Harvey Kurtzman’s Marley’s Ghost


Adapted by Harvey Kurtzman & expanded by Gideon Kendall, Josh O’Neill, Shannon Wheeler & various (ComiXology Originals)
No ISBN, ASIN: B01LZAATMD

Win’s Christmas Gift Recommendation: Reverential Revisitation of a Cornerstone Christmas Classic… 9/10

Harvey Kurtzman is probably the most important cartoonist of the latter half of the last century – even more so than Jules Feiffer, Jack Kirby, Joe Kubert or Will Eisner.

His early triumphs in the fledgling field of comicbooks (Frontline Combat, Two-Fisted Tales and especially the groundbreaking, game-changing Mad) would be enough for most creators to lean back on, but Kurtzman was also a force in newspaper strips (Flash Gordon Complete Daily Strips 1951-1953) and a restless innovator, commentator and social critic who kept on looking at folk and their doings and just couldn’t stop making art or sharing his conclusions…

He invented a whole new format when he converted the highly successful colour comicbook Mad into a black-&-white magazine, safely distancing the brilliant satirical publication from the fall-out caused by the 1950s comics witch-hunt which eventually killed all EC’s other titles.

He then pursued comedy and social satire further with newsstand magazines Trump, Humbug and Help! all the while creating challenging and powerfully effective humour strips such as Little Annie Fanny (for Playboy), Nutz, Goodman Beaver, Betsy and her Buddies and many more. He died far too soon, far too young in 1993.

As recounted in Denis Kitchen’s appendix ‘The Origins of the Marley’s Ghost Graphic Novel’, despite helming a huge and influential comicbook sensation, by 1954 Kurtzman was looking to expand the influence and appeal of the medium even further.

Mad was reaching millions but he wanted to get to everybody and he wanted his efforts to be treated with respect…

His notion was to adapt – properly, faithfully, and not as an abridged, bowdlerized kiddie’s version such as seen in Classics Illustrated – a global masterpiece of literature. Charles Dickens’ A Christmas Carol was the perfect vehicle and Kurtzman feverishly set to in his spare time, producing more than 70 tightly laid out thumbnails and seven colour layouts, plus a complete page rendered by EC/Mad comrade Jack Davis.

The luxurious coffee-table book he’d envisioned foundered due to the timidity and short-sightedness of publishers – and quite possibly the toxic fug around comicbooks caused by Senate Hearings and Frederick Wertham’s hysterical campaign against teenage culture and fun…

Kurtzman shelved the project, but his papers and notes were discovered after his death and the result – adapted by writers Josh O’Neill & Shannon Wheeler and compellingly illustrated by Gideon Kendall – is a splendidly engaging addition to the novel’s legion of cross-media iterations. Just like Kurtzman knew it would be…

The tale is augmented here by Kurtzman’s original thumbnails and layouts, the Davis page and a wealth of development sketches generated by Kendall in completing the project.

Moreover, Marley’s Ghost is even more groundbreaking than Kurtzman ever imagined. Released as a digital book, it has garnered acclaim and awards even before its inevitable transition to physical form… which means, as long as you’re connected you can buy this as the most literal of last-minute gifts…

The Story? It’s what you’d expect and want, all executed with warmth, with and sublime grace. Scrooge Mean. Ghosts! Revelations! Scared Scrooge! Change of Heart! Happies all around! God bless us every one!

And if that was a spoiler in any manner, you have no right to be reading this review…

Here is a superb work long overdue and a comics god’s dream at long-last realised: a new old master of our art form no true devotee can afford to be without. And it’s fun and engaging enough to be an introducer to youngsters looking for comics to love.

Marley’s Ghost as adapted by Harvey Kurtzman is published by Kitchen, Lind & Associates, LLC. Adaptation © 2017 by Gideon Kendall, Josh O’Neill, & Kurtzman Properties LLC. All rights reserved.

The Graphic Canon of Children’s Literature


By Many and various, Edited by Russ Kick (Seven Stories)
ISBN: 978-1-60980-530-2

Win’s Christmas Gift Recommendation: Amazing Recollections for Every Kid of Voting Age… 10/10

If you are of a certain age, you will remember that Christmas when you got The Book. What it was varies and you may not even have it now (probably not, in truth), but the getting of it, the cherishing of it in that moment, and the nostalgic debilitation recalling it brings now shaped your life. This book might well be it for someone you know and can’t think of a gift for…

Swallow the lump in your throat, grab a tissue and we’ll begin…

Once upon a time in the English-speaking world, nobody clever, educated or in any way grown-up liked comics. Now we’re an accredited really and truly art form and spectacular books like this can be appreciated…

The Graphic Canon is an astounding literary and art project, instigated by legendary crusading editor, publisher, anthologist and modern Renaissance Man Russ Kick. It seeks to interpret the world’s great books through the eyes of masters of crusading sequential narrative in an eye-opening synthesis of modes and styles. The project was initially divided into three periods roughly equating with the birth of literature and the rise of the modern novel.

Such was the success and impact of the feat that a number of side projects grew from the original, such as this startling confection celebrating the uniquely dual-purpose arena of stories for Children.

Make no mistake: this is not a simple bowdlerising “prose to strip” exercise like generations of Classics Illustrated comics, and you won’t pass any tests on the basis of what you see here. Moreover, these images will make you want to re-read the texts you know and hunger for the ones you haven’t got around to yet. Even those you think you’ve known for your entire life…

They certainly did for me…

Following the fascinating and agenda-setting ‘Editor’s Introduction’ the reimagination of centuries of wonder begins with a selection of Aesop’s immortal fables. Deliciously concocted by Roberta Gregory ‘The Miller, His Son, and the Donkey’ and ‘The Eagle, The Cat, and The Sow’ are followed by Peter Kuper’s refreshing interpretations of ‘The Ape and the Fisherman’ and ‘The Wasp and the Snake’.

Lance Tooks then takes torrid liberties but still makes magic with ‘The Lion in Love’, ‘The Fox and the Grapes’ and ‘The City Mouse and the Country Mouse’ before we move on to another timeless tale…

David W. Tripp offers a psycho-sexual take in his silent reworking of European fairy tale ‘Little Red Riding Hood’ after which Andrice Arp beguilingly details the saga of the ‘The Mastermaid’. Following that Norse fairy tale we head further north and east for Lesley Barnes’ iconic celebration of Russian folk tale ‘The Firebird’ before Miguel Molina offers a brace of scenes from Peruvian fairy tale ‘The Shepherdess and the Condor’.

