Daily Archives: 2 August 2011

I think this story has to be my favorite Corrigan so far. Not only does it have a good length (Goodwin usually cuts out just when the second part of a longer story could start), but it also features Phil’s wife, Wilda.

Okay, I’m not a fan of her name—in fact, when she’s taken hostage, I couldn’t believe anyone with such a silly name hadn’t ended up in the strip because she was a former spy and could handle herself. She cannot. So Phil has to save her.

In saving her, Goodwin establishes Phil as a real character. He’s got Phil off being to secret agent and knowing his wife’s in probable danger. That move hits a depth Corrigan has hit before, at least not since Goodwin and Williamson started.

And Williamson? Doing city scenes and a desert resort… it’s his best art so far. Phenomenal stuff.

CREDITS

Writer, Archie Goodwin; artist, Al Williamson; publisher, King Features.

Phil Corrigan finally gets some personality this story. Not a lot of it, but some. Goodwin and Williamson are far more concerned with making Corrigan thrilling than they are developing the protagonist. Of course, since Phil’s just a good egg, I suppose they can’t develop him too much.

This story concerns a dying mobster, his daughter and his two former associates who want to keep him quiet. The mobster wants to give his daughter a chance to go back to the States, no longer stuck in exile. It’s up to Phil to protect and he does a reasonably good job of it.

Goodwin only has to come up with one or two dumb plot points to get the story full steam. Once in the main body (starting on with a train sequence), the story never slows. It goes so constant, the ending is a shock. Goodwin could’ve easily continued.

CREDITS

Writer, Archie Goodwin; artist, Al Williamson; publisher, King Features.