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The Shadow had a group of regular associates who were featured in many of the novels: Harry Vincent, a young man who acted as the Shadow's aide; Rutledge Mann, an investment broker; Cliff Marsland, a wrongly-imprisoned innocent man; Clyde Burke, a reporter; and Joe Cardona, a police detective.[6][9] Murray considers that Gibson's ability to vary the plots from novel to novel, with a wide range of backdrops, characters, and plot devices, was the key to attracting and retaining readers. Gibson's work varied in quality over the years: in Murray's view, after 1941 the novels became "repetitious, sometimes lifeless...even becoming inadvertent parodies of their former selves".[6] According to pulp historian Ed Hulse, fans of the Shadow regard the magazine's best period as beginning in 1934, and Hulse himself considers 1935 the best year, singling out Zemba, from the December 1 issue, as a favourite of many readers, and identifying Lingo, in the April 1 issue, as his own candidate for Gibso
 n's best work. Hulse agrees with Murray that the early 1940s saw the quality of the novels drop off, but identifies 1937, when the Shadow's identity is revealed, as the start of the decline.[13] Another pulp historian, Lee Server, argues that Gibson was the perfect writer for The Shadow novels, because of his knowledge of magic and the history of magic: "The stories were the literary equivalent of a master illusionist's stage act, full of tricks, threats of sudden death, and mys