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Jon Sable Freelance Omnibus #1
Jon Sable, Freelance 1: Omnibus
The original stories of Mike Grell's Jon Sable are re-presented in Omnibus format for a whole generation of new readers! Follow Sable as his for-hire exploits take him from New York City to the plains of Africa as his nose for intrigue, espionage, and beautiful females entertains.
Collects #1-16 of the original comic series Jon Sable Freelance
Collects #1-16 of the original comic series Jon Sable Freelance
452 pages, Paperback
First published August 10, 2010
26 people want to read
About the author
Mike Grell
658 books82 followersMike Grell (born 1947) is a comic book writer and artist.
Grell studied at the University of Wisconsin-Green Bay, the Chicago Academy of Fine Art, and took the Famous Artists School correspondence course in cartooning. His entry into the comics industry was in 1972, as an assistant to Dale Messick on the Brenda Starr comic strip.
In 1973 Grell moved to New York, and began his long relationship with DC Comics. His first assignment at DC was on Superboy and the Legion of Super-Heroes, a high-profile assignment for an artist with no prior experience illustrating a monthly comic book. Grell says he got that job because he was walking in the editor's door to ask for work, literally, as the previous artist was walking out the door, having just quit. These stories were written by Cary Bates and Jim Shooter. The Bates/Grell/Shooter run on the title is very well-regarded today by Superboy/Legion fans, who consider it one of the high-water marks in the character/team's history. Grell's work on SATLOSH is widely thought to be some of the best beefcake/cheesecake ever committed to comic book pages, and is affectionately referred to as the 'disco Legion' in retrospect by fans of the title.
A writer as well as artist, Grell cemented his status as a fan-favorite with his best-known creation, The Warlord, one of the first sword and sorcery comics, and reportedly the best-selling title published by DC Comics in the late-1970s.
The character first appeared in 1st Issue Special #8 (Nov 1975) and was soon given his own ongoing title (The Warlord #1, Jan/Feb 1976). In this book, Air Force pilot Travis Morgan crash-lands in the prehistoric "hidden world" of Skartaris (a setting highly influenced by Jules Verne's A Journey to the Center of the Earth and Edgar Rice Burroughs' Pellucidar). For years thereafter, Morgan engages in adventures dressed only in a winged helmet, wristbands, boots, and breechclout, and armed with a sword and (years before Dirty Harry handled one) a .44 Auto Mag.
At DC, Grell also worked on titles such as Aquaman, Batman, and the Phantom Stranger, and with writer Dennis O'Neil on the re-launch of the Green Lantern/Green Arrow series in 1976.
[edit] Tarzan
Grell wrote and drew the Tarzan comic strip from July 19, 1981 to February 27, 1983 (except for one strip, February 13, 1983, by Thomas Yeates). These strips were rerun in newspapers in 2004 - 2005.
[edit] First Comics: Jon Sable Freelance and Starslayer
Cover to Jon Sable Freelance #7. Art by Mike Grell.Through the 1980s Grell developed creator-owned titles such Jon Sable Freelance and Starslayer. Jon Sable Freelance was published by the now-defunct First Comics. Starslayer, a space-born science fiction series, started at Pacific Comics, but shifted to First.
The titular character of Jon Sable Freelance was a former Olympic athlete, later a African big-game hunter, who became a mercenary. First appearing with a cover date of June 1983, Jon Sable Freelance was a successful non-super-hero comic book in an era when successful non-super-hero comic books were almost unheard of, and a graphically violent comic sold in mainstream comic book stores in an era when such was as rare. Jon Sable was a precursor to what would eventually be called, by some, "the Dark Age of Comics," when even long-established super-heroes would become increasingly grim and violent.
The character was heavily influenced by Ian Fleming's James Bond novels as well as drawing on pulp fiction crime stories. Also, many of the stories of Sable's hunting exploits in Africa were influenced by Peter Hathaway Capstick's novels. At a convention in the late 1980s, Grell stated that his idea for Sable was "something like a cross between James Bond and Mickey Spillane's Mike Hammer."
Sable was adapted into a short-lived television series and the character's origin tale, "A Storm Over Eden," from the comic book, was expanded and novelized by Grell under the title Sable, which was publ
Grell studied at the University of Wisconsin-Green Bay, the Chicago Academy of Fine Art, and took the Famous Artists School correspondence course in cartooning. His entry into the comics industry was in 1972, as an assistant to Dale Messick on the Brenda Starr comic strip.
