The Avenger #01 - Justice, Inc.

Wanting to capitalize on the success of 'The Shadow', publisher Street & Smith imagined a masked hero that would essentially be a hybrid of their own pulp hero, 'Doc Savage' and 'The Shadow'. Using Doc Savage authors Lester Dent and Walter B. Gibson for advisors, the publisher hired author Paul Ernst (1899-1985) to write 'The Avenger' pulp magazine from 1939-1942. The character would later appear in “Clues Detective Magazine” (1942-1943) and a 1943 issue of “The Shadow Magazine.” Launching the series in an era of the pulp demise, The Avenger was well liked but seemed an unnecessary edition to an already crowded pulp hero market.

“Justice, Inc.” was the debut Avenger story, appearing in September 1939 and later reprinted in paperback novel format by Paperback Library in 1972. In 1975, DC Comics published a comic called “Justice, Inc.” starring The Avenger. The 1972 paperback debut is my first experience with the character. While enjoying Doc Savage, and other pulp heroes, I managed my expectations expecting the novel to be a failure.

Much to my surprise, I absolutely loved this book. “Justice, Inc.” contains many of the rewarding elements I enjoy from the 1950s and 1960s crime-noir novels. In fact, I'd speculate that beyond the Avenger's fantastic ability to morph his facial features, this is essentially just a crime novel with a pulp gimmick.

The paperback introduces us to protagonist Richard Benson, a wealthy, seasoned adventurist who has settled into a life of domestic tranquility. While commuting via a commercial flight to Montreal, Benson's wife and young daughter seemingly disappear while Benson is in the lavatory. As he begins asking passengers and staff questions, they inform him that he was the only passenger that boarded the plane. Pulling a gun from his side, Benson is knocked unconscious by the co-pilot wielding a fire extinguisher.

Awakening from a three-week coma, Benson finds that his face is now paralyzed. This paralysis allows him to shape his facial skin and muscles into new forms. The paralysis holds the tissues in place, allowing him the ability to easily transform himself into different facial disguises. After his hospital release, Benson begins interviewing and probing for answers to learn where his family were taken. After talking with a number of airline employees, the only consistent story is that Benson was on the plane alone. Knowing this is inaccurate, Benson teams with a Scottish airline mechanic named Fergus MacMurdie and a giant of a man named Algernon “Smitty” Smith.

Using his new allies and disguises, Benson senses there is a criminal element to his family's tragedy. After learning that many wealthy stockholders have gone missing, Benson goes to work on the perpetrators with two weapons. “Mike” is a .22 caliber short pistol and “Ike” is a slender throwing knife. Both are used to stun the enemy, but Benson is opposed to killing. The novel is a swift read consistent with crime fiction tropes – the crime, notable suspects, gunfights, car chases and the obligatory mystery. Without giving away too much, let's just say Benson doesn't necessarily find all of the answers. The unresolved elements provide the motivation to create a crime fighting trio based in New York City as the launch of the pulp series.

Warner Brothers’ Paperback Library reprinted all 24 Avenger titles in paperback from 1972-1975, including 12 additional stories authored by Ron Goulart. Although I'm not a big pulp enthusiast, Ernst's suspense and rapid-fire delivery was very entertaining. I've purchased a number of these paperbacks and I'm really excited to learn more about the series and characters. I'm sure it's sacrilege, but I enjoyed “Justice, Inc.” more than the two 'Doc Savage' titles I read. Long live The Avenger!

Buy a copy of this book HERE

The Avenger #01 - The Avenger

Nebraska native Chet Cunningham penned over 450 books in his lifetime. The prolific author served as a mortar gunner in the Korean war before obtaining a master's in journalism at Columbia University. His first novel was published in 1968, the first of many westerns he would compile in his bibliography. My first introduction to his writing was Stephen Mertz's 'M.I.A. Hunter' books, and much later the 1980s vigilante series 'The Avenger'. 

The eponymous debut was released by Warner Books in 1987 and would continue for three sequels through December of 1988. The “Avenger” here is Matthew Hawke, who at the beginning of the series is a DEA agent in San Diego. The opening pages has Hawke masterminding a sting operation in a derelict neighborhood. Barging into a warehouse office, Hawke finds the Mob's hands bloody – with his wife's tortured corpse lying discarded on a desk. After a quick shootout, Hawke's colleagues arrive just in time to accept his badge and gun. Hawke resigns from the force. 

The same night, Hawke aligns himself with the lovable Brandy, a 17-yr old prostitute that he has kept tabs on during his career. Daylighting at her place allows him to moonlight as the vengeful avenger, wreaking havoc on drug cartel kingpin Ramon Raimundo. Hawke begins by dismantling the trafficking trails and knocking out mid-level bosses. The author typically uses a chapter to set up the hit, then moves to a quick close with Hawke dealing the deathblow. The chapters and elimination of the cartel eventually moves to the streets of Tijuana and Ramon's fortress. 

Cunningham is a good writer for “popcorn” action, adventure and westerns. He's certainly no literary mastermind, but his books serve genre readers with enough bravado and gun toting heroes to satisfy any casual fan. 'The Avenger' is recommended for fans of 'The Executioner', 'The Vigilante', 'Hawker' and 'The Hitman'.

Buy a copy of this book HERE

The Avenger #02 - Houston Hellground

Journeyman Chet Cunningham authored a four book series from 1987-1988 titled The Avenger. It's an odd title because the series was released by Warner Books, a publisher that already had another Avenger title in their catalog. Warner published reprints and new titles of pulp hero The Avenger (released under the house name Kenneth Robeson) from 1972-1975, totaling 42 books. There's no connection otherwise between the two series, but it's nevertheless confusing.

The Avenger's second installment, Houston Hellground, was published in April 1988. I enjoyed the eponymous debut and this series does have a sense of continuity (unlike high-numbered titles like The Butcher). The first novel introduced us to Matt Hawke, a San Diego DEA agent who finds his wife brutally murdered by drug cartels. Strained by the chains of bureaucracy, Hawke breaks free by quitting the DEA and running his own brand of unsanctioned justice. After annihilating West Coast drug distributors, he sets gun-sights on a Houston kingpin named Lopez.

Cunningham is the quintessential “meat and potatoes” author, simplifying the story and lacing it with high-caliber action. Hawke's mission is two-fold: Rescue a DEA agent from Lopez's grip and cut the distribution lines in and out of the nearby port city. Teaming with a beautiful ex-cop named Carmelita, the two become a destructive force under Cunningham's skilled hands.

