Posted on

George McManus’s Bringing Up Father: Forever Nuts – Classic Screwball Strips


By George McManus, edited by Jeffrey Lindenblatt (NBM)
ISBN 13: 978-1-56163-556-6

One of the best and most influential comic strips of all time gets a wonderfully lavish deluxe outing thanks to the perspicacious folk at NBM as part of their series collecting the earliest triumphs of sequential cartooning. Look out for Happy Hooligan and hunt down Forever Nuts: Mutt and Jeff to see the other strips that formed the basis and foundation of our entire industry and art-form.

George McManus was born on January 23rd 1882 (or maybe 1883) and drew from a very young age. His father, realising his talent, secured him work in the art department of the St. Louis Republic newspaper. The lad was thirteen, and swept floors, ran errands, drawing when ordered to.

In an era before cheap and reliable photography, artists illustrated news stories; usually disasters, civic events and executions: McManus claimed that he had attended 120 hangings – a national record! The young man spent his off-hours producing cartoons and honing his mordant wit. His first sale was Elmer and Oliver. He hated it.

The jobbing cartoonist had a legendary stroke of luck in 1903. Acting on a bootblack’s tip, he placed a $100 bet on a 30-1 outsider and used his winnings to fund a trip to New York City. He splurged his windfall wager and on his last day in the big city got two job offers: one from the McClure Syndicate and a lesser bid from Joseph Pulitzer’s New York World.

He took the smaller offer, went to work for Pulitzer and created a host of features for the paper including Snoozer, The Merry Marceline, Ready Money Ladies, Cheerful Charlie, Panhandle Pete, Let George Do It, Nibsy the Newsboy in Funny Fairyland (one of the earliest Little Nemo knock-offs) and eventually, his first big hit (1904) The Newlyweds.

This last brought him to the attention of Pulitzer’s arch rival William Randolph Hearst who, acting in tried and true manner, lured the cartoonist away with big money in 1912. In Hearst’s stable of papers The Newlyweds became Sunday page feature Their Only Child, and was soon supplemented by Outside the Asylum, The Whole Blooming Family, Spare Ribs and Gravy and Bringing Up Father.

At first it alternated with other McManus domestic comedies in the same slot, but eventually the artist dropped Oh, It’s Great to be Married!, Oh, It’s Great to Have a Home and Ah Yes! Our Happy Home! as well as his second Sunday strip Love Affairs of a Muttonhead to fully concentrate on the story of Irish hod-carrier Jiggs whose vast newfound wealth brought him no joy, whilst his parvenu wife Maggie and their inexplicably beautiful, cultured daughter Nora sought acceptance in “Polite Society”.

The strip turned on the simplest of premises: whilst Maggie and Nora feted wealth and aristocracy, Jiggs, who only wanted to booze, schmooze and eat his beloved corned beef and cabbage, would somehow shoot down their plans – usually with severe personal consequences. Maggie might have risen in society, but she never lost her devastating accuracy with crockery and household appliances…

Bringing Up Father debuted on January 12th 1913, originally appearing thrice-weekly, then four and eventually every day. It made McManus two fortunes (the first he lost in the 1929 Stock Market crash), spawned a radio show, a movie in 1928, and five more between 1946-1950 (as well as an original Finnish film in 1939) and 9 silent animated short features.

…And that’s not counting all the assorted marketing paraphernalia that fetches such high prices in today’s antique markets. The artist died in 1954, and other creators continued the strip until May 28th 2000, its unbroken 87 years making it the second longest running newspaper strip of all time.

McManus said that he got the basic idea from The Rising Generation: a musical comedy he’d seen as a boy: but the premise of wealth not bringing happiness was only the barest foundation of the strip’s explosive success. Jigg’s discomfort at his elevated position, his yearnings for the nostalgic days and simple joys of youth are afflictions everybody is prey to, but the true magic at play here is the canny blend of slapstick, satire, sexual politics and fashion, all delivered by a man who could draw like an angel. The incredibly clean, simple lines and superb use – and implicit understanding – of art nouveau and art deco imagery and design make this series a stunning treat for the eye.

This magical monochrome hardback – collecting the first two years of Bringing Up Father – covers the earliest inklings of the formation of that perfect formula, and includes a fascinating insight into the American head-set as the fictional and fabulously fractious family go on an extended (eight month) grand tour of the Continent in the months leading up to the Great War.

Then, as 1914 closed, the feature highlights how ambivalent the New World still was to the far-distant “European War”…

An added surprise for a strip of this vintage is the great egalitarianism of it. Although there is an occasional visual stereotype to swallow and excuse, what we today regard as racism is practically absent. The only thing to watch out for is the genteel sexism and dramatically entrenched class (un)consciousness, although McManus clearly pitched his tent on the side of the dirty, disenfranchised and downtrodden – as long as he could get a laugh out of it…

This is a wonderful, evocative celebration of the world’s greatest domestic comedy strip, skilfully annotated for those too young to remember those days and still uproariously funny. Get it for grandma and swipe it while she’s sleeping off the sherry and nostalgia…
No © invoked.

Posted on

The Flash by Grant Morrison and Mark Millar


By Grant Morrison, Mark Millar, Ron Marz, Chuck Dixon, Paul Ryan, Ron Wagner, John Nyberg, Paul Pelletier, John Lowe, Will Rosado, Sal Buscema, Pop Mhan, Joshua Hood, Chris Ivy, Ariel Olivetti & various (DC Comics)
ISBN: 978-1-4012-6102-3

There are many super-speedsters in the DCU and most of them congregate in the conjoined metropolis of Keystone and Central City. Wally West, third incarnation of The Flash, lives there with his true love Linda Park, his Aunt Iris and fellow fast-fighters such as Jay Garrick. Impulse (a juvenile speedster from the future) and his mentor/keeper Max Mercury – the Zen Master of hyper-velocity – live in Alabama but often visit as they only live picoseconds away…

Created by Gardner Fox & Harry Lampert, Garrick debuted as the very first Scarlet Speedster in Flash Comics #1 (January 1940). “The Fastest Man Alive” wowed readers for over a decade before changing tastes benched him in 1951. The concept of speedsters, and indeed, superheroes in general were revived in 1956 by Julie Schwartz in Showcase #4 where and when police scientist Barry Allen became the second hero to run with the concept.

The Silver Age Flash, whose creation ushered in a new and seemingly unstoppable era of costumed crusaders, died heroically during Crisis on Infinite Earths (1985-1986) and was promptly succeeded by his sidekick Kid Flash. Of course, Allen later returned from the dead – but doesn’t everyone?

