Roy Crane’s Captain Easy, Soldier of Fortune: The Complete Sunday Newspaper Strips volume 1


By Roy Crane (Fantagraphics Books)
ISBN: 978-1-60699-161-9

Modern comics evolved from newspaper comic strips, and these pictorial features were until relatively recently utterly ubiquitous and hugely popular with the public – and highly valued by publishers who used them as an irresistible sales weapon to guarantee and increase circulation and profits.

It’s virtually impossible for us to today to understand the overwhelming power of the comic strip in America (and the wider world) from the Great Depression to the end of World War II. With no television, broadcast radio far from universal and movie shows at best a weekly treat for most folk, household entertainment was mostly derived from the comic sections of daily and especially Sunday Newspapers. “The Funnies” were the most common recreation for millions who were well served by a fantastic variety and incredible quality.

From the very start humour was paramount; hence the terms “Funnies” and “Comics”, and from these gag and stunt beginnings – a blend of silent movie slapstick, outrageous fantasy and the vaudeville shows – came a thoroughly entertaining mutant hybrid: Roy Crane’s Wash Tubbs.

Debuting on April 21st 1924 Washington Tubbs II was a comedic gag-a-day strip not much different from family favourite Harold Teen (by Crane’s friend and contemporary Carl Ed). Tubbs was a diminutive, ambitious young shop clerk when it began in 1924, but gradually the strip moved into mock-heroics, then through light action to become a full-blown, light-hearted, rip-roaring adventure series with the introduction of ancestral he-man and prototype moody swashbuckler Captain Easy in the landmark episode for 6th May, 1929.

As the tales became more exotic and thrill-packed the globe-trotting little dynamo clearly needed a sidekick who could believably handle the combat side of things, and thus in the middle of a European war Tubbs liberated a mysterious fellow American from a jail cell and history was made. Before long the mismatched pair were travelling companions, hunting treasure, fighting thugs and rescuing a bevy of startlingly comely maidens in distress…

The two-fisted, bluff, completely capable and utterly dependable, down-on-his-luck “Southern Gentleman” was something not seen before in comics, a raw, square-jawed hunk played straight rather than the buffoon or music hall foil of such classic serials as Hairsbreadth Harry or Desperate Desmond. Moreover Crane’s seductively simple blend of cartoon exuberance and design was a far more accessible and powerful medium for action story-telling than the somewhat static illustrative style favoured by artists like Hal Foster: just beginning to make waves on the new Tarzan Sunday page.

Tubbs and Easy were as exotic and thrilling as the Ape Man but rattled along like the tempestuous Popeye, full of vim, vigour and vinegar, as attested to by a close look at the early work of the would-be cartoonists who followed the strip with avid intensity: Floyd Gottfredson, Milton Caniff, Jack Kirby, Will Eisner and especially young Joe Shuster…

After a couple of abortive attempts starring his little hero, Crane bowed to the inevitable and created a full colour Sunday page dedicated to his increasingly popular hero-for-hire. Captain Easy debuted on 30th July 1933, in wild and woolly escapades set before his fateful meeting with Tubbs,

This first volume begins with the soldier of fortune undertaking a mercenary mission for the Chinese government to spy on the city of ‘Gungshi.’ In the heyday of popular exploration and aviator exploits the bold solo flight over the Himalayas to Chinese Turkestan was stirring enough but when Easy infiltrated the hidden citadel it heralded the beginning of a rollercoaster romp with sword wielding Mongols, sultry Houris, helpless dancing girls, fabulous beasts and wicked bandits: captivating entire families across the planet, week after addictive week.

With an entire page and vibrant colours to play with, Crane’s imagination ran wild and his fabulous visual concoctions achieved a timeless immediacy that made each page a unified piece of sequential art. The effect of the pages can be seen in so many strips since especially the works of such near-contemporaries as Hergé and giants in waiting like Charles Schulz.

These pages were a clearly as much of joy to create as to read. In fact, the cited reason for Crane surrendering the Sunday strip to his assistant Les turner in 1937 was the NEA Syndicate abruptly demanding that all its strips be henceforward produced in a rigid panel-structure to facilitate them being cut up and re-pasted as local editors dictated. Crane just walked away, concentrating on the daily feature. In 1943 he left the Syndicate to create the pilot strip Buz Sawyer.

