Explainers


By Jules Feiffer (Fantagraphics Books)
ISBN13: 978-1-56097-835-0

Jules Feiffer has always been much more than “just a comic-book guy” even though his credits in the field sound and are suitably impressive. As well as working with Will Eisner on The Spirit, he created his own Sunday strip ‘Clifford’ (1949-51) before eventually settling at the The Village Voice.

Novelist, playwright, animator, children’s book creator (why isn’t there a single-word term for those guys?) and screenwriter, he turned his back on cartooning in 2000, but the 42-year run of his satirical comic strip in The Village Voice ranks as some of the most telling, trenchant, plaintive and perspicacious narrative art in the history of the medium.

The strip, originally entitled Sick, Sick, Sick, and later Feiffer’s Fables, before simply settling on Feiffer was quickly picked up by the Hall Syndicate and garnered a devoted worldwide following.

Over the decades the strip has generated many strip collections – the first book was in 1958 – since premiering. The auteur’s incisive examination of American society and culture, as reflected by and expressed through politics, art, Television, Cinema, work, philosophy, advertising and most especially in the way men and women interact, informed and shaped opinions and challenged accepted thought for generations. They were mostly bloody funny and wistfully sad too – and remain so even today.

Fantagraphics Books began collecting the entire run in 2007 and this first volume of 568 pages covers the period from its start in October 1956 up to the end of 1966. As such, it covers a pivotal period of social, racial and sexual transformation in America and the world beyond its borders and much of that is also – sadly- still painfully germane to today’s readers…

Explainers is a “dipping book”. It’s not something to storm your way through but something to return to over and again. Feiffer’s thoughts and language, his observations and questions are fearsomely eternal – as I’ve already mentioned, it is utterly terrifying how many problems of the 1950s and 1960s still vex us today – and the Battle of the Sexes my generation honestly believed to be almost over still breaks out somewhere every night.

Best of all, Feiffer’s expressive drawing is a masterclass in style and economy all by itself.

If you occasionally resort to Thinking and sometimes wonder about Stuff, this book should be your guide and constant companion… and it will make you laugh.
© 2007 Jules Feiffer. All Rights Reserved.

The Lyrical Comics of Dillies Set: Betty Blues; Bubbles and Gondolas; Abelard


By Renaud Dillies & various translated by Joe Johnson (NBM/ComicsLit)
Pack ISBN: 978-1-68112-106-2

Renaud Dillies belongs to that cool school of European artists who are keenly aware of the visual power imbued by using anthropomorphic characters in grown up stories – a notion we’ve all but lost here in Britain, and one primarily used for kiddie comics and pornography in the USA and Asia.

Dillies was born in Lille in January 1972, the inveterate dreamer, artist and storyteller in a brood of five kids. Music was a big part of his parents’ lives: British Pop – especially The Beatles and John Lennon – and Jazz: mostly Big Band, Swing and Satchmo. The impressionable lad listened, learned and inwardly digested…

After college – studying Humanities, Graphic and Decorative arts at Saint-Luc School of Fine Arts in Tournai – Dillies began his comics career, like so many others, at Spirou. He drew backgrounds for prolific cartoonist Frédéric Jannin (Rockman, Germain et Nous and many more) whilst also inking Frédéric “Clarke” Seron on sublime sorceress comedy Mélusine.

The young creator soon blended his twin passions for comics and music in his first solo work. Betty Blues – published by Paquet in 2003 – consequently took the “Best Debut” award at that year’s Angoulême Comics Festival.

He followed up with Sumato, Mister Plumb (with Régis Hautière) and Mélodie du Crépuscule (Melody of Twilight) before switching to publisher Dargaud in 2009. Here he devised Bulles et Nacelle ably assisted by colour artist Christophe Bouchard (available in English and reviewed below as Bubbles and Gondola) and, in 2011, created Abélard (again with Hautière and also available in translation from NBM/ComicsLit, as well as part of this gift-set package.

During this period Dillies still toiled as a jobbing Bande Dessinée creator. Under the pen-name “Jack” he drew comedy sports features Les Foot Maniacs and Tout sur le Rugby for Bamboo and illustrated some of Arboris’ erotic short stories for the series Salut les coquinas.

With three of the very best of these eccentrically exotic confections now available in a supremely economical shrink-wrapped gift-set, you’d be crazy to not make the acquaintance of such a scintillating scribe/scribbler…

Betty Blues
Coming from the same dark place and cultural wellsprings as Benoît Sokal’s wry, bleak and witty Inspector Canardo detective duck tales, Betty Blues is both paean and elegy to the unholy trinity of Modern Cool and Shattered Idealisms: Noir, Jazz and Lost Love, all focused through the mythologising lens of cinematic Fifties Americana.

The tragic, flawed star of this intoxicating fable is Little Rice Duck, possibly the greatest bird ever to blow a trumpet in the seedy clubs and wild environs of the West Wood. Starring at the nightspots and making music are his life, but his hot girlfriend Betty is getting pretty tired playing second fiddle to his art.

She’s a pretty bird who needs lots of Loving Attention, the Good Life and Expensive Champagne, so on yet one more tedious night when Rice is deep in the spotlight blowing hot and loud, she calamitously listens to an unctuous, sleazy fat cat at the bar who offers her plenty of all three before sneaking off with him…

Her disappearance hits Rice as hard as he subsequently hits the bottle, and his all-too-late regrets shake him to the core. Going downhill fast, the despondent and always-angry little guy throws his magnificent trumpet – the thing which has cost him true love – off a high bridge and hops a train heading “anywhere but here”…

The hurtling horn hits a boat-riding sap and thus begins to affect the lives of a succession of other poor schnooks whilst, elsewhere uptown, Betty begins to reconsider her hasty decision as the downsides of being a rich guy’s trophy – or pet – start becoming apparent…

For Rice, the end of the line finds him deep in a forested nowhere-land dubbed “Kutwood” where he is befriended by the owl Bowen who is both lumberjack and radical environmental terrorist.

Slowly the broken musician is drawn into the affable agitator’s world of violence, sabotage and anti-capitalist polemic, but all he is really thinking about during so many late-night conversations is the tatty old trumpet nailed high up out of reach on Bowen’s cabin wall…

And Jazz: sweet, hot Jazz music…

Back in the city Betty starts to fear for life, soul and sanity on the chubby arm of her mercurial plutocrat-cat, as the portentous trumpet begins to reshape the lives of many ordinary folk innocent and venal. And then one day Betty meets an old friend of Rice’s who tells her he’s gone missing…

Sad, grim, brooding and surprisingly suspenseful, this captivating riff on complacency, ill-considered aspirations and lost chances is beguilingly constructed and subtly realised, with a smart undercurrent of bleakly cynical humour counter-pointing the Noir flavour and motif of inescapable doom.