The unfailingly entertaining Rachel Ball adapts a British yarn of abduction in ‘The Weardale Fairies’ after which Maëlle Doliveaux applies astounding collage and cut-paper acumen to ‘Four Fables’ by French mediaeval poet Jean de La Fontaine before a selection of Brothers Grimm tales opens with Kevin H. Dixon applying his studied blend of cultural appropriation and mordant insubordination to the ‘Town Musicians of Bremen’

Chandra Free – with technical assistance from BLAM! Ventures – then scrupulously documents ‘A Tale of One who Travelled to Learn what Shivering Meant’ before Noah Van Sciver adapts ‘Star Dollars’ and ‘The Water-Sprite’.

E.T.A. Hoffman’s ‘The Nutcracker and the Mouse King’ is translated into pictorial beats by Sanya Glisic and Dame Darcy revels in the full horror of ‘The Little Mermaid’ by Hans Christian Andersen whilst Isabel Greenberg concentrates the old master’s imaginative whimsy for ‘The Tinderbox’.

Billy Nunez reinvigorates British fairy tale ‘Goldilocks and the Three Bears’ by transposing it to rural China before Frank M. Hansen has wicked fun updating Mark Twain’s shockingly wry ‘Advice to Little Girls’.

Vicki Nerino liberally updates ‘Alice’s Adventures in Wonderland’ – by Lewis Carroll in case you don’t know – and Keren Katz illustrates a triptych of ‘Fables for Children’ by Leo Tolstoy (The Birds in the Net, The Duck and the Moon, The Water Sprite and the Pearl, The Mouse Under the Granary and The Falcon and the Cock) after which Sandy Jimenez adds a sheen of Glam Rock iconoclasm to an extract of Jules Verne’s ‘20,000 Leagues Under the Sea’.

Nabob of Nonsense Edward Lear is celebrated in ‘The Owl and the Pussycat’ by Rick Geary and doubly so by Joy Kolitsky who colourfully interprets ‘Calico Pie’ and ‘The New Vestments’, after which R. Sikoryak stunningly reduces Twain’s ‘The Adventures of Tom Sawyer’ to a quartet of symbolically eventful maps.

Lost story master George McDonald is represented by Dasha Tolstikova’s moving treatment of ‘At the Back of the North Wind’ and Molly Brooks adapts the first tantalising chapter of Johanna Spyri’s ‘Heidi’ before Eric Knisley redeems the fabulous and unfairly embargoed sagas of Joel Chandler Harris with a vivid take on ‘The Tar Baby (From Tales of Uncle Remus)’.

Molly Colleen O’Connell adapts Carlo Collodi’s ‘The Adventures of Pinocchio’ and Robert Louis Stevenson’s ‘Treasure Island’ is given a meta-textual going over by Lisa Fary, Kate Eagle & John Dallaire before Tara Seibel gives a modern spin to Oscar Wilde’s heartbreaking ‘The Nightingale and the Rose’.

Caroline Picard ambitiously and simultaneously covers four tales from ‘The Jungle Book’ by Rudyard Kipling – specifically ‘Rikki Tikki Tavi’, ‘Toomai of the Elephants’, ‘Kaa’s Hunting’, and ‘The White Seal’ – whilst Matthew Houston adds a graphically futuristic spin to his treatment of H.G. Wells’ ‘The Time Machine’.

Shawn Cheng adapts L. Frank Baum’s ‘The Wonderful Wizard of Oz’ in a single colour-splashed page and then does the same for the remaining 13 novels in ‘The Oz Series’ after which Sally Madden silently shows a key scene from ‘Peter Pan’ by J.M. Barrie and Andrea Tsurumi delicately details the retaking of Toad Hall from the end of Kenneth Grahame’s ‘The Wind in the Willows’ before Juliacks turns in a most dramatic reinterpretation of Frances Hodson Burnett’s ‘The Secret Garden’

Kate Glasheen adapts and modifies ‘The Velveteen Rabbit’ by Margery Williams, after which C. Frakes adapts ‘How the Potato Face Blind Man Enjoyed Himself on a Fine Spring Morning’ from Carl Sandburg’s ‘Rootabaga Stories’ and Matt Wiegle offers his rebus-filled silent take on Franklin W. Dixon’s ‘The Tower Treasure (A Hardy Boys Mystery)’ whilst Katherine Hearst goes wild with an eerie examination of ‘Peter and the Wolf’ as never imagined by Serge Prokofiev…

Astrid Lindgren’s immortal ‘Pippi Longstocking’ inhabits a decidedly off-kilter world thanks to Emelie Östergren, balanced by a sobering snippet from Anne Frank’s ‘The Diary of a Young Girl’ from mainstream comicbook royalty Sid Jacobson & Ernie Colón, after which John W. Pierard treats us to a selection of contemporaneous (and Rude) ‘Schoolyard Rhymes’.

Hitting the home stretch of modernity, we close with a chilling and wordless adaption from Tori Christina McKenna of Richard Adams’ ‘Watership Down’ and a stunning recapitulation by Lucy Knisley J.K. Rowling’s ‘The Harry Potter Series’ – all of it. Really. In 8 pages…

Complementing the childhood obsessions is a ‘Gallery’ by 58 more artists, and ‘Contributors’, ‘Acknowledgments’, ‘Credits and Permissions’ and even an ‘Index’.

Each piece is preceded by an informative commentary page by Kick, and this sort of book is just what the art form comics needs to grow beyond our largely self-imposed ghetto, and anything done this well with so much heart and joy simply has to be rewarded.
© 2014 Russ Kick. All work © individual owners and copyright holders and used with permission. All rights reserved.

Run Wild


By K. I. Zachopoulos & Vincenzo Balzamo (Archaia)
ISBN: 978-1-68415-024-3

Win’s Christmas Gift Recommendation: A Spooky Family for a Cold Winter World… 9/10

Writer Kostas Zachopoulos’ heartfelt love affair with classic themes and genres continues in his latest collaboration with Vincenzo Balzamo (Immortal, Revenge: The Secret Origin of Emily Thorne).

Zachopoulos’ previous comics releases – Mon Alix, The Fang, Mr. Universe, Misery City – and his previous tale with Balzamo The Cloud have cumulatively and memorably tweaked and refreshed horror, crime and fantasy standards and this fresh offering should bring them the well-deserved glittering prizes found in the reading mainstream…

Run Wild is a bleak, dark, challenging and frequently frightening modern fairy tale with echoes of Alan Garner, Maurice Sendak and Ralph Steadman which subverts while combining a key core plot – the search for home and safety – with a chilling examination of what exactly constitutes humanity. A reminder to be careful what you wish for…

It’s night in the woods and scary. Flynn and Ava have just woken up and can’t find their mother. In fact, they can’t find anybody…

Sensible older sister Ava insists they leave the shack they’ve found themselves in, and search outside. She knows something is wrong with the world. Something has changed…

Flynn is close to panic. He needs to know why Mother has abandoned them. He needs to know what’s happened. He needs to know there’s no danger. But there is…

As they wander the sparkling, cold environs, they meet a giant talking fox named Beatrice who acts as their guide and guardian. She is taking them to Papa, who has all the answers – and is in fact the cause of all their woes – but the journey will be long and hard and pose many questions.