Houston Hellground delivers a ton of gunplay, increasing the violence a notch or two to properly satisfy seasoned (read that as bloodthirsty) men's action readers. Remember, this is a late entry published in 1988. There's a brutal torture scene that involves sexual assault – not for queasy stomachs. Further, Hawke and Lopez (who's fighting a rival) collectively waste every adversary in vivid detail. Surprisingly, I was lucky enough to be one of the few survivors. Houston Hellground is another solid entry in an entertaining, yet neglected series.

Fun Fact – Artist Greg Olanoff did the covers for the entire series. His model was Jason Savas, the same model he used for the first five M.I.A. Hunter books.

Buy a copy of this book HERE

The Avenger #02 - The Yellow Hoarde

Publisher Street and Smith used their own pulp heroes Doc Savage and The Shadow as the prototype for their series of pulp adventures starring Dick Benson, the man known as The Avenger. The hero first appeared in magazines from 1939-1943 authored by Paul Ernst using the house name Kenneth Robeson. While always a likable hero, The Avenger became odd man out in a very crowded pulp market. The series of adventures ended after a brief run in The Shadow Magazine. Like the Doc Savage novels, The Avenger stories were reprinted in paperback format beginning in 1972. After thoroughly enjoying the series debut, Justice, Inc., I was anxious to begin the second installment, The Yellow Hoard.

The story begins as Benson's two teammates Smitty and Mac (introduced in Justice, Inc.) witness the explosive destruction of a four-story building in New York City. After determining that the culprits were after some mysterious “Mexican Bricks,” Smitty and Mac chance upon a young, diminutive woman named Nellie Gray. While the two watch, Nellie uses martial arts to overcome her captors and eventually become freed. Impressed, the two introduce Nellie to Benson.

Benson learns that Nellie's father, Professor Gray, recently led an expedition to Mexico to study Aztec ruins. Connecting the mysterious bricks to Gray's expedition plunges the team into a murder mystery. I won't ruin the shock for readers, but Nellie becomes an active member of the team to find the killer(s). In a way, this is her origin story just as the series' third volume introduces Josh and Rosable Newton.

Ernst's narrative focuses on Benson and his colleagues discovering the whereabouts of five Mexican bricks that display a treasure map when placed together. It's the 'ole “one ring to control them all” bit as the search runs through banks, bombed out buildings, warehouses and, of course, Mexico's Aztec ruins. While pulpy, it isn't an overly zany, suspicious spectacle of weird characters. The action is more of a procedural hardboiled crime mystery that asks the readers to suspend their disbelief during the obligatory hypnosis segments. Benson is still the chameleon as he changes his facial features to infiltrate criminal gangs, but at least he gets caught to prove he's a flawed hero.

The Yellow Hoard should appeal to fans of The Shadow, Doc Savage and other likable pulp heroes from this place in time. I thoroughly enjoyed it, and I'm anxious to learn where the team's next mission takes them. Purchase a copy of this novel HERE.

Penetrator #01 - The Target Is H

Powerhouse publisher Pinnacle capitalized on its own success with The Executioner with a wildly successful, over-the-top vigilante series entitled The Penetrator. Beginning in 1973, the series launched with The Target Is H, the first of 53 installments published under the house name of Lionel Derrick. However, the series was masterminded by journeyman author Chet Cunningham (Avenger, Pony Soldiers), who wrote the even numbered volumes. The odd numbers were penned by Mark K. Roberts (Soldier for Hire, Liberty Corps.). I decided to check out where it all began - Penetrator #1: The Target is H.

The novel introduces series protagonist Mark Hardin and the events that led to his war on organized crime. Hardin excelled in sports, eventually lettering in wrestling, basketball and football in high school. On the cusp of a lucrative NFL contract, Hardin refuses to cooperate with gambling junkies during his last collegiate game and experiences a horrific back injury that ends his athletic ambitions (there's more to the story but I'm no spoiler). Hardin then joins the U.S. Army and finds that he is a remarkable soldier. After numerous medals, Hardin's military career ends with an exceptional record and an honorary discharge.

While hoping to find the gambling junkies that ended his sports career, Hardin and his girlfriend Donna Morgan run into a heroin distribution ring in Los Angeles. Too close to the fire, Donna is murdered and Hardin finds himself aligned with her uncle, Professor Hawkins, and a talented Native American named Red Eagle. As a trio, they launch a crime-fighting crusade from a desert fortress called The Stronghold.

This series debut consists of a number of guerrilla firefights between Hardin and a mob family led by Don Pietro Scarelli. Mark Roberts writes like Don Pendleton's clone, firing off an admirable Mack Bolan knockoff in Mark Hardin. Despite the book's cover (and most of the series for that matter), Hardin isn't some suit-wearing spy that's chasing brutes and babes. In fact, I was surprised that Hardin is mostly concealed in black fatigues without any bodacious beauties. It's all action, from car chases on windswept, desert roads to infiltrating the mob in a slick ambush. Roberts presents three distinct firefights that were above average for a 1970s vigilante paperback...and that's saying something.

Overall, The Target Is H was a stellar first entry in what would amount to be a tremendously successful run of men's pulpy action-adventure novels. This one is a must read and thankfully Chet Cunningham's estate have made the first 26 installments available as affordable ebooks.

Buy a copy of this book HERE

Steve Holland: The World's Greatest Illustration Art Model

On the Paperback Warrior Podcast, and on this very blog, I've often reminisced about my early childhood and my father's love of 20th century paperbacks. I can still remember summer days walking up our creaky staircase, hoping to discover something new or exciting about my humble, and often very quiet, father. In an unfinished guest bedroom, there were leaning stacks of welding manuals and plastic bins of old bolts. There were also stacks of boxes spilling over with western paperbacks. Occasionally, I would read one just to break up the monotony of Stephen King and Dean Koontz, but sifting through the books was the real pleasure for me at that age. Thumbing through the stacks, I began to think the vivid gun-slinging character depicted on the covers was actually the same hero, but was just calling himself Buchanan, Nevada Jim or some other tough-as-nails sounding name to fit the book. It wasn't until many years later that I discovered it was the same hero, only his real name was Steve Holland.