In 1973 Grell moved to New York, and began his long relationship with DC Comics. His first assignment at DC was on Superboy and the Legion of Super-Heroes, a high-profile assignment for an artist with no prior experience illustrating a monthly comic book. Grell says he got that job because he was walking in the editor's door to ask for work, literally, as the previous artist was walking out the door, having just quit. These stories were written by Cary Bates and Jim Shooter. The Bates/Grell/Shooter run on the title is very well-regarded today by Superboy/Legion fans, who consider it one of the high-water marks in the character/team's history. Grell's work on SATLOSH is widely thought to be some of the best beefcake/cheesecake ever committed to comic book pages, and is affectionately referred to as the 'disco Legion' in retrospect by fans of the title.
A writer as well as artist, Grell cemented his status as a fan-favorite with his best-known creation, The Warlord, one of the first sword and sorcery comics, and reportedly the best-selling title published by DC Comics in the late-1970s.
The character first appeared in 1st Issue Special #8 (Nov 1975) and was soon given his own ongoing title (The Warlord #1, Jan/Feb 1976). In this book, Air Force pilot Travis Morgan crash-lands in the prehistoric "hidden world" of Skartaris (a setting highly influenced by Jules Verne's A Journey to the Center of the Earth and Edgar Rice Burroughs' Pellucidar). For years thereafter, Morgan engages in adventures dressed only in a winged helmet, wristbands, boots, and breechclout, and armed with a sword and (years before Dirty Harry handled one) a .44 Auto Mag.
At DC, Grell also worked on titles such as Aquaman, Batman, and the Phantom Stranger, and with writer Dennis O'Neil on the re-launch of the Green Lantern/Green Arrow series in 1976.
[edit] Tarzan
Grell wrote and drew the Tarzan comic strip from July 19, 1981 to February 27, 1983 (except for one strip, February 13, 1983, by Thomas Yeates). These strips were rerun in newspapers in 2004 - 2005.
[edit] First Comics: Jon Sable Freelance and Starslayer
Cover to Jon Sable Freelance #7. Art by Mike Grell.Through the 1980s Grell developed creator-owned titles such Jon Sable Freelance and Starslayer. Jon Sable Freelance was published by the now-defunct First Comics. Starslayer, a space-born science fiction series, started at Pacific Comics, but shifted to First.
The titular character of Jon Sable Freelance was a former Olympic athlete, later a African big-game hunter, who became a mercenary. First appearing with a cover date of June 1983, Jon Sable Freelance was a successful non-super-hero comic book in an era when successful non-super-hero comic books were almost unheard of, and a graphically violent comic sold in mainstream comic book stores in an era when such was as rare. Jon Sable was a precursor to what would eventually be called, by some, "the Dark Age of Comics," when even long-established super-heroes would become increasingly grim and violent.
The character was heavily influenced by Ian Fleming's James Bond novels as well as drawing on pulp fiction crime stories. Also, many of the stories of Sable's hunting exploits in Africa were influenced by Peter Hathaway Capstick's novels. At a convention in the late 1980s, Grell stated that his idea for Sable was "something like a cross between James Bond and Mickey Spillane's Mike Hammer."
Sable was adapted into a short-lived television series and the character's origin tale, "A Storm Over Eden," from the comic book, was expanded and novelized by Grell under the title Sable, which was publ
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Displaying 1 - 10 of 10 reviews
May 31, 2011
This series is incredible. The eponymous Jon Sable is a renaissance man with intelligence, charm, passion, who is simultaneously a gun-for-hire and a best selling childrens book author. His adventures take him from the casinos of Monaco to the blood stained fields of the African savannah. Mike Grell has hit a homerun with this high action, character driven series. The action keeps you riveted, but the plotlines are what leave their mark on you long afterward. The thought provoking issues he tackles include the psychological fallout of the Vietnam War and the uncertainty of those missing in action and unaccounted for after its conclusion and the pouching of elephant ivory to name but a few. I would suggest everyone at least glance at it. Mike Grell's masterful storytelling is rivalled only by his stunning artwork.
August 31, 2020
I recall that when I first discovered Mike Grell's Jon Sable, Freelance Omnibus, Volume 1 (originally in the original loose issues, and originally after Grell signed my copy of Green Arrow: The Longbow Hunters at a comic show in Boston), I very much enjoyed it; Jon Sable, Freelance was pretty much like no other comic I had read to that date, which in retrospect was one of the "points" of the indie wave of the 1980s exemplified by First Comics. While this Jon Sable, Freelance Omnibus doesn't hold up as well as it did when I originally read it as a significantly younger person, it has its moments, and the brief glimpses of the humanity behind the characters make the story all the more worth it.
