THE MAMMOTH BOOK OF BEST CRIME COMICS is a thick new anthology edited by Paul Gravett, part of a large series of MAMMOTH BOOK OF… collections which seem to be mostly prose but have also included …BEST WAR COMICS, …BEST HORROR COMICS, …BEST NEW MANGA and the upcoming …ZOMBIE COMICS (oddly not the “Best” zombie comics…). The books I’ve seen of the series are far from perfect, and obviously rights issues keeps them from being really comprehensive, but they’re a good value for the money (generally $12-$14 purchased on-line for about 500 pages) and good samplers of the genres, not restricted to just American comics.

THE MAMMOTH BOOK OF BEST CRIME COMICS has been the best of the collections I’ve seen so far, because it includes some Simon&Kirby, namely the 14-page story “The Money-Making Machine Swindlers” from JUSTICE TRAPS THE GUILTY #6 [1948].

The reproduction is in black and white from a printed copy, and looks pretty good for that. There are some remnants of the colouring, but light enough that they provide some shading without distracting from the linework.

The story is a confessional type, told by Prisoner 235079, Stella Brady, about how she came to be a guest of the state, your typical story of a young girl looking to escape from the drudgery of working life, witnessing a scam gone wrong involving selling gullible fools a share in a phony counterfeiting machine. Sensing that she can work the scam better, she gets in on the action and helps to set up a hotel owner with a gambling problem as the next mark. Little does she know, crime does not… oh wait, wrong company. Little does she know, justice traps the guilty.

Great little story, some prime S&K from the period when the romance comics were just taking off, with a lot in common with those stories, from the confessional narration to the attention to detail in the various characters and settings, some great storytelling punctuated by moments of sudden violence that S&K excelled at.

A trio of Kirby/Ayers 7-pagers reprinted in this issue, giving a nice sample of the range of monsters that rampaged through the pre-hero Marvel line.

Opening up is “I Created Sporr, The Thing That Could Not Die” from TALES OF SUSPENSE #11 [1960], which also provides the Kirby/Ayers cover for this issue. A scientist buys the castle supposedly owned by Doctor Frankenstein in Transylvania (I think someone was mixing their movie monsters there), planning some experiments on growth rays to cure world hunger. Unfortunately, just as he tries his first experiment on an amoeba, the superstitious villagers burst in and take him away, leading the amoeba to grow uncontrollably. Oddly, this was foretold in a local legend about Sporr. Our hero manages to break out of prison, rescue a young boy on crutches and then use his scientific know-how to lure Sporr into some quicksand. Everybody learns their lesson.

These 7-pagers are sometimes a bit unsatisfying in story terms, too quick to really get more than a sketch of events. Still gorgeous, though, and the cover and title page of this story are particular favourites among the Kirby/Ayers stuff, and Sporr’s a great little creature causing havoc on the eastern European landscape.

Next up is “I Am Dragoom! The Flaming Invader” from STRANGE TALES #76 [1960], and from an organic monster we now move to flames. Despite the title, this story is told by sci-fi/horror movie maker Victor Cartwright, who gets no respect, but a great deal of money, for his craft. That all changes when Dragoom, a flaming invader escaped from prison on the planet Vulcan comes to Earth to conquer. Mankind quickly falls to the threat of a ring of flames around the planet, until suddenly Dragoom gets word of some of his fellow creatures, police from Vulcan, arriving on Earth, and flees in fear. All special effects wizardry from Victor, of course.

This one works pretty well. Dragoom’s not that noteworthy, although the panel of him using a city block as a throne is really cool.

And finally, from STRANGE TALES #75 [1960] comes “Taboo! The Thing From the Murky Swamp”. An adventure writer heads down to the Amazon for some new ideas, and ignores local legends about a monster in a forbidden swamp. Never a good idea:

I love that last panel. Silent panels like that aren’t too common in these monster stories, making them all the more striking when they are used.

The creature reveals that it crashed in the swamp while journeying from a distant galaxy, and needed access to all human scientific knowledge to build a new spaceship. The United Nations agrees to this, foolishly as it turns out, since this was all a ruse by Taboo to gather intelligence for an invasion. Joke’s on him, as they planted an H-bomb on the device with the information. Just in case.

I do like that ending. Taboo’s okay, but the real highlight here is the amazon scenery.

Decent little cover from the Ant-Man days, with Kirby playing around with some of the odd scales and perspectives that the feature called for. I liked the city in the background, too.

Inks by Sol Brodsky.

Published 1963

Frantic little war cover from Kirby and Frank Giacoia, featuring the Howlers once again going against their Nazi counterparts, the Blitz Squad. The situations those boys get into…

Published 1965

After drawing the stories for the first few issues of new new version of the Two-Gun Kid, Kirby went to just covers for the series with this issue, along with his most frequent western inker at Marvel, Dick Ayers. This is a pretty effective example of the sometimes tricky use of panel art to tell a mini-story on a cover.

Published 1963