Lost Marvels No. 2: Howard Chaykin Vol. 1: Dominic Fortune, Monark Starstalker, and Phantom Eagle

Howard Chaykin has always occupied a distinct space in the comic book medium, and Lost Marvels #2 serves as a fascinating time capsule of his contributions to Marvel’s more unconventional corners. This collection brings together three lesser-known creations: Dominic Fortune, Monark Starstalker, and Phantom Eagle, which reflect Chaykin’s early experimentation with genre blending, narrative bravado, and bold visual style.

The first feature, Dominic Fortune, is a pulpy throwback to 1930s adventurers, but Chaykin filters it through his trademark cynicism and kinetic layouts. Fortune is not the flawless hero of classic pulp tradition but a brash figure straddling glamour and grime. Chaykin’s art gives the stories a cinematic pace, capturing both the gloss of exotic escapades and the grit beneath them. There is a swagger to these pages that foreshadows the creator’s later, more polished works.

Monark Starstalker feels like a snapshot of Marvel’s attempts in the 1970s to push science fiction beyond conventional superhero fare. The character, though little remembered, exemplifies Chaykin’s fascination with technology, morality, and the future of human endeavor. The art carries hints of European influence, with angular designs and stark, futuristic landscapes. Though the narrative is compact, one can see Chaykin testing boundaries that would later define much of his independent output.

Perhaps most surprising is the Phantom Eagle story, where Chaykin revisits a World War I hero with an updated sensibility. The aerial combat sequences are dynamic, and the themes of courage and futility resonate more deeply than one might expect from what could have been a routine revival. It underscores Chaykin’s ability to balance spectacle with subtext, offering both action and reflection.

As a collection, Lost Marvels #2 is less about cohesive storytelling and more about spotlighting an artist’s range during a formative period. Each tale stands apart stylistically and thematically, yet together they illustrate Chaykin’s restless creativity and willingness to challenge genre conventions. For modern readers, the book provides insight into Marvel’s willingness at the time to experiment with stories outside its core superhero franchises, entrusting them to a daring young creator.

This volume will appeal most strongly to fans of Howard Chaykin who want to trace the evolution of his voice, as well as to collectors intrigued by Marvel’s offbeat experiments of the 1970s. It is not essential reading for newcomers, but it is a rewarding exploration for those who appreciate the margins where mainstream comics dared to be different.