Moreover, they are all being hunted by a pack of relentless, savage beasts. Not ordinary animals: there are no more of those. These relentless pursuers used to be human. Now only Ava and Flynn remain of the old world, able to understand the reasons for how mankind changed and how to proceed from this new start.

Flynn realises his mother is out there somewhere, and hungers for reunion, but as they make their perilous way to the enigmatic Papa, Ava is increasingly despondent. She’s started to change into a beast too…

A tale of intellectual and spiritual hubris, man’s incessant meddling, overconfidence in technology and the perils of warring with our environment, Run Wild is gripping and beguiling mystery play examining our role in the world and offering stern rebukes and a hint of warning. Piling on devious sub-plots and shocking twists, Zachopoulos steers us into a maze of wonder and duplicity and never lets the tension slacken.

Available as an enticing hardback tome and in comfortably accessible digital editions, this byzantine, Cimmerian-toned, chimeric yarn is rendered in a gloriously evocative and expressionistic progression of painted pages by ever-more adept and imaginative Vincenzo Balzamo, providing a wealth of material for your next excess-fuelled nightmare…

This is unmissable stuff: so don’t.
™ and © 2018 Kostas Zachopoulos & Vincenzo Balzamo. All rights reserved.

Batman: The Golden Age volume 5


By Bill Finger, Don Cameron, Ruth “Bunny” Lyon Kaufman, Horace L. Gold, Joseph Greene, Joe Samachson, Bob Kane, Jerry Robinson, George Roussos, Dick Sprang, Jack Burnley, Ray Burnley, Fred Ray, Norman Fallon & various (DC Comics)
ISBN: 978-1-4012-8461-9 (TPB)

Win’s Christmas Gift Recommendation: Timely and Evergreen Family Adventure… 10/10

Debuting a year after Superman, “The Bat-Man” (and latterly Robin, the Boy Wonder) confirmed DC/National Comics as the market frontrunner and conceptual leader of the burgeoning comicbook industry.

Having established the parameters of the metahuman with their Man of Steel, the physical mortal perfection and dashing derring-do of the strictly-human Dynamic Duo rapidly became the swashbuckling benchmark by which all other four-colour crime-busters were judged.

Batman: The Golden Age is a series of paperback feasts (there are also weightier, pricier, more capacious hardback Omnibus editions available, and digital iterations too) re-presenting the Dark Knight’s earliest exploits.

Presented in original publishing release order, the tomes trace the character’s growth into the icon who would inspire so many and develop the resilience needed to survive the stifling cultural vicissitudes that coming decades would inflict upon him and his partner, Robin.

Re-presenting a glorious and astounding treasure-trove of cape-&-cowl classics and iconic covers from Detective Comics #75-81, Batman #16-20 plus contemporary companion tales from World’s Finest Comics #10-11: this book covers groundbreaking escapades from April/May 1943 to December/January 1944: as the Dynamic Duo continually develop and storm ahead of all competition.

I’m certain it’s no coincidence that many of these Golden Age treasures are also some of the best and most reprinted tales in the Batman canon. With chief writers Bill Finger and Don Cameron at a peak of creativity and production, everybody on the Home Front was keen to do their bit – even if that was simply making kids of all ages forget their troubles for a brief while. These tales were crafted just as the dark tide was turning and an odour of hopeful optimism was creeping into the escapist, crime-busting yarns – and especially the stunning covers – seen here in the work of Jerry Robinson, George Roussos, Bob Kane Jack Burnley, Dick Sprang, Fred Ray and Stan Kaye…

The supplemental writers all pushed the boundaries of the adventure medium whilst graphic genius Sprang began to slowly supersede Kane and Burnley: making the feature uniquely his own while keeping the Dynamic Duo at the forefront of the vast army of superhero successes.

War always stimulates creativity and advancement and these sublime adventures of Batman and Robin more than prove that axiom as the growing band of creators responsible for producing myriad adventures of the Dark Knight hit an artistic peak which only stellar stable-mate Superman and Fawcett’s Captain Marvel were able to equal or even approach.

with

The compelling dramas open with the landmark Batman #16 (cover-dated April/May 1943) and one of three tales by Cameron. ‘The Joker Reforms!’ (Kane, Robinson & Roussos art) sees the Clown Prince suffer a blow to the head and enjoy a complete personality shift… but not for long…, after which Ruth “Bunny Lyons” Kaufman scripted a bold and fascinating Black Market milk caper in ‘The Grade A Crimes!’ for Ray & Jack Burney to dynamically delineate.

‘The Adventure of the Branded Tree’ (Cameron and the Burnleys) has the Gotham Gangbusters heading to lumberjack country for a vacation to become embroiled in big city banditry before the issue wraps up with hilarious thriller-comedy ‘Here Comes Alfred!’ (Cameron, Kane, Robinson & Roussos) which foists a rotund, unwelcome and staggeringly faux-English manservant upon the Masked Manhunters to finally complete the classic core cast of the series in a brilliantly fast-paced spy-drama with loads of laughs and buckets of tension…

Detective Comics #75 (May 1943) introduces a new aristocrat of crime in pompous popinjay ‘The Robber Baron!’ (Cameron, Jack Burnley & Roussos) before the Joker resurfaces in #76 to ‘Slay ‘em With Flowers’: a graphic chiller by Horace L. Gold, Robinson & Roussos.

Next up is Batman #17 which opens with the gloriously human story of B. Boswell Brown: a lonely, self-important old man who claims to be ‘The Batman’s Biographer!’ Unfortunately, ruthless robber The Conjurer gives the claim far more credence than most in a tense thriller by Cameron, Kane, Robinson & Roussos…

Counterbalancing the dark whimsy is ‘The Penguin Goes A-Hunting’ (Cameron, Jack & Ray Burnley): a wild romp wherein the Perfidious Popinjay undertakes a hubris-fuelled crime-spree after being left off a “Batman’s Most Dangerous Foes” list.

The same creative team concocted ‘Rogues Pageant!’ wherein murderous thieves in Western city Santo Pablo inexplicably disrupt the towns historical Anniversary celebrations after which Joe Greene, Kane & Robinson detail the Dynamic Duo’s brutal battle with a deadly gang of maritime marauders in the appealing ‘Adventure of the Vitamin Vandals!’