In a new coffee-table book called Steve Holland: The World's Greatest Illustration Art Model, author Michael Stradford reveals that he had a similar experience in the 1960s when he discovered Doc Savage in a Cleveland book store. In this visual and informative book, Stradford delves into the life and career of Holland, the most iconic male model of 20th century literature. My softcover version weighs in at over 200 pages and features hundreds of paperback covers, exclusive photos, and larger than life paintings that honor the man that launched a thousand paperbacks. 

The book's introduction is written by Jason Savas, a friend of mine that inherited Holland's crown in the 1980s. Savas, a former model employed by the esteemed Wilhelmina Model Agency, has been featured on a 1,000 book covers himself. Savas details his experiences in the industry working with Holland, a man he deemed “the consummate pro.” Stradford includes a biography of Savas, featuring a handful of stirring, action-adventure book cover scans as well as the beautiful Steve Assel painting The Iron Marshall (Louis L'Amour) that Savas posed for. 

Stradford's layout is divided into sections dedicated to various eras of Holland's career. For example, numerous pages detailing his paperback career are divided into genres like action, adventure, romance, western, sci-fi, etc. There is a complete section focusing on just the men's adventure magazine paintings, the Doc Savage era, and various advertisements featuring Holland's face or likeness. There is a biography on Holland, and a detailed interview with Holland's daughter Nicole and third wife Jean. Also, author Will Murray's expanded interview with Holland from Starlog is expanded and exclusively included. Murray has been the primary contributor to the Doc Savage series for decades. 

I really enjoyed artists Bob Larkin (Conan, Iron Fist, Hulk) and Bob Caras (The Avenger) discussing their experiences painting Holland. There are so many amazing artists and photographers interviewed for the book, including Alex Ross, Frank Reilly, Joe DeVito, Robert Osonitsch, and Jack Faragasso. It was personally rewarding to learn how humble and kind Holland was as described by his peers, friends and family. I never needed validity, but the real life Holland seemed to parallel the admirable, heroic characters he became on canvas.

Steve Hollad: The World's Greatest Illustration Art Model is absolutely a mandatory reference for anyone fascinated by 20th century paperbacks, magazines and male-oriented advertisements. I was enthralled for days just researching the paperbacks and building my shopping list based on these incredibly vivid covers. More than 20 years after his death, Holland's face is still selling publications. That is a testament to his phenomenal physique, likable face and ability to provide the perfect likeness for all of these amazing visuals. Stradford has honored Holland in such a beautiful way and I can't thank him enough for his labors in creating it. 

Get the book HERE

Paperback Warrior Primer - Nick Carter: Killmaster

The character of Nick Carter (or Nicholas Carter) was created by Ormond G. Smith and John R. Coryell in 1886. Smith was heir to the New York City publisher Street & Smith, the early catalyst for dime novels and pulp fiction as far back as 1855. Smith wanted a private-eye or detective character similar to Old Sleuth or Old Cap Collier to star in various forms of media. The first Nick Carter literary appearance began in New York Weekly, September 18, 1886, in a story called "The Old Detective's Pupil" or "The Mysterious Crime of Madison Square." The serial ran 13 total installments with the setting mostly being Victorian-Edwardian New York.  

Carter is described as 5' 4" and having bronze-skin, gray eyes, dark hair and a square jaw. The character was trained by his father, Old Sim Carter, to fight criminals, essentially becoming the opponent of global evil. He's a genius that is inhumanly strong and a master of disguise. The character was so popular with readers that Street & Smith created the Nick Carter Weekly dime novel series. These stories would later be reprinted as stand-alone titles under New Magnet Library. 

With its premier issue on October 15, 1915, the Nick Carter Weekly publication transitioned into Street & Smith's new Detective Story Magazine (just 10-cents twice a month!). The magazine ran 1,057 total issues, most of which concentrated on short crime-fiction with appearances from pulp heroes like The Shadow. The magazine's first 20 years featured covers by illustrator John A. Coughlin. In 1935, the magazine began suffering financial stress and officially stopped publishing in 1949.

Between 1924 and 1927, Street & Smith attempted a revival of the Nick Carter character in the pages of Detective Story Magazine. These stories also featured many of the same villains that Carter had faced in the prior Nick Carter Weekly publication (Dazaar the Arch-Fiend, Dr. Quartz, etc.). It seemed as if Carter's appearance in literature was over in 1927, but due to the success of The Shadow and Doc Savage, Street & Smith revived the character again. Between 1933 to 1936, the Nick Carter Detective Magazine was published. These stories introduced Carter as a more traditional hard-boiled detective. 

Beyond the page, two Nick Carter shows were featured on radio. Nick Carter, Master Detective radio show aired on Mutual Broadcasting System from 1943 to 1955. Nick Carter's son was the star of Chick Carter, Boy Detective from 1943 to 1945, followed by a film in 1946 under the title Chick Carter, Detective.

In 1908, the French film company Eclair ran a six-episode series starring Pierre Bressol as Nick Carter. Two French films were released, Nick Carter va tout casser (1964) and Nick Carter et le trefle rouge (1965). In Germany, four silent Nick Carter films were released: The Hotel in Chicago (1920), The Passenger in the Straitjacket (1922), Women Who Commit Adultry (1922), and Only One Night (1922). In the US, MGM released a trilogy of Nick Carter films: Nick Carter, Master Detective (1939), Phantom Riders (1940), and Sky Murder (1940). A television show called The Adventure of Nick Carter filmed one pilot, later released as an ABC movie.

The pulp version of Nick Carter continued in comic book form, with appearances in The Shadow, Army & Navy, and Doc Savage comics from 1940 through 1949. There was also a 1972 Italian comic strip and a Nick Carter comic book series from 1975. It lasted 12 issues and stars a character named Nick Carter that is a British soldier in WW2. However, it is not related to the Nick Carter spy series.

Little did fans know that a British secret-agent named James Bond would play a part in reviving the literary character 37 years later.

In the 1960s, Lyle Kenyon Engel began his plunge into paperback publishing. He was heir to his father's magazine publishing company, but sold that to become a publicity agent (supposedly one of his clients was the Today Show) and also a producer of children's records. To make an impact in publishing, he revived the familiar character of Nick Carter to capitalize on the 1960s spy fiction market. 

Nick Carter: Killmaster debuted in 1964 as a marketing attempt to cash-in on Ian Fleming's James Bond. The character was reinvented as a secret agent instead of a detective or private-eye. These novels were to be international adventures with a more robust approach compared to the serials, pulps and dime detective magazines. Basically, everything prior to 1964 was erased and this series was a complete reboot.

