I grew up in a small New England town with a five-days-a-week newspaper, meaning my first exposure to comics was surely that paper’s stable of strips: Peanuts, Juliet Jones, The Phantom,Beetle Bailey, and Red Eye. To a seven-year-old, the newspaper comics were just there, part of the fabric of daily living. What caught my youthful eye was comic books, often seen at the local barber shops, with a few of them even coming into my possession when my parents had a few extra coins to divert my way, or when a lengthy car ride was coming up and they knew a couple comics would keep me quiet for the duration, there in the back seat of the station wagon.
Two of the earliest comics to come my way were issues #163 and 165 of Marvel’s Strange Tales, containing chapters of Steranko’s high-octane “Nick Fury vs. The Yellow Claw” story-cycle. I was not exactly sure who these characters were or what was going on, but I knew it was exciting. Those two comics made me a lifelong Steranko fan, and decades later, the great Marvel Bankruptcy/Implosion of 1998 scuttled my chances of continuing in Steranko’s footprints (I still have stats of Lee Weeks’s pencils from my plot for what was supposed to be our opening NickFury salvo).
Thirteen years later, I’m resigned to the likelihood I’ll never get a shot at writing Nick Fury…but over the space of just a few months, I’ve been involved with shepherding two other Furys back into print, both of them well worth your attention.
You’ll find that rare wartime adventure comic, Jon Fury, featured in our very-soon-to-be-releasedGenius, Isolated: The Life and Art of Alex Toth.
Jon Fury was created especially for Toth’s camp newspaper during his military service in Tokyo, and was produced for reproduction on an Army “multigraph” machine, which was hand-cranked in order to generate press runs. Since it was designed to reproduce text, Jon Fury presented a number of production challenges for Private First Class Toth.
Like Toth’s original run of Jon Fury, our reprinting is presented in its authentic inked version and, as with everything in Genius: Isolated, has been approved by and presented in coöperation with the Toth family. Reading Alex’s first ongoing effort at producing plot, script, and art is one of the highlights of the book.
Before Alex Toth began producing Jon Fury, New York cartoonist Tarpé Mills was telling tales of Marla Drake, the costumed adventurer known as Miss Fury.
Mills’s series debuted in 1941 and struck a unique chord, especially compared to the testosterone-filled adventure strips created by Tarpé’s male peers. Miss Fury is a mix of action and romance, Nazis and science fiction, fashion and gangsters.
Trina Robbins, the acknowledged authority on all things Miss Fury, is your guide to this, the most extensive collection of this strip ever assembled, including the only surviving pages of Tarpé Mills’s final comics work—a 1980s graphic novel!
Things eventually work out for the best. Though my Nick Fury work never got published, it’s been fun and informative to be involved with the production of both Jon Fury and Miss Fury…and hey, two out of three ain’t bad.