Betty Blues will delight mature readers with a well-honed sense of the absurd and an abiding taste for the dark…

Bubbles and Gondola
A penetrating examination of the creative urge and the price of following a muse, Bubbles and Gondola follows the strivings of a mouse named Charlie who is gripped by an insatiable hunger to write great things. To better accomplish this, the mouse resides in a bleak windy garret in splendid isolation, ignoring the distractions of the world, and spending his brief moments of down-time strumming his guitar.

He constantly reminds himself that “solitude is cool” but as a crippling writer’s block increasingly torments him and the outside world insufferably impinges on his tortured brooding, Charlie’s views begin to imperceptibly shift.

That sense of change intensifies after a small blue bird named Mister Solitude starts to repeatedly show up uninvited. The debilitating ennui seems to abate – just a bit – and the author even leaves his lonely den on occasion just to watch a festival or dine with family… However, the unwanted but comforting creature eventually becomes a casualty of the writer’s creative frustration and vanishes after a bitter clash in the attic. Conflicted and inexplicably bereft, Charlie seeks help for his avian companion, but cannot find his solitude anymore. The mouse is compelled to search high low for his supposedly unwanted comrade, embarking on a life -changing odyssey…

A beguiling argosy and visual tour de force allegorically challenging preconceptions about work-life balance and simple human companionship, Bubbles and Gondola is a delicious treat tinged with bittersweet revelation.

Abelard
Far more poignant and concealing a far more painful message, Abelard is ostensibly a simple fable of unrequited love in simpler times. The eponymous hero is an impressionable young chick living in a swampy backwater. He has a hat which grants him a prophetic epigram every day, but other than that he is quite unremarkable.

The little lad’s life changes forever when a group of rich city types in search of good fishing briefly vacation in the morass he calls home. Although she barely notices him, Abelard’s meeting with the so-sophisticated Eppily sets the poor young fool on a path he cannot escape…

Her companions seal his fate by trying to let the lovesick fool down easily. Fyodor warns the chick that girls like Eppily can only be seduced by those who offer her the moon or suchlike. Abelard has never heard of a metaphor…

Determined to win his true love, buy unable to supply the goods, the little dreamer hears the older swamp inhabitants discussing the news from America. Two ingenious fellows have invented a flying machine. That’s Americans for you: before long they’ll be wanting to go to the moon…

With love as his spur and a suitably encouraging message from his hat, Abelard turns away from the swamp and starts walking westward…

His patient peregrinations bring him into the company of a band of gypsy performers and he shares their life and the painful prejudice they endure. Eventually he leaves them, unwilling to accept the reading of the heartbroken fortune-teller who peers into his tomorrows…

A lonely nomad, he goes into a bar and meets a bitter, broken, belligerent bear. Foul-mouthed surly scrapper Gaston has seen it all, hates everyone and has nothing but bile for the entire world.

He, too, once knew an Eppily…

Against all odds the old warrior and untutored waif implausibly unite and head for America together, taking ship on a migrant vessel where fate plays the cruellest trick on them…

Ultimately both travellers get to fulfil their dreams, but not in way they ever expected or wanted…

Beautiful, moving and eternally optimistic in the face of crushing experience, Abelard philosophically examines the unrelenting trials of life and demonstrates the power of hope and poetic idealism against insurmountable odds.

This trio of anthropomorphic tales comprise a masterclass in graphic narrative used to explore the nature of humanity: offering pride, wonder, resilience and heart as an antidote to the worst reality can challenge us with. They are also stunning lovely to look at and every fan of art or storytelling should see so for themselves.

Betty Blues © 2003 Editions Paquet. English translation © 2013 NBM.
Bubbles and Gondola © 2009 by Dillies – Dargaud Benelux. English translation © 2011 NBM.
Abelard © – 2011 Dillies – Hautière – Dargaud Benelux. English translation © 2012 NBM.

Defenders Masterworks volume 2


By Steve Englehart, Tony Isabella, Len Wein, Sal Buscema, Bob Brown, Jim Starlin & various (Marvel)
ISBN: 978-0-7851-4216-4

The Defenders were the last of the big star-name conglomerate super-groups, and would eventually number amongst their membership almost every hero – and some few villains – in the Marvel Universe. No real surprise there, since the initial line-up was composed of the company’s major league bad-boys: misunderstood and mad, outcast and bad and so often actually dangerous to know.

The genesis of the team derived from their status as publicly distrusted “villains”, and they never achieved the “in-continuity” fame or acceptance of other teams, but that simply seemed to leave the creators open to taking a few more chances and playing the occasional narrative wild card.

This second sterling and sturdy hardcover (and eBook) masterworks collection assembles a veritable host of Fights ‘n’ Tights wonders from a large list of sources: Defenders #7-16, Giant Sized Defenders #1 and Avengers #115-118, encompassing cover-dates August 1973 to October 1974 and commences after author Steve Englehart shares recollections of his groundbreaking tenure in an informative Introduction, after which Defenders #7 jumps right in as Len Wein co-scripts with Englehart and Frank Bolle inks Sal Buscema in ‘War Below the Waves!’

Here tempestuous ex-Avenger Hawkeye temporarily climbs aboard the “non-team” bandwagon to help defeat the undersea threat of Attuma and soviet renegade the Red Ghost; a bombastic battle to usurp the Sub-Mariner of his titles and kingdom concluded a month later in ‘…If Atlantis Should Fall!’ with Englehart once more providing all the words and Frank McLaughlin inking…

Since Defenders #4 the forward-thinking scripter had been putting players in place for a hugely ambitious cross-over experiment: one that would turn the comics industry on its head, and next here comes a little prologue taken from the end of Avengers #115 which finally set the ball rolling.

Drawn by Bob Brown & Mike Esposito, ‘Alliance Most Foul!’ sees interdimensional despot the Dread Dormammu and Asgardian god of Evil Loki unite to search for an ultimate weapon to give them final victory against their foes. They resolve to trick the Defenders into securing the six component parts by “revealing” that the reconstructed Evil Eye could restore the petrified Black Knight.

That plan was initiated at the end of Defenders #8: a brief opening chapter in ‘The Avengers/Defenders Clash’ entitled ‘Deception!’ as a message from the spirit of the Black Knight is intercepted by the twin entities of evil, leading directly to ‘Betrayal!’ in Avengers #116 (by Englehart Brown & Esposito) wherein the World’s Mightiest Heroes – hunting for their missing comrade – “discover” their old enemies Hulk and Sub-Mariner may have turned the Black Knight to stone.