The creation of Superman propelled National Comics to the forefront of their fledgling industry and in 1939 the company was licensed to produce a commemorative comicbook celebrating the start of the New York World’s Fair, with the Man of Tomorrow prominently featured among the four-colour stars of the appropriately titled New York World’s Fair Comics.

A year later, following the birth of Batman and Robin, National combined Dark Knight, Boy Wonder and Action Ace on the cover of the follow-up New York World’s Fair 1940.The spectacular 96-page anthology was a tremendous success and the oversized bonanza format was established, becoming Spring 1941’s World’s Best Comics#1, before finally settling on the now-legendary title World’s Finest Comics from the second issue, beginning a stellar 45-year run which only ended as part of the massive clear-out and de-cluttering exercise that was Crisis on Infinite Earths.

Until 1954 and the swingeing axe-blows of rising print costs, the only place Superman and Batman ever met was on the stunning covers by the likes of Burnley, Fred Ray and others. Between those sturdy card covers, the heroes maintained a strict non-collaboration policy.

Here World’s Finest Comics #10 (Summer 1943) features Finger, Robinson & Roussos’ ‘The Man with the Camera Eyes’: a gripping battle of wits between the Gotham Guardians and a crafty crook with an eidetic memory, before Finger, Kane & Roussos introduce a fascinating new wrinkle to villainy with the conflicted doctor who operates ‘The Crime Clinic’ in Detective #77. Crime Surgeon Matthew Thorne would return many times over the coming decades…

Issue #78 (August 1943) pushes the patriotic agenda with ‘The Bond Wagon’ (Joseph Greene, Burnley & Roussos) as Robin’s efforts to raise war funds through a parade of historical look-alikes is targeted by Nazi spies and sympathisers, after which Batman #18 starts with a spectacular, visually stunning crime-caper wherein the Gotham Gangbusters clash again with rascally rotund rogues Tweedledum and Tweedledee whilst solving ‘The Secret of Hunter’s Inn!’ (Samachson & Robinson).

‘Robin Studies his Lessons!’ (Samachson, Kane & Robinson) sees the Boy Wonder grounded from all crime-busting duties until his school work improves – even if it means Batman dying for want of his astounding assistance!

Bill Finger and the Burnley bros craft ‘The Good Samaritan Cops’: another brilliantly absorbing human interest drama focused on the tense but unglamorous work of the Police Emergency Squad before the action culminates in a shocking and powerful final engagement for manic physician and felonious mastermind Matthew Thorne. ‘The Crime Surgeon!’ (Finger, Kane & Robinson) here tries his deft and devilish hand at masterminding other crooks’ capers…

Over in Detective Comics #79 ‘Destiny’s Auction’ – Cameron & Robinson – offers another sterling moving melodrama as a fortune teller’s prognostications lead to fame, fortune and deadly danger for a failed actress, has-been actor and superstitious gangster…

World’s Finest Comics #11’s Batman episode reveals ‘A Thief in Time!’ (Finger & Robinson inked by Fred Ray), pitting our heroes against future-felon Rob Callender, who falls through a time-warp and thinks he’s found the perfect way to get rich.

Detective #80 sees the turbulent tragedy of deranged, double-edged threat Harvey Kent, finally resolved after a typically terrific tussle with ‘The End of Two-Face!’ (Finger, Kane, Robinson & Roussos), after which Batman #19 unleashes another quartet of compelling crime-busting cases.

There’s no mistaking the magnificent artwork of rising star Dick Sprang who pencilled every tale in this astounding issue, beginning with Cameron’s ‘Batman Makes a Deadline!’ as the Dark Knight investigates skulduggery and attempted murder at the City’s biggest newspaper. He also scripted breathtaking fantasy masterpiece ‘Atlantis Goes to War!’ with the Dynamic Duo rescuing that fabled submerged city from overwhelming Nazi assault.

The Joker rears his garish head again in anonymously-penned thriller ‘The Case of the Timid Lion!’ (perhaps William Woolfolk or Jack Schiff?) with the Harlequin of Hate enraged and lethal whilst tracking down an impostor committing crazy capers in his name… Samachson, Sprang and inker Norman Fallon then unmask the ‘Collector of Millionaires’ with Dick Grayson covertly investigating his wealthy mentor’s bewildering abduction and subsequent replacement by a cunning doppelganger…

‘The Cavalier of Crime!’ (Detective #81, by Cameron, Kane & Roussos) introduces another bizarre, baroque costumed crazy who tests his rapacious wits and sharp-edged weapons against the Dynamic Duo – naturally and ultimately to no avail…

The Home Front certainly seemed a lot brighter, as can be seen in Batman #20 which opens with the Joker in ‘The Centuries of Crime!’ (Cameron, Jack & Ray Burnley) with the Mountebank of Mirth claiming to have discovered a nefariously profitable method of time-travelling, whilst ‘The Trial of Titus Keyes!’ (Finger, Kane & Robinson) offers a masterful courtroom drama of injustice amended, focussing on the inefficacy of witness statements…

‘The Lawmen of the Sea!’ (Finger & the Burnley boys) finds the Dynamic Duo again working with a lesser known Police Division as they join The Harbor Patrol in their daily duties, uncovering a modern-day piracy ring, before the issue and this collection concludes on an emotional high with ‘Bruce Wayne Loses Guardianship of Dick Grayson!’ as a couple of fraudsters claiming to be the boy’s last remaining relatives petition to adopt him. A melodramatic triumph by Finger, Kane & Robinson, there’s still plenty of action, especially after the grifters try to sell Dick back to Bruce Wayne

This stuff set the standard for comic superheroes. Whatever you like now, you owe it to these tales. Superman gave us the idea, and writers like Finger and Cameron refined and defined the meta-structure of the costumed crime-fighter. Where the Man of Steel was as much social force and wish fulfilment as hero, Batman and Robin did what we ordinary mortals wanted and needed to do.

They taught bad people the lesson they deserved.

The history of the American comicbook industry in almost every major aspect stems from the raw, vital and still powerfully compelling tales of DC’s twin icons: Superman and Batman.

It’s only fair and fitting that both those characters are still going strong and that their earliest adventures can be relived in chronological order in a variety of formats from relatively economical newsprint paperbacks to deluxe hardcover commemorative Archive editions – and digital formats too.

These are the stories that cemented the popularity of Batman and Robin and brought welcome surcease to millions during a time of tremendous hardship and crisis. Even if these days aren’t nearly as perilous or desperate – and there ain’t many who thinks otherwise! – the power of such work to rouse and charm is still potent and just as necessary. You owe it to yourself and your family and even your hamster to Buy This Book…
© 1943, 1944, 2018 DC Comics. All Rights Reserved.