Initially Wally West struggled to fill the boots of his predecessor, both in sheer ability and, more tellingly, in confidence. Feeling a fraud, he nonetheless persevered and eventually overcame, becoming the greatest to carry the name.

At the end of the 1990s the grand, old-fashioned Fights and Tights mythology and methodology was given a bit of post-modern gloss when Caledonian wizards Grant Morrison and Mark Millar turned their considerable talents to the third incarnation of the Fastest Man Alive. Reprinting Flash (volume 2) #130-141, crossover episodes Green Arrow #130, Green Lantern #96, plus portions of The Flash 80-Page Giant #1 and JLA Secret Files #1, this rousing paperback collection (also available digitally) begins with Wally living with his one true love Linda Park, and enjoying a celebrity life as the current Scarlet Speedster.

Triptych ‘Emergency Stop’ (illustrated by Paul Ryan & John Nyberg) kicks off as a disembodied costume targets old villains. Absorbing their powers – and eventually their lives – it undertakes a sinister master-plan.

Continuing its grisly campaign in ‘Threads’ The Suit – ghost, pre-programmed super-technology or something else – proves more than a match for Keystone’s peace officers and even her superhuman guardians. Max Mercury, Jay Garrick and Impulse are not enough to save West from crippling injuries, and it takes a quantum leap in his abilities before Wally can save everybody from certain death in astounding conclusion ‘Fashion Victims’…

Following that superb saga, the Celtic lads get a chance to show American writers how it’s pronounced as Scottish villain Mirror Master attacks the recuperating hero and kidnaps his lady in ‘Flash Through the Looking Glass’.

As ever the understated excellence of Ryan & Nyberg act as the perfect vehicle for all those high-speed thrills, never better than when Garrick takes centre-stage for the moving ‘Still-Life in the Fast Lane’, a poignant parable that shows how even the swiftest men can’t outrun old age and death…

During this period DC was keen on recreating and reviving old heroes, with “legacy” versions of many old stars popping up. After Hal Jordan and John Stewart stopped being Green Lantern new kid Kyle Rayner picked up the ring just as Connor Hawke inherited his father’s role as Green Arrow and Wally followed Barry Allen.

‘Death at the Top of the World’ was a 3-chapter company crossover from March 1998 that began in Green Lantern #96 with ‘Three of a Kind’ (by Ron Marz, Paul Pelletier & John Lowe). The three heirs – who don’t particularly like each – other opt for a communal Arctic cruise to break the ice (sorry!) only to stumble into a plot by super-villains Sonar, Heat Wave and Hatchet that culminates in a devastating and murderous attack on the other passengers by world-class menace Dr. Polaris in Green Arrow #130, (Chuck Dixon, Will Rosado & Sal Buscema).

The concluding chapter by Morrison, Millar, Ryan & Nyberg – played as a classic courtroom drama – tops off this thoroughly readable tale in fine style and offers a chilling prologue and cliffhanger for the next astounding epic…

‘The Human Race’ commences with ‘Radio Days’ as 10-year-old Wally plays with his Ham Radio kit, chatting to an imaginary friend before we sprint into the present-day to find the Flash seconds after his last exploit, cradling an alien super-speedster who has crashed at his feet, gasping out a warning with his dying breath…

When two god-like alien gamblers materialise and demand Earth’s fastest inhabitant replaces the dead runner in a race across all time and space the entire planet learns that if a contestant isn’t provided Earth is forfeit and will be destroyed…

With the Justice League unable to defeat the cosmic gamesters, Wally has no choice but to compete, but almost falls apart when he discovers his opponent is Krakkl, a radio-wave lifeform who used to talk to him across the cosmic ether when he was a kid.

Now Wally has to beat a cherished childhood memory he thought a mere childhood fancy to save his homeworld… and if he does, Krakkl’s entire species will die…

Ron Wagner steps in as penciller for ‘Runner’ and ‘Home Run’, as, pushed to the limits of endurance and imagination, Flash criss-crosses all reality before despondently realising he’s in a match he cannot win… until valiant, self-sacrificing radio-racer Krakkl shares a deadly and world-saving secret…

Cosmic, clever and deeply sentimental in the fashion comics fans are suckers for, this stunning saga ends with Earth enduring after a spectacular ‘Home Run’ with its victorious but ultimately oblivious hero on course for the ultimate finish…

The drama escalates in tense thriller trilogy ‘The Black Flash’ (Miller, Pop Mhan & Chris Ivy, with additional pencils from Joshua Hood) as a demonic entity that abides beyond the velocity-fuelling energy field dubbed the Speed Force comes for the exhausted, jubilant hero in ‘The Late Wally West’.

Over the decades, elder speedsters have noticed that their ultra-swift comrades have all been hunted and taken by a supernal beast before their lives ended and when the creature is captured in photos apparently stalking Wally they do all they can to thwart it. Tragically, they succeed…

Unable to kill the Flash, the thing destroys his beloved Linda instead…

Jesse Quick, second-generation hero and a legacy who lost her dad to the Black Flash, takes over Wally’s role as crushed, depressed and broken he loses his connection to the Speed Force, following Linda’s funeral. However, after weeks of shell-shocked mourning he moves on, planning a new life in a foreign country, but the Black Flash is spiteful and never gives up…

Thus, when the beast attacks powerless Wally at the airport in ‘The End’ Max Mercury, Garrick, Impulse and Jesse all confront the creature until the true Scarlet Speedster rediscovers the inner fire necessary to not only face and defeat the thing, but also bring back Linda from the Great Unknown.

That would be a perfect ending to this tumultuous tome, but there’s still hidden gem ‘Your Life is My Business’ – by Millar & Ariel Olivetti – as Wally has a few drinks in a pub with the author while laying out the next fictionalised episode of his comic book and even a Who’s Who fact page detailing the secrets of ‘The Fastest Man Alive’ to bring the high-octane fun to a close.

Fast, furious and utterly fabulous, the Flash has always epitomised the very best in costumed comic thrills and these tales are among the very best. If you haven’t seen them yet, run – do not walk – to your nearest emporium or vendor-site and catch all the breathless action you can handle, A.S.A.P!
© 1997, 1998, 2016 DC Comics. All Rights Reserved.

