Sometimes a week’s comicbook reading doesn’t immediately suggest a common thread. But on consideration, the closest to a shared thread over the past seven days has been air power. Hence the examples in the modest but admiring gallery below;
1. from 1972’s The Incredible Hulk #148, by Archie Goodwin, Herb Trimpe, John Severin. and Artie Simek.
2. from 1970’s ‘Ghost Of The Killer Skies‘, by Denny O’Neil, Neal Adams, Dick Giordano & John Costanza, as originally published in Detective Comics #404 and republished, in a remixed, remastered, rerecorded form in 2004’s Batman Illustrated By Neal Adams Volume 2.
3. from Boy Commandos: The Romance Of Rip Carter, as originally published in 1943’s Detective Comics #82, and reprinted in 1971’s Mister Miracle #4, from whence the above scan was taken. It’s apparently uncertain whether series creators Joe Simon or Jack Kirby were responsible for either the story or the art, with the laudable Grand Comicbook Database crediting Simon with inks and Howard Ferguson with the lettering.
4. from 1975’s Giant-Sized Invaders #1, by Roy Thomas, Frank Robbins, Vince Colletta, Petra Goldberg & John Costanza, as reprinted in 2007’s The Invaders Classic Volume 1.
5. from 1986’s The ‘Nam #1, by Doug Murray, Michael Golden, Armando Gil & Phil Felix, as reprinted in 2014’s Marvel Firsts: The 1980s Volume 3.
You can, if you’d choose, access other galleries here at Them Darned Superpeople here.
Them Darned Superpeople 
Apparently, Herb Trimpe loved drawing planes so his writers tried to slip as many as possible into the series!
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That makes sense 🙂 And his enthusiasm really showed through, as with strips such as Phantom Eagle and Firehawks.
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Fun stuff!
Second person narration in Hulk, even the great Archie Goodwin couldn’t get me to like it.
How was that Enemy Ace story ‘remixed and remastered’? I am curious.
Given that the Boy Commandos plane is the Rosalind K (Ros Kirby), I’m guessing Jack Kirby had a hand in the story.
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Thank you Martin!
I think I find it easier to cope with Goodwin’s chosen approach to narration when the art is a clear and enticing as it is when Trimpe was paired with John Severin. Everything is so clear and involving when those two worked together that I find I can deal with things that I might otherwise raise an eyebrow at. (I wonder if there was ever an artist whose work was improved to such a degree by a single inker, and by no others to the same degree? Although now I think about it, Barry Windsor-Smith added a great deal of magic to Trimpe’s typically splendid layouts in an 80s Machine Man limited series.)
The 3 Adams DC hardback collections featured touched-up art on a host of pages and in many different ways. I wouldn’t have committed to buying them back in the day if I’d’ve known that. To my mind, the originals were far superior, and, anyway, when I buy a reprint volume, it’s because I want the stories as close as they were to how they were first printed. (There are exceptions, as when, for example, a sensitive and respectful new colouring job has been done. But there’s few enough examples of that done well.) There’s a significant difference between the work of the Adams of, say, 1967 to 1975, and the Adams of the 21st century. To my mind, the latter can’t hold to a candle to the former.
Good catch on the Rosalind K! But that could have been a nice touch added by Simon when he inked the pencils. Simon’s autobiography explains that he had a far easier homefront posting than his partner, which meant that he could continue to keep his hand in when it came to comics work to a far greater degree. By the same token, it could well have been Kirby layouts, couldn’t it? Regardless, I find I love the page even more after your spot. I doff my cap in respect 🙂
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