The general theme is that Nick Carter is an American secret-agent or spy working for an organization called Axe. The organization's leader is David Hawk. Axe and Hawk work closely with the American government and Hawk answers to "The Chief", presumably the U.S. President. Carter is referred to as N3 and we know there are other agents like him, also known as an N/number combination. In the first book, Run Spy Run, readers learn that Carter served in WW2 and also worked for OSS, the pre-cursor to what is now known as the CIA (like Matt Helm). Read our review of the book HERE.

One of the predominant characteristics of this version of Nick Carter is the three weapons he uses in the field. In the debut novel, it is explained that Carter took a Luger handgun from a German SS officer he killed in Munich during WW2. Carter named the gun Wilhelmina and it's included in nearly every novel. Hugo is the name for his Italian stiletto. He also carries a marble sized gas pellet that goes by the name Pierre. Carter can twist each half of the marble in separate directions and it will release a deadly toxin within 30-seconds, giving Carter enough time to flee the area. 

The Nick Carter: Killmaster series became immensely successful, running from 1964-1990 and offering 261 total novels. Each book on average sold 115,000 copies. Ironically, the series just lists Nick Carter as the author. The real authors aren't credited on the book's copyright page, a painful trademark of the series that frustrates readers, fans and collectors to no end. Engel typically split 50-50 with the authors he hired. He demanded lightning fast work, sometimes novels written in less than three weeks to meet furious deadlines. These books were released monthly, first by Avon and then later by Charter.

Notable author statistics:

- Valerie Moolman authored or co-wrote 11 novels between 1964 and 1967.

- Michael Avalone authored or co-authored 3 novels in 1964

-Manning Lee Stokes, of Richard Blade fame, wrote 18 novels

-Popular crime-fiction author Lionel White authored one Nick Carter book, the 18th installment from 1966. This was his second foray into spy fiction. He also wrote a stand-alone novel called Spykill under the name L.B. Blanco.

- Jon Messmann wrote 15 installments. Messman was a heavy contributor to action-adventure paperbacks. He was behind the popular adult western series The Trailsman along with the short-lived series titles Handyman: Jefferson Boone and The Revenger.

- George Snyder did 8 installments. He also wrote novels for the Grant Fowler series.

- Ralph Hayes authored 8 volumes in the series. He is known for his John Yard: Hunter series and Check Force among others.

- Martin Cruz Smith wrote 3 installments. Smith is primarily known for his Arkady Renko series that is still current to this day. The 1983 film Gorky Park was an adaptation of that series debut.

- Surprisingly, Chet Cunningham only wrote 1 book, # 72 Night of the Avenger, that was co-authored with Dan Streib. 

- Dennis Lynds authored 9 and his wife at the time, Gayle Lynds, wrote another 4. I've read one of Dennis Lynds' novels and I really enjoyed it. It was #211 Mercenary Mountain and it is reviewed HERE. Many will know Dennis Lynds as American author Michael Collins. He wrote the popular Dan Fortune series before his death in 2005.

- Saul Wernick wrote 5. Many remember him as writing the first Mack Bolan novel after Don Pendleton sold the series to Gold Eagle. 

- David Hagbert authored 25 books. He is primarily known for his CIA series starring Kirk McGarvey. 

- Death Merchant creator Joseph Rosenberger wrote 1.

- Jack Canon is the heaviest contributor with over 30 installments. I lost count, but I think it was 35. Not to be confused with Nelson Demille pseudonym Jack Cannon. 

- Robert Randisi authored 6 in the series. He's a respected western writer who also wrote 3 Destroyer books as well.

- Joseph Gilmore wrote 8.

- There are numerous authors that authored three or less that I haven't mentioned, but you can find a detailed list on spysandgals.com or Wikipedia.

- There is yet another Nick Carter series that ran from 2011-2019 called Project. It's written by Alex Lukeman and again features a starring character named Nick Carter that is an anti-terrorist sort of hero. Again, not related to the Nick Carter spy series.

Lyle Kenyon Engel would go on to create Book Creations in the 1970s. Ultimately, it was a cash cow and a rather unique company. Engel would create a series, imagine the story, hire authors to write it and even create book cover art. Then he sold these to various publishers. He was the paperback king and died a multi-millionaire in 1986. 

You can listen to the Paperback Warrior Podcast episode dedicated to Nick Carter HERE and the episode spotlighting Lyle Kenyon Engel HERE.

Conan - Conan Volume 1: The Frost Giant's Daughter and Other Stories (Dark Horse)

In 2003, Dark Horse Comics launched their first Conan title after acquiring the rights to the character. Prior to the Dark Horse debut, Conan was featured prominently in Conan the Barbarian, Savage Sword of Conan, Conan the King, and Conan the Adventurer published by Marvel and Curtis. Dark Horse would later lose the character's licensing in 2018, returning the Cimmerian hero back to Marvel. As of this writing, Titan now owns the rights.

Like Marvel, Dark Horse launched several Conan titles and gained the rights to reprint the prior Marvel issues as omnibus editions. Under the Dark Horse brand, the titles Conan (2003-2008), Conan the Cimmerian (2008-2010), Conan: Road of Kings (2010-2012), Conan the Barbarian (2012-2014), Conan the Avenger (2014-2016), and Conan the Slayer (2016-2017) were created as brand-new comics created by a variety of writers and artists. Additionally, several mini-series titles were released over the course of the 14-year Dark Horse run.

I read several of these Dark Horse books when they first appeared, but eventually switched my reading to the stuff that normally appears here at Paperback Warrior – crime-fiction, action-adventure, and westerns. 2024 marks 20 years since Dark Horse published Conan #1, so I thought I would rewind, reread, and review these titles in order, beginning with the first series, Conan. Dark Horse has conveniently placed most of their Conan issues into trade paperback and hardcover editions. My first review is Conan Volume 1: The FrostGiant’s Daughter. This book includes Conan #0 through #7 (one-half of issue #7) and it was published in 2005. You can get the book for about $25 retail.