The Juggler of Our Lady – the Classic Christmas Story


By R. O. Blechman with a Foreword by Jules Feiffer and Introduction by Maurice Sendak (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80030-1

Win’s Christmas Gift Recommendation: A truly immaculate confection… 10/10

Christmas is not just about shiny new toys and sparkly knitwear. It’s just as much about unearthing or revisiting old, beloved and almost totally forgotten treasures.

Here’s a superb case in point – a magnificent hardback picture-perfect gift that’s still readily available – thanks to the perspicacious souls at Dover Books…

Oscar Robert Blechman is a glittering star in America’s graphic arts firmament and an international superstar. Brooklyn-born in 1930, he has excelled as cartoonist, illustrator, author, animator/Director, editorial cartoonist, Editorial Director and ad-man.

He’s won awards for his commercials and TV specials and been venerated in an exhibition at The Museum of Modern Art. His anti-Vietnam cartoons graced The Village Voice through the early 1970s whilst his cartoons and illustrations appeared in such prestigious vehicles as Punch, The New Yorker, Trump, Harper’s Bazaar, Esquire, Show, Theater Arts and Humbug.

He’s also produced fascinating graphic narratives such as Georgie and can reasonably claim to have produced one of the very first English-language Graphic Novels… and thus beginneth today’s lesson…

In 1952 Blechman used his groundbreaking and soon-to-be phenomenally influential minimalist line-style – deftly augmented with judicious watercolours – to make a much-told tale all his own.

The Juggler of Our Lady was his first book: initially published by Henry Holt, and superbly fetishized and commemorated through brother-cartoonist Maurice Sendak’s fondly emotional Introduction in this sublime new pocket hardback edition. The slim tome became a landmark in graphic narrative and is beloved by generations.

Anatole France’s 1892 tale Le Jongleur de Notre Dame is probably the most widely accepted version of the original medieval religious-miracle legend but there have been so many others that the story is as much part of most people’s seasonal landscape as Santa Claus or Rudolph the Red-Nosed Reindeer.

Blechman’s reinvigoration retains all the awe and wonder, whilst adding such a potent blend of wry humour, pitiful humility and gentle hope to the mix that it can make a grown man weep. In 1958 his book became an animated Terrytoons TV short with a huge impact when it was adapted by Al Kouzel & Gene Deitch and narrated by that legendary Spirit of Christmas Fun Boris Karloff…

You know the story: Cantalbert is an itinerant juggler who loves his work. He feels that if more people juggled there would less time for war and misery and folk would act better, feel better and be better.

Nobody, however, will listen and the despondent performer – hungry for spirituality – joins a monastery. Even here he does not fit in and is saddened by his lack of suitable talents to venerate The Lord and especially The Virgin Mary…

Everything comes to a head on Christmas Eve when the monks all display the magnificent presents they have made for the Madonna and poor Cantalbert has nothing worthy to give.

Later, when all is quiet, the sad juggler offers the only thing he knows and loves to the statue of The Virgin and something wonderful happens…

Deftly deconstructed and wondrously appreciated in a Foreword by Comics and Cartooning Titan Jules Feiffer, The Juggler of Our Lady is a masterpiece of graphic dexterity and an utterly beguiling experience no lover of the storytelling arts should be without.

Text and illustrations © 1997 R. O. Blechman. Foreword © 1997 2015 Jules Feiffer. Introduction © 1980 Maurice Sendak. All rights reserved.
Check out www.doverpublications.com, your internet retailer or local comic or bookshop.

The Beatles in Comics


By Michels Mabel, Gaet’s, Lu-K, Vox, Anne-Sophie Servantie, Ludivine Stock, Amandine Puntous, Romuald Gleyse, Julien Lamanda, Efix, Pierre Braillon, Ben Lebègue, Anthony Audibert, Bloop, Victor Giménez, Akita, Laurent Houssin, Richard Di Martino, Piero Ruggeri et Filipo Neri, Martin Trystram, Clément Baloup, Edwina Cosme et Christophe Billard, Patrick Lacan, Virginie de Lambert, Joël Alessandra, Odile Santi & various: translated by Joe Johnson (NBM)
ISBN: 978-1-68112-187-1 (HB)

Win’s Christmas Gift Recommendation: A Magical Mystery Tour for All… 10/10

Graphic biographies are all the rage at the moment and this one – originally released on the continent in 2016 – is one of the best I’ve seen and the most likely to appeal to a far larger mainstream audience than comics usually reach. It certainly deserves to…

If you’ve never heard of the Beatles there’s very little point in you carrying on any further.

Still with us? Okay then…

As if cannily repackaged popular culture factoids and snippets of celebrity history – accompanied by a treasure trove of candid photographs, song lyrics, posters and other memorabilia – aren’t enough to whet your appetite, this addition to the lore of the Fab Four adds a vital and enticing extra element.

The individual chronological articles and the comics vignettes they each precede are all written by Michels Mabel & Gaet’s, with an army of illustrators providing vivid and vibrant mini-strips, beginning with the meeting of ‘John, Paul and George’, as envisioned by Lu-K.

Vox details the euphoria of the first gigs in ‘Hamburg’ before Anne-Sophie Servantie details the iconic contribution of photographer ‘Astrid Kirchherr’ to the band’s growing mystique after which the crucial contribution of their tragedy-marked manger is explored in ‘Mister Epstein’ with vivid illustration from Ludivine Stock.

A tone of smug schadenfreude tinges Amandine Puntous’ ‘The Man Who Refused to Sign the Beatles!’ before Romuald Gleyse recalls the moment the magic finally gelled as a proper music producer takes the rowdy kids in hand with ‘George Martin’s Wager’.

With the world at their feet, a close brush with respectability and civil honours are covered in

‘The Queen’s Rebels’ by Julien Lamanda after which Efix encapsulates conquest of the New World and ‘The Beginning of Beatlemania’; with Pierre Braillon tackling key appearances on ‘The Ed Sullivan Show’ and Ben Lebègue depicting ‘Shea Stadium and the American Tour’.

Once they started getting successful, tensions began to fracture the band’s enthusiastic solidarity. The creation of the song ‘Yesterday’ (Anthony Audibert art) and an anticlimactic meeting of giants, as seen in Bloop’s ‘The Beatles and Elvis’ starts tracing the cracks, whilst movie sensation ‘A Hard Day’s Night’ – by Victor Giménez – and Akita’s visualisation of ‘John’s Opinion’ reinforce the tensions.

Courtesy of Laurent Houssin, ‘New Musical Horizons’ are explored, and Richard Di Martino celebrates ‘The Triumph of Sgt. Pepper’s Lonely Hearts Club Band’ before the hammer falls with the death of their protective manager. ‘Goodbye Brian’ by Piero Ruggeri et Filipo Neri signals a creative explosion and the beginnings of financial disaster as conmen target the band resulting in a fractious ‘Trip to India’ (by Martin Trystram), the advent of ‘Yoko Ono’ (from Clément Baloup) and the musical masterpiece that is ‘The White Album’ as depicted by Edwina Cosme & Christophe Billard.