At the end of the blockbuster epic Easy is a hero to the people of Gungshi, if not the aristocracy, who plot to oust him via the subtlest of means. The second adventure ‘The Slave Girl’ began on 21st January 1934, and found the occidental hero bankrupted to save the beautiful Rose Petal from the auction block, a chivalrous gesture that led to war with the rival city of Kashno, and a brutally hilarious encounter with South Sea pirates…

In an era where ethic stereotyping and casual racism were acceptable if not mandatory, the introduction of a vile and unscrupulous yank as the exploitative villain was and is a surprising delight. Rambling Jack is every inch the ugly, greedy American and by contrasting Easy’s wholesome quest to make his fortune with the venal explorer’s rapacious ruthlessness, Crane makes a telling point for the folks back home. It also makes for great reading as Chinese bandits also enter the fray, determined to plunder both cities and everybody in-between…

With the help of a lost British aviator Easy is finally victorious, but on returning to his Chinese employers he spots something whilst flying over the Himalayas that radically alters his plans…

‘The Sunken City’ is an early masterpiece of pictorial fiction, as Easy recruits comedy stooge ‘arry Pippy, a demobbed cockney British Army cook, to help him explore a drowned city he had spotted from the air, lost for centuries in a hidden inland sea. However, simply to get there the pair must trek through wild jungles where they encounter blowpipe-wielding cannibals and the greatest threat the valiant rogue has ever faced…

If I’ve given the impression that this has all been grim and gritty turmoil and drama thus far, please forgive me: Roy Crane was a superbly irrepressible gag-man and this enchanting serial abounds with breezy light-hearted banter, hilarious situations and outright farce – a sure-fire formula modern cinema directors plunder to this day. Easy is the Indiana Jones, Flynn (the Librarian) Carsen and Jack (Romancing the Stone) Cotton of his day and clearly blazed a trail for all of them.

Using a deep sea diver’s suit the pair explore the piscine wonders and submerged grandeur of the lost city, encountering some of the most magical and fanciful sea beasts ever recorded in comics before literally striking gold, but when the cannibals attack their treasures are lost and Easy finds himself captive and betrothed to the most hideous witch hag imaginable…

Risking everything the desperate treasure-seekers make a break for it only to re-encounter ‘The Pirates’ (April 14th -July 7th 1935), but before they get too far the husband-hungry witch and her faithful cannibals come after him, leading to a brutal, murderous conclusion.

After years in the Orient Easy and Pippy have a hankering for less dangerous company and make their way to Constantinople and Europe, but trouble was never far from the mercenary and in ‘The Princess’ (14th July – December 1st 1935) his gentlemanly instincts compel him to rescue a beautiful woman from the unwelcome attentions of munitions magnate Count Heyloff, a gesture that embroiled the Captain in a manufactured war between two small nations.

This tale clearly addressed the contemporary American sentiment that another world conflict was brewing and it’s obvious that Crane’s opinion was the deeply held common conviction that the whole international unrest was the result of rich men’s greedy manipulations…

Dark, bittersweet and painfully foreboding this yarn sees Easy become the target of Heyloff’s vengeance and the entire air force for the tiny underdog nation of Nikkateena in their bitter struggle for survival against the equally-duped country of Woopsydasia. Crane kept the combat chronicle light but on occasion his true feelings showed through in some of the most trenchant anti-war art ever seen.

This superb hardback and colossal initial collection is the perfect means of discovering or rediscovering Crane’s rip-snorting, pulse-pounding, exotically racy adventure trailblazer. The huge pages in this volume (almost 14 ½ by 10½ inches or 21x14cm for the younger, metric crowd) also contain a fascinating and informative introductory biography of Crane by historian Jeet Heer, a glowing testimonial from Charles “Peanuts” Schulz, contemporary promotional material, extra drawings and sketches and a fascinating feature explaining how pages were coloured in those long-ago days before computers…

This is comics storytelling of the very highest quality: unforgettable, spectacular and utterly irresistible. These tales rank alongside her best of Hergé, Tezuka and Kirby and led irrefutably to the creations of all of them. Now that you have the chance to experience the strips that inspired the giants of our art form, how can you possibly resist?

Captain Easy Strips © 2010 United Features Syndicate, Inc. This edition © 2010 Fantagraphics Books, all other material © the respective copyright holders. All rights reserved.

The Great Anti-War Cartoons


Edited by Craig Yoe (Fantagraphics Books)
ISBN: 978-1-60699-150-3

You’ll hear a lot about the pen being mightier than the sword regarding this book, but sadly it’s just not true. Nothing stops determined governments, outraged religions and greedy rich bastards from sending the young and idealistic to their mass-produced deaths, especially those innocents who have any modicum of patriotism or sense of adventure.

Our own current situation proves that mankind is always far too ready to take up arms, and far too resistant to giving peace a chance, especially when a well-oiled publicity machine and mass unemployment gang up on the man and woman in the street. We’re all susceptible to the power of a marching beat played on fife and drum…

At least here among these 220 plus cartoons we see that rationalism or conscientious objectivity or pacifism or even self-interested isolationism are as versed in seductive arts as the power and passion of jingoism and war-fever.

