Monday, October 12, 2026

Hercules - Hercules' Choice!


Hercules #6 is dated September 1968, and is something of a turning point for the series. In the previous issue Sal Gentile had taken over as editor and in this issue Sergius O'Shaugnessy (Denny O'Neil) gives way as writer to Charlton stalwart Joe Gill. Sam Glanzman remains on the the art chores.

The title of the lead story is "Hercules' Choice" and it begins quite literally with Hercules having to choose a path, one leading to pleasure and joy and the other to hardship and duty. These paths are marked on a sign and each has a lovely woman marking its beginning. Zeus and Hera look on while Hercules ponders his choice. But Hera is interrupted by Mars, the God of War who is mad at Hercules because he stopped a war that Mars was sure would last a good long time. Mars hurls a spear at Hercules which brings down a hillside on him. Thinking this the work of Zeus, Hercules chooses the path of duty and hardship. That road takes him to King Eurystheus, who was mentioned in the first adventure but is seen now for the first time. He gives Hercules the task of slaying the Birds of Stymphalus, birds which are the pets of Mars no less. Hercules takes on the task and Mars is most upset looking down from Olympus. Going to Stymphalus, Hercules finds it deserted save for a woman who seeks to warn Hercules of the danger of the Birds. It seems they are giants, and very dangerous. Hercules escapes the talons and falls into a cellar where he finds the villagers cowering from the monsters. Taking his weapons he goes up to fight the Birds but finds them proof agains his spear and his sword. He does manage to break the neck of one of them swinging a giant timber. Then the Birds show another power and fire some of their nigh-metallic feathers like arrows at Hercules who protects himself with a giant rock slab. He then strings his bow, a gift from Vulcan, but the Birds fly out of range. Hercules is at a loss. But in Olympus Aphrodite goes to Minerva who sens a magic rattle to Hercules, which draws in the Birds which he then uses his bow and arrows to dispatch. Triumphant he travels on the road of hardship looking for his next task. Meanwhile in Olympus Zeus invites Hera and Mars to dine with him on a scrumptious meal of Bird gotten he says from the Stymphalus region. They are both nauseated by the invitation.

The text story this issue is titled "Mountain Man Morgan in Sandstorm". It is a tall tale of a railroad crew besieged by Indians who seek help. The get that help from a giant named Mountain Man Morgan who is empowered by Indian magic. He is reluctant to kill the Indians despite the evil nature of their leader, and uses his massive lungs to blow up a sandstorm which drives the Indians away far into Mexico making it possible for the railroad to finish.

There are two letters in "Letters to the Editor -- Hercules". Both are by writers who would make impact in the field. The first from David Singer praises the comic and the second from Duffy Vohland is a broad letter commenting not only on Hercules but three other Charlton books as well.

Thane of Bagarth this time is presumably written by Steve Skeates though for the first time there are no credits. The artwork is by the all-purpose Charlton team of Nicholas and Alascia. The story is titled "Chapter Six: The Queen" and finds Hrothelac captured after escaping his Viking captors in England. He is taken to the dungeon and there is tended by another prisoner named Mordwain who is in jail for speaking out against his Queen. We meet the Queen and the King as they hear news of a possible pact with the Mercians which the Queen rejects. She is clearly the one in charge. Another scene change takes us back to the Land of the Geats and King Beowulf's castle as he gets word the Swedes are raiding the territory. Thane of Bagarth Eowanda, Hrothelac's disloyal brother sends an envoy to get the lovely Freahulf for him. While on their way back to Eowanda's castle, the pair meet a party of Swedes. Back in England Mordwain treats Hrothelac's wounds but the two cannot converse yet. The story closes with the threat of war in England.