The issues collected in the book were drawn by Canadian artist Cary Nord, who stuck around to sketch most of the title’s first 44 issues. In an interview with the book’s writer, Kurt Busiek, Nord explained that he got into Conan through the Savage Sword of Conan magazine. In describing the Hyborian Age, Nord stated, “The world of Conan is visually stunning. Conan journeys through every environment you can imagine, encounters dozens of new cultures and races of men, sexy women, fantastic villains, apes, dragons, monsters, and he kicks ass through it all!”. His artistic style draws influences from Barry Smith and Frank Frazetta, two iconic artists associated with the Conan franchise.

Boston native Kurt Busiek wrote nearly all the title’s 51 issues, drawing from his 20 years of comic experience at the time. Busiek broke into comics in 1983 by writing a back-up story in Green Lantern. If you can name the title or character, there is a good chance Busiek contributed. He has worked for Dark Horse, DC, Wildstorm, Image, Marvel, Topps, Dynamite, and Eclipse. Prior to Conan, his most praised work was the team-up with Alex Ross to pen the Marvels limited series in 1993.

Another major addition to the book is the inking by Dave Stewart. One can easily see his careful treatment of Nord’s sketches. The inking, also done with computer, doesn’t cover up Nord’s lines and allows some interesting contrasts between the gray and darker tones. Often, Stewart will leave some aspects of Nord’s art faintly inked to suggest different scenes or story tones.

Surprisingly, the book kicks off after Conan’s death. In the first issue, which was #0 "The Legend", a Prince and his servant Wazir find an underground chamber that housed King Conan’s riches, complete with a large statue of the character seated on a throne. Later, Wazir recounts to the Prince that the Nemedians kept meticulous records and displays a scroll. On it is the familiar slogan, “Know, O’Prince, that between the years with the oceans drank Atlantis and the gleaming cities…”. The scroll serves the reader by outlining the various lands and their historic tribes and people including Aquilonia and the coming of Conan the Cimmerian, black-haired, sullen-eyed, sword in hand. This page is a partial splash page with astounding art and inks. This issue ends with Wazir continuing to tell the Conan history to the Prince, which on the last panel begins with Conan at 16 years of age and venturing into the lands of the Aesir.”

The next portion begins with Conan #01 "Out of the Darksome Hills" and sets up how Conan became aligned with the Aesirs at the beginning of Robert E. Howard’s 1934 story, “The Frost-Giant’s Daughter”. Busiek is careful to gently explore the periods of time in between Howard’s stories. The writer makes it very clear in the letters section of these early issues that his focus is on the Howard stories with a complete disregard of Lin Carter and L. Spraguede Camp’s contributions (or anyone else for that matter). In “Out of the Darksome Hills”, the title page is a glorious splash of Conan decapitating a Vanirmen as he attempts to rape a young woman.

The story features the Vanirmen raiding an Aesir village, nearly burning it to the ground and slaying the women and children. The Aesir warriors are gone, so Conan, who just happens to be in the area, comes to the village’s aid in fighting off the Vanirmen. Later, Niord, the tribal leader arrives, and after Conan battles an Aesir, he invites Conan to spend the night in storytelling with booze. When Niord’s daughter Henga goes to Conan at night, Henga’s admirer Sjarl becomes secretly angry and begins to plot with another warrior on a way to betray Conan and either kill him or trade him as a slave. The following morning, a fully armored Conan joins the Aesir as they journey northward to attack the Vanirmen. Conan’s appearance here decked out in armor resembles the Barry Smith and Alfredo Alcala drawing on page 18 of Savage Sword of Conan #2. 

The book’s next section is issue #02 “The Frost Giant’s Daughter”. I won’t go into too much detail of the story, as you can read my review of Howard’s 1934 story HERE. But this comic adaptation stays very true to the original Howard story with beautiful artwork by Nord. He captures the ivory-skinned woman perfectly, with an emphasis on her eyes and the glowing sheen that captivates the weary hero. There is a gigantic splash page that introduces the two frost giants and rivals even the version from Savage Sword of Conan. I prefer the original treatment, but this is really something special between Nord and Busiek.

The events of issue two spill over into the opening pages of #03 “At the Back of the North Wind”. Like the early issues of Marvel’s Conan the Barbarian, the young Conan is wearing a horned helmet in these early Dark Horse stories. The opening pages feature a conversation between Conan and Niord that addresses the helmet. After Conan’s protective gear is broken in battle, he borrows some of the Aesir’s tools to fix the helmet. Niord scoffs at the idea and suggests Conan should just get another. The Cimmerian responds that the helmet was created by his father, a blacksmith, and then explains that his father said a man who treated his tools well would get good service from them in return. It is a really touching aspect that proves Conan is somewhat sentimental, exposing his human condition versus savage destroyer.

The next morning, Conan helps the Aesir with tracking a band of Vanirmen who have escaped pursuit eastward. Behind the scenes, Sjarl plans to ambush Conan and sell him to a slaver. The Aesir eventually catch up to the Vanirmen and begin the slaughter. However, the Vanir leader Tir offers himself up as a surrender, volunteering to be executed so his men can be enslaved instead of killed. Once the execution is complete and the prisoners are chained, all Hell breaks loose as the group of tired warriors are attacked by armored warriors wielding giant hammers (they resemble the crazed post-apocalyptic warriors of Mad Max: Fury Road). They soon overpower the group, Conan is betrayed by Sjarl, and the issue ends with the unconscious hero being drug on a sledge through the wind and snow. It’s a powerful finale that resonates with so much turmoil and iron-fisted fortitude. Yet, Conan’s downfall ultimately was a woman.

The next section is issue #04 “Gates of Paradise”, featuring a drugged Conan imprisoned in a monolithic castle. The series thus far featured a through story of Conan aspiring to reach the land of Hyperborea, a place that the hero envisions as a utopian paradise where people can live eternally in a state of bliss and pleasure. However, Hyperborea’s creature comforts are only enjoyed by the sorcerers that rule the castle, a group of ancient beings that live eternally by capturing people, drugging them, and forcefully taking their souls. Due to the centuries of living this harmonious lifestyle, the sorcerers jump from the castle’s walls to their death in a ritual called the Day of Farewell.  

Conan is rescued from his drugged stupor by a Turanian woman named Iasmini. She provides a yellow lotus plant for the hero to grind up and drink. Soon, Conan schemes a way to free himself and the prisoners by giving the plant discreetly to the prisoners. This was such a colorful part of the storyline with the inking containing brilliant shades of green, yellow, and purple to match the tone. It is a graphic narrative that just transforms the pages into something truly special. While the storylines are different, the concept of Conan co-existing in a prison of slaves reminds me of  Roy Thomas’ “Lair of the Beast-Men”, a story featured in Conan the Barbarian #2. The Thomas story has more of an Edgar RiceBurroughs feel than Robert Howard, and oddly enough Nord harnesses that ERB vibe at the end of this issue and the beginning of the next.

