The Phantom Unmasked by Kevin Patrick

The Phantom is a long-running newspaper comic strip that first appeared in the New York Journal in 1936.  He was a pulp-adventure hero who protected his jungle home while fighting piracy and crime around the world. His unique twist, at least visually, was his outfit of tights and trunks, with a domino mask to obscure his features. More than a year before the appearance of Superman, the Phantom was dressing like a superhero.

In parts of the world, people consider the Phantom to be the very first superhero. Though he persists in American newspaper pages, he has not been very popular in the U.S. in comparison to similar characters. In other part so of the world, notably Australia, Sweden and India, he is possibly the most well-known and followed comics characters. How did a middling American adventure comic become so popular overseas? Comics scholar Kevin Patrick wrote a dissertation about it, and has since turned than dissertation into his book, The Phantom Unmasked.

It started with the general popularity of newspaper comic strips in the United States. As the American market became saturated, the features syndicates that distributed comics sought to expand by marketing to foreign publishers. While they faced objections in some markets, they had the advantage of being cheap and plentiful. In addition, the American syndicates worked with local syndicates or publishers to adapt their comics to local tastes and customs. This included The Phantom.

Lee Falk, writer of the strip, conceived of a character who was likely to be popular by taking ideas from popular jungle stories and hero pulps. He noted that he took inspiration form Edgar Rice Burroughs’ Tarzan of the Apes (serialize in All-Story magazine) and Rudyard Kipling’s The Jungle Book. The name of the Phantom is suggested by The Shadow, one of the most popular pulp magazines. The Phantom marked his enemies with the stamp of his skull ring, similar to the signet of The Spider, who more often left his mark on a corpse than a living foe. The skull-mark itself may have been inspired by the death’s head ring of Operator 5; though that ring was loaded with an explosive charge.

Patrick traces the spread of The Phantom from the United States to overseas markets, especially Sweden, which would become a center of oversees Phantom media production, India and his homeland of Australia. While he considers the features of the strip that make it popular in these countries, he also explores the marketing and publishing practices of the features syndicates in America and abroad to show how The Phantom was a financial as well as a popular success. The Phantom Unmasked is as much a business history as it is a comics history, though the two have always fit closely together.

If you’re interested in this book, you may also be interested in

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Mr. America by Mark Adams

The Secret History of Wonder Woman by Jill Lepore

Superman versus the Ku Klux Klan by Rick Bowers

The Peerless Peer by Philip Jose Farmer

Why Comics? by Hilary Chute

Patrick, Kevin. The Phantom Umasked: America’s First Superhero. Iowa City: University of Iowa Press, 2017.

How to Write Science Fiction and Fantasy by Orson Scott Card

Card, Orson Scott. How to Write Science Fiction and Fantasy. Cincinnati, OH: Writers Digest Books, 1990.

Accomplished speculative fiction author Orson Scott Card focuses this manual on the particulars of writing science fiction and fantasy stories. It contains advice that may be useful to writers of any kind of fiction.

To start, Card tries to define the realm of science fiction and fantasy. This is difficult. Once identified as a writer of speculative fiction, you may find it difficult to get your books marketed in any other category. On the up side, within the realm of science fiction of fantasy, you can write almost any kind of story. Science fiction and fantasy is defined by a mix of marketing, reader expectation and what writers produce; something readers of these books will have a feel for, but as a new writer, or someone new to the field, its useful to know what is expected.

Something unique to speculative fiction that Card gives much attention is world creation. All fiction creates a world of sorts, but a characteristic of speculative fiction is that the world of the story is significantly different from the world we live in. A writer of science fiction or fantasy stories must have a well thought out vision for his world and how it works; he need an understanding larger than what is minimally necessary for the story. This chapter contains practical advice on what works and doesn’t in world creation.

Something that sticks out to me is found in the chapter on story construction. Card writes about where a story should begin and end, depending on what kind of story it is: milieu, idea, character or event. All stories have all of these elements to some degree, but most focus on one. By understanding what kind of story you’re trying to write, you can know where to begin and end your story and how to set up and meet reader expectations. Reading this chapter I thought of several short stories and novels that I thought were very good and saw how they fit in these categories and how the authors made fitting decisions about where they started and stopped their stories.



