Comic books have a rich history that dates back to their inception in 1935. Initially, they catered primarily to adolescents, featuring iconic characters like Superman, Batman, and Captain Marvel. However, amidst this commercial landscape, there were visionary artists who dared to push boundaries, and Charles Biro was undoubtedly one of them. In 1949, Biro embarked on an ambitious project that would redefine the comic book genre for adults, resulting in the creation of Tops.

Unlike the typical superhero narratives of his time, Biro’s Tops aimed to appeal to a more mature audience. He had previously co-created the gritty comic Crime Does Not Pay, and with Tops, he sought to explore themes that resonated with adult readers. This oversized comic was radical for its time, featuring two issues that would ultimately become a legendary collector’s item despite its initial commercial failure.

Despite its short run, Tops has garnered immense respect within the comic book community. The original issues have transformed into a holy grail among collectors and historians, with prices soaring as high as $6,000 on the collector’s market. Its stories, written in a style that mixes pulp, melodrama, and a hint of the risqué, were crafted by some of the most talented artists in the comic industry. Renowned illustrators such as Dan Barry, George Tuska, Bob Fujitani, Fred Kida, Bob Lubbers, and Fred Guardineer contributed their skills to this unique project.

The collection includes two remarkable pre-EC crime tales illustrated by Reed Crandall, evoking memories of his iconic work in Crime SuspenStories. The titles of these stories are as provocative as they are entertaining, including gems like ‘I’ll Buy That Girl,’ ‘Marriage Swap Shop,’ and ‘The Prize Was Death.’ Each narrative pulls readers into a world that challenges societal norms and expectations.

In a surprising turn, the actor Melvyn Douglas guides readers through a utopian vision in a piece entitled ‘How Would You Live Under A World Government?’ This story offers a positive perspective on global Socialism, providing a thought-provoking contrast to the prevailing political sentiments of today.

To ensure that this monumental work is preserved in its original glory, editor, historian, and cartoonist Michael T. Gilbert has meticulously restored the pages from 1949. He has also enriched the collection with contextual material from historians like Ken Quattro and Roger Hill, offering readers a deeper understanding of the comic’s significance.

In conclusion, Tops stands as a landmark work within the comic book domain. It is more than just a collection of stories; it is a fascinating reading experience that transports readers back to an era of bold experimentation in comic art. This publication invites both collectors and newcomers to explore the depths of Biro’s vision, making it a must-have piece for anyone interested in the historical evolution of comics.