This and third chapter ‘Silver Surfer Vs. the Vision and the Scarlet Witch’ see the rival teams split up: one to gather the scattered sections of the Eye and the other to stop them at all costs…

Defenders #9 (with Buscema & McLaughlin art) begins with tense recap ‘Divide …and Conquer’ before ‘The Invincible Iron Man Vs. Hawkeye the Archer’ and ‘Dr. Strange Vs. the Black Panther and Mantis’ sheds more suspicion and doubt on the vile villains’ subtle master-plan…

Avengers #117 ‘Holocaust’, ‘Swordsman Vs. the Valkyrie’ and crucial turning point ‘Captain America Vs. Sub-Mariner’ (Brown & Esposito) lead to the penultimate clash in Defenders #10 (Buscema & Bolle) in ‘Breakthrough! The Incredible Hulk Vs. Thor’ and the inevitable joining together of the warring camps in ‘United We Stand!’, but tragically too late as Dormammu seizes the reconstructed Evil Eye and uses its power to merge his monstrous realm with Earth.

Avengers #118 delivers the cathartic climactic conclusion in ‘To the Death’ (Brown, Esposito & Giacoia) wherein all the heroes of the Marvel Universe resist the demonic invasion as Avengers and Defenders plunge deep into the Dark Dimension itself to end forever the threat of the evil gods (or for the moment, at least…).

With the overwhelming cosmic threat over the victorious Defenders attempt to use the Eye to cure their petrified comrade, only to discover that his spirit has found a new home in the 12th century. In #11’s ‘A Dark and Stormy Knight’ (Bolle inks), the group battle black magic during the Crusades, fail to retrieve the Knight and acrimoniously go their separate ways – as did overworked departing scripter Englehart…

With issue #12 Len Wein assumed the writer’s role, starting a run of slightly more traditional costumed capers as Sal Buscema & Jack Abel illustrated the return of the mind-bending Xemnu in ‘The Titan Strikes Back!’ against a pared-down cast consisting of Strange, Valkyrie and the Hulk.

A bona fide hit, the non-team were part of a big experiment in extra-value comics that began with opens with Giant Sized Defenders #1 (July1974): a stunning combination of highly readable reprints wrapped in a classy framing sequence by Tony Isabella, Jim Starlin & Al Milgrom. The vintage thrills commence with Stan Lee, Jack Kirby & Dick Ayers’ ‘Banished to Outer Space’ from The Incredible Hulk #3, followed by magnificent 1950s Bill Everett Sub-Mariner fantasy-feast ‘Bird of Prey!’

From there the focus switches to Dr. Strange and the Denny O’Neil/Steve Ditko mini-masterpiece ‘To Catch a Magician!’ (Strange Tales #145) before the concoction concludes with a blockbusting battle as the star trio, sorcerer’s apprentice Clea and the valiant Valkyrie dispatch a self-inflicted mystic menace.

After a splendid double-page pin-up by Sal Buscema the regular epics resume for a spectacular Saves-the-World struggle against the villainous Squadron Sinister that opens in ‘For Sale: One Planet… Slightly Used!’ (featuring an early inking job for Klaus Janson) and concludes in the Dan Green-embellished ‘And Who Shall Inherit the Earth?’ as Marvel’s Batman-analogue Nighthawk unites with the Defenders to defeat his murderous former team-mates and aquatic alien marauder Nebulon, the Celestial Man.

Defenders #15 initiates a two-part duel with manic mutant Magneto who first institutes a ‘Panic Beneath the Earth!’ – courtesy of Wein, Buscema & Janson – leading X-Men mentor Charles Xavier to enlist the outcast heroes’ aid. The concluding clash includes the insidious Brotherhood of Evil and ‘Alpha, the Ultimate Mutant’ (inked by Esposito) as well as the apparent end of true master of evil…

Also included here are behind-the-scenes treats including contemporary house ads, creator biographies and previous collection covers by Carlos Pacheco, John Romita and Richard Isanove.

For the longest time, The Defenders was the best and weirdest superhero comicbook in the business, and if you love superheroes but crave something just a little different these yarns are for you… and the best is still to come.
© 1973, 1974, 2011 Marvel Characters, Inc. All rights reserved.

The Wendy Project


By Melissa Jane Osborne & Veronica Fish (Super Genius/Papercutz)
ISBN:978-1-62991-769-6

When does a favourite story or plot become an actual artefact of culture accessible to all? What separates last year’s fictional trope (dystopian future oppresses valiant outsider teen; alienated kid courted by supernatural lover; magic exists but the authorities have been covering it up) from fundamental narrative memes that underpin all aspects of societal development (underprivileged hero overcomes great odds to win a birthright; loss of loved ones leads to path of vengeance; clever child becomes powerful adult by overcoming adversity)?

When you read a fantastic saga of mortal valiantly heroes slaying a marauding dragon, has the author accessed a rich and ancient cultural heritage or just swiped a scene from a Tolkien tale?

In today’s mass entertainment-driven world, certain classic stories – such as Romeo and Juliet, Alice in Wonderland, Cinderella, The Wizard of Oz – have been constantly referenced, either overtly or surreptitiously, for a number of commercially sound reasons: assured consumer familiarity; brand awareness or simply that the originals were so masterful that we just don’t want them to end.

In 2015 Emet Comics released a beguilingly fresh riff on J. M. Barrie’s immortal paean to childhood Peter Pan, contrived by actress/writer Melissa Jane Osborne (Oma, Campus Crush) and illustrator Veronica Fish (Spider-Woman, Archie, Slam).

The Wendy Project was one of the most beautiful and evocative releases of the year, marrying inescapably recognisable fantasy landmarks with elements of family tragedy in an often distressing coming-of-age story.

The entire enchanting emotional rollercoaster ride is now available in a compact paperback edition from All-Ages and Young Adults graphic novel publisher Papercutz and will – if there’s any justice – soon be a household name in its own right.

Let’s be straight here: this story is the flip side of the coin. The issue at hand is not a fantastic journey to a place of wonders but what happens to the family if children are lost…

One night in New England, 16-year old Wendy Davies is driving her younger brothers home when the car crashes into a lake. As she loses consciousness, the aghast older sister thinks she sees little Michael being carried off into the sky by a flying boy…

The investigation proceeds and even after leaving hospital Wendy clings to her conviction that her brother is still alive. After all, the police still haven’t found his body…

Middle sibling John is no help. He hasn’t spoken since the crash but Wendy knows he shares her secret…

Still deeply traumatised, Wendy’s parents move her to a new school and a therapist cajoles the girl into starting a journal of words and pictures to help her process her grief. Wendy knows what she knows, however. The flying boy is real and taken Michael so she must find them and bring her brother home again.