Card’s advice on story construction is applicable to any kind of fiction. He draws examples from speculative fiction, and has writers of it in mind as his audience, but all kind of stories could be improved with this counsel.

The Secret History of Wonder Woman by Jill Lepore

Wonder Woman is one of most popular comic book characters. Because she is about to be featured in a film that will bring Batman and Superman together in epic battle, and is expected to be featured in a film of her own, the Internet is already beginning to buzz with concern over how badly she may be portrayed and hopes that the filmmakers will get her right. She has starred in some great stories, but often the stories about her have disappointed for various reasons. The difficulty of depicting a woman superhero has its roots in sorting out the roles of women in society, something we’re still working on. It is a struggle Wonder Woman was born to fight.

Jill Lepore explores the birth of this female superhero in The Secret History of Wonder Woman. In one of her various comics origins, the demigoddess was formed from the mud of Paradise Island, but Lepore describes how she was formed in the suffrage and feminist movements of the late 19^th and early 20^th centuries, and an unusual family with strong ties to these movements.

Wonder Woman first appeared in print in 1941. When she became the title character of her own comic, her creator came from behind his pseudonym, with some fanfare, and revealed himself as psychologist William Moulton Marston.

Marston’s lifestyle is known now, but it was a closely held secret during his lifetime. For all practical purposes, if not legally, he had two wives. Surprisingly, both women were feminists. They both loved Marston and found in this arrangement a way to live the lives they wanted. They had a pragmatic, flexible feminism that was accepting of the unconventional. I can hardly do it justice in a few words, but Lepore explores the early days of feminism that shaped the arrangement Marston had with these two women.

Marston met Elizabeth Holloway while they were undergraduates, he at Harvard and she at Mount Holyoke. They were both advocates of women’s suffrage. They married in 1915. Marston received a doctorate and Holloway a master’s degree. Holloway claimed to be deeply involved in Marston’s early research. The Marston household became full of writers and editors, and overtime attribution became a matter of convenience or marketing rather than identification of individual authorship.

Olive Byrne met Marston as an undergraduate at Tufts, where she became his research assistant. She quickly became more and moved into the Marston household. Eventually they worked out the arrangement that Holloway would work full-time (over time she had several jobs as an editor) while Byrne raised the children (each had two children with Marston). Byrne eventually felt the need to contribute the finances and in the 1930s wrote for Family Circle as Oliver Richards (Richards from the marriage and widowhood she faked to obscure the parentage of her children). Byrne, like the Marstons she joined, had ties to the feminist and birth control movements. She was the daughter of Ethel Byrne  and her aunt was the more famous Margaret Sanger.

Holloway, Byrne, and even Sanger, were to varying degrees the models for Wonder Woman. She was to be feminist propaganda, and under Marston’s pen she was. One would guess that this would have attracted criticism, but it was not the feminism of Wonder Woman that most stirred up critics.

Bondage was depicted on almost every page of Marston’s comics. In addition, Wonder Woman’s costume was skimpy. Lepore links the bondage in these comics to the use of bondage as a symbol used by suffragists and feminists. Sometimes Marston drew very consciously on images associated with these movements. In addition, the bondage represented notions of domination and submission rooted in Marston’s theories of personality and the relationship between the sexes. Bonds, and the breaking of them, represented the misappropriation of power by men and the power of women to free themselves and take their place as leaders in society. Similarly, Wonder Woman’s bare limbs were emblematic of her athleticism, strength, power and essential equality to make heroes. It’s hard to say that the depiction of Wonder Woman is completely free of sexual undertone, Marston wanted her to be beautiful. Lepore shows the clear link between the symbolism of Wonder Woman and the symbolism  of suffrage and feminism that Marston consciously referenced.

When Marston passed away in 1947, Wonder Woman fell into the hands of writers and editors who did not share his vision. She hasn’t been the same since. After World War II, the feminism she represented was not welcome in the broader culture or by the men who wrote her comics. Even after the second wave of feminism adopted her as an emblem in the 1970s, she’s not been quite at home. Perhaps we’ll have trouble getting Wonder Woman right as long as we have conflict about the roles of women in our culture.

If you’re interested in either comics or feminism, I recommend Lepore’s book. It is thoroughly researched and thoroughly readable.