Patrick Lacan then visually traces the insane and inane conspiracy theories claiming ‘Paul is Dead’ before more artistic triumphs are balanced by incipient catastrophe in Virginie de Lambert’s ‘Abbey Road/Let it Be’.

From there it’s all about ‘The Break-up’ (Joël Alessandra) after which Odile Santi scrapbooks 1971 to now in the postscriptive ‘Post Beatles’ section…

The compelling and remarkable biography concludes on a deliciously whimsical note as ‘Do you want to know a secret?’ offers 18 absurd anecdotes to delight everyone who loves to hear classic absurdism. The Beatles in Comics is an astoundingly readable and beautifully rendered treasure for comics and music fans alike: one that resonates with anybody who loves to listen and look. Without it, you’re simply nowhere, man…

© 2016 Petit as Petit. © 2018 NBM for the English translation.
NBM books are also available in digital formats. For more information and other great reads see http://www.nbmpub.com/

Shazam! The Monster Society of Evil



By Jeff Smith, coloured by Steve Hamaker (DC Comics)
ISBN: 978-1-4012-1466-1 (HB)                    978-1-4012-0974-2 (TPB)

Win’s Christmas Gift Recommendation: Immaculate Fight ‘n’ Tights Fiction for the Whole Family… 10/10

Superhero comics don’t get better than this.

No soft-soap, no easing you in. Jeff Smith (in a tale originally published as a 4-issue prestige format miniseries in 2007) came the closest yet to recapturing the naive yet knowing charm that made the World’s Mightiest Innocent far and away the most successful super-character of the Golden Age in this reworking of one of his greatest adventures.

So, with the latest screen interpretation set to bust blocks next year it’s well past time to take another look at the glorious beast – especially as its also available in assorted digital formats too. Now all we need is a sure-fire way to give eBooks as proper gifts…

Following an adulatory Introduction from Alex Ross, the trip back to our communal childhoods kicks off with a scene of appalling deprivation and terror…

Billy Batson is a little homeless kid with a murky past and a glorious destiny. One night he follows a mysterious figure into an abandoned subway station and meets the wizard Shazam, who gives him the ability to turn into a full-grown superhero called Captain Marvel. Gifted with the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury, the lad is sent into the world to do good.

Accompanied by verbose tiger-spirit Mr. Tawky Tawny, Billy sets out to find a little sister he never knew he had, and even parlays himself into a job as a source for TV reporter Helen Fidelity

He sets to, fighting evils big and small, but at his heart he’s still just a kid. When he impetuously causes a ripple in the world’s magical fabric it causes cosmic conniptions that endanger the universe. When he finally tracks down his little sister, he accidentally shares his powers with her and suffers the ignominy of having her be better at the job than he is…

He also encounters evil genius Dr. Sivanna, US Attorney General and would-be ruler of the universe, and the deadly and hideous minions of the mysterious Mr. Mind, whose Monster Society of Evil is dedicated to wiping out humanity! Can he make amends and save the day…? Maybe, if Mary Marvel helps…

The original saga this gem is loosely based on ran from 1943-1946 in Captain Marvel Adventures #22-46: a boldly ambitious and captivating chapter-play in the manner of the popular movie serials of the day, and still regarded as one of the most memorable achievements of Golden Age comicbooks. It’s fairly safe to say that this reworking is going to stay in people’s hearts and minds for a good long time, too. It certainly spawned an excellent spin-off series which I’ll be covering next year some time, just to cash in on the movie…

Jeff Smith has accomplished the impossible here. He has created a superhero tale for all ages and hopefully returned some part of the genre to the children for whom it was originally intended. Shazam! The Monster Society of Evil is exciting, spectacular, moving and unselfconscious; revelling in the power of its own roots and the audience’s unbridled capacity for joy.

If you can track down the hardback volume, it’s stuffed with added features. The dust-jacket opens into a truly magical double-sided poster, there are sketch and script pages for the reader with industry aspirations, biographies and historical sections, a lavishly illustrated production journal, puzzles and even a modern version of the secret code used as a circulation builder in the 1940s. Most important though, and irrespective of what iteration you get, it is the mesmerising quality of the story and artwork that you’ll remember, forever.

Words are cheap and I’ve used enough: now go get this is a truly magical, utterly marvellous book.
© 2009 DC Comics. All Rights Reserved.

Follow Me In


By Katriona Chapman (Avery Hill Publishing)
ISBN: 978-1-910395-38-7 (HB)

Win’s Christmas Gift Recommendation: The Perfect Holiday Getaway… 10/10

I read a lot of graphic novels. Some are awful, many are so-so and the rest I endeavour to share with you. Of that remaining fraction most can be summarised, plot-pointed and précised to give you a clue about what you might be buying if I’ve done my job right.

Sometimes, however, all that fuss is not only irrelevant but will actually impede your eventual enjoyment. This is one of those times…

Katriona Chapman is a story-maker based in London, from where she’s been crafting superb tales in Small Press titles like Tiny Pencil (which she-cofounded), Comic Book Slumber Party, Ink & Paper, Save Our Souls, Deep Space Canine and her own award-winning Katzine. She draws beautifully and knows how to quietly sneak up, grab your undivided attention and never let go… and she hasn’t spent all her life in the Smoke either…

Follow Me In is her first novel-length tale and combines recollections of a particularly troubling time in her life with clearly the most life-affirming and inspirational events one could hope to experience.

At the station, a young woman meets up with an old boyfriend. He’s a writer and she draws. It’s been years and they’re still awkward and uncomfortable in each other’s presence. They talk about the time in 2003 when they decided to trek the entire country of Mexico, north to south east to west. Back then they were looking for themselves. As her mind goes back, she realizes she’s a lot closer to answers than he is…

This magnificently hefty, pocket-sized (165 x 216 mm) hardcover then follows that voyage with exquisite detail, relating history, culture, the sights, and most especially the actual, non-screaming headlines, bad-movie images of a young nation with thousands of years of history, architecture and archaeology: a nation that proudly boasts dozens of indigenous cultures living in relative harmony, speaking at least 68 legally recognised languages and constantly being reshaped by political turmoil. Moreover, no traveller should miss this tome, if only for the advice on bugs, minibeasts and illnesses…

Follow Me In is slyly lyrical and enchantingly enticing; a moving and intoxicating graphic assessment of a crucial time in the illustrator’s life, filled with facts, warmth and conflict, offering fascinating data on such varied topic as ‘A Selection of Mexican Foods’, ‘Learning Spanish’, ‘Travel Sketching’, ‘What’s in our Bags?’ and ‘The Conquests’, all equally compelling and useful to know. And through it all, you’ll want to know what happened to our travellers as they transition from kids to grown-ups as much as what they’ll see next in this magnetic story within a story.