As days pass Wendy starts to see that many of the kids at her school in new yet familiar light. Are they part of the plot to keep Michael from her? And then slowly but with escalating frequency and power, the two worlds of New England and Neverland begin to blend and merge…

Mimicking the style of Wendy’s own pencil, pen and crayon recollections and interpretations, Osborne’s “awfully big adventure” is rendered by Veronica Fish in mostly monochrome tones with emphatic and explosive bursts of radiant colour as the fantasy – or is that a greater reality? – intersects with her process of recuperation or acceptance. The conclusion is one no participant is ready for…

So, when is it acceptable and even necessary to stand on the shoulders of narrative giants and play with their magnificent toys?

When you can burnish the legend by looking with fresh eyes, add lustre to the original canon and make new wonders for new and old readers. The Wendy Project does just that and is a book you must read.
© 2017 Emet Entertainment LLC. & Melissa Jane Osborne. All Rights Reserved.

Loveless volume 1: A Kin of Homecoming


By Brian Azzarello & Marcelo Frusin & various(Vertigo)
ISBN: 978-1-4012-1061-8 (Vertigo)             978-1845763374 (Titan Books UK edition)

As an entertainment genre, the Western is a rather odd duck which can be sub-divided into two discrete halves: a sparkly, shiny version which dominated kids’ books, comics and television for decades and best personified by heroes such as Roy Rogers and Gene Autry – and the other stuff: typified by and popularised through the celluloid efforts of Sam Peckinpah, Sergio Leone, Clint Eastwood and Lee Van Cleef or latterly in TV shows such as Deadwood

In comics, that latter kind of yarn – grimy, gritty, excessively dark and overwhelmingly nihilistic – was done best for years by Europeans in such strips as Charlier & Giraud’s Lieutenant Blueberry or Bonelli and Galleppini’s Tex Willer: iconic sagas which have only recently made their mark on US culture…

This book – available in UK and US paperback editions, but still as yet not in digital form – is that sort: recounting bleak, brutal incidents utterly unsanitised and unsuitable for kiddie consumption, but which in the end are probably far closer to historical truth than any six-gun shootout on Main Street or rhinestone spectacle…

The inspirationally iconic trappings of the Western make the milieu well-nigh irresistible to creative folk. We all want a crack at a cowboy story. When the horror-smudged eyes of Brian Azzarello and Marcelo Frusin, who did so much to revive and revitalise crime comics genre 100 Bullets and returned a razor-sharp hard edge to urban supernatural horror in Hellblazer, took a good hard look at the Western the result was sheer dynamite…

This initial volume from Vertigo gathers the first five issues (from December 2005-April 2006) and steadfastly sticks to the sound maxim that “Hell is Other People”…

Down in the battered, deprived South, Blackwater was a nasty little town even before the Secession Conflict. Now that it’s occupied by gloatingly victorious Union soldiers the place is rapidly dissolving into a cesspool and an open sore, with hate and resentment bubbling everywhere.

Moreover, for many in town and throughout the surrounding countryside, the war isn’t over until they say so…

…And then former resident and voluntary stranger Wes Cutter rides back into town with a silent brooding companion nobody recognises…

A defeated Confederate soldier, outlaw and extremely dangerous man, Cutter quickly sets about making all-new enemies to complement those he’s always had in his unwholesome home town.

Is it only coincidence that his return coincides with a growing wave of murder and destruction? And just what did happen to the wife he left behind…?

Blackly violent and relentlessly oppressive; sporting a large cast of broken and intriguing characters and patiently unfolding a dire and deadly mystery, Loveless is an adult tale of revenge powerfully reminiscent of films such as High Plains Drifter and Unforgiven, but this shockingly visceral saga has many more shades and crannies than either.

The compelling enigma of Cutter and his equally deadly companion is as engrossing as the violence is compelling. Here is a very modern Western which will enthral readers whether they like cowboys or not.
© 2005, 2006 Brian Azzarello & Marcelo Frusin. All Rights Reserved.

Supergirl: The Silver Age volume 1


By Otto Binder, Al Plastino, Jerry Seigel, Jim Mooney & various (DC Comics)
ISBN: 978-1-4012-7292-0

Superhero comics seldom do sweet or charming anymore. Modern narrative focus concentrates on turmoil, angst and spectacle and although there’s nothing intrinsically wrong with that, sometimes the palate just craves a different flavour.

Such was not always the case as this superb trade paperback compendium – spanning Action Comics #252-284 (May 1959 to January 1962) and also available in eBook editions – of the early career of Superman’s cousin Kara Zor-El of Argo City joyously proves.

Also included and kicking off proceedings is the delightful DC House Ad advertising the imminent arrival of a new Girl of Steel. Sadly missing, however, is the try-out story The Three Magic Wishes’ – written by Otto Binder and illustrated by Dick Sprang & Stan Kaye from Superman #123, August 1958 – which told how a mystic totem briefly conjured up a young girl with super powers as one of three wishes made by Jimmy Olsen. Such was the reaction to the plucky heroine that within a year a new version was introduced to the Superman Family…

Here, then, the drama commences with ‘The Supergirl from Krypton!’, the third story from Action Comics #252 introducing Superman’s cousin Kara, who had been born on a city-sized fragment of Krypton, which was somehow hurled intact into space when the planet exploded.

Eventually Argo City turned to Kryptonite like the rest of the giant world’s debris, and Kara’s dying parents, having observed Earth through their scanners and scopes, sent their daughter to safety as they perished.

Landing on Earth, she meets Superman who creates the cover-identity of Linda Lee whilst hiding her in an orphanage in small town Midvale allowing her to learn about her new world and powers in secrecy and safety. This groundbreaking tale was also written by Binder and drawn by the hugely talented Al Plastino.

Once the formula was established Supergirl became a regular feature in Action Comics (starting with #253), a residency that lasted until 1969 when she graduated to the lead spot in Adventure Comics. In ‘The Secret of the Super-Orphan!’, at her new orphanage home she makes the acquaintance of fellow orphan Dick Wilson (eventually Malverne) who would become her personal gadfly (much as the early Lois Lane was to Superman), a recurring romantic entanglement who suspects she has a secret. As a young girl in far less egalitarian times, romance featured heavily in our neophyte star’s thoughts and she frequently met other potential boyfriends: including alien heroes and even a Merboy from Atlantis.

Many of the early tales also involved keeping her presence concealed, even when performing super-feats. Jim Mooney was selected as regular artist and Binder remained as chief scripter for most of the early run.