Posted on

Captain Marvel: Marvel Masterworks volume 1


By Stan Lee, Roy Thomas, Arnold Drake, Gene Colan, Don Heck & various (Marvel)
ISBN: 978-0-7851-6756-3

After years as an also-ran and up-and-comer, by 1968 Marvel Comics was in the ascendant. Their sales were catching up with industry leaders National/DC Comics and Gold Key, and they finally secured a new distribution deal that would allow them to expand their list of titles exponentially. Once the stars of “twin-books” Tales of Suspense, Tales to Astonish and Strange Tales all got their own titles the House of Ideas just kept on creating.

One dead-cert idea was a hero named after the company – and one with some popular cachet and nostalgic pedigree as well. After the DC/Fawcett court case of the 1940s-1950s, the name Captain Marvel disappeared from the newsstands.

In 1967, during a superhero boom/camp craze generated by the Batman TV show, publisher MLF secured rights to the name and produced a number of giant-sized comics featuring an intelligent robot who (which?) could divide his body into segments and shoot lasers from his eyes.

Quirky and charming and devised by the legendary Carl (Human Torch) Burgos, the feature nevertheless could not attract a large following. On its demise, the name was quickly snapped up by the expanding Marvel Comics Group.

Marvel Super-Heroes was a brand-new title: it had been the giant-sized reprint comicbook Fantasy Masterpieces, combining monster and mystery tales with Golden Age Timely Comics classics, but with the twelfth issue it added an all-new experimental section for characters without homes such as Medusa, Ka-Zar, Black Knight and Doctor Doom, and debuted new concepts like Guardians of the Galaxy, Phantom Eagle and, to start the ball rolling, an troubled alien spy sent to Earth from the Kree Galaxy. He held a Captain’s rank and his name was Mar-Vell.

Most of that is covered in series-author Roy Thomas’ Introduction before this cosmically conceived tome – available in hardcover, paperback and digital editions – kicks off. On offer are the origin adventure from Marvel Super-Heroes #12-13 and the contents of Captain Marvel #1-9 collectively spanning cover-dates December 1967 to January 1969…

Crafted by Stan Lee, Gene Colan & Frank Giacoia, the initial MS-H 15 page-instalment ‘The Coming of Captain Marvel’ devolved directly from Fantastic Four #64-65 wherein the quartet defeated a super-advanced Sentry robot from a mythical alien race, only to be attacked by a high official of those long-lost extraterrestrials in the very next issue!

After defeating Ronan the Accuser, the FF heard no more from the far from extinct Kree, but the millennia-old empire was once again interested in Earth. Dispatching a surveillance mission, the Kree wanted to know everything about us. Unfortunately, the agent they chose was a man of conscience; whilst his commanding officer Colonel Yon-Rogg was a ruthless rival for the love of the ship’s medical officer Una.

No sooner has the good captain made a tentative planet-fall and clashed with the US army from the local missile base (often hinted at as being Cape Kennedy) than the first instalment ends. Stan and Gene had set the ball rolling but it was left to Roy Thomas to establish the basic ground-rules in the next episode.

Colan remained, this time with Paul Reinman inking. ‘Where Stalks the Sentry!’ sees the alien spy improving his weaponry before an attempt by Yon-Rogg to kill him destroys a light aircraft carrying scientist Walter Lawson to that military base.

Assuming Lawson’s identity, Mar-Vell infiltrates “The Cape” but arouses the suspicions of security Chief Carol Danvers. He is horrified to discover that the Earthlings are storing the Sentry (defeated by the FF) on base. Yon-Rogg, sensing an opportunity, activates the deadly mechanoid. As it goes on a rampage only Mar-Vell stands in its path…

That’s a lot of material for twenty pages but Thomas and Colan were on a roll. With Vince Colletta inking, the third chapter was not in Marvel Super-Heroes but in the premiere issue of the Captain’s own title released for May 1968

‘Out of the Holocaust… A Hero!’ is an all-out action thriller, which still made space to establish twin sub-plots of “Lawson’s” credibility and Mar-Vell’s inner doubts. The faithful Kree soldier is rapidly losing faith in his own race and falling under the spell of the Earthlings…

The Captain’s first foray against a super-villain is revealed in the next two issues as we find that the Kree and the shapeshifting Skrulls are intergalactic rivals, and the latter want to know why there’s an enemy soldier stationed on Earth.

Sending their own top agent in ‘From the Void of Space Comes the Super Skrull!’, the resultant battle almost levels the entire state before bombastically concluding with the Kree on top ‘From the Ashes of Defeat!’

Issue #4 saw the secret invader clashing with fellow anti-hero Sub-Mariner in ‘The Alien and the Amphibian!’ as Mar-Vell’s superiors make increasingly ruthless demands of their reluctant agent.

Captain Marvel #5 saw Arnold Drake & Don Heck assume the creative chores (with John Tartaglione on inks) in cold-war monster-mash clash ‘The Mark of the Metazoid’, wherein a mutated Soviet dissident is forced by his militaristic masters to kidnap Walter Lawson (that’s narrative symmetry, that is).

Issue #6 then finds the Captain ‘In the Path of Solam!’; battling a marauding sun-creature before being forced to prove his loyalty by unleashing a Kree bio-weapon on an Earth community in ‘Die, Town, Die!’ However, all is not as it seems since Quasimodo, the Living Computer is also involved…

The romantic triangle sub-plot was wearing pretty thin by this time, as was the increasingly obvious division of Mar-Vell’s loyalties, so a new examination of Dr Lawson, whose identity the Kree man purloined, begins in #8’s ‘And Fear Shall Follow!’.

Wrapping up this first volume is another alien war story as Yon-Rogg is injured by rival space imperialists the Aakon. In the battle Mar-Vell’s heroism buys him a break from suspicion but all too soon he’s embroiled with a secret criminal gang and a robot assassin apparently built by the deceased Lawson, and trouble escalates when the surviving Aakon stumble into the mess in ‘Between Hammer and Anvil!’…

Fascinating extras added in here include a full cover gallery, creator biographies, the December 1967 Marvel Bullpen Bulletins page announcing the coming of Captain Marvel, plus sublime pencil-art pages by Colan: the full 16 un-inked pages from Marvel Super-Heroes #13 for art-lovers to drool over. Glorious!
© 1967, 1968, 1969, 2013 Marvel Characters, Inc. All rights reserved.

