By Edgar P. Jacobs, coloured by Philippe Biermé & Luce Daniels translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-148-8
Belgian Edgard Félix Pierre Jacobs (1904-1987) is rightly considered one of the founding fathers of the Continental comics industry. Although his output is relatively meagre when compared to some of his contemporaries, the iconic series he worked on formed the basis and backbone of the art-form in Europe, and his splendidly adroit, roguish and impeccably British adventurers Blake and Mortimer, created for the first issue of Le Journal de Tintin in 1946, swiftly became a staple of post-war European kids’ life the way Dan Dare would in Britain in the 1950s.
Edgar P. Jacobs was born in Brussels, a precocious child who began feverishly drawing from an early age but was even more obsessed with music and the performing arts – especially opera. He attended a commercial school but, determined never to work in an office, pursued art and drama following graduation in 1919.
A succession of odd jobs at opera-houses – scene-painting, set decoration, working as an acting and singing extra – supplanted his private performance studies, and in 1929 Jacobs won an award from the Government for classical singing. His proposed career as an opera singer was thwarted by the Great Depression, however, as the arts took a nosedive following the global stock market crash.
Picking up whatever stage work was going, including singing and performing, Jacobs switched to commercial illustration in 1940. Regular employment came from the magazine Bravo; as well as illustrating short stories and novels, he famously took over the syndicated Flash Gordon strip, after the occupying German authorities banned Alex Raymond’s quintessentially All-American Hero and left the publishers desperately seeking someone to satisfactorily complete the saga.
Jacob’s ‘Stormer Gordon’ lasted less than a month before being similarly sanctioned by the Nazis, after which Jacobs created his own epic science-fantasy feature in the legendary Le Rayon U, a milestone in both Belgian comics and science fiction adventure.
The U Ray was a huge hit in 1943 and scored big all over again a generation later when Jacobs reformatted the original “text-block and picture†material to incorporate speech balloons and re-ran the series in Tintin with subsequent releases as a trio of graphic albums in 1974.
I’ve read differing accounts of how Jacobs and Tintin creator Hergé got together – and why they parted ways professionally, if not socially – but as to the whys and wherefores of the split I frankly don’t care. What is known is this: whilst creating the weekly U Ray, one of Jacob’s other jobs was scene-painting, and during the staging of a theatrical version of Tintin and the Cigars of the Pharaoh Hergé and Jacobs met and became friends. If the comics maestro was unaware of Jacob’s comics output before then he was certainly made aware of it soon after.
Jacobs began working on Tintin, colouring the original black and white strips of The Shooting Star from newspaper Le Soir for a forthcoming album collection. By 1944 he was performing a similar role on Tintin in the Congo, Tintin in America, King Ottokar’s Sceptre and The Blue Lotus. By now he was also contributing to the illustration as well, on the extended epic The Seven Crystal Balls/Prisoners of the Sun.
Jacob’s love of opera made it into the feature as Hergé (who loathed the stuff) teasingly created the bombastic Bianca Castafiore as a comedy foil and based a number of bit players (such as Jacobini in The Calculus Affair) on his long-suffering assistant.
After the war and liberation, publisher Raymond Leblanc convinced Hergé, Jacobs and a number of other creatives to work for his new venture. Launching publishing house Le Lombard, he also started Le Journal de Tintin, an anthology comic with editions in Belgium, France and Holland edited by Hergé, starring the intrepid boy reporter and a host of newer heroes.
Beside Hergé, Jacobs and writer Jacques van Melkebeke, the comic featured Paul Cuvelier’s ‘Corentin’ and Jacques Laudy’s ‘The Legend of the Four Aymon Brothers’. Laudy had been a friend of Jacobs’ since they worked together on Bravo, and the first instalment of the epic thriller serial ‘Le secret de l’Espadon’ starred a bluff, gruff British scientist and an English Military Intelligence officer (closely modelled on Laudy): Professor Philip Mortimer and Captain Francis Blake…
The initial storyline ran from issue #1 (26th September 1946 to 8th September 1949) and cemented Jacobs’ status as a star in his own right. In 1950, with the first 18 pages slightly redrawn, Le secret de l’espladon V1 (The Secret of the Swordfish) became Le Lombard’s first album release; with the concluding part published three years later. These volumes were reprinted nine more times between 1955 and 1982, with an additional single complete deluxe edition released in 1964.
In 1984 the story was reformatted and repackaged in English translation as three volumes with additional material (mostly covers from the weekly Tintin added to the story as splash pages) as part of a European push to win some of the lucrative Tintin and Asterix market here, but failed to find an audience and ended after seven volumes. Now happily Cinebook has released the tale – albeit after publishing the later adventures first…
Hergé and Jacobs purportedly suffered a split in 1947 when the former refused to grant the latter a by-line on new Tintin material, but since the two remained friends for life and Jacob’s continued to produce Blake and Mortimer for the Belgian weekly, I think it’s fair to say that if such was the case it was a pretty minor spat.