In the title’s fifth issue, "Ashes and Dust”, Conan looks like Tarzan with his near-nakedness and muscular physique. The start of the story even features Conan fighting four hungry lions. When the hero makes his escape from that side of the castle, Busiak takes a moment to fill the reader in with the history of Hyperborea from the viewpoint of the supreme sorcerer. Other than the history of the land, there isn’t a lot that happens in this issue. The pages end with Conan and the prisoners rebelling and taking the attack to the sorcerers and their army.

The aptly titled “Day of Farewell” closes out this trade with the title’s sixth issue. The first page is an incredible splash of Conan’s face and right shoulder as he screams, “At them, men of Asgard! At them, free warriors!”. The eyes and blood-spattered hair convey so much brutality and savageness. This is Conan! The issue is action-packed as the Cimmerian fights the Hyperborean hordes to free himself and his fellow prisoners. There is a bit of sadness when Conan discovers that Iasmini sacrificed herself to free him. Page 13 is visually incredible as Conan’s back is against the edge of the castle’s walls, suspended hundreds of feet in the air. Page 19 is equally stunning with the hero surrounded by darkness and gloom while staring at the bones and corpses of the many who have jumped from the castle. Oh, and there are giant ants that Conan begins fighting. Page 22 emphasizes a part of the story where the Northmen believe that their burned bodies rise in the air on smoke, as if climbing a stairway to the realm of the gods. This is a splash page as Conan is burning the corpses and staring upwards out of the gruesome chasm. The book ends on a bit of a cliffhanger (or cliffclimber?) as Conan begins scaling the walls to go and kill the sorcerers. This trade does go into the first 14 pages of issue #7, but I stopped here because I want to read issue 7 in its entirety. I'm OCD like that. 

Unlike Marvel’s Conan the Barbarian, which I love, I felt that Busiak sticks more to the gritty Robert E. Howard storytelling. Conan isn’t cartoonish, nor is he the Hollywood “Ah-nold”. He is a grim-faced serious character that uses a combination of sharp cunning and backbreaking strength to overcome the most challenging obstacles. If I haven’t already overstated it, Nord’s artwork is marvelous and captures the Barry Smith look and feel of Conan – the Barry Smith that had reached his own identity after being heavily influenced by Jack Kirby in the early Conan the Barbarian issues. Both Smith and Frazetta had a unique wildness that Nord captures perfectly while also doing something wholly different when combining Dave Stewart’s phenomenal inks.

I forgot how good these issues were and I’m looking forward to reading more of them. Hopefully, you are on board for the journey through the Conan comics, including Marvel and Titan. 

Buy a copy of this volume HERE.

Jason Savas: Unmasking the Hero

Beginning in the Mid-20th Century, model Steve Holland found plenty of opportunities to influence the look and feel of men's action-adventure poaperbacks. Transitioning from a mediocre acting career, Holland went on to become the “Face That Launched a Thousand Paperbacks”. Collaborating with artist James Bama, Holland would be the face of pulp icons Doc Savage and The Avenger and later era heroes including Richard Blade and Mack Bolan. After Holland's immense impact on the genre from the 1950s through the 1970s, a new face began to emerge, seemingly a successor to Holland's photo-realistic throne.

That man was Jason Savas.

After years of rigorous investigation, Paperback Warrior was finally able to locate Savas. In a revealing interview, we discussed his childhood, modeling career and his current endeavors as an aspiring Hollywood screenwriter.

Jason Savas currently lives in the same New York City apartment he was born in. Surrounded by his large collection of sports memorabilia, the 65-year old explained that athletics at an early age led to his eventual introduction into the lucrative world of modeling.

“My mother put me into the dojo when I was six-years old. I studied Judo and practiced it for a long time. I was a jock and competed in Judo tournaments and then in high school I did wrestling and lacrosse. I wanted to be a jock, and jocks played college sports. I wanted to play professional sports. This was 1977 and I had long hair down to my shoulders. My girlfriend in college was with me and we were walking by a poster or sign of a model and she said you look like that guy up there.”

After graduating from the City College of New York (C.C.N.Y.), Savas found himself walking through Central Park and bumped into a former wrestling competitor from high school named Joe. Little did Savas know that this quick exchange would effect the next 11-years of his life.

“Joe told me he had become a model and said I could do it too. He gave me a name and a number. We ended up going to the beach and someone took some photos. I stumbled into fashion modeling during the summer of 1979 and was lucky enough to work almost everyday for years after signing with Wilhelmina Model Agency. My earliest work consisted of trade publications...newspaper and magazines...catalogs, designer press kits and magazine work such as G.Q. and Men's Wear doing both editorial and advertisements. I was still new to the industry and both surprised and excited by the wide variety of modeling work available.”

In December 1979, Savas began modeling for the first of several Gianni Versace ads and by 1980, he was all over the fashion world posing everywhere from cigarette ads to cosmetics. But in 1981, Savas also found himself doing a different type of modeling.

“I found myself in a studio shooting a book cover. It was very strange because I had never done illustration work and it was different. I got to wear a costume and it was over in a flash because a shoot only lasted one hour and you were done. Very simple, but fun. Then I started doing more and more book covers. I guess I took over the reins from Chad Deal [a popular 1980s cover model]. I did over 1,000 covers and interestingly, I did more romance novels than action or western. Romance was the largest market and many times we got to wear period clothes which makes it even more fun. The one-hour shoots allowed a modeling agency to slip us into several photo shoots a day and/or in between 'real modeling' jobs. Book covers were a bit like play acting. I enjoyed shooting the covers because you never worried how you looked because you would be painted.”

Savas explained that these shoots originated with the publisher contacting the modeling agency and requesting a certain type of model – rugged, blonde or dark hair. He stated that 99% of the time the illustrator was present at the shoot. Once the photos were taken, the illustrator would then paint the photo and insert various location settings. For the majority of Savas' career, he paired with photographer Robert Osonitch.

“Robert Osonitch was the king of illustration photographers. He had the operation down pat for every type of shoot: lighting, back drops, clothes. His studio had a major wardrobe collection and he was an excellent director as well.”