There are parts of the Jon Sable, Freelance Omnibus that have not aged well at all from the 1980s. Most notable among these incidents are that the titular character cut his teeth as a game warden and anti-terrorist mercenary in apartheid South Rhodesia; Grell makes much of Sable's being apolitical, as well as treating the Black majority in South Rhodesia "decently", but given what we now hold—that not taking part in politics is itself hugely privileged behavior—and given that South Rhodesia's "terrorists" were frequently Zimbabwe's freedom fighters, this attitude is problematic forty years after Zimbabwe's independence under majority rule. (Perhaps fewer than five years after that event, and particularly in light of the United States' pussyfooting around and trying to have things both ways with Ian Smith's South Rhodesian government, there was a different sentiment in Ronald Reagan's jingoistic America, but arguably it was never a good look.) There are other elements—Sable's ever-so-slight "gay panic" when hanging out with his illustrator Myke Blackmon's roommate Grey Adler (even if Sable is mostly tolerant); the fact that Grell illustrates every woman roughly Sable's age as simply gorgeous; the glorification of vigilantism so closely coupled with the idealization of Captain Josh Winters of the NYPD (in light of what so many of us now accept regarding modern American policing, but more about that below)—that also haven't aged particularly well, but these are less significant under the circumstances.
All that being said, Grell shines in his characterizations: Beginning in the third chapter, Grell makes abundantly clear what motivates Jon Sable, and periodically throughout the rest of the Jon Sable, Freelance Omnibus, Grell illustrates all too well—particularly through Myke Blackmon's commentary—that Sable is essentially a broken man, in some sense trying to kill himself via his mercenary work. (As such, Grell is masterful with facial expressions, even if the women in the Jon Sable, Freelance Omnibus look superficially similar facially.) There are also other standout character moments, most particularly for me when Sable's alter ego B.B. Flemm just shows up at Capt. Winter's child's birthday party and oh-so-simply expresses his appreciation for the hard work that Winter does as a police officer qua police officer; there are almost too many of these Little Moments to name, and Grell's skill as both a visual and narrative storyteller becomes especially clear.
The Jon Sable, Freelance Omnibus isn't at all perfect, much less for everybody, even of a certain comics-aficionado age, but if you enjoy comics that aren't necessarily superhero comics, then Jon Sable, Freelance may well be worthwhile, at least if one overlooks (or, at least, puts aside) the more problematic aspects.
There are parts of the Jon Sable, Freelance Omnibus that have not aged well at all from the 1980s. Most notable among these incidents are that the titular character cut his teeth as a game warden and anti-terrorist mercenary in apartheid South Rhodesia; Grell makes much of Sable's being apolitical, as well as treating the Black majority in South Rhodesia "decently", but given what we now hold—that not taking part in politics is itself hugely privileged behavior—and given that South Rhodesia's "terrorists" were frequently Zimbabwe's freedom fighters, this attitude is problematic forty years after Zimbabwe's independence under majority rule. (Perhaps fewer than five years after that event, and particularly in light of the United States' pussyfooting around and trying to have things both ways with Ian Smith's South Rhodesian government, there was a different sentiment in Ronald Reagan's jingoistic America, but arguably it was never a good look.) There are other elements—Sable's ever-so-slight "gay panic" when hanging out with his illustrator Myke Blackmon's roommate Grey Adler (even if Sable is mostly tolerant); the fact that Grell illustrates every woman roughly Sable's age as simply gorgeous; the glorification of vigilantism so closely coupled with the idealization of Captain Josh Winters of the NYPD (in light of what so many of us now accept regarding modern American policing, but more about that below)—that also haven't aged particularly well, but these are less significant under the circumstances.
All that being said, Grell shines in his characterizations: Beginning in the third chapter, Grell makes abundantly clear what motivates Jon Sable, and periodically throughout the rest of the Jon Sable, Freelance Omnibus, Grell illustrates all too well—particularly through Myke Blackmon's commentary—that Sable is essentially a broken man, in some sense trying to kill himself via his mercenary work. (As such, Grell is masterful with facial expressions, even if the women in the Jon Sable, Freelance Omnibus look superficially similar facially.) There are also other standout character moments, most particularly for me when Sable's alter ego B.B. Flemm just shows up at Capt. Winter's child's birthday party and oh-so-simply expresses his appreciation for the hard work that Winter does as a police officer qua police officer; there are almost too many of these Little Moments to name, and Grell's skill as both a visual and narrative storyteller becomes especially clear.
The Jon Sable, Freelance Omnibus isn't at all perfect, much less for everybody, even of a certain comics-aficionado age, but if you enjoy comics that aren't necessarily superhero comics, then Jon Sable, Freelance may well be worthwhile, at least if one overlooks (or, at least, puts aside) the more problematic aspects.
June 9, 2025
I loved this series when it was first published. And I'm loving re-reading the stories again all these years later. Kinda wished they would have updated the coloring though. Pretty rough in places. Almost wish it was in black and white.