This issue as I say is a transitional one. Mars is introduced in the main Hercules story and he will have an increasing role in the trials of Herucles. As drawn by Sam Glanzman, Mars is a vivid character with his exotic armor. Also in this story Hercules seems more a frail man with desires and weaknesses of spirit. It's been hinted at in other stories, but is a focus here. In the Thane of Bagarth the story is pretty static really, as Hrothelac is pretty passive in most of it. In fact that's been something of a flaw in the story all along.


The main story here was reprinted in Charlton Classics #6.


The backup story was reprinted in Thane of Bagarth #25.

More to come.

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Sunday, October 11, 2026

Tom Sutton's Creepy Things!


I likely said this before, but alas it remains true -- Tom Sutton is one of the most underrated artists of his generation. The Yoe Books publication Tom Sutton's Creepy Things gives us a nifty insight into one of the finest stylists of the Bronze Age of comics. Sutton's career in comics was an off and on again affair for many years before he finally began to submit work to Warren Magazines. There Nicola Cuti became aware of him since he illustrated some of Cuti's scripts and when Charlton needed talent during the expansion of the early 70's he tagged Sutton and the "Bear" as Cuti called him found a home.

(Tom Sutton's first Charlton cover art -- not included in this collection.)

This volume showcases many of Sutton's outstanding covers for the little Derby company, notorious for its small by reliable payments and also some of his best stories. Some are written by the old pro Joe Gill and many are penned by Cuti. But more than a few of these are written and drawn by Sutton himself. Among them are masterpieces like "Terrible Teddy" and "Bones" from Ghost Manor, "Journey to Lost Rlaak" from Haunted Love, "Grave Story" from Midnight Tales, "Subway Stop" from Haunted, "The Game Keeper" from Ghostly Haunts, "The Kukulkaton" from Monster Hunters, "The Well" from Creepy Things, and "Through a Glass Darkly" from Ghostly Tales. Many of the stories were written by Cuti and drawn by Sutton for Midnight Tales, the stellar anthology overseen by Wayne Howard -- among those are "Lost in Transit", "The Kilgore Monster", "Goo", and "The Tower Maiden". And there are more stories such as "The Weirdest Character I've Ever Known", "Mother's Boy", and "Where's Cyrus Bull?" written by Joe Gill. Great stuff.

(Sutton in the Charlton years.)

The volume also features a number of pages derived from original artwork when possible from the collections of editor Michael Ambrose (of Charlton Spotlight fame and a friend of the Dojo in times past) and Bryan Fowler. These pages really allow you to see with startling clarity the potency of Sutton's art. This volume is a gem for any Charlton fan and a must for any fan of Tom Sutton.

Here are most of the covers featured in this tome.













Beautiful. Thanks to Michael Ambrose and the folks at Yoe Books for giving us this tome dedicated to a real master.

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Saturday, October 10, 2026

Ditko At Charlton - 1972!


This Is How It Is - Ditko at Charlton 1972 is a bigger collection of vintage comic book stories than the previous volume -- three hundred and thirty pages or more, a cool one hundred pages more than the 1971 tome. All the stories in this one are written by Joe Gill and drawn by Steve Ditko. We get the usual gaggle of ghosts and mobs of monsters afflicting normal folks, many of whom deserve their torment. We have stories from Ghostly Haunts hosted by Winnie the Witch, Ghostly Tales hosted by Mr. Dedd, Haunted hosted by Impy, Ghost Manor hosted by Mr. Bones, and The Many Ghost of Dr. Graves hosted by the titular M.T. Graves himself. There's a lot of a vintage Charlton goodness here, classic stories told by two veterans. Ditko's art has become a bit more rigid, though his storytelling is no less efficient. Gill's scripts rattle off efficiently with a better variety than I imagined going into the volume. 



One thing that struck me reading this collection was the absolute dominance of the color green to represent the supernatural. Nearly all the ghosts are green and green in general seems to be used on the covers as almost a secret code for otherworldly activity. Some of Ditko's very best covers are contained in this collection. 


Here are the covers in this volume. 






























More Gill and Ditko to come when we visit 1973 next week. 

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