In Action #254’s ‘Supergirl’s Foster-Parents!’, sees an unscrupulous couple of con-artists easily foiled, after which Linda meets a mystery DC hero when ‘Supergirl Visits the 21st Century!’ in #255. Her secret is almost exposed in ‘The Great Supergirl Mirage!’ before she grants ‘The Three Magic Wishes!’ to despondent youngsters and teaches a mean bully a much-needed lesson.

The Man of Steel often came off rather poorly when dealing with women in those less enlightened days, always under the guise of “teaching a much-needed lesson” or “testing” someone. When she plays with Krypto, ignoring his secrecy decree, cousin Kal-El banishes the lonely young heroine to an asteroid in ‘Supergirl’s Farewell to Earth!’ but of course there’s paternalistic method in the madness…

‘The Cave-Girl of Steel!’ then sees her voyage to the ancient past and become a legend of the Stone Age before Action #260 finds her transformed by the mystical Fountain of Youth into ‘The Girl Superbaby!’

The next tale introduced feline fan-favourite Streaky the Super-Cat in ‘Supergirl’s Super Pet!’ after which ‘Supergirl’s Greatest Victory!’ delivers a salutary lesson in humility to the Girl of Steel. Binder moved on after scripting ‘Supergirl’s Darkest Day!’ in which the Maid of Might rescues an alien prince, after which Jerry Siegel took over the storytelling as ‘Supergirl Gets Adopted!’: a traumatic and sentimental tale which only ends with the lonely lass back at Midvale orphanage.

I’ve restrained myself so please do the same when I say that the next adventure isn’t what you think. ‘When Supergirl Revealed Herself! (Siegel & Mooney from Action#265) is another story about nearly finding a family, after which Streaky playfully returns in ‘The World’s Mightiest Cat!’

Supergirl encounters fantastic fellow super-kids in Action #267’s ‘The Three Super-Heroes!’ but narrowly fails to qualify for the Legion of Super Heroes through the cruellest quirk of fate. Picking herself up she then exposes ‘The Mystery Supergirl!’ before Siegel & Mooney introduce Mer-boy Jerro who becomes ‘Supergirl’s First Romance!’

‘Supergirl’s Busiest Day!’ is packed with cameos from Batman and Robin, Krypto and Lori Lemaris all celebrating a very special occasion, after which Streaky makes another bombastic appearance as the wonder girl builds ‘Supergirl’s Fortress of Solitude!’.

Otto Binder wrote ‘The Second Supergirl!’, an alternate world tale that was too big for one issue. A sequel, ‘The Supergirl of Two Worlds!’ appeared in Action #273 – as did a novel piece of market research. ‘Pick a New Hairstyle for Linda (Supergirl) Lee!’ involved eager readers in the actual physical appearance of their heroine and gave editors some valuable input into who was actually reading the series…

Siegel & Mooney then soundly demonstrate the DC dictum that history cannot be changed in ‘Supergirl’s Three Time Trips!’ before ‘Ma and Pa Kent Adopt Supergirl!’ offers a truly nightmarish scenario, rapidly followed by a return visit to the Legion of Super Heroes in ‘Supergirl’s Three Super Girl-Friends!’, whilst Action #277 featured an animal epic in ‘The Battle of the Super-Pets!’

The next five tales in this volume form an extended saga taking the Girl of Steel in totally new directions. On the eve of Superman announcing her existence to the world, Supergirl loses her powers and – resigned to a normal life – is adopted by the childless Fred and Edna Danvers. Tragically it’s all a deadly plot by wicked Lesla-Lar, Kara’s identical double from the Bottle City of Kandor. This evil genius plans to replace Supergirl and conquer the Earth. This mini-epic – ‘The Unknown Supergirl!’, ‘Supergirl’s Secret Enemy!’, ‘Trapped in Kandor!’, ‘The Secret of the Time-Barrier!’ and (following the results of the Hair Style competition) ‘The Supergirl of Tomorrow!’ ran in Action #278-282 and solidly repositioned the character for a more positive, effective and fully public role in the DC universe. The epic also hinted of a more dramatic and less paternalistic, parochial and even sexist future for the most powerful girl in the world, over the months to come…

The young heroine still in very much a student-in-training, her very existence kept secret from the general public and living with adoptive parents who are completely unaware that the orphan they have recently adopted is a Kryptonian super-being.

The accent on these stories generally revolves around problem-solving, identity-saving and loneliness, with both good taste and the Comics Code ensuring readers weren’t traumatised by unsavoury or excessively violent tales. Plots akin to situation comedies often pertained, as in ‘The Six Red “K” Perils of Supergirl!’

Peculiar transformations were a mainstay of 1960s comics, and although a post-modern interpretation might discern some metaphor for puberty or girls “becoming” women, I rather suspect the true answer can be found in author Seigel’s love of comedy and an editorial belief that fighting was simply unladylike.

Red Kryptonite, a cosmically-altered isotope of the radioactive element left when Krypton exploded, caused temporary physical and sometimes mental mutations in the survivors of that doomed world and was a godsend to writers in need of a challenging visual element when writing characters with the power to drop-kick planets…

Here the wonder-stuff generates a circus of horrors, transforming Supergirl into a werewolf, shrinking her to microscopic size and making her fat (I’m not going to say a single bloody word…).

The drama continues and concludes – like this initial Silver Age compilation – with the next instalment ‘The Strange Bodies of Supergirl!’ wherein Linda Lee Danvers’ travails escalate after she grows a second head, gains death-ray vision (ostensibly!) and morphs into a mermaid. This daffy holdover to simpler times presaged a big change in the Maid of Might’s status but that’s a volume for another day…

Throughout her formative years Kara of Krypton underwent more changes than most of her confreres had in twenty years, as editors sought to find a niche the buying public could resonate with, but for all that, these stories remain exciting, ingenious and utterly bemusing.

Possibly the very last time a female super-character’s sexual allure wasn’t equated to sales potential and freely and gratuitously exploited, these tales are a link and window to a far less crass time and display one of the few truly strong and resilient female characters parents can still happily share with even their youngest children.
© 1959, 1960, 1961, 1962, 2017 DC Comics. All Rights Reserved.

Justice League International volume 2


By Keith Giffen, J.M. DeMatteis, John Ostrander, Kevin Maguire, Bill Willingham, Luke McDonnell & various (DC Comics)
ISBN: 978-1-4012-2020-4 (TPB)

Way back in 1986 DC’s editorial leaders felt their then-vast, 50-year continuity was stopping them winning new readers. The draconian solution was a colossal braided-mega series to streamline and redefine whilst adding even more fresh characters to the mix.

The worlds-shattering, reality-altering bombast of Crisis on Infinite Earths resulted in such spectacular commercial success, those movers-&-shakers felt justified in revamping a number of their hoariest icons for their next fifty years of publishing. As well as Superman, Flash and Wonder Woman, the moribund and crucially un-commercial Justice League of America was earmarked for radical revision.