Refreshing, redemptive and rewarding, this is a book to chase away all winter blues and existential glums and a reading experience you must not deprive yourself – or your family – of.
© Katriona Chapman 2018. All rights reserved.

Krazy & Ignatz 1939-1940: “A Brick Stuffed with Moom-bims”


By George Herriman, edited by Bill Blackbeard (Fantagraphics Books)
ISBN: 978-1-56097-789-6

Win’s Christmas Gift Recommendation: En Ebsoloot Epitome of Graphic Wundah… 10/10

In a field positively brimming with magnificent and eternally evergreen achievements, the cartoon strip Krazy Kat is – for most cognoscenti – the pinnacle of pictorial narrative innovation; a singular and hugely influential body of work which shaped the early days of the comics industry and elevated itself to the level of a treasure of world literature.

Krazy and Ignatz, as it is dubbed in these gloriously addictive commemorative tomes from Fantagraphics, is a creation which must be appreciated on its own terms. Over the decades the strip developed a unique language – simultaneously visual and verbal – whilst exploring the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding… and without ever offending anybody. Baffled millions, but offended… no.

It did go over the heads and around the hearts of far more than a few, but Krazy Kat was never a strip for dull, slow or unimaginative people: those who simply won’t or can’t appreciate the complex, multi-layered verbal and cartoon whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy that narrative art has ever produced.

Herriman was already a successful cartoonist and journalist in 1913 when a cat and mouse who had been noodling about at the edges of his outrageous domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature. Mildly intoxicating and gently scene-stealing, Krazy Kat subsequently debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913 and – largely by dint of the publishing magnate’s enrapt adoration and overpowering direct influence and interference – gradually and inexorably spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (such as Frank Capra, e.e. Cummings, John Alden Carpenter, Gilbert Seldes, Willem de Kooning, H.L. Mencken and Jack Kerouac) all adored the strip, many local and regional editors did not; taking every potentially career-ending opportunity to drop it from the populace-beguiling comics section.

Eventually the feature found a true home and safe haven in the Arts and Drama section of Hearst’s papers. Protected there by the publisher’s doctrinaire patronage and enhanced with the cachet of enticing colour, the Kat & Ko. flourished unharmed by editorial interference or fleeting fashion, running generally unmolested until Herriman’s death in April 1944.

The saga’s basic premise is simple: Krazy is an effeminate, dreamy, sensitive and romantic feline, hopelessly in love with Ignatz Mouse; a venal everyman, rude, crude, brutal, mendacious and thoroughly scurrilous.

Ignatz is a truly, proudly unreconstructed male: drinking, stealing, fighting, conniving, constantly neglecting his wife and innumerable children and always responding to Krazy’s genteel advances by clobbering the Kat with a well-aimed brick. These he obtains singly or in bulk from noted local brick-maker Kolin Kelly. And by the time of these tales it’s not even a response, except perhaps a conditioned one: the mouse spends all his time, energy and ingenuity in bouncing a brickbat off the mild moggy’s bonce. He can’t help himself, and Krazy’s day is bleak and unfulfilled if the hoped-for assault doesn’t happen…

The smitten kitten always misidentifies (or does he?) these missiles as tokens of equally recondite affection showered upon him in the manner of Cupid’s fabled arrows…

The final crucial element completing an anthropomorphic eternal triangle is lawman Offissa Bull Pupp: completely besotted with Krazy, professionally aware of the Mouse’s true nature, yet hamstrung by his own amorous timidity and sense of honour from permanently removing his devilish rival for the foolish feline’s affections.

Krazy is, of course, blithely oblivious to the perennially “Friend-Zoned” Pupp’s dolorous dilemma…

Secondarily populating the ever-mutable stage are a stunning supporting cast of inspired bit players such as terrifying deliverer of unplanned babies Joe Stork; hobo Bum Bill Bee, unsavoury huckster Don Kiyoti, social climbing busybody Pauline Parrot, portal-packing Door Mouse, self-aggrandizing Walter Cephus Austridge, inscrutable, barely intelligible Chinese mallard Mock Duck, dozy Joe Turtil and a host of other audacious animal crackers all equally capable of stealing the limelight and even supporting their own features.

The exotic, quixotic episodes occur in and around the Painted Desert environs of Coconino (patterned on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, cunningly designed, wildly expressionistic and strongly referencing Navajo art forms whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language: alliterative, phonetically and even onomatopoeically joyous with a compelling musical force (“you sim to be cuttin’ a mellin”, “or “it would be much mo’ betta if it was a pot of momma lade or eppil butta”).

Yet for all that, the adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerily idiosyncratic, astonishingly hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick.

Sometimes Herriman even eschewed his mystical mumblings and arcane argots for the simply sublime grace of a supremely entertaining silent gag in the manner of his beloved Keystone Cops

There’s been a wealth of Krazy Kat collections since the late 1970s when the strip was first rediscovered by a better-educated, open-minded and far more accepting generation. This delirious tome covers all the strips from 1937-1938 in a comfortably hefty (231 x 305 mm) softcover edition – and is also available as a madly mystical digital edition.

Preceded by candid photos and examples of some of Herriman’s personalised gifts and commissions (hand-coloured artworks featuring the cast and settings), the splendid madness is bolstered by Jeet Heer’s superb analysis of production techniques in ‘Kat of a Different Color’ before the jocularity resumes with January 1st 1939 – with the hues provided by professional separators rather than Herriman.

Within this jubilant journal of passions thwarted, the torrid triangular drama plays out as winningly as ever, but with a subtle shifting of emphasis as an old face gains far greater presence and impact whilst the one significant new face seems to be a scene-stealing rival for our fuzzy feline ingenue…

The usual parade of hucksters and conmen continue to feature, but the eternally triangular confusions and contusions – although still a constant – are not the satisfying punchlines they used to be, but rather provide a comforting continuity as the world subtly changes around the cast…

As well as frequent incarceration, Ignatz endures numerous forms of exile and social confinement, but with Krazy aiding and abetting, these sanctions seldom result in a reduction of cerebral contusions… a minor plague of travelling conjurors and unemployed magician also make life hard for the hard-pressed constabulary… which is expanding in personnel, if not wisdom…

Never long daunted, Bull Pupp indulges in a raft of home-away-from home improvements, and introduces mechanised, radiophonic and robotic policing, and sundry innovations in incarceration architecture…

As always, the mouse’s continual search for his ammunition of choice leads to many brick-based gags but now the mouse is often the receiver of painful retribution. His brief preoccupation with hornet’s nests ultimately proves to be a painful dead end though…

Of course, the mouse is a man who enjoys revenge served hot, cold or late…

A flurry of telescope buying adds an of nosy edge of conspiracy to proceedings, with spying as big a hobby for all citizens as stargazing and gossip used to be. At least, the traditional fishing, water sports, driving and the parlous and participatory state of the burgeoning local theatre scene remain hot topics in town…

And, welcomingly as ever, there is still a solid dependence on the strange landscapes and eccentric flora for humorous inspiration and all manner of weather and terrain play a large part in inducing anxiety, bewilderment and hilarity.

