
At the beginning of this volume, bored with escort duty, Namor gets permission from his grandfather the emperor to return to America. Unfortunately he decides to don a costume with a cape for the return, and when he tries to evade capture, it tangles in the landing gear of a plane and the Sub-Mariner is taken prisoner. He convinces Betty to let him go to rescue people from a subway flood, and stops Treasury robbers in their tracks.
Despite this, and other heroic deeds, it’s determined that Namor must still stand trial for his earlier crimes. As expected from Marvel civilians, the jury decides the possible good the Sub-Mariner could do if freed does not outweigh the possible harm he could inflict if he turned enemy again, and finds him guilty on all charges. Namor is sentenced to death in the electric chair and drugged to keep him from struggling. The voltage clears the drugs, Namor escapes, and swears off trying to work with the American justice system.
After checking with the Emperor to get permission to rampage again, Namor makes his headquarters at the Statue of Liberty and starts wreaking havoc. There’s only one being that might stand a chance against the Scion of Atlantis, the Human Torch!
And so in Marvel Mystery Comics #8, the first superhero crossover event! These first two chapters of the storyline are inconclusive, Namor dashing from place to place causing mischief that the Torch has to mitigate, clashing only briefly before the Sub-Mariner flies off again. They both underestimate each other, but it’s clear this is the first time either of them has had a nearly equal opponent. Thrilling stuff!
The Angel is socialite Tom Hallaway, here rendered by Paul Gustavson. He’s a non-powered hero who wears a costume, but not a mask, and doesn’t really hide his identity. (Later on he’ll get a cloak that allows him to fly, but doesn’t use it often.) Despite the lack of actual powers, the Golden Age Angel performs acrobatic and fighting feats that verge on the superhuman. The two covers he’s on depict battles against cults and monsters that don’t match any of the interior stories.
In the actual stories, the Angel first thwarts bank robbers by flipping cars on their sides so they can’t be used for a getaway, much to the bemusement of an old Irish-American cop who’s unconscious for most of the action. Then he assists a woman kidnapped for her (fake) necklace, another one whose father is being poisoned for the inheritance, and a third to force her dad to see his steel company shares. The women are different people, but all share a strong resemblance…I think Mr. Gustavson had a type.
The Masked Raider is a Lone Ranger-style Western character who wanders about righting wrongs while wearing a mask. Illustrated here by Al Anders, only recently has he gotten a modern Marvel counterpart. He “disguises” himself by taking off the mask. The Masked Raider helps a sheriff get re-elected despite a series of arrow murders framing “Injun Joe.” Next, he assists a man trying to buy back his border ranch from rustlers. Another ranch is rich in minerals, but when the Masked Raider tries to defend it, the town marshal wants to arrest him! And then there’s a bank robbery with a twist, and the Raider is joined by his new sidekick Mexican Pete. (A mild stereotype.)
Electro: The Marvel of the Age by Steve Dahlman concerns a remote controlled robot of immense power created by the wealthy Professor Zog to perform amazing feats. The Professor has a squad of young agents who go to the sites where Electro is needed to guide and control it. The first story in these issues has Electro going to the country of Molivia, which has been invaded by the dictatorial forces of Torpis. The leader of Torpis, Kalph Belgri, is a pretty transparent stand in for Hitler, and commits suicide when Electro dismantles his entire army.
Next, Electro deals with the national dope-running racket. (Some stereotypical Chinese people are incidental characters.) This is followed by flood relief in the Ohio Valley, but Electro also smashes a gang of looters taking advantage of the chaos. “Boss” Sarpo, their leader, returns in the next story to kidnap Professor Zog and force him to use Electro for evil. The professor is unable to figure out a way to escape before the dragonmen of planet Ligra show up to abduct Zog and Electro for their own nefarious purposes. Okay, suddenly aliens. Why not?