Editor Andy Helfer assembled plotter Keith Giffen, scripter J.M. DeMatteis and untried penciller Kevin Maguire to produce an utterly new approach to the superhero monolith: they played them for laughs…

The series launched as Justice League with a May 1987 cover-date before retitling itself as Justice League International with #7. The new super-team was formed from the ashes of the old on the basis of events comprising follow-up DC crossover-event Legends. The gathering comprised a roster of newcomers and relative second-stringers as America’s newest champions – Black Canary, Blue Beetle, Captain Marvel, Guy Gardner/Green Lantern, Dr. Fate and Mr. Miracle with heavyweights Batman and Martian Manhunter J’onn J’onzz as nominal straight-men.

As the often-silly saga unfolded the squad was supplemented by Captain Atom, Booster Gold, Dr. Light and Russian mecha-warrior Rocket Red. In many ways the most contemporary new pick was charismatic, filthy-rich manipulator Maxwell Lord – who used wealth and influence to recreate the super-team…

The creators took their time, crafting a convoluted mystery over the first year and this second volume of the (as-was) All-New, All-Hilarious Justice League completes that saga as insidious entrepreneur and1980’s archetype Lord reshapes the World’s Greatest Super-team for his own mysterious purposes and is transformed himself in the process…

The stories gathered here (Justice League International #8-13, Justice League Annual #1, and corresponding crossover issue Suicide Squad #13) are taken from a period when comics publishers were first developing the marketing strategies of the “Braided Mega-Crossover Event.”

That hard-on-the-pockets innovation basically crafted really big stories involving every publication in a company’s stable, for a limited time period – so a compilation like this perforce includes adventures that seem confusing because there are in truth “middles” with no beginnings or endings.

In this case the problem is deftly solved by inserting (mercifully) brief text pages explaining what’s happened before and elsewhere. It also doesn’t hurt that being a comedy-adventure, plot isn’t as vital as character and dialogue in this instance…

The merriment begins with ‘Moving Day’ (deftly inked by regular embellisher Al Gordon), wherein the heroes endure a catalogue of disasters whilst taking possession of sundry new UN embassy premises: a slyly cynical tale of institutionalized ineptitude and arguably one of the funniest single stories in American comicbook history.

Here, the main episodes are supplemented by brief back-up vignettes drawn by Giffen and ‘Old News’ deals with the abrupt and precipitous closure of previous UN superhero resource The Dome – summarily axed when the League achieved international charter status. The dismissals leave a very sour taste in the mouths of previously valiant and devoted defenders of mankind…

‘Seeing Red’ is the first of two episodes forming part of the Millennium crossover hinted at above. Broadly, the Guardians of the Universe are attempting to create the next stage of human evolution, and their robotic enemies the Manhunters want to stop them. The heroes of Earth are asked to protect the Chosen Ones, but the robots have sleeper agents hidden among the friends and acquaintances of every hero on the planet.

Millennium was DC’s first weekly mini-series, and the monthly schedule of the other titles meant that a huge amount happened in the four weeks between their own tied-in issues: for example…

The Rocket Red attached to the JLI is in fact a Manhunter, who first tries to co-opt then destroy the team by sabotaging an oil refinery, but by the second part, ‘Soul of the Machine’, the JLI are jarringly transplanted to deep space and attacking the Manhunter homeworld as part of a Green Lantern strike force.

Nevertheless, the story is surprising coherent, and the all-out action is still well-leavened with superbly banter and hilarity.

The back-ups follow the suddenly unemployed Dome hero Jack O’Lantern as he travels to terrorist state Bialya in ‘Brief Encounter’ and then show an unfortunate training exercise for Blue Beetle and Mister Miracle in ‘…Back at the Ranch…’

JLI #11 started exposing all the mysteries of the first year by revealing the secret mastermind behind the League’s reformation. With ‘Constructions!’ – and the concluding ‘Who is Maxwell Lord?’ in #12 – the series came full circle, and the whacky humour proved to have been the veneer over a dark and subtle conspiracy plot worthy of the classic team.

The drama and action kicked into overdrive and the characters were seen to have evolved from shallow, albeit competent buffoons into a tightly knit team of world-beating super-stars – but still pretty darned addicted to buffoonery…

Giffen illustrated #13, wherein the team ran afoul of America’s highly covert Suicide Squad (convicted and imprisoned super-villains blackmailed by the government into becoming a tractable metahuman resource – and happily lacking the annoying morality of regular superheroes).

‘Collision Course’ found US agent Nemesis imprisoned in a Soviet jail with the UN-sponsored League forced into the uncomfortable position of having to – at least ostensibly – fight to keep him there even as the Suicide Squad seeks to bust him out.

Written by John Ostrander and illustrated by Luke McDonnell & Bob Lewis, concluding chapter ‘Battle Lines’ originated in Suicide Squad #13 and offers a grim and gritty essay in superpower Realpolitik which remains a powerful experience and chilling read decades later.

This volume wraps up with an out-of-chronology yarn from the first JLI Annual. Drawn by Bill Willingham and inked by Dennis Janke, P. Craig Russell, Bill Wray, R. Campanella, Bruce Patterson & Dick Giordano, ‘Germ Warfare’ is an uncharacteristically grim horror tale involving inhuman sacrifice and all-out war against sentient bacteria, with oodles of savage action and a tragic role for new team leader J’onn J’onzz…

This collection was – and still is – a breath of fresh air at a time where too many comicbooks are filled with over-long, convoluted epics that are stridently, oppressively angst-ridden. Here is great art, superb action and a light touch which mark this series as a true classic. So, read this book and then all the rest….
© 1987, 1992, 2007 DC Comics. All Rights Reserved.

Footrot Flats volume 1


By Murray Ball (Titan Books)
ISBN: 978-1-85286-335-7

You may or may not have heard of Footrot Flats. Created by Murray Ball on his return to his homeland of New Zealand, it ran from 1975 to 1994 in newspapers on four continents, yet for one of the most successfully syndicated strips in the world, it seems to have passed from common memory with staggering rapidity.

Once the series concluded, Ball – whilst running his own farm – continued to release books of new material until 2000, resulting in a total of 27 daily strip collections, 8 volumes of Sunday pages and 5 pocket books, plus ancillary publications such as calendars.

There was a stage musical, a theme park and a truly superb animated film Footrot Flats: The Dog’s Tail Tale.

A well-travelled wanderer, Murray Ball moved to England in the early 1960s, becoming a cartoonist for Punch as well as drawing (ostensibly) children’s strips for DC Thompson and Fleetway as well as a more adult-oriented strip in Labour Weekly. Eventually home called and the artist headed back South. Resettling in New Zealand in 1974, Ball became busier than ever.