Posted on

Loveless Vol 2: Thicker Than Blackwater


By Brian Azzarello, Marcelo Frusin, Danijel Zezelj, Werther Dell’edera & various (Vertigo)
ISBN: 978-1-4012-1250-6

Hitching its wagon firmly to the grimy, gritty, excessively dark and overwhelmingly nihilistic end of the Western genre, Loveless is a bleak and brutal confection, utterly unsanitised and unsuitable for kiddie consumption, but one that seems far closer to historical truth than any six-gun shootout on Main Street or rhinestone spectacle…

In this second stunning collection (still as yet not in digital form) Brian Azzarello and Marcelo Frusin, who did so much to revive and revitalise crime comics genre with 100 Bullets and returned a razor-sharp hard edge to urban supernatural horror in Hellblazer, take a further good hard look at the Western with results both breathtaking and horrific…

The mysteries continue and deepen as the spiritually bereft and morally bankrupt town of Blackwater further festers under Union occupation in the days and months after the American Civil War. The freed slave population are no better off under Northern rule, returning southern men have taken to wearing white sheets whilst exacting bloody reprisals, and the ordinary citizens are terrified that their lives and their secrets will be found out by either the Yankees or ,worse yet, returned Confederate hard man Wes Cutter.

Nobody is sure what Cutter wants. He’s asking uncomfortable questions about the fate of his missing wife, and he doesn’t want to be anybody’s friend. Moreover, since the military commander and his Carpetbagging bosses have insultingly appointed Cutter sheriff of Blackwater, he’s a traitor with the authority to get away with whatever he wants.

How the guilty-as-sin townsfolk react to Occupation Forces, former slave/Union soldier turned bounty hunter Atticus Mann, and the rabble-rousing, murderous renegade Confederate returnees, let alone the despised sheriff, is chillingly and graphically depicted by Danijel Zezelj, Werther Dell’edera and Frusin when the citizens become victims of a sustained campaign of murder…

Combining classic Western themes with contemporary twists such as flamboyant serial killers and protracted murder mysteries, Azzarello even manages to include hot-off-the-presses contemporary political metaphor in this twisted, stark and uncompromising series (collecting issues #6-12 of the monthly Vertigo comicbook).

A brilliant Western and a dazzling adult comic strip.

Get it if you’re old enough and tough enough.
© 2006 Brian Azzarello & Marcelo Frusin. All Rights Reserved.

Posted on

Barracuda volume 1: Slaves


By Jean Dufaux & Jérémy Petiqueux translated by (Cinebook)
ISBN: 978-1-84918-165-5

Yo Ho-Ho, me Hearties: You know what day it is!

Pirates have been a cornerstone of popular fiction for centuries and these days the very best of the genre can usually be found issuing from European shores. An intriguing twist on the genre – simultaneously traditional and convention-challenging – is Barracuda, told in six volumes by prolific, edgy writer Jean Dufaux (Crusade, Monsieur Noir, Jessica Blandy, Murena) and sublime illustrator/colourist Jérémy Petiqueux (Complainte des landes perdues, Murena, The Knights of Heliopolis).

This first volume – Barracuda 1 – Esclaves – was released continentally in 2010 and translated for the benefit of English-speakers by Cinebook three years later. A lusty tale of barbaric acts by desperate men, Slaves opens as a Spanish vessel transporting gold and nobles of great merit is challenged by the ruthless pirate ship Barracuda. Aboard the raider, captain Blackdog encourages his murderously capable boy Raffy before the bloodletting commences…

Aboard the doomed transport Doña Emelia Sanchez Del Scuebo attempts to protect her children. There is little she can do for pretty Maria, but at least Emilio has a chance of avoiding death, after mother dresses her darling boy in the clothing of a female servant…

When the defenders finally falter, Blackdog finds a moment for sport and entertainment as valiant seaman De La Loya finds himself the last man standing. Refusing to surrender, he is challenged to duel by bold Raffy. The fight is fast and furious but fortune favours the older man and the boy is humiliated by being spared from a noble death in return for the sailor’s liberty and freedom…

Whilst dividing the spoils and heading back to the pirate nest on Puerto Blanco, Blackdog discovers something of great value. The Del Scuebos possess a cursed gem of immeasurable value and his new captive holds a map to its horrific hidden location…

Hunger for the Kasura Diamond grips the pirate captain, and when the Barracuda reaches the hidden haven of the corsairs, he remains aboard ship, consulting with the township’s witch-woman Madame If-No rather than re-immerse himself in the literally cut-throat politics of the island…

Fate has other plans however, and when the captured women reach slave-master Ferrango’s auction block the noble family are bought by agents of three covertly warring factions. The matron is purchased and rescued by the island’s supposedly neutral mission-monks The Companions of the Cross, but her pretty daughter is scooped up by the abusive slave-master himself.

Emilio – still considered by all to be mere maid-in-waiting Emilia – is sold for an astounding sum to the distant and incomprehensibly enigmatic Englishman Mr. Flynn…

In the harbour, Blackdog readies to ship out in search of the cursed diamond even as assorted factions act against each other in Puerto Blanco. When a monk-sponsored rescue bid falters a desperate pursuit of little Maria goes brutally awry and Raffy is severely wounded. Although If-No saves his life, the boy is too ill to sail with his father and remains on the island as intrigues and double-dealing seem set to topple Puerto Blanco’s elected Governor.

As a woman in the Pirate Brotherhood, her position has always been precarious, but with rumours abounding of Blackdog’s mystery voyage tension and dissent mount to a deadly pitch.

And then the Barracuda is gone, slipping into the night in search of untold bounty and risking the wrath of hell itself…

To Be Continued…

Lavishly realised and deviously contrived, this carefully considered saga of sinister swashbucklers and fearsome freebooters gradually unfolds with measured pace, carefully nudging its ensemble cast – with not a hero in the bunch – towards an unknown but certainly violent and thrilling conclusion. Along the way the reader can enjoy the juggling of family tensions, wicked ambition, political chicanery, rapacious greed and obsessive vengeance with the spin only sea-action and supernatural terror can provide…

This is pure genre wonderment: unmissable stuff which could only be improved upon by being read on a sandy beach or near rocky caves with lapping surf and constantly crashing waves…
© Dargaud, Benelux (Dargaud – Lombard s. a. 2010 by Dufaux & Jérémy. All rights reserved. English translation © 2013 Cinebook Ltd.

Posted on

The Littlest Pirate King


By David B. & Pierre Mac Orlan, translated by Kim Thompson (Fantagraphics Books)
ISBN: 978-1-60699-403-0

Just one more day, me Buckos!

Tim Burton has pretty much cornered the market on outlandish, spooky fairytales and edgy all-ages fantasy, but if you and your kids have a fondness for scary fables and macabre adventure with a uniquely European flavour you might want to seek out this supremely impressive yarn of unquiet buccaneers and phantom piracy.