If you’re interested in this book, you may also be interested in

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

Miss Mizzou by J. B. Winter

Reading Comics by Douglas Wolk

Stan Lee by Jordan Raphael and Tom Spurgeon

Superman versus the Ku Klux Klan by Rick Bowers

The Ten-Cent Plague by David Hajdu

Will Eisner by Michael Schumacher

Lepore, Jill. The Secret History of Wonder Woman. New York: Alfred A. Knopf, 2014.

Revved! by Harry Paul and Ross Reck

Paul, Harry, and Ross Reck.  Revved!  New York: McGraw-Hill, 2006.

Revved! is a business parable.  Harry Paul and Ross Reck tell the story of Katie, a woman hurt by personal betrayal whose career suffers from her attempts to protect herself for additional injury.  She turns things around with the help and advice of an old friend and a radio psychologist.

In the context of a simple story, Paul and Reck describe a system intended motivate employees to perform at a new level, get engaged in their work and go above and beyond what is required in their job description.  It makes the supervisors and managers feel good, too.

The secret to getting the best out of people is this: care about them.  Honestly, demonstrably care.  People care about the people who care about them.  The care a supervisor shows for her employees will be reflected back in enthusiasm, performance, improvements and ideas.

The authors offer a note of warning.  Real caring can’t be faked.  If you jerk people around, it will backfire.

Paul and Reck offer a way to mitigate this potential problem.  Real caring can’t be faked.  Katie doesn’t want to risk getting hurt again by opening herself to genuine caring for others, so her counselors tell her to go through the motions even if she doesn’t really mean it.  It is a trick to get over the impediment of her self-preservation.  After a few weeks, she finds she genuinely cares for her employees.  The authors agree with William James that emotions follow actions, and if you act as if you care for someone, you soon will.

By stages, Katie is introduced to the few simple steps to demonstrate caring for others in the workplace.  The intent is to help her build new habits in manageable pieces and to prevent too much shock from her embattled and suspicious employees.

The authors give their system a name, Looking Out for Number Two.  Each step is named as well: Winning Them Over, Blowing Them Away, and Keeping Them Revved.  In spite of the fancy marketing language, program is straightforward.   The authors summarize it in three pages at the end of the book, and that could be shorter.  The titles are big, but the actions are small.

As you might expect, Katie sees amazing results in just two months.  Katie is a fictional character.  Real life might proceed a little slower an more messily.

Even so, the advice presented is sound.  It has the advantage of being simple and actionable.  It’s not about trying to stir up a feeling of caring.  It’s about specific actions that show caring in practical, meaningful ways, knowing that the response in our emotions and in others will come naturally.

If you’re interested in this book, you may also be interested in

Developing the Leader Within by John C. Maxwell
Winning with People by John C. Maxwell

Vital Friends by Tom Rath

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Attitude in a Nutshell by Sam Glen

Glenn, Sam.  Attitude in a Nutshell.  Sam Glenn, 2005.

Sam Glenn has the kind of rags-to-riches story that you might expect of a motivational speaker.  He failed in his early jobs and a disaster brought down the family business, which he was running.  One little thing helped him persevere in those hard days and empowered him to turn his life around.  I give you one guess what it was.

It was his attitude.  More to the point, it was a change in his attitude. Instead of staying negative, pessimistic and angry, which probably would have kept him in a bad place, he chose to be positive, optimistic and good-humored, and this attitude help him to see opportunities and make choices that improved his life.

Glenn writes about this in Attitude in a Nutshell.  As the title suggests, it is a short book.  I suspect it draws heavily on his presentations, especially given the informal style, generally conversational tone, and brevity of the chapters.

The author doesn’t seem to bring much new subject of attitude.  Don't take that as harsh criticism.  Recently published books, especially in the self-help genre,  tread much the same ground as their predecessors from 50 or 100 years ago.  Jack Canfield hasn’t added much to W. Clement Stone, except shrewdness in marketing books.  Stone didn’t add much to Napoleon Hill, though he didn’t emphasize Hill’s wilder ideas.  Hill had many antecedents and contemporaries in writing about success, though the patronage of Andrew Carnegie allowed him to take an approach that was unique for his time.