He bought a smallholding on the North Island and farmed in his spare time (for anyone not brought up in the country, that last bit was “sarcasm”). This inevitably led to the strip in question. Taking the adage “write what you know” to startling heights, the peripatetic artist promptly gave up sleeping altogether to craft these wickedly funny yarns about an oaf and his dog, and I for one will be eternally grateful. You might be old enough to remember it being syndicated here in the Today newspaper…

Then again, you might not be old enough to remember newspapers.

Wallace Footrot Cadwallader is a big, bluff farmer. He’s a regular bloke, likes his food; loves his Rugby. He owns a small sheep farm (the eponymous Footrot Flats) best described as “400 acres of swamp between Ureweras and the Sea”.

With his chief – and only – hand Cooch Windgrass, and a sheepdog who calls himself “Dog” Wal makes a living and is his own boss. Dog is the star (and narrator) of most of the strips: a cool know-all and blowhard, he’s utterly devoted to his scruffy, no-nonsense master – unless there’s food about or Jess (the sheepdog bitch from down the road) is in heat again.

Dry, surreal and wonderfully self-deprecating, the humour comes from the perfectly realised characters – human and otherwise – the tough life of a bachelor farmer and especially the country itself.

The cartooning is absolutely top-rate. Ball is one of those gifted few who can actually draw funnily. When combined with his sharp, incisive writing the result is pure magic. But be warned. Ball can also break your heart with a few terse words and the right confection of tightly-inked lines.

I’m reviewing the 1990 Titan Books edition, but the same material is readily available from a number of publishers and retailers although none of the varied volumes are particularly cheap. If any cartoon feature ever needed compiling in a comprehensive digital edition it’s this superb series.

Until then, If I’ve convinced you to give the Dog a go, your favourite search engine will be all the help you need…

Go on. Fetch!
© 1990 Diogenes Designs Ltd. All rights reserved.

Spidey volume 1: First Day


By Robbie Thompson, Nick Bradshaw, André Lima Araújo & various (Marvel)
ISBN: 978-0-7851-9675-4

Since its earliest days the company now known as Marvel has always courted the youngest comicbook consumers. Whether through animated tie-ins and licensed properties such as Terrytoons Comics, Mighty Mouse, Duckula, assorted Hanna-Barbera and Disney licenses and a myriad of others, or original characters such as Tessie the Typist, Millie the Model, Homer the Happy Ghost and Calvin, the House of Ideas has always understood the necessity of cultivating the next generation of readers.

These days, however, kids’ interest titles are on the wane and, with the Marvel Universe’s characters all over screens large and small, the company usually prefers to create child-friendly versions of its own proprietary pantheon, making that eventual hoped-for transition to more mature comics as painless as possible.

In the 1980s Marvel published an entire line of kiddie titles through its Star Comics line and in 2003 the company created a Marvel Age line which updated and retold classic original tales by Stan Lee, Jack Kirby and Steve Ditko and mixed it in with the remnants of its manga-inspired Tsunami imprint: again all intended for a younger readership.

The experiment was tweaked in 2005, becoming the Marvel Adventures line, with titles reflecting the most popular characters and whatever was on TV screens at the time.

In 2012 these were superseded by specific comicbook titles tied to Disney XD TV shows designated as “Marvel Universe cartoons”.

Today’s featured item – Spidey: First Day – is a horse of a different colour: similar but different…

Rather than simply crafting a wallcrawler for younger sensibilities, this iteration – presumably sparked by the teenaged, light-adventure version seen in the Spider-Man: Homecoming movie – innovates and modernizes by looking back and succeeds in recapturing a sense of the madcap gaiety that counterbalanced the action and pathos of the earliest Lee/Ditko stories. This series is all about thrills and fun…

Scripted throughout by Robbie Thompson and re-presenting Spidey #1-6 (originally released from February to July 2016), the non-stop, youngster-appropriate mayhem commences with a fresh introduction to ‘The Amazing Spider-Man’, illustrated by Nick Bradshaw and colourists Jim Campbell & Rachelle Rosenberg

Firmly set in The Now, our hero is still (or rather once again) a callow schoolboy, fighting crime and making enemies between classes. He’s also a crimefighting sensation of the internet and social media when he puts on his blue-&-red duds. As ever news magnate J. Jonah Jameson is there to vilify the webslinger at every opportunity…

Sadly, thanks to the kid’s double life, Peter Parker’s grades – except for science and maths – are tanking now, and the secret superhero is forced to accept Popular Girl Gwen Stacy as a much-needed history tutor.

Not only is she the hottest girl in school but she also decks Flash Thompson with one punch after the jocks starts bullying “Puny” Parker again…

Things really kick off later, on a field trip to techno-industrial wonderland Oscorp, when a madman calling himself Doctor Octopus busts in and the neophyte Spider-Man is compelled to intervene and drive the maniac away.

That’s when uber-creepy Norman Osborn introduces himself to Peter, predicting big things for Peter…

The really smart trick in this series is that battles with other supervillains such as Kraven the Hunter and Mysterio are backdrop: referenced simply as having occurred in other moments, allowing Peter Parker’s life and character room to develop, with only new battles dictating how certain villainous players have evolved from standard Spider-Man mythology…

A month later Peter is still coming to terms with his double life when ‘Enter the Sandman’ finds him battling a grittily shapeshifting bank robber, after which New York is overrun by tiny reptiles as old ally Dr. Curt Connors is once again tragically transformed into the ravenous ravening Lizard

In Spidey #4 André Lima Araújo assumes the art duties with ‘Doomsday Off!’ as Peter stumbles into an art robbery. He might even have stopped the thief… if the bad guy hadn’t been Doctor Doom! Tracking down the ultimate villain does no good and Spidey is once again soundly thrashed, but after the Amazing Arachnid gets a pep talk from a little kid, he tries again and achieves a partial victory…

‘Dead End’ (with Java Tartaglia joining the colouring squad) sees the first inconclusive confrontation with a major nut job called the Green Goblin after which the ebullient effervescent escapades conclude with a first team-up in ‘Making the Grade’, as the mysterious Spider-Man intervenes when flying felon The Vulture burgles Stark Industries.