Pierre Mac Orlan was one of the nom-de-plumes of celebrated French author, musician and performer Pierre Dumarchey who between his birth in 1882 and death in 1970 managed to live quite a number of successful, productive and action-packed lives.

As well as writing proper books for sensible folk, he also produced a wealth of artistic materials including children’s tales like this one, hundreds of popular songs and quite a bit of rather outré pornography.

A renowned Parisian Bohemian, Mac Orlan sang and played accordion in nightclubs and cabaret, and was wounded in the trenches in 1916, subsequently becoming a war correspondent. After the conflict ground to a conclusion he evolved into a celebrated film and photography critic as well as one of France’s most admired songwriters and novelists.

By contrast, David B. is a founder member of the groundbreaking strip artists conclave L’Association, and has won numerous awards including the Alph’ Art for comics excellence and European Cartoonist of the Year.

He was born Pierre-François “David” Beauchard on February 9th 1959, and began his comics career in 1985 after studying advertising at Paris’ Duperré School of Applied Arts. His seamless blending of artistic Primitivism, visual metaphor, high and low cultural icons, as seen in such landmarks as Babel and Epileptic and Best of Enemies: A History of US and Middle East Relations are augmented here by a welcome touch of morbid whimsy and stark fantasy which imbues this particular gem with a cheery ghoulish intensity only Charles Addams and Ronald Searle could possibly match.

Mac Orlan’s tale perhaps owes more to song than storybook, with its oddly jumpy narrative structure, but M’sieu B.’s canny illustration perfectly captures the true flavour and spirit of grim wit as it recounts the tale of the ghostly crew of the Flying Dutchman, damned sailors cursed to wander the oceans, never reaching port, destroying any living sailors they encounter and craving nothing but the peace of oblivion.

Their horrendous existence forever changes when, on one of their periodic night raids, they slaughter the crew of a transatlantic liner but save a baby found on board. Their heartless intention is to rear the boy until he is old enough to properly suffer at their skeletal hands, but as the years pass the eagerly anticipated day becomes harder and harder for the remorseless crew to contemplate…

Stark and vivid, scary and heartbreakingly sad as only a children’s tale can be, this darkly swashbuckling romp is a classy act with echoes of Pirates of the Caribbean (which it predates by nearly a century) that will charm, inspire and probably cause a tear or two to well up.
© 2009 Gallimard Jeunesse. This edition © 2010 Fantagraphics Books. All rights reserved.

Posted on

Forever Nuts: Happy Hooligan


By Frederick Burr Opper (NBM)
ISBN: 978-1-56163-542-1                  978-1-56163-542-9

Frederick Burr Opper was one of the first true giants of comic strips: a hugely imaginative, highly skilled and immensely well-regarded illustrator and political cartoonist who moved into the burgeoning field of newspaper cartooning just as the medium was being born. His pictorial creations (and even more so, his dialogue) have enriched western culture and the English language.

Born in 1857 the son of Austrian immigrants, Opper grew up in Madison, Ohio, and at age 14 joined the Madison Gazette as a printer’s apprentice. Two years later he was in New York. Always drawing, he worked briefly in a store whilst studying at Cooper Union independent school before obtaining a position as student, and eventually assistant to illustration colossus Frank Beard.

Opper sold his first cartoon to Wild Oats in 1876, swiftly following up with further sales to Phunny Phellow, Scribbner’s Monthly, Harper’s Weekly, The Century, St. Nicholas Magazine and Frank Leslie’s Weekly, before joining prestigious premier periodical Puck in 1880. He drew everything from spot illustrations, gags, political cartoons and many of the new, full-colour, Chromolithographic covers. He was also a book illustrator of major renown, an incisive humourist, poet and creator of children’s books.

Clearly a forward-looking and perspicacious creator, Opper first dipped his toe in the world of newspaper strips with an abortive and short-lived feature for the staid New York Herald in 1897, but after making few inroads he returned to magazine illustration. Undeterred by the failure and after 18 lucrative, influential and solid, steady years, Opper was finally lured away by William Randolph Hearst, joining his growing stable of bold comics pioneers in 1899.

Starting on the New York Journal’s Sunday Color Supplement, he devised a wealth of different features beginning with Happy Hooligan which debuted on 11th March 1900. Although not a regular feature at the start – many cartoon strippers of the fledgling art form were given great leeway to experiment with a variety of ideas in those early days – before too long the feature became simply too popular to miss and Opper settled into a stable tenure that lasted until 1932 when the artist’s failing eyesight led to his retirement and the tramp’s demise. Opper passed away at the end of August 1937.

The grand master never used assistants, but his imagination and unsurpassed creativity made Hooligan – and his other creations – household favourites around the world, appealing equally to Presidents and public alike. His next strip – Mister Henry Peck (1901) – was followed by the highly popular Alphonse and Gaston (1901-1904), Our Antediluvian Ancestors (1903-1904) and the astoundingly madcap Mule strip And Her Name was Maud which began in 1904. Maud continued intermittently for decades and, on May 23rd 1926, became the regular “topper” to Happy Hooligan, running above the strip until both concluded with the artist’s well-earned retirement on October 14th 1932.

Other strips included, The Red Rig-a-Jigs (1906), Adolf from Hamburg (1906), King Jake (1907-1908), His Name is Ebenezer/His Name is Smith (1908), Ship Ahoy! (1908), Howsan Lott (1909-1914), Is Boggs Cheerful? He Is! (1908), Scuse Me, Mr. Johnson (1909), The Swift Work of Count DeGink (1916) and perennial trier The Dubb Family/Down on the Farm (1918-1919, 1921-1923, 1925-1927), but none had the appeal or phenomenal staying power of Happy or Maud and had perforce to be abandoned.

Happy Hooligan is an affable, well-meaning but painfully bumbling tramp who wears an old tin-can for a hat. Always ready and eager to assist and wishing nobody ill, this gentle vagrant is constantly made the inadvertent tool and plaything of far more fortunate folk who should know better, or cops a little too fond of the truncheon and nightstick, and – in general – generally a harsh, unforgiving cosmos of ill-fortune.

It’s a strip brimming with invention, pathos, social commentary, delightful wordplay and broad, reckless slapstick. More than one source cites Happy as having a profound influence on Charlie Chaplin’s Little Tramp in both content and tone…

This classy hardback (sadly not available yet in any digital form I can find) presents a selection of strips from 1902-1913 in the varying forms of colour (two, three and full colour depending presumably on the budget of the local papers these rare survivors were culled from). The tome is compiled and edited by Jeffrey Lindenblatt with a fascinating introduction and biography from Allan Holtz who, with collector Cole Johnson, provided the majority of the strips included here.