All art, but most especially cartooning, has the power to bore deep into the soul, just as James Montgomery Flagg’s iconic Uncle Sam poster “Your Country Needs You” so effectively did to millions of young Americans during the Great War. How satisfying then to see his is the very first anti-war cartoon in this incredible collection of images focusing on the impassioned pleas of creators trying to avoid or at least reduce bloodshed.

The Great Anti-War Cartoons gathers a multitude of incredibly moving, thought-provoking, terrifying, but, I’m gutted to say, ultimately ineffective warnings, scoldings and pleas that may have moved millions of people, but never stopped or even gave pause to one single conflict.

The editors have divided these unforgettable pictures into a broad variety of categories and I should make it clear that not all the reasons for their creation were necessarily pacifistic: some of the most evocative drawings here are from creators who didn’t think War is Bad per se, but rather felt that the clash in question was none of their homeland’s business.

However with such chapters as Planet War, Man’s Inhumanity to Man, The Gods of War, Profiteers, Recruitment and Conscription, The Brass, The Grunts, Weapons of War, The Battle Rages On, The Long March, Famine, The Anthems of War, The Horrors of War, The Suffering, The Families and Children of War, The Aftermath, Victory Celebration, Medals, Disarmament, Resistance and Peace we see immensely talented people of varying beliefs respond on their own unique terms to organised slaughter, and for every tut-tut of the stay-at-homers there are a dozen from genuinely desperate and appalled artists who just want the horror to end.

With incisive examinations of shared symbology and recurring themes these black and white penmen have used their brains and talents in their strivings to win their point (there is also a fascinating section highlighting the impact and energy of the Colors of War) but the most intriguing aspect of this superb collection is the sheer renown and worth of the contributors. Among the 119 artists include (120 if you count Syd Hoff and his nom-de-plume “Redfield” as two separate artists) are Sir John Tenniel, Caran d’Ache, Bruce Bairnsfather, Herbert Block, Pieter Bruegel the Elder, Ron Cobb, “Ding” Darling, Billy DeBeck, Jerry Robinson, Albrecht Dürer, Art Spiegelman, Robert Crumb, Rube Goldberg, Honore Daumier, Goya, George Grosz, Bill Mauldin, Gerald Scarfe, Ralph Steadman, Thomas Nast and most especially the incredibly driven Winsor McCay, (I’ve scandalously assumed that many of the older European draughtsmen won’t be that well known, despite their works being some of the most harrowing) and their efforts, although perhaps wasted on people willing to listen to reason anyway, are cruel and beautiful enough to make old cynics like me believe that this time, this time, somebody in power will actually do something to stop the madness.

A harsh and lovely book: buy it in the hope that one day Peace will be the Final Solution.

The Great Anti-War Cartoons and the digitally remastered public domain material are © 2009 Gussoni-Yoe Studio, Inc. All rights reserved.

E.C. Segar’s Popeye volume 4: Plunder Island


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-60699-169-5

There is more than one Popeye. If your first thought when you hear the name is the cheerful, indomitable sailor in full Naval whites always fighting a hulking great beardy-bloke and mainlining tinned spinach, that’s okay: The Fleischer Studios and Famous Films animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into the newspaper strip Thimble Theatre and simple wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure.

In the less than ten years Elzie Crisler Segar worked with Popeye, (from 17th January 19 1929, until the creator’s untimely death on 13th October 1938) he built an incredible meta-world of fabulous lands and locations, where unique characters undertook fantastic voyages and experienced big thrills as well as the small human dramas we’re all subject to: a saga both extraordinary and mundane, which could be hilarious or terrifying and was often both at the same time. For every trip to the rip-roaring Wild West or sunken kingdom there was a brawl between squabbling neighbours, spats between friends or disagreements between sweethearts – any and all usually settled with mightily swung fists.

Popeye is the first Superman of comics, but he was not a comfortable hero to idolise. A brute who thought with his fists and didn’t respect authority; uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him), a gambler and troublemaker, he wasn’t welcome in polite society…and he wouldn’t want to be. The sailor-man is the ultimate working class hero: raw and rough-hewn, practical, with an innate and unshakable sense of what’s fair and what’s not, a joker who wants kids to be themselves but not necessarily “good” and a man who takes no guff from anyone; always ready to defend the weak and with absolutely no pretensions or aspirations to rise above his fellows. He was and will always be “the best of us”…

With this fourth magnificent hardcover collection of Segar’s comic masterpiece the Sunday Colour pages take precedence as for the first time ever his magnum opus ‘Plunder Island’ is reprinted in its full, unexpurgated totality. The selection here covers the period December 3rd 1933 to April 7th 1935, and the epitome of stirring sea-sagas takes up the first six months of that time (ending with the July15th 1934 installment). It all kicks off when Popeye’s old shipmate Salty Bill Barnacle invites him to go adventuring in search of fabled Plunder Island, land of stolen treasure, little suspecting that the ghastly Sea Hag has returned. With her new gang of deadly henchmen, including brutal Mister Skom and the monstrous Goon she kidnaps Professor Cringly – the aged scholar who knows the lost island’s location, and Popeye’s latest voyage is seemingly over before it has begun….