I rather suspect that The Secret of the Swordfish was simply taking up more and more of the brilliant, diligent artist’s time and attention…
The U Ray also provided early visual inspiration for Blake, Mortimer and implacable nemesis Colonel Olrik, who bear a more than passing resemblance to the heroic Lord Calder, Norlandian boffin Marduk and viperous villain Dagon from that still lauded masterwork – one also well overdue for translation…
One minor word of warning: by having the overarching enemies of mankind be a secret Asiatic “Yellow Peril†empire of evil, there’s some potential for offence – unless one actually reads the text and finds that the assumed racism is countered throughout by an equal amount of “good†ethnic people and “evil†white folk…
The incredible journey begins with ‘The Incredible Chase’ as a secret army in the Himalayas prepares to launch a global Blitzkrieg on a world only slowly recovering from its second planetary war. The wicked Basam Damdu, Emperor of Tibet, has assembled an arsenal of technological super-weapons and the world’s worst rogues such as the insidious Colonel Olrik in a bid to seize control of the entire Earth.
However a bold British-Asian spy has infiltrated the hidden fortress and surrenders his life to get off a warning message…
In England, physicist and engineer Philip Mortimer and MI5 Captain Francis Blake discuss the worsening situation at an industrial installation where the boffin’s radical new aircraft engine is being constructed. When the warning comes that the war begins that night, the old friends swing into immediate action…
As the super-bombers rain destruction down on all the world’s cities, Mortimer’s dedicated team prepares his own prototype, the Golden Rocket, for immediate launch, taking off just as Olrik’s bombers appear over the desolate complex. Despite heavy fire, the Rocket easily outdistances the rapacious Imperial forces, leaving ruined homes in its wake as the fleeing Britons fly into a hostile world now brutally controlled by Basam Damdu…
Whilst seeking to join British Middle East resistance forces who have another prototype super-plane, teething troubles and combat damage create tense moments in the fugitives’ flight. When the Rocket is attacked by a flight of jets the test ship’s superior firepower enables it to fight free but only at the cost of more structural deterioration. Failing now, the Rocket goes down in the rocky wilds between Iran and Afghanistan. Parachuting free of the doomed Rocket, Blake, Mortimer and the crew are machine-gunned by pursuing Empire jets and only three men make it to the ground safely…
After days of struggle Blake, Mortimer and the indomitable Jim are cornered by Iranian troops who have joined Olrik’s forces. Sensing disaster, the Britons hide the plans to Mortimer’s super plane but one of the Iranians sees the furtive act. When no one is looking – even his superiors – Lieutenant Ismail hurriedly scoops up the documents but misses one…
Under lock and key and awaiting Olrik’s arrival, the prisoners are accosted by Ismail, who sees an opportunity for personal advancement which the Englishmen turn to their own advantage. Denouncing him to his superiors, Blake instigates a savage fight between Ismail and his Captain. During the brief struggle Jim sacrifices himself, allowing Blake and Mortimer to escape with the recovered plans. Stealing a lorry, the desperate duo drive out into the dark desert night…
Followed by tanks into the mountain passes, the ingenious pair trap their pursuers in a ravine just as hill partisans attack. The Imperial collaborators are wiped out and, after exchanging information with the freedom fighters, the Englishmen take one of the captured vehicles and head to a distant rendezvous with the second Rocket, but lack of fuel forces them to stop at a supply dump where they are quickly discovered.
By setting the dump ablaze the heroes escape again, but in the desert Olrik has arrived and found the sheet of notes left behind by Ismail. The cunning villain is instantly aware of what it means…
Fighting off aerial assaults from Empire jets and streaking for the mountains, Blake and Mortimer abandon their tank and are forced to travel on foot until they reach the meeting point where a British-trained native Sergeant Ahmed Nasir is waiting for them. The loyal Indian served with Blake during the last war and is delighted to see him again, but as the trio make their way to the target site they become aware that Olrik has already found it and captured their last hope…
Only temporarily disheartened, the trio use commando tactics to infiltrate Olrik’s camp, stealing not the heavily guarded prototype but the villainous Colonel’s own Red-Wing super-jet. Back on course to the British resistance forces, the seemingly-cursed trio are promptly shot down by friendly fire: rebels perceiving the stolen plane as just another enemy target…
Surviving this crash too, the trio are ferried in relative safety by the apologetic tribesmen to the enemy-occupied town of Turbat, but whilst there a spy of the Empire-appointed Wazir recognises Blake and Mortimer. When Nasir realises they are in trouble he dashes to the rescue but is too late to prevent Mortimer from being drugged.
Sending the loyal Sergeant on ahead Blake tries frantically to revive his comrade, even as Imperial troopers rapidly mount the stairs to their exposed upper room…
To Be Continued…
Gripping and fantastic in the best tradition of pulp sci-fi and Boy’s Own Adventures, Blake and Mortimer are the very epitome of True Brit grit and determination, always delivering grand old-fashioned Blood and Thunder thrills and spills in timeless fashion and with staggering visual verve and dash. Despite the high body count and dated milieu, any kid able to suspend modern mores and cultural disbelief (call it alternate earth history if you want) will experience the adventure of their lives… and so will their children.
This Cinebook edition also includes a tantalising preview of the next volume as well as stand alone adventure The Yellow “Mâ€, plus a biography feature which offers a chronological publication chart and publishing order of the Cinebook release dates.
Original editions © Editions Blake & Mortimer/Studio Jacobs (Dargaud – Lombard S.A.) 1984 by E.P. Jacobs. All rights reserved. English translation © 2012 Cinebook Ltd.