Savas adds, “I own one oil on Masonite, 20” x 30” without the type (pictured) that I bought from the artist Steve Assel. He used me many times for western covers, including a half-dozen Louis L'amour stories. He was an excellent artist and I enjoyed working with him. Also there is a vast difference in talent among the artists, very noticeable. It seemed to me that Harlequin used the lesser artists while Zebra, Warner, Fawcett and several other companies had more money to pay for the better artists.”

The model's painted photo can be found on a majority of Stephen Mertz's 'M.I.A. Hunter' series published by Jove. He is also featured on noteworthy action-adventure series like 'Avenger', 'Eagle Force', 'Out of the Ashes', 'Vietnam Ground Zero' and a number of stand-alone titles like “Black Moon”, “The Raid” and “Long Ride Home.”

“I have a list of over 1,000 covers and probably found close to 250 physical books mostly in airports. One of the Harlequin romance writers, who lived in Iowa, requested me several times and showed up to a shoot one day. We became friends and she gave me a book cover of myself in nine different languages.”

After his 11-year modeling career, Savas invested in a business and his passionate sports memorabilia hobby (click HERE to see videos of his vast collection). He even authored his own action-adventure novel titled “The Messenger” in 1999. These days, Savas is hard at work writing screenplays and hopes to find some Hollywood interest.

Find a paperback featuring Jason Savas? Email us a photo or the book's title at paperbackwarrior@yahoo.com.

Spur #28 - Kansas City Chorine

'Spur' was a long-running adult western series that ran for 40+ books. The main character is Spur McCoy, a former Union Captain and now an early agent of the U.S. Secret Service. He works out of the St. Louis office and accepts assignments for any crimes west of the Mississippi River. The series can be read in any order and author Dirk Fletcher was veteran writer Chet Cunningham ('Canyon O'Grady', 'Avenger', 'Jim Steel'). Entry #28 is “Kansas City Chorine”, published December, 1993.

The book finds a wrongdoer named Jack T. Galde pulling bank jobs across the Kansas prarie. His methods are fairly elementary – establishing an identity in the small town, then robbing the bank before blowing it up. His destination is simply the next town so he can pull the heist all over again. After Galde's five robberies and a handful of murders, Spur is assigned the case.

The neanderthal porn is overwhelmingly prevalent. The development of characters is about as deep as a golfer's divot. The methodology used to find young women to seduce is simply “if there's hair I'm there”. Galde is suffering from a mother figure syndrome, provoking him to rape and pillage anything with breasts (including grinding on a horse's ass). Our hero isn't much better, fondling a young woman on the trail that...just needs fondling. These things never happen to me.

The narrative places Spur in the same town as Galde's next heist. The lady of the night is the Kansas City Chorine herself, Patrice, whom Spur beds in four explicit scenes. Besides that action, Spur just sort of meanders around town long enough to locate the hotel room Galde is residing in. Oddly, instead of just arresting him there, he sleuths around town hoping to find the man. He wastes too much time and finds that Galde, using a preacher's identity, has robbed the bank, a widow and stolen Patrice. The hunt is on as an incompetent Spur battles a tornado to find his woman.

I've read two Spur novels, this one and “#15 Hang Spur McCoy!”. I might speculate that as the series continued the quality diminished. This book was just lethargic and lousy for all of the reasons I listed above. I might try another Spur title later on but this one has put the series on the back burner of my neighbor's stove. I'm done for now.

Buy a copy of the book HERE

Coffin #01 - Death Wish

Budd Lewis (1948-2014) began his entertainment career by directing television commercials between 1970 to 1974. Beginning in 1974, Lewis wrote for Warren Publishing, contributing his dark imagination to stories in Creepy, Eerie, and Vampirella. Lewis also co-created The Rook. Later, he would write for Hollywood, including Terminator and Dark Angel, as well as animated shows like The Smurfs and The Real Ghostbusters. The focus here at Paperback Warrior is on his western hero Coffin, which first appeared in Eerie in 1974. The popularity of the hero resulted in multiple appearances in the comic magazine. The vivid, violent artwork of these stories was created by Spanish artist Jose Ortiz (1932-2013; Rogue Trooper, Judge Dredd).

If you enjoy the vicious nature of the Piccadilly Cowboys of the 1970s, including their savage titles like Edge, Adam Steele, and Apache, then Coffin is a darn-near must-read title from that same era. The character's first appearance proves to be a true origin tale called “Death Wish”, which features 12 gruesome pages of western storytelling with an obvious horror overtone (obligatory for Eerie). 

In this story, readers are introduced to Coffin, an unnamed protagonist traveling by stagecoach through the Arizona desert in 1889. In flashbacks, Coffin is a smiling polished sales representative for Sharps Rifles, with his contract being the U.S. Army. Abruptly, the stagecoach is attacked by what appears to be Native American warriors on horseback. The drivers are both killed and the coach tips over, spilling Coffin onto the hot sand. Grabbing his belongings, including a rifle, Coffin scurries to safety. From the nearby rocks and foliage, Coffin sees the other travelers, all women, savagely murdered by the warriors.

Coffin, an average guy thrust into a nightmarish scenario, mistakenly takes the path of vengeance. He tracks through the desert and finds a tribe of Native Americans. From several yards away, Coffin shoots the men with his rifle. Before disposing of the whole tribe, Coffin is ambushed by a trio of braves and is brutally beaten. But, beyond the physical abuse, Coffin is cursed by the tribe. His curse is that he can never die. He can experience horrific pain – being shot, burned, skinned, and tortured beyond recognition - but he can never die. The tribe placed this curse on him because...get this...Coffin killed the wrong tribe to avenge the death of the stagecoach travelers! Further, on the last pages of the story, readers learn the real identify of the men who attacked the coach. This surprise ending was brilliant. Coffin totally screwed up, but that's what makes the story so entertaining. He wasn't born a hero, he isn't a hero. Instead, he's an average guy who just made a mistake and it cost him dearly.

The Coffin character would re-appear in Eerie issues #67 (Aug 1975), #68 (Sep 1975), #70 (Nov 1975), #130 (Mar 1982), and #137 (Dec 1982). The concept is that Coffin will rally behind the Native American cause at a point in history when the various tribes are warring with the military and also being brutalized into accepting shitty government deals. He also becomes a lone-avenger fighting insane religious cults and other nefarious predators. The Eerie reprints are available by Dark Horse and feature the Coffin stories.