The Ferret is a long-nosed snooper with a pet ferret, Nosy, who acts as an amateur detective. (Stories by Bob Davis, art by Irwin Hasen.) First, he solves a murder by cadging an apparently blank piece of paper off the police investigators. Next, a case with a bald woman (this is a clue) which has multiple red herrings and a lift from Agatha Christie’s playbook. The third story reveals that Ferret is independently wealthy, as kidnappers expect he’ll be able to pay fifty thousand dollars in ransom. And finally, he tricks bank robbers into leading him to their loot. Nosy is in the tradition of pets that are way too well trained for belief. I don’t think Ferret has ever been brought back in the modern day.
Ka-Zar the Great by Ben Thompson carried over a character from the pulp magazines, a Tarzan clone. His name means “brother of Zar”, Zar being the lion that raised him after the young boy was stranded in the jungle by the murder of his father. #5 concludes his origin by allowing Ka-Zar to get revenge on his father’s murderer. Next, he fights an ivory poacher. This is followed by a story in which a botanist and his daughter are betrayed by their pilot, who is actually an escaped criminal. Finally, a greedy gold mine operator bribes a local chief to supply him with slaves for the digging.
To no surprise, there are stereotypical depictions of native Africans in these stories, worst in the initial story. But it’s worth noting that each tale also has an evil white man, who’s even worse than the black people in every case. Ka-Zar was eventually “modernized” by having him come from a hidden jungle of prehistoric creatures in Antarctica.
Each issue has a throwaway text story as well because of postal regulations back in the day.
Overall, it’s an amusing collection of early comic book goodness with mostly still pretty crude art. The Torch/Namor crossover is historically important, so Marvel fans will definitely want this and the next volume which completes the crossover. Less enthused fans might want to check this out at the library.
August 28, 2023
It is always interesting to see the history of comics evolve. These early adventures and crude by today's, but entertaining none the less. I've always loved the chapter book style of comics (to get you to buy the next issue) but many of these characters one can jump right into one of the stories of these heroes (or anti-hero as the case may be) and be thoroughly enjoyed. If you enjoy comics, and want to see the roots of characters, the Masterworks series is the way to go. I mean, how many of us have thousands of dollars to spend on a reading copy of any one of the 4 issues contained here? I can't wait to read the rest.
October 14, 2020
Golden age marvel comics, now i understand why they are called "gold".
May 8, 2024
Wonderful collection. A great variety of characters and decent stories. Boy, the Sub-Mariner was a very bad boy back then. Can’t wait to read the next volume.
October 29, 2013
There are some good stories in the Marvel Mystery Comics Masterworks series, though naturally the non-Bill Everett and non-Simon and Kirby stories are usually artistically on a par with the median quality of the era.
What's interesting in this volume is that many of the stories are actually continued from issue-to-issue (Ka-Zar and Electro), a rarity for comic books that weren't newspaper reprints. You also have the first battle of the Human Torch and the Sub-Mariner spanning both features over the course of a couple of issues.
Good stories for the Marvel aficionado, which should be required reading for any true fan or any Marvel professional.
What's interesting in this volume is that many of the stories are actually continued from issue-to-issue (Ka-Zar and Electro), a rarity for comic books that weren't newspaper reprints. You also have the first battle of the Human Torch and the Sub-Mariner spanning both features over the course of a couple of issues.
Good stories for the Marvel aficionado, which should be required reading for any true fan or any Marvel professional.
February 17, 2015
This was actually worse than volume one. The lineup is more consistent, but some of the strips are utterly rubbish. Maybe I'm expecting too much from the 1940s, but I'd have liked some stories that were actually good, or in fact different each issue. If you want to take a look at the original versions of The Sub-mariner, Ka-Zar and The Human Torch, then this might be worth checking out, but characters like The Masked Raider, Electro and Ferret are beyond rubbish.
December 12, 2015
Those comics are entertaining. They hold that vintage sweetness and yet all the heroes created are interesting in their own way. Especially Human Torch and Namor as always. The rest is a little bit dull and Ka-Zar is still great for the way he wants to defend the animals and the jungle and never come back to civilization. Overall a nice read.
January 24, 2016
Fantastic reprint of these Golden Age of Comics issues. The first appearance of such iconic characters as the Human Torch and the Sub-Mariner appear here. Great collection of rare comics. Very recommended
Displaying 1 - 11 of 11 reviews