These range from June 8th 1902 to September 7th 1913 and although by no means complete or comprehensive afford a tantalizing glimpse at this iconic, influential and groundbreaking feature. Many of the reprints come from the highly productive and hilarious “Grand Tour” years of 1904 and 1905, (see also Happy Hooligan 1904-1905) and follow the sedentary sad-sack across after many abortive, knockabout attempts, across the sea to England and then on to the unsuspecting continents of Europe and Africa before returning to America in 1906.

With brothers Montmorency and Gloomy Gus, plus a burgeoning family of nephews and hangers-on, this too-slim tome ends with some of the optimistic poltroon’s foredoomed attempts to woo Suzanne, the patient and amazingly egalitarian daughter of the Duke of Cabaret. As always, these hysterical, rowdy escapades are often exacerbated by occasional visits from the ultra-polite Alphonse and Gaston, Opper’s legendary French gentlemen of extreme etiquette elitism…

Crossovers were not Opper’s only innovation. Happy Hooligan is considered as the first American strip to depend on word balloons rather than supplemental text, and the humble, heartwarming hobo was also the first strip character to jump to the Silver Screen in six movie shorts from 1900-1902. He was also probably the first mass-market merchandising comics star…

Sadly, Opper and his creations become less well-known with each passing year, but the quality of the work can never fail to amuse and inspire. Hopefully one day soon. superb graphic appetisers such as this will lead to further, more comprehensive collections (in print or electronically – I ain’t fussy), and as this book also contains a healthy selection of Opper’s other works from the early Wild Oats and Puck to the aforementioned genteel Gallic gadabouts and the mulish Maud, perhaps we can also look forward to compendia of his other seminal sketches and comedy classics…
Published in 2009 by NBM. © not invoked.

Posted on

Captain Pugwash: A Pirate Story


By John Ryan (Frances Lincoln Children’s Books)
ISBN: 978-1-84780-721 (PB)            978-1845078218 (HC)

The Day’s coming, Shipmates! Here’s a taste of things to come for all you hearty fun-starved rogues…

John Ryan was an artist and storyteller who straddled three distinct disciplines of graphic narrative, with equal qualitative if not financial success.

The son of a diplomat, Ryan was born in Edinburgh on March 4th 1921, served in Burma and India and – after attending the Regent Street Polytechnic (1946-48) – took up a post as assistant Art Master at Harrow School from 1948 to 1955.

It was during this time that he began contributing strips to Fulton Press publications, in the company’s glossy distaff alternative Girl, but most especially in the pages of the legendary “boys’ paper” The Eagle.

On April 14th 1950, Britain’s grey, post-war gloom was partially lifted with the first issue of a new comic that literally shone with light and colour. Avid children were soon understandably enraptured with the gloss and dazzle of Dan Dare, Pilot of the Future, a charismatic star-turn venerated to this day.

The Eagle was a tabloid-sized paper with full-colour inserts alternating with text and a range of various other comic features. “Tabloid” is a big page and one can get a lot of material onto each one. Deep within, on the bottom third of a monochrome page was an 8-panel strip entitled Captain Pugwash – The story of a Bad Buccaneer and the many Sticky Ends which nearly befell him.

Ryan’s quirky, spiky style also lent itself to the numerous spot illustrations required throughout the comic every week.

Pugwash, his harridan of a wife and the useless, lazy crew of the Black Pig ran (or more accurately capered and fell about) until issue 19 when the feature disappeared. This was no real hardship for Ryan who had been writing and illustrating Harris Tweed – Extra Special Agent as a full-page (tabloid, remember, an average of twenty panels a page, per week!) from Eagle #16. (I really must reinvestigate the solidly stolid sleuth too sometime soon…)

Tweed ran for three years as a page until 1953 when it dropped to a half-page strip and was repositioned as a purely comedic venture.

In 1956 the indefatigable old sea-dog (I mean old Horatio Pugwash but it could so easily be Ryan) made the jump to children’s picture books. He was an unceasing story-peddler with a big family, and somehow also found time to be the head cartoonist for The Catholic Herald for forty years.

A Pirate Story was first published by Bodley Head before switching to the children’s publishing specialist Puffin for further editions and more adventures. It was the first of a vast (sorry, got away with myself there!) run of children’s books on a number of different subjects.

Pugwash himself starred in 21 tomes; there were a dozen books based on the animated TV series Ark Stories, plus Sir Prancelot and a number of other creations. Ryan worked whenever he wanted to in the comics world and eventually the books and the strips began to cross-fertilise.

The primary Pugwash is very traditional in format with blocks of text and single illustrations to illuminate a particular moment. But by the publication of Pugwash the Smuggler (1982) entire sequences were lavishly painted comic strips, with as many as eight panels per page, and including word balloons. A fitting circularity to his careers and a nice treat for us old-fashioned comic drones.

After A Pirate Story was released in 1957 the BBC pounced on the property, commissioning Ryan to produce five-minute episodes (86 in all from 1957 to 1968, which were later reformatted in full colour and rebroadcast in 1976). In the budding 1950s arena of animated television cartoons, Ryan developed a new system for producing cheap, high quality animations to a tight deadline. He began with Pugwash, keeping the adventure milieu, but replaced the shrewish wife with a tried-and-true boy assistant. Tom the Cabin Boy is the only capable member of a crew which included such visual archetypes as Willy, Barnabas and Master Mate (fat, thin and tall – and all dim), instantly affirming to the rapt, young audience that grown-ups are fools and kids do, in fact, rule.

Ryan also drew a weekly Captain Pugwash strip in The Radio Times for eight years, before going on to produce a number of other animated series including Mary, Mungo and Midge, The Friendly Giant and the aforementioned Sir Prancelot. There were also adaptations of some of his many other children’s books. In 1997 an all new CGI-based Pugwash animated TV series began.