The Executioner #39 - The New War

There's no denying that Don PendletonDon Pendleton's The Executioner (1969) was the catalyst for 70s and 80s men's action-adventure fiction. The series went on to spawn hundreds of imitators with the majority fixed on the idea of “er” at the end. Thus, The Enforcer, The Butcher, The Punisher, The Avenger brands are born. Other than one novel, the first 38 books are penned by Don Pendleton (the oddity was the 16th entry, William Crawford's Sicilian Slaughter). After legal battles with publisher Gold Eagle, and maybe just lack of ideas, Pendleton left the series in 1980 to focus on Joe Copp and Ashton Ford installments. In turn, Gold Eagle continued on without Pendleton's pen, rebranding it as Mack Bolan with entry number 39, The New War. 

Like all great bands, there comes a time when the act either calls it quits or simply evolves into the next lineup featuring the “replacement” singer. They've all done it – AC/DC, Journey, Judas Priest, Iron Maiden...it seems to be the rite of passage. With 1981's The New War, Mack Bolan's life changes under new writers. The mission remains the same, but the methods vary drastically. Under writer Saul Wernick, familiar readers find Bolan fighting crazed terrorists in Central America – for the US government. 

Bolan, fugitive from justice, wanted by the F.B.I., C.I.A. and even a “Bolan Taskforce”, is now working for the US government. It would only make sense right? Can't beat them, join them. But it's the other way around here – the government is joining Bolan's fight. 

The book's opening pages is not only important to the direction of the series, but it also builds what we now consider the Bolan Universe – the series of Able Team, Phoenix Force and Stony Man gain a foundation here. The Executioner series regulars like April Rose and Hal Brognola are now in charge as a directive of the C.I.A. (sort of). Specifically, Mack Bolan no longer exists, instead he has been created as John Macklin Phoenix, a retired Colonel. The entire Phoenix Program is now a covert operation running out of a Virginia farm called Stony Man. It's officially a C.I.A. “quiet house” spread over 160 acres. 

Behind the curtain are plenty of familiar Mack Bolan allies. Carl Lyons, Hermann “Gadgets” Schwarz and Rosario “Pol” Blancanales are at Stony Man. These three would later collaborate as Able Team (series debut in 1982). Other Stony Man players are here as well, including Jack Grimaldi and Leo Turrin, both supporting characters as far back as single-digit entries in The Executioner. Billed as “Stony People”, they are mostly just spectators in The New War. 

Bolan's mission is to locate an American secret agent named Laconia. He's been captured by Islamic terrorists and imprisoned on a jungle base between Colombia and Panama. After days of intense torture he's hovering between worlds and the rush is on for Bolan to capture or kill him. Bolan, understanding the sense of urgency, is battling overwhelming forces and a looming hurricane that could play havoc for any air support. 

First and foremost, Saul Wernick isn't a remarkable writer. While average at best, his prose contains plenty of exclamation marks that were outdated and unnecessary even for 1981. Pulpy hyperbole isn't typical for a Bolan novel, thus Wernick's writing style alienates fans and creates even more abrasion. However, I'm probably committing an act of treason when I say that I want Bolan fighting internationally. I prefer Bolan vs Armed Terrorist more than any mafia war. I love Pendleton, but after more than 10 novels of Mack vs Mob...I needed some liberation. 

The New War introduces a lot of interesting ideas and expands the vigilante idea into a robust and entertaining concept. Even though this novel isn't written with a distinct literary prose, it's a much-needed new Bolan that introduces me to the Stony Man universe. From here, one can use The New War as an “origin” story. A simple reboot for a new generation of fans. I'm one of them.

Buy a copy of this book HERE

The Masked Detective #01 - Alias the Masked Detective

Before he ventured into three decades of paperbacks, Norman Daniels was one of pulp’s most published authors. Along with writing adventures starring The Purple Scar, The Eagle and Phantom Detective, he used the byline of C.K.M. Scanlon for a late pulp arrival The Masked Detective. The magazine's first issue, featuring “Alias the Masked Detective”, was published in 1940 and would run 12 total issues (a 13th story appeared in Thrilling Mystery). Daniels wrote the first few issues before handing the project off to Sam Merwin Jr., W.T. Ballard and other work-horse authors of that era. I purchased The Masked Detective Archives Volume 1 from Thrilling Publications, published in 2017 and featuring reprints of the first three Masked Detective stories.

Essentially, The Masked Detective is a standard vigilante named Rex Parker. Unlike other pulp heroes of the time, Parker isn't a wealthy entrepreneur or district attorney. Instead, Parker is a newspaper reporter who practices martial arts in his spare time. Using the French art of la savate, Parker routinely gives Hell to a plastic mannequin in his apartment. When his friend and newspaper colleague Winnie Bligh witnesses his fists of fury on the dummy, she suggests that he utilize his skills to fight the city's rising crime problem. Parker agrees and the two decide that an eye mask (black bandanna with eye holes) and some make-up could transform the easily identifiable Rex Parker into the unidentifiable night vigilante The Masked Detective!

Along with the origin tale, “Alias the Masked Detective” also features Parker's first crime-fighting adventure. A criminal named Carson is “accidentally” knocking off professors, art critics and antique collectors thinking that they are rival gangsters. But are these accidental murders really just cases of mistaken identity? After this sequence of murders continues, Parker, Bligh and a homicide detective named Gleason team up to root out the real motive. There's a dense backstory about an art exhibit and precious jewels, but I didn't really care. Instead, I wanted a fist and feet vigilante flurry as Parker progresses to the inevitable fight with Carson.

I found this debut issue to be a really swift read with a propulsive narrative that was quite compelling. Beyond the far-fetched hi-jinks, which one has to overlook when reading this stuff, the story was presented in a gritty, violent way. In the opening pages, a professor is shot six times in the stomach and then two more times point blank in the skull. This was 1940, nearly 27-years before Mack Bolan began violently “executing” Syndicate snakes. When guys like Doc Savage and The Avenger mostly tend to repress lethal blows, Parker proves to be the opposite. As also seen in The Black Bat, Daniels isn't afraid of a little bloodshed.

If you love this era of pulp storytelling, there's no reason why The Masked Detective isn't in your library already. This was well-executed and just a real pleasure to read. You can buy a copy of this awesome omnibus HERE.