Essential Warlock
Marvel Essentials, 2012

'Essential Warlock' (576 pp.), published by Marvel in August, 2012, is a black and white compilation of the character's comic book appearances throughout the 1970s.

Warlock first appeared as a character called ‘Him’ in Fantastic Four, issues 66 – 67 (1967), and then two years later in The Mighty Thor, issues 165 – 166.

In April, 1972, Warlock appeared as a lead character in his own right, in the first issue of Marvel Premiere, Stan Lee's designated book for launching new characters.

Illustrated by Gil Kane, with scripting by Roy Thomas, Warlock was a conventional superhero whose adventures took place on 'Counter-Earth', a planet which orbited the Sun exactly opposite the Earth proper.

Counter-Earth was devoid of superheroes, save for Warlock, a plot device which gave the series’ writers some degree of scripting freedom not available in other Marvel titles.

The character drew enough reader response to result in the appearance of a dedicated series, The Power of Warlock, eight issues of which ran from August 1972 to October 1973. As well, some issues of The Incredible Hulk, from June through August 1974, took place on Counter-Earth, and involved the Warlock character.

Most of the plots for the character depicted him as an overwrought, tormented, Messianic figure who traveled in the company of bell-bottom jean-wearing teenagers who were fleeing the hypocrisy and negative karma of adult society. This was 1972, after all, and the ‘Generation Gap’ was well in place as a pop culture phenomenon.

I remember in 1972 / 1973 picking up some of these early issues of Marvel Premiere / Power of Warlock and finding them interesting, but not earth-shattering.

The last issue of Power of Warlock showed our hero departing Counter-Earth, consoling his distraught followers with a segment of Christ-like oratory. 

In February, 1975, the character was rebooted in Strange Tales No. 178, written and illustrated by Marvel’s signal new talent, Jim Starlin, who had been doing the scripts and art work on Captain Marvel.

Reader response again catalyzed a decision to produce a separate title, and Warlock No. 9 debuted in October 1975 (somewhat confusingly, it continuing the numbering system of the discontinued Power of Warlock) and ran for seven issues.

Starlin made Warlock into a ‘paranoid schizophrenic’ space traveler, beset with self-doubt and emotional angst, an approach which (perhaps deliberately) often verged on parody. 

The ‘cosmic’ scope of these adventures involved characters from Starlin’s work on Captain Marvel, including Thanos.

Starlin’s contributions to Warlock, however short-lived, remain among the best graphic work ever done in comic books. 

Starlin adopted some of the artistic stylings used in the better – quality underground comic books, such as intricate op-art background patterns, complicated shadings, and minutely detailed cross-hatchings. All of these devices were used in the underground books to make the most of the visual possibilities inherent in being printed in graytone / black and white, as opposed to relying on color.

Starlin also regularly split pages into multiple vertical panels, each crammed with detail, pieces of art that must have taken days to complete. He frequently used black and white shadowing to lend extra drama to panels, an approach widely employed by artists for the Warren magazines and underground comix, but comparatively rare and under-utilized in contemporary Marvel and DC products. 

[In a rather sly aside to the influence of the underground comix, Starlin inserts a sidekick for Warlock: a randy, scheming troll named 'Pip', who could well be The Checkered Demon's younger brother.]

Printed in this Marvel 'Essentials' volume in black and white, the detail of Starlin’s penciling is no longer obscured by the low-budget color printing processes used in comic books in the 70s. The episodes in which Starlin pays homage to the artwork of Steve Ditko, in particular, really shine.

The volume closes with some of the guest appearances of Warlock, Thanos, and Captain Marvel in titles such as Marvel Team – Up and Marvel Two-In One Annual, from the mid- to late- 70s.

The verdict ?

Even though his Warlock contributions occupy only the second half of this particular volume, fans of Jim Starlin’s work in the 70s, as well as those who appreciate great graphic art, will want to get their copy of Essential Warlock. 

Gideon Faust: Warlock at Large

Gideon Faust: Warlock at Large
by Howard Chaykin (art) and Philip DeWalt (colors)
from Star*Reach Classics No. 5 (Eclipse Comics, July 1984)

This 12 page comic first appeared in Star*Reach No. 5 in July, 1976, as a black and white comic. When Eclipse Comics began reprinting selected Star*Reach strips in its 'Star*Reach Classics' comic, this was among those selected for reprinting in colored format.