The Invincible Iron Man shows up but naturally gets the wrong idea – as does SHIELD agent Phil Coulson – before the situation is straightened out. One crisis over and feeling cocky, the very junior hero – smitten with Gwen Stacy – even asks the Armoured Avenger for dating tips but that doesn’t go so well…

Featuring a covers and variants gallery by Bradshaw, Lima Araújo, Skottie Young, Humbert Ramos & Edgar Delgado, Oliver Coipel, Julian Totino Tedesco and Gyimah Gariba, this a sublimely refreshing reinterpretation of an evergreen heroic icon offering an intriguing and certainly more culturally accessible means of introducing character and concepts to kids born two and three generations or more away from those far-distant 1960s originating events. These Spidey super-stories are outrageously enjoyable yarns, and well worth seeking out.
© 2016 Marvel Characters, Inc. All rights reserved.

Corpse Talk: Ground-Breaking Scientists


By Adam & Lisa Murphy (David Fickling Books)
ISBN: 978-1-910989-80-7

The educational power of comic strips has been long understood and acknowledged: if you can make the material memorably enjoyable, there is nothing that can’t be better taught with pictures. The obverse is also true: comics can make any topic or subject come alive… or at least – as here – outrageously, informatively undead…

The conceit in Corpse Talk is that famous personages from the past are exhumed for a chatty, cheeky This Was Your Life talk-show interview that – in Reithian terms – simultaneously “elucidates, educates and entertains”. It also often grosses one out, which is no bad thing for either a kids’ comic or a learning experience…

Another splendid album release culled from the annals of The Phoenix (courtesy of those fine saviours of weekly comics at David Fickling Books) this thoughtfully themed collection opens with another scene-setting chat from your scribbling, cartooning host Adam Murphy (ably abetted off-camera by Lisa Murphy) before we get to know a serried selection of “dead brilliant scientists” in what might well be their very own – post-mortem – words…

In order of date of demise our funny, fact-loving host begins these candid cartoon interviews in a tutorial from ‘Aristotle: Philosopher 384-322BCE’, supplemented by an in-depth peek into the world-changer’s educational practices in ‘School of Life’ after which noted streaker ‘Archimedes: Mathematician 287-212BCE’ shares his version of the infamous “eureka moment” and ingenious military inventions. The most lethal of these then get special attention in sidebar feature ‘Calculated Aggression’.

Muslim scholar ‘Al-Haytham: Natural Philosopher 965-1040’ discusses his service with the Caliph of Egypt and discoveries in optical science, and his greatest invention is examined in follow-up feature ‘Camera Obscura’. Tragic Italian genius ‘Galileo Galilei: Astronomer 1564-1642’ recounts his star-gazing triumphs and the response of the Catholic Church – augmented by a rapturous spread depicting ‘Secrets of the Solar System’ – and a grossly misused scientific pioneer who founded the principles of entomology (before being written out of history by male historians and scientists) tells her story in ‘Maria Sibylla Merian: Entomologist 1647-1717’ and describes the linked ‘Circle of Life’ she discovered by observing caterpillars, cocoons and butterflies…

Noted egomaniac ‘Isaac Newton: Natural Philosopher 1642-1727’ has his say next, with ancillary features on ‘Laying Down the Laws’ and ‘Newton’s Three Laws of Motion’, culminating in the instructions on how to make ‘A Home-made Hovercraft’

‘Edward Jenner: Physician 1749-1823’ describes how his observations led to the eradication of smallpox (with the process broken down into grotesquely captivating ‘Vaccination Stations’) after which forgotten woman ‘Mary Anning: Palaeontologist 1799-1847’ reveals the true history of fossil hunting and evolutionary observation – including a quick tour of ‘The Jurassic World’ – before ‘Lovelace & Babbage: Mathematicians 1815-1852 & 1791-1871’ delves deep into the lives of computer visionaries Ada Lovelace and Charles Babbage, who devised calculating machines and systems long before science and engineering had the facilities to construct them. Unable to physically enjoy the fruits of their labour, the dead clever thinkers can at least play here with a modern version of ‘The Difference Engine’ since built to honour them at London’s Science Museum….

‘Von Humboldt: Explorer, Naturalist, Geographer, Etc… 1769-1859’ was a true Renaissance man and master of many disciplines, which he used in his five-year voyage of scientific discovery. As well as the 3500 species of flora and fauna he catalogued in one trip he also formulated the concept of ‘Habitat Zones’ (perfectly explained here in graphic terms following his “piece to camera”).

You may have heard of revolutionary medical reformer ‘James Barry: Doctor 1790s-1865’ but did you know that she was actually Margaret Anne Bulkey, a young woman who refused to let her gender hinder her dreams in an exclusively male-dominated world. Her innovations and changes in military hospitals saved millions of soldiers and civilians, and her influence is celebrated in sidebar feature ‘A History of Infection’. Meanwhile, the world-shattering observations of ‘Charles Darwin: Naturalist 1809-1882’ whilst aboard HMS Beagle are interpreted in the savant’s own individualist manner, with a follow-up detailing his theories through ‘Darwin’s Finches’.

Russian superstar ‘Dmitri Mendeleev: Chemist 1834-1907’ outlines his epic struggle to classify, decipher and order the elements, complete with a fully-updated version of his ‘Periodic Table’ before the profound discoveries – and their personal cost – of ‘Marie Curie: Chemist & Physicist 1867-1934’ bring us into the modern age of intellectual endeavour, via a chilling warning of the repercussions of her ‘Killer Research’.

Born a slave and self-taught, ‘George Washington Carver: Botanist & Inventor 1860s-1943’ transformed America and the world with his discoveries in Agriculture. His astounding life is précised here and validated in supplemental feature ‘Nuts About Nuts!’ sharing the secret of making peanut butter…

Apparently the closest thing to an actual Mad Scientist the world has ever known, ‘Nikola Tesla: Inventor 1856-1943’ tries to clear his name and reputation whilst latterly describing his battle with his greatest rival in ‘Edison vs Tesla in… the War of the Currents’ after which the Digital Age begins thanks to the efforts of ‘Alan Turing: Computer Scientist 1912-1954’. His wartime work with decoding and cipher chasing is then commemorated in ‘An Enigma Wrapped in a Mystery’ giving us all a chance to tinker with our own (simplified) Enigma Machine…

Last Big Brain in the box, ‘Albert Einstein: Physicist 1879-1955’ then gleefully explains one of his most universally misunderstood theories and laments the misuse of his work through his own personal history and ends the scientific history lessons on a high note with another in ‘It’s All Relative…’

Smart, irreverent, funny and splendidly factual throughout, Corpse Talk cleverly but unflinchingly deals with history’s more tendentious moments whilst personalising the great and the good for coming generations.

It is also a fabulously fun read no parent or kid could possibly resist. Don’t take my word for it though, just consult with any of the clever cadavers in question…

Text and illustrations © Adam & Lisa Murphy 2017. All rights reserved.
Corpse Talk: Ground-Breaking Scientists will be released on 7th September 2017 and is available for pre-order now.