This first story sets the scene with a delightful clown’s romp as the so-very-motley crew of the Black Pig sail in search of buried treasure, only to fall into a cunning trap set by the truly nasty Cut-Throat Jake. Luckily Tom is as smart as his shipmates and Captain are not…

John Ryan returned to pirate life in the 1980s, drawing three new Pugwash storybooks: The Secret of the San Fiasco, The Battle of Bunkum Bay and The Quest for the Golden Handshake, as well as thematic prequel Admiral Fatso Fitzpugwash, in which it is revealed that the not-so-salty seadog had a medieval ancestor who became First Sea Lord, despite being terrified of water…

A 2008 edition of A Pirate Story (from Frances Lincoln Children’s Books) came with a free audio CD, and just in case I’ve tempted you beyond endurance here’s a full list (I think) of the good(?) Captain’s exploits that you should make it your remaining life’s work to unearth…:

Captain Pugwash: A Pirate Story (1957), Pugwash Aloft (1960), Pugwash and the Ghost Ship (1962), Pugwash in the Pacific (1963), Pugwash and the Sea Monster (1976), Captain Pugwash and the Ruby (1976), Captain Pugwash and the Treasure Chest (1976), Captain Pugwash and the New Ship (1976), Captain Pugwash and the Elephant (1976), The Captain Pugwash Cartoon Book (1977), Pugwash and the Buried Treasure (1980), Pugwash the Smuggler (1982), Captain Pugwash and the Fancy Dress Party (1982), Captain Pugwash and the Mutiny (1982), Pugwash and the Wreckers (1984), Pugwash and the Midnight Feast (1984), The Battle of Bunkum Bay (1985), The Quest of the Golden Handshake (1985), The Secret of the San Fiasco (1985), Captain Pugwash and the Pigwig (1991) and Captain Pugwash and the Huge Reward (1991). They are all pearls beyond price and a true treasure of graphic excellence…

We don’t have that many multi-discipline successes in comics, so why don’t you go and find out why we should celebrate one who did it all, did it first and did it well? Your kids will thank you and if you’ve any life left in your old and weary soul, you will too…
© 1957, 2009 John Ryan and (presumably) the Estate of John Ryan. All rights reserved.

Posted on

The Justice League Hereby Elects…


By Gardner Fox, Denny O’Neil, Len Wein, Steve Englehart, Gerry Conway, Mike Sekowsky, Dick Dillin & various (DC Comics)
ISBN: 978-1-4012-1267-4

“Just Imagine! The mightiest heroes of our time… have banded together as the Justice League of America to stamp out the forces of evil wherever and whenever they appear!”

The moment the Justice League of America was published marks the moment when superheroes truly made comicbooks their own particular preserve. Even though the popularity of masked champions has waxed and waned many times since 1960 and other genres have re-won their places on published pages, in the minds of America – and the world – Comics means Superheroes.

The JLA signalled that men – and even a few women – in capes and masks were back for good…

When Julius Schwartz began reviving and revitalising the nigh-defunct superhero genre in 1956, his Rubicon move came a few years later with the uniting of these reconfigured mystery men into a team…

The band of heroes debuted in The Brave and the Bold #28 (cover-dated March 1960) and almost instantly cemented the growth and validity of the revived sub-genre, consequently triggering an explosion of new characters at every company producing comicbooks and spreading to the rest of the world as the decade progressed.

Originally – although Superman and Batman were included in the membership – participation had been strictly limited as editorial policy at the start was to avoid possible reader ennui and saturation from over-exposure. That ended with the first story in this collection as they joined regulars Flash, Green Lantern, Wonder Woman, Aquaman, J’onn J’onzz: Manhunter from Mars to invite expansions to the roster.

Spanning June 1961 to September 1980 this full-colour paperback compendium of classics (also available digitally) compiles and re-presents Justice League of America volume 1, #4, 75, 105-106, 146, 161 and 173-174: issues that signalled the admission of many – but not all – new members…

First addition to the team since it’s premier, Green Arrow stormed into pride of place in #4’s ‘Doom of the Star Diamond’ (by Gardner Fox, Mike Sekowsky & Bernard Sachs, and cover-dated May 1961), saving the day in a science-fiction thriller wherein a well-meaning alien exile threatens earth with destruction as part of a cunning plan to return to his own planet.

Happily. when the whole scheme goes lethally awry the Emerald Archer is on hand to sort it all out…

Black Canary enlists after a tragedy on her own world of Earth-Two resulted in the death of her husband during the annual JLA/JSA team-up. As a consequence, Dinah Drake-Lance emigrates to Earth-One, handily becoming the JLA’s resident Girl Superhero, and picking up a new – if somewhat unreliable – power in the process.

The repercussions of her move and Green Arrow losing all his wealth made Justice League of America #75 (November 1969) one of Denny O’Neil’s best, and artists Dick Dillin & Joe Giella were on top form illustrating ‘In Each Man there is a Demon!’ Here the fallout of the trans-dimensional bout found the hero-team literally fighting their own worst aspects in a battle they couldn’t win…

Crafted by Len Wein, Dillin & Dick Giordano, the “More-the-Merrier” recruitment drive continued in #105 (April 1973) wherein the Elongated Man signed up to save the day against marauding, malignant putty-men in ‘Specter in the Shadows!’

He was anonymously aided by a miraculously resurrected robotic Red Tornado who joined up in #106 (July 1973), utterly unaware that he had been reprogrammed into becoming a ‘Wolf in the Fold!’ by his malevolent creator and future-tech plunderer Thomas Oscar Morrow. Nevertheless, the Amazing Android circumvents his malignant code to save the day and join the team…

Between that triumph and the next tale, the Tornado sacrificed himself to save his comrades, so they are rather surprised when he resurrects at the beginning of Justice League of America #146 (September 1977), as Hawkgirl is finally invited to fight beside her husband Hawkman as a member in full standing.

‘Inner Mission’ – by Steve Englehart, Dillin & Frank McLaughlin – details how electronic AI entity the Construct attempts to destroy the League from within and cements the growing tradition of making the team a multi-hued army of heroes…

Long-term associate Zatanna was finally given the nod in #161 (December 1978) via ‘The Reverse-Spells of Zatanna’s Magic-Cigam’ by Gerry Conway, Dillin & McLaughlin. She seemingly turns them at first but it’s just a ploy to expose a sinister magical infiltrator…

Wrapping up the narrative delights here is a smart two-parter with a twist ending as the League try to induct mysterious vigilante Black Lightning (JLA #173-174; December 1979 and January 1980).

After much fervent debate, they decide to set the unsuspecting candidate a little task but as a vermin-controlling maniac unleashes terror upon Metropolis the ‘Testing of a Hero’ and ‘A Plague of Monsters’ (Conway, Dillin & McLaughlin) takes the old recruitment drive into a very fresh direction…

Bulking out this catalogue of Crisis challengers are an assortment of extra features including ‘JLA: Incarnations’ listing of every League iteration and every member thereof; a poster by Ed Benes depicting the team in its entirety and a blank certificate affirming your personal membership in the ranks (don’t use ballpoint pen if you’re reading the eBook edition!)