Although nowadays the sub-genre of 'steam-fantasy' is well established and represented by many titles on the shelves of bookstores, back in '76, using it as a theme for a comic was 
imaginative for its time.

Book Review: The Year's Best Fantasy Stories 5

Book Review: 'The Year's Best Fantasy Stories: 5' edited by Lin Carter

2 / 5 Stars

'The Year's Best Fantasy Stories: 5' is DAW Book No. 370 (204 pp.) and was published in January 1980. The cover artwork is by Jordi Penalva.

This edition of the ‘Year’s Best’ primarily features tales that saw print in 1978 and 1979 in other anthologies, or small- and large- circulation magazines. As a reflection of the lean pickings available in the 1979 (as well as, perhaps, editor Carter's preferences), some old chestnuts get recycled, too.

The anthology leads off with ‘The Troll’, written by T. H. White in the 1930s; more a horror story than fantasy, it deals with a tourist’s unlucky excursion to Sweden.

There are several shorter pieces. ‘In the Balance’, by Tanith Lee, is a fable about students and their pursuit of magical training. David Mallory’s ‘St George’ takes the legend of the virtuous knight, and tries too hard to do something hip and smarmy with it. 

Grail Undwin’s ‘Rhian and Garanhir’ is a slight tale of unspoken yearnings between a knight and a princess. Evangeline Walton’s ‘Above Ker-is’, originally written in 1927, deals with a  self-righteous cleric and a mocking village maid. Marvin Kaye’s ‘Ms Lipshutz and the Goblin’ is an effort at fusing fantasy with New York City-style Yiddish humor.

As was typical for Carter, this volume contains at least one entry relating to R. E. Howard or his creations. ‘The Gem in the Tower’, written by de Camp and Carter, is a modestly successful Conan tale in which our barbarian hero, doing a turn at pirate, investigates a sinister structure on a remote tropical island.

Yet another ‘unpublished’ REH manuscript, ‘discovered’ by literary agent Glenn Lord, finds its way to ‘Year’s Best: 5’ (even Carter expresses some incredulity at the frequency with which these unpublished manuscripts appear). 

This time it’s a story titled ‘Lord of the Dead’, starring belligerent detective Steve Harrison, blundering around Chinatown, and its Inscrutable Orientals, on the trail of an assassin. Devoid of fantasy elements, and apparently composed by Howard for publication in a detective / Oriental themed pulp, the inclusion of ‘Lord’ indicates editorial fatigue on Carter’s part.

There are two stories featuring female protagonists. Pat McIntosh’s ‘Child of Air’ is a rather oblique tale in which Thula the warrior maiden sees herself contested over by rival mages. In Janet Fox’s ‘Demon and Demoiselle’, Arcana the lady wizard seeks to retrieve her familiar from a powerful warlock; there is an emphasis on satiric humor.

Humor is also the main ingredient in Craig Shaw Gardner’s ‘A Malady of Magicks’, in which the down-at-heels wizard Ebenezum delves into strange phenomena at an otherwise prosperous farm.

Adrian Cole contributes ‘Astral Stray’, in which a familiar, seeking the protection of a new master, plays dangerous games with the patrons of an otherworldly inn.

In summary, this is one of the weaker editions of the ‘Year’s Best’ compilations. To be fair, this was a reflection of the rather limited availability of print outlets in the late 1970s, wherein one could find worthy short fiction pieces devoted to the genre. 

But it’s also clear that Carter was becoming increasingly uninspired in executing his editorial duties for this particular anthology. With 'Year's Best' No. 5, he was getting by on his status as a well-known fantasy enthusiast, rather than putting real effort into ferreting out above-average entries suitable for consideration.

Dreadstar: The Beginning

Dreadstar: The Beginning by Jim Starlin

 

Jim Starlin’s ‘Dreadstar’ comic books and graphic novels appeared on a regular basis throughout the 1980s, and since that time, have been reprinted in a bewildering number of volumes in different color formats from different publishers…… trying to sort out the contents of each of these compilations is no small task.

This Dynamite hardbound edition (2010; 230 pp) compiles all the Dreadstar material from ‘Metamorphosis Odyssey’, ‘The Price’ graphic novel, the ‘Dreadstar’ graphic novel, and the ‘Dreadstar’ chapter that appeared as a singleton adventure in Epic Illustrated. All of these works first appeared in the interval from 1980 – 1982.

This volume from Dynamite uses a high-quality, glossy paper stock. However, it is several inches smaller than the magazines and graphic novels the stories originally appeared in, so the typeface is comparatively cramped……and sometimes difficult to read.