A big shift in status comes to old busybody Mrs Kwakk Wakk as she assumes a role akin to wise old crone and sarcastic Greek Chorus; upping her status from bit-player to full-on supporting cast. She has a mean and spiteful beak on her too…

The big change comes on July 7th 1940. Pupp is startled to see Ignatz going back to school and thinks it’s so he can ambush the Kat. That’s until he too meets the new teacher. Miss Mimi is French…

Soon class attendance is at record levels and the males are all making komplete fools of themselves…

This antepenultimate collection is again supplied with an erudite and instructional ‘Ignatz Mouse Debaffler Page’, providing pertinent facts, snippets of contextual history and necessary notes for the young and potentially perplexed.

Herriman’s epochal classic is a stupendous and gleeful monument to whimsy: in all the arenas of Art and Literature there has never been anything like these strips which have inspired comics creators and auteurs in fields as disparate as prose fiction, film, dance, animation and music, whilst fulfilling its basic function: engendering delight and delectation in generations of wonder-starved fans.

If, however, you are one of Them and not Us, or if you actually haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon carefully thrown together by George Herriman from the dawn of the 20th century until the dog days of World War II, this astounding compendium is a most accessible way to do so.
© 2007, 2015 Fantagraphics Books. All rights reserved.

Black Dahlia


By Rick Geary (NBM)
ISBN: 978-1-68112-178-9

Win’s Christmas Gift Recommendation: Thrills and Chills for the Holiday Leisure Season… 9/10

Sometimes you just can’t get enough of a good thing. I’ve never wavered in my admiration for the work of Rick Geary and having two of his best both back in time for Christmas is splendid thinking on the part of publisher NBM.

First read our review of The Terrible Axe-Man of New Orleans from last week for the usual peroration and guidance. then hunker down here for a briefing on one of the most infamous and culturally significant unsolved murder mysteries in American – if not world – history.

Geary’s unique gifts have never been better utilised than here in this graphic reprise and documentary deconstruction from his ongoing series Treasury of XXth Century Murder: focusing on the Noir-informed, post-war scandal of Elizabeth Short: forever immortalised as the Black Dahlia

Delivered as always in stark, uncompromising monochrome (in luxurious collectors’ hardback, accessible eBook or this welcome new paperback edition), his deliberations diligently sift fact from mythology to detail one of the most appalling murders in modern history.

Opening with the traditional bibliography of sources and detailed maps of Downtown Los Angeles, Hollywood Boulevard (1944-1946) and the body-dump site, Geary diligently unpicks fact from surmise, clue from guesswork beginning with ‘Part One: The Vacant Lot’. Los Angeles California, 1947; on January 15th at around ten o’clock a mother pushes her baby’s stroller past open ground in Downtown’s Leimert Park neighbourhood. When she spots the two halves of a discarded mannikin lying in the grass, something makes her look again…

Soon the scene is a hotbed of activity, with cops (the notoriously corrupt LAPD of Police Chief Clemence B. Horrall) and headline-hungry reporters racing each other to glean facts and credit in a truly sensational killing. After a botched beginning, proper forensic procedure identifies the posed and much-mutilated victim and a call goes out to Medford, Massachusetts. Sadly, the distraught mother is talking to a canny, scruples-shy reporter rather than a police representative…

The history of the victim is deftly précised in ‘Part Two: The Life of Elizabeth Short’ describing a small-town girl from a broken home, gripped by big dreams, a penchant for men in uniform and unverifiable morals…

Flighty, with connections to notable underworld characters and night clubs, Elizabeth has a gift for finding Samaritans to help her out, but as detailed in ‘Part Three: Her Last Days’, with unspecified trouble following her, she walks out of the Biltmore Hotel at 10:PM on January 9th 1947. No one ever sees her again, except presumably her killer…

With attention-seekers of every type climbing on the bandwagon, ‘Part IV: The Investigation’ relates how Captain Jack Donahoe of Central Homicide employs 700 LAPD officers, 400 County Sheriff’s deputies, hundreds of other law-enforcement professionals and even private detectives to trace and interview the hundreds of men connected with Short. In the end there are 150 suspects but not one arrest and despite building a solid picture, he achieves nothing substantive. The case gets even further muddied and sensationalised when – just as public interest is waning – a series of anonymous letters and some of her personal possessions are sent to the press by someone claiming to be the killer…

Of course, those articles and knick-knacks might have already been in journalists’ possession from the first moment they identified her, long before the LAPD did…

The case remains active for years until it’s subsumed in and sidelined by a city-wide gang-war and resultant house-cleaning of corrupt cops in 1949. ‘Part V: Wrap-Up’ details prevailing theories – such as the fact that Short’s death might be part of a string of serial killings the police never connected together, or that she was linked to city officials with the case subsequently covered up from on high. Many more false trails and dead-end leads have come and gone in the decades since. The Black Dahlia murder remains unsolved and the LAPD case files have never been made public.

These grisly events in the tainted paradise of Tinseltown captivated public attention and became part of Hollywood’s tawdry mythology. The killing spawned movies, books and TV episodes, and one tangible result. In February 1947 Republican State Assemblyman C. Don Field responded to the case by proposing a state-wide Registry of Sex Offenders – the first in America’s history. The law was passed before the year ended.

Rick Geary is a unique talent not simply because of his manner of drawing but because of the subject matter and methodology employed in telling his tales. He thrives on hard facts, but devotes time and space to all theories and even contemporary minutiae with absorbing pictorial precision, captivating clarity and devastating dry wit, re-examining each case with a force and power Sherlock Holmes would envy.

He teaches with chilling graphic precision, captivating clarity and devastating dry wit, a perfect exemplar of how graphic narrative can be so much more than simple fantasy entertainment. This merrily morbid series of murder masterpieces should be mandatory reading for all comic fans, mystery addicts and crime collectors.
© 2010 Rick Geary. All Rights Reserved.

Black Dahlia will be published on December 15th 2018 and is available for pre-order now. For more information and other great reads see http://www.nbmpub.com/