Specifically, the book covers self-talk, humor, courage, character and a few other subjects related to attitude.  Like some other self-help books I’ve read recently, it hangs together mainly on the topic.  Other than the theme of “have a good attitude,” there is no strong thread connecting the different parts of the book.

If he doesn’t stand out as an author of self-help, he may make up for it as a speaker.  I know someone who has seen him present.  His presentation incorporates the creation of chalk art.  It sounds like a gimmick, but a gimmick that draws an audience’s attention, enlivens a presentation, and makes it more memorable is a worthy one.

If you’re interested in this book, you may also be interested in

Attitude is Everything by Jeff Keller

The Difference Maker by John C. Maxwell

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Attitude is Everything by Jeff Keller

Keller, Jeff. Attitude is Everything: Change Your Attitude…and Change Your Life. Tampa, FL: INTI, 1999.

In Keller’s book, you will find much of what you will find in many similar self-help books. (Perhaps I have read too many.) Attitude is Everything is superior to some others in its genre in that it is short and the author’s enthusiasm for the subject comes through.

The book is laid out in three parts concerning thinking, saying and doing. Each chapter is an essay on a topic relating one of these subjects.

It all starts with thinking. Success or failure begins in the mind because our thinking affects everything we do. Today some seem to have the idea from books like The Secret that it is all about thinking. Keller encourages his readers to be realistic as well as positive. He writes, “Success requires effort, commitment and patience.”

What we say and what we think are closely related. Keller wants us to be positive in our speech because what we say, along with our thoughts, sets us up to act in ways that lead to success or not. Even our answer to the question “How are you?” can affect our outlook and wellbeing.

The part I like most about the book is that it gives attention to the necessity of action. The advice in one of the action chapters, entitled “Networking That Gets Results,” is worth reading and using. I get more business from referrals than any other sources. I value my network more than any other marketing took because it works best for me. This is not about mercenary networking; I hope I can be a good friend to my friends and as helpful to my associates as they have been to me. Keller offers good advice on building and using your network.



If you’re interested in this book, you may also be interested in
The 21 Irrefutable Laws of Leadership Tested by Time by James L. Garlow
The Difference Maker by John C. Maxwell
Don’t Grow Old—Grow Up! by Dorothy Carnegie
Winning with People by John C. Maxwell

Dog Days by Dave Ihlenfeld

Dog Days is a memoir by fellow University of Missouri alumnus Dave Ihlenfeld about his year as a Hotdogger. A Hotdogger is one who drives one of Oscar Mayer’s Wienermobiles.

As you expect from a memoir, the focus is personal recollections. To me, this was the least interesting part of the book. I have little interest in reading about a young guy falling in love with half the pretty women he meets and trying to get laid. Too many television shows and films are already built on that premise. Ihlenfeld writes for television now, so he may have been playing to a strength. There is a little bit of a coming of age story; a year in the Wienermobile calls for resourcefulness.

There is a little history of the Wienermobile in the book. I found this to be some of the most interesting stuff. If you have only a casual interest in the Wienermobile, don’t worry. The history parts are short an dispersed throughout the book. It is not the focus of the book, but it adds something good. Sure, Hotdogger is a silly job in some ways, but it is connected to a long history of successful marketing.

The book is a little bit travelogue. I wish there could have been more of this. I don’t normally read travel books, but the context of it made me open to reading about the destinations. Perhaps the problem is that too many of destinations were county fairs, Walmarts and grocery stores. You can only go so far to make them interesting, especially when your memory of the is clouded by exhaustion (and I suspect the occasional hangover).

I enjoyed the book , though. It is an interesting mix of the personal, historical and geographical. It’s a glimpse into something few people experience. And while I don’t mean to offend Ihlenfeld if he is still working there, it is much better than Family Guy.

If you’re interested in this book, you may also be interested in

Paperboy by Henry Petroski

Ihlenfeld, Dave. Dog Days: A Year in the Oscar Mayer Wienermobile. New York: Sterling, 2011.

Marvel Comics: The Untold Story by Sean Howe

Marvel Comics has a long history in comic books, especially superhero comics. It’s first superheroes, the Human Torch and the Sub-Mariner, debuted in 1939 and the company is currently unrolling popular series of films based on a The Avengers, a superhero team that first appeared in comics in 1963.