The whole 'Dreadstar' series started as a serial in Epic Illustrated magazine: ‘Metamorphosis Odyssey’, which appeared in the very first issue (the Spring, 1980 issue), and appeared in succeeding issues as 14 chapters, concluding with the December, 1981 issue. All of the artwork in the chapters was painted, some of it in black and white, and some in color. 

‘Metamorphosis’ dealt with adventures in a galaxy far, far, away, a long, long time ago (the entire ‘Dreadstar’ canon borrows, not surprisingly, from ‘Star Wars’). The dread Empire of the Zygoteans is enslaving all civilizations in the galaxy; only the planet of the Osirosians is able to resist, but their resources are becoming depleted as a result of the 500-year conflict. 

 

In a last, desperate effort to defeat the Zygoteans, the Osirosians dispatch their most gifted warrior and priest, a long-nosed man named Aknaton, to scour the galaxy for a team of heroes capable of joining together to wield the ultimate weapon. 

Among this team of heroes is the orphan Vanth, from the planet Byfrexia. Vanth is the equivalent of a Jedi Knight, equipped with a magic sword, superhuman strength, impressive spaceship piloting skills, and unmatched skills in hand-to-hand and ranged weapon combat.

I won’t disclose any spoilers, save to say that Vanth – soon rechristened Vanth Dreadstar – plays a key role in the struggle against the Zygotean onslaught.

In 1981 a quasi-sequel, titled ‘The Price’, was published by Marvel / Epic as a black-and-white graphic novel. ‘The Price’ was primarily concerned with the adventures of Syzygy Darklock, the man who would become Vanth Dreadstar’s mentor and ally. 

‘The Price’ moves away from sf, and more into the type of magic-based adventures that characterized the world of Marvel Comic's 'Dr. Strange'.

  

The series’ next installment was ‘Dreadstar’, a Marvel Graphic Novel published in 1982. Featuring color artwork, this volume centers on the adventures of Vanth Dreadstar as he confronts – however unwillingly – the need to deploy his martial skills in the ongoing conflict between the Monarchy and the Instrumentality, the two major political blocs fighting for control of the galaxy.

 

The 'Dreadstar: The Beginning' compilation concludes with an Epilogue, a ‘Dreadstar’ chapter that appeared in black-and-white in the December, 1982 issue (No. 15) of Epic Illustrated. This chapter relates Dreadstar’s efforts to seize a spaceship from an Instrumentality mining colony and contains a lot of flashback sequences. 

Starlin was presumably using this chapter as a teaser for the Dreadstar comic book series, which was inaugurated in November, 1982 by Epic Comics and eventually ran for 64 issues.

So, what do you get with this compilation of all the early adventures of the ‘Dreadstar’ franchise ? As I mentioned, it borrows to some degree from classic space opera and ‘Star Wars’, but it also incorporates the ‘cosmic’ perspective that Starlin routinely employed in his work during the 70s and 80s for Marvel titles like ‘Warlock’ and ‘Captain Marvel’, as well as the high-profile crossover series ‘Infinity Gauntlet’, and ‘Cosmic Odyssey’ for DC.

Dreadstar is not an action comic or a superhero comic; instead, it chooses to focus on a more wordy, cerebral approach, leading to panels that are overloaded with speech balloons and text boxes. This may turn off readers who are more accustomed to the minimalist, 'show, don't tell' formatting of contemporary comics.

 

While there are occasional bloody battles between Dreadstar and Empire troops, much of the series’ contents are devoted to lengthy dialogues between various characters on a variety of ‘deep’ topics. There is always a note of ambiguity about the seemingly ‘right’ decisions that are made in the struggles against the forces of evil, and every victory comes with its cost. At times Starlin’s prose becomes too overwrought, and unconsciously comes a bit too close to self-parody, a phenomenon that characterized his efforts for ‘Warlock’, ‘Thanos’, and ‘Captain Marvel’. 

By and large, however, if you appreciate a space opera with more depth than the genre is usually accredited, then this Dreadstar compilation is worth investigating. It’s also a welcome change from contemporary comics, in that Starlin takes pains to frame his plots using flashbacks and external narration, devices rarely present in modern comics, which often suffer from awkward lapses in visual and storytelling continuity.

As well, Starlin’s use of painted artwork, involving a canny use of different shadings of grays and whites for the black-and-white episodes, stands apart from contemporary comics and their flat, computer-assisted approach to illustration.