These classical compendia are a dedicated fan’s delight: an absolute gift for modern readers who desperately need to catch up without going bankrupt. They are also perfect to give to youngsters as an introduction into a fabulous world of adventure and magic…
© 1961, 1969, 1973, 1977, 1978, 1979, 1980, 2006 DC Comics. All Rights Reserved.

Posted on

The Inhumans – By Right of Birth


By Ann Nocenti, Lou Mougin, Bret Blevins, Rich Howell, Al Williamson, Vince Colletta & various (Marvel)
ISBN: 978-0-7851-8504-8

Debuting in 1965 during Stan Lee & Jack Kirby’s most fertile and productive creative period, and conceived as yet another incredible lost civilisation, The Inhumans are a race of incredibly disparate (generally) humanoid beings genetically altered by aliens in Earth’s pre-history, consequently becoming technologically advanced far ahead of emergent Homo Sapiens.

Subsequently they isolated themselves from the world and barbarous dawn-age humanity in a fabulous city named Attilan; firstly, on an island and latterly in a hidden Himalayan valley. After untold centuries in hiding, increasing global pollution levels began to attack their elevated biological systems and the Inhumans relocated their entire city-civilisation to the Moon. This bold act exposed them to military scrutiny and they became known at last to the ordinary citizens of Earth.

The Attilan mark of citizenship is immersion in the mutative Terrigen Mists which further enhance and transform individuals into radically unique and usually super-powered beings. The Inhumans are necessarily obsessed with genetic structure and heritage, worshipping the ruling Royal Family as the rationalist equivalent of mortal gods.

This compilation from 2013 – available as a Trade Paperback and eBook – gathers an original graphic novel from 1988 and bolsters the package with comicbook 1-shot Inhumans: The Untold Story from 1990 that delves into a forgotten corner of their history…

Leading off is a controversial tale from 1988 by scripter Anne Nocenti, illustrated by Brett Blevins & Al Williamson with letters from Jim Novak & Gaspar Saladino and colours by Mike Higgins, which takes a hard look at the underbelly of the concept in a stark examination of personal rights vs. civic responsibility…

With such an unstable potential breeding pool, the Inhuman right to bear children has been taken away from individuals and delegated to a Genetic Council. If on occasion their mandates break hearts or even lead the desperate and lovelorn to commit suicide, that’s sad but just a price the race must pay…

After witnessing one such tragic demise on the day of the annual pronouncement of who may and may not sire offspring, bellicose, passionate and deeply conservative Gorgon has much to ponder upon. Even his own cousin Karnak sympathises with the growing public movement to abolish the Council and let citizens choose their own breeding partners, and the princes have, as usual, come to blows over their always opposing views…

It all becomes agonisingly personal when cousin Medusa, wife and voice of the mighty but voluntarily mute King Black Bolt (whose softest syllable can shatter mountains) announces she is already pregnant and the Council summarily decree the unsanctioned and potentially ultra-destructive foetus must be destroyed…

Horrified when her shocked but resigned family agrees to the appalling Eugenics dictat, Medusa flees Attilan with the unsuspected aid of deranged psychopathic genius (and brother-in-law) Maximus. She hides on Earth, preferring to risk death by pollution rather than the arbitrary murder of her unborn child.

Amongst the Inhumans the rebellious act divides both royal and commoner families, and seems certain to spark civil war. Blithely unaware, on Earth Medusa and faithful companion Minxi are sequestered in a deserted garbage dump on the outskirts of Las Vegas where the soon-to-be-born baby begins to increasingly make its presence – and power – felt…

In Attilan, Blackbolt is crushed and paralysed by the weight of duty and his own indecision whilst Maximus schemes to win Medusa for himself. At last united but still bickering, the Royal Family, Gorgon, Karnak, Triton and Medusa’s younger sister Crystal rush to Earth to stand beside the defiant mother-to-be.

Elementally all-powerful Crystal uses her abilities to collect and banish all the toxins in the air, generating a thirty-mile wide “clean-zone” for Medusa, but as her time nears, strange, unnatural phenomena begin to occur throughout the region…

At last Black Bolt comes to a shattering decision and Maximus makes his final sinister move, Medusa goes into labour and the tortured, twisted environment comes to ghastly unnatural life just as and the full extent of the newborn’s abilities are revealed…

Even after all the horror, death and disaster, there is one last shock and betrayal when the Inhumans return to the Moon under a dubious amnesty…

After navigating that challenging ethical tightrope, more standard fare follows as Lou Mougin, Richard Howell & Vince Colletta reveal the uncanny outcast side of the monumental first meeting with the Fantastic Four.

The Inhumans: The Untold Saga reveals how, many years previously, Maximus sparked an uprising and ousted Black Bolt to assume the throne. ‘Remembrances of Revolutions Past’ follows proud Medusa as she escapes the incipient tyranny, only to crash in the outer world, unharmed but amnesiac…

Compelled by popular outcry to obey their mad cousin, the Royal Family obey ‘A Throne in Darkness’ until they can endure no more and flee too…

‘Of Inhuman Bondage’ finds them separated in the human world, where Gorgon carries a dark secret. On peril of his parents’ lives, he is searching for Medusa, because Maximus wants a bride to legitimise his claim to the crown…

The search takes years and ‘Medusa’s Odyssey’ includes her haunting Europe as a criminal until recruited by the Wizard to his evil enterprise The Frightful Four…

As seen elsewhere the family are reunited by the FF and defeat Maximus before ‘Reckoning!’ depicts their greatest tragedy, with the mad ex-monarch imprisoning the Inhumans behind an impenetrable energy barrier.

Although Maximus believes it his greatest cruellest victory the madman doesn’t realise he has locked himself in with the people he has victimised…

Adding depth to the delicacies on offer are ‘The Inhumans’ – an essay from in-house promotional magazine Marvel Age (#69, December 1988) – plus illustrated info-pages on Black Bolt, Crystal, Gorgon, Karnak, Lockjaw, Maximus, Medusa, Triton and the Inhumans as a race: all culled from Marvel Universe Handbook. Wrapping up the data-fest is a sequence spotlighting 27 other minor Inhumans, a well as pin-ups from Marvel Fanfare by Butch Guice, Colleen Doran, Charles Vess and a run of original covers…

The Inhumans – By Right of Birth is a bold. beautiful, extremely uncompromising and occasionally explicit tale delivering action, tension and soul-searching drama and is something no unabashed older fan of superhero sagas should miss….
© 1988, 1990, 2013, 2017 Marvel Characters, Inc. All rights reserved.