The extended, interconnected, iterative melodrama of Marvel’s comics is a complicated fictional world. The real-world company has a complicated history, too. It started as a scion of a pulp magazine publisher seeking diversify and is now a part of media powerhouse Walt Disney Company. Sean Howe provides a detailed history of the company in Marvel Comics: The Untold Story.

Howe divides the history of the Marvel into five major ages. He discusses the early history of the company, but Marvel as we know it today could mark its origins in the resurgence of superhero comics of the early 1960s, after a post-World War II slump that all but the most popular titles.

The succeeding ages roughly correspond to the decades. The 1960s marked the birth of modern Marvel. The 1970s were a time of artistic experimentation when comics, especially Marvel, were embraced on college campus and in the counterculture.

In the 1980s, kids who grew up reading Marvel became adults writing the comics. It was also a time when corporate culture began to consume the company—though the priority of making money, executive interference and possibly shady business was something that went back to the days of the pulps. This decade also marked a change in the way comics were sold, shifting from newsstands and grocery-store spinners to specialty shops, which created opportunities and problems for comics publishers.

The 1990s was a period of excess. Comics creators were finally making money (at least some of them were), but old contentions between publishers—especially Marvel—and writers and artists led to the rise of superstars spinning off to publish works to which they would retain the rights. The growth in comics collecting encouraged marketing practice, especially at Marvel, that eventually led to a bust.

Throughout this time, Marvel’s various owners had been attempting to transition the company from a comics publisher to a media company that leveraged its intellectual property in many ways. In the 2000s, Marvel has done that. A criticism often leveled against Marvel today is that the comics are driven by decisions to make the characters marketable in other media, especially movies and toys.

Comics have come a long way since I started reading them as a kid. For one thing, they cost 10 times as much. Howe wraps up with the opinion that Marvels products are better, and in some ways I agree. However, I think comics often uses the words mature and adult when they are simply prurient, and that the improvement in printing quality is not always accompanied by improvements in story or art. I have mixed feelings about the multi-issues stories designed for collection into graphic novels aimed at book retailers, but I think the event-driven mega-crossovers that have become standard for Marvel and DC don’t move me much—I’d rather read a good short story than an overblown novel.

If you’re interested in this book, you may also be interested in

Amazing Fantastic Incredible by Stan Lee, Peter David & Colleen Doran

Comic Book Nation by Bradford W. Wright

Kirby by Mark Evanier

Men of Tomorrow by Gerard Jones

1939 by David Gelernter

Stan Lee by Jordan Raphael and Tom Spurgeon

The Ten-Cent Plague by David Hajdu

Howe, S. Marvel Comics: The Untold Story. New York: HarperCollins, 2012.

Idea Mapping by Jamie Nast

Nast, Jamie. Idea Mapping: How to Access Your Hidden Brain Power, Learn Faster, Remember More, and Achieve Success in Business. Hoboken, NJ: John Wiley & Sons, 2006.

Idea maps are a means of capturing and organizing ideas using images and words in a way that shows how they are related. Concepts are arranged in blooms that radiate from a central idea or flows that link a string of ideas. The techniques of idea mapping allow you to see how ideas are associated and use simple images, color, and single words to help you recall and organize information.



Nast acknowledges those who have preceded her in developing the concepts of mind mapping. Recent promoters of these techniques include Tony Buzan (Mind Map) and Vanda North (BrainBloom). The concept goes back at least to the 13th Century when Ramon Llull created tree diagrams in which the trunk and branches represented a central theme and the ideas that flowed from it. Except for emphasizing the use of images and color, it reminds me somewhat of the slash method of note taking promoted by Evelyn Wood.

Much of the book is practical instruction on the idea mapping technique. The basic concept of idea mapping is simple. Nast’s advice will give you a head start on putting it to practical use.

Besides being a how-to manual, the book also shows the variety of ways you can use idea mapping. Some of the examples included in the book include a to-do list, outlines for pharmacy classes, books summaries and marketing plans.

I particularly like the examples included in the book. It is very interesting to see how others have used idea maps and how they look. Nast includes several maps from one person to show how they developed their skill over time. These maps transitioned from spiky branches of words to fluid and almost entirely graphical maps. As with most things, you master idea mapping through practice.