Working my way through this volume also reminded me that this series started out strong, but as the months went on it was easy to see the monthly deadline take a toll on Mr. Grell as his artwork became less detailed and looked rushed. Some stories were better than others, but I still remember looking forward to the new issue each and every month.
However, I'm not as anxious to buy volume 2 as I thought I would be. (at the pace which I read these, I don't need to be) Still, this reminds me of what a great time this was for comics. So much creativity and diversity. I miss that.
Working my way through this volume also reminded me that this series started out strong, but as the months went on it was easy to see the monthly deadline take a toll on Mr. Grell as his artwork became less detailed and looked rushed. Some stories were better than others, but I still remember looking forward to the new issue each and every month.
However, I'm not as anxious to buy volume 2 as I thought I would be. (at the pace which I read these, I don't need to be) Still, this reminds me of what a great time this was for comics. So much creativity and diversity. I miss that.
July 1, 2019
Back in the dark ages, when independent comics started becoming a thing, this was one of the comics that made my teenage brain explode.
Grell's art style was so different, it was a brand new character and it wasn't a super hero series.
How were these things possible?
Still love the big two and super hero comics in general, but Jon Sable gave me one of my earliest glimpses that there was and could be so much more to comics.
Great stuff and I'm pretty sure I still have all the issues in this volume in a box in my comic room.
Grell's art style was so different, it was a brand new character and it wasn't a super hero series.
How were these things possible?
Still love the big two and super hero comics in general, but Jon Sable gave me one of my earliest glimpses that there was and could be so much more to comics.
Great stuff and I'm pretty sure I still have all the issues in this volume in a box in my comic room.
June 20, 2012
I have always loved this story. I really love having it all in one place rather than getting each issue out one by one to read it.
October 24, 2023
I stumbled upon this book in a half off bin. I had never even heard of this title but love Mike Grell's work and scooped it up with nary a second thought. This may seem unremarkable to fans used to modern comic books, but when you read it in context of the era that it was originally published in you will see how far ahead of it's time it was. This was published by First Comics, so it was free of the constraints of the Comics Code Authority. An openly gay supporting cast member, over the top violence, sexual innuendo, and even some minor drug use are all on display. Comics supposedly “grew up” with Watchmen, but this predates that title.
Another interesting thing about this is how it is narrative free, something not common in mainstream American comics of the day but is now par for the course. Grell's fast paced action sequences are fantastic. These comics hold up really well three decades later, as these things are all common in today's mainstream comic books. I enjoyed the story where Sable rescues the secret formula for Coca-Cola.
I enjoy the Omnibus format pioneered by Dark Horse. It is smaller than a standard trade paperback and easy to handle, yet it's not so small that it detracts from the enjoyment of the artwork or makes the words so small that you need a magnifying glass. The only complaint that I have about this book is that all 16 covers are shrunk down to fit on one page. That type of thing drives me batshit crazy. Your mileage may vary.
Another interesting thing about this is how it is narrative free, something not common in mainstream American comics of the day but is now par for the course. Grell's fast paced action sequences are fantastic. These comics hold up really well three decades later, as these things are all common in today's mainstream comic books. I enjoyed the story where Sable rescues the secret formula for Coca-Cola.
I enjoy the Omnibus format pioneered by Dark Horse. It is smaller than a standard trade paperback and easy to handle, yet it's not so small that it detracts from the enjoyment of the artwork or makes the words so small that you need a magnifying glass. The only complaint that I have about this book is that all 16 covers are shrunk down to fit on one page. That type of thing drives me batshit crazy. Your mileage may vary.
July 8, 2017
Mike Grell was a very busy guy in the 80's with "The Warlord" and later "Green Arrow" for DC, "Starslayer" and "Jon Sable, Freelance" for First Comics. Plus other works I'm probably forgetting. Jon Sable, Freelance is Grell's take on the John Rambo/Mack Bolan the Executioner-type character with a hearty helping of James Bond in there too. The adventures are thrilling and the art is amazing. I can't wait to get my hands on the next volume.
August 11, 2013
I enjoyed these stories when they first came out, and hadn't read them since. This anthology was a great way to re-read them and to enjoy Mike Grell's story and art. I quite enjoyed the book. The coloring haven't stood up, but the rest does. Any work that Grell does early on in a series is great and this is no exception.
July 22, 2013
Listen to Episode 32 of ComicPop Library: He's the First Time Lord to hear our discussion about this title. You can find it at www.comicpoplibrary.com and then use the search feature to find the episode.
October 4, 2014
A fun read. Starts out very strong but loses steams as it goes on. Reagan, Russian defectors, the Berlin Wall, a story that could easily fit in the Chuck Norris MIA series, and Grell's art help the book keep the flavoring of the early 80's they we cooked up in.
Displaying 1 - 10 of 10 reviews