Gathering a bunch of decidedly dubious Argonauts, including Wimpy, Rough-house, Geezil, and private cop G.B. Gritmore, Olive, Salty Bill and Popeye swiftly gave chase, but all seems hopeless until the Witch of the Seas makes her big mistake. She sends the Goon to take hostages, and when the beast returns with the indomitable Popeye and an inexplicably irresistible Wimpy, the latter’s heretofore unsuspected attractions promptly turns the gruesome heads of both the Hag and her Goon (who is apparently a rather decent – if homely – lady named Alice…)

Roller-Coaster adventure and riotous comedy have never been better blended than in this tale, but even when the victorious crew finally returned home the fun didn’t stop. Next we see the bitter aftermath and how the various heroes dispose of or lose the fabulous wealth they’ve won. Wimpy, for example, simply and rapidly eats his way through most of his, whilst Popeye once again gives his away, prompting his return to the world of extreme prize-fighting…

Baby Swee’pea made his Sunday debut on 28th October 1934 (after being introduced in a riotous sequence in the daily strip: see E.C. Segar’s Popeye volume 3: “Let’s You and Him Fight”), becoming the focus of many outrageous gags once Popeye, Wimpy and Olive Oyl returned to their slapstick shtick, allowing the audience to decompress before the next big story…

The Sappo topper strip became even more imaginative in this period with Professor O.G. Wotasnozzle’s mad science exploits leading to ever crazier results and the regular breaking of the “fourth wall”. For the unprepared this was a strip that could regularly make your brain as well as your sides split…

The added extra feature ‘Funny Films’ (dioramic scenes through which continuous strips of cartooned “filmstrips” could be moved to create a home cinema) eventually gave way to the fascinatingly informative and entertaining ‘Popeye’s Cartoon Club’ which provided tips and encouragement to budding artists – and Segar’s approach and advice is as sound today as it ever was…

Just because he was setting the world alight with his innovative Sunday adventure serials and complete gag strips is no reason to suppose his daily feature suffered. In fact the breakneck pace seemed to inspire Segar, as in short order Popeye and his ever-expanding cast of clowns and reprobates rollicked through a memorable run of captivating tales.

The black and white dailies section here covers 11th December 1933 to 24th July 1934, and begins with the sailor-man moving to Puddleburg ‘The Laziest Town on Earth’ to run their local newspaper, accompanied by Swee’pea, Olive and Wimpy; giving the self-deprecating and wickedly trenchant Segar an opportunity to lampoon himself and his profession with the creation of B. Loony Bullony: World Famous Cartoonist…

When Olive inherits twenty million dollars, her marital prospects increase dramatically, but since one of the most ardent converts to her previously well-hidden charms is Mr. J. Wellington Wimpy, she soon realises that money isn’t everything in ‘Romances and Riches’ – especially after Popeye rescues debutante June Vanripple from drowning and becomes the unwilling toast of the “Sassiety Crowd”

This extended morality play on the evils and travails of wealth contains some of the funniest screwball comedy set-pieces of the entire 1930s (books, movies, strips, everything!) with such memorable moments as Popeye in drag (particularly a rather fetching ladies’ swimsuit), the elder Vanripple and the sailor in a wild-oat sowing contest and Olive as a singing, dancing movie star – complete with fake million dollar legs…

Another classic and beloved sequence is ‘Unifruit or White Savages’ where the shock of losing her loot sends Olive into the convulsive shock syndrome of Aspenitis and the cure is a therapeutic berry that only grows on the wacky island of Nazilia, deep in the territory of a lost tribe of hulking man-beasts…

The frantic antics and comedy continue when June and Mr. Vanripple ask Popeye to go west and crush the cowboy bandits plundering their gold mines in ‘Black Valley’ (and if you think drag is outrageous, check out Popeye in a tutu as a saloon dance-girl).

Fair warning though: this was an era where casual racial stereotyping was considered completely acceptable and a key part of cartooning. Segar sinned far less than most: his style was far more character-specific, and his personal delight was playing with accents and how folk spoke. George W. Geezil wasn’t merely a cheap Jewish stock figure of fun, but as fully rounded as any one of nearly fifty supporting cast members could be within the constrictions of page and panel count.

In ‘Black Valley’ Castor Oyl has a Negro manservant called Eclipse, who, although superficially little different in speech pattern and appearance from less-enlightened cartoonists’ portrayal of coloured people, played an active – if brief – role in proceedings. He wasn’t there for cheap easy laughs, but even so its clear Segar wasn’t comfortable with him and he wasn’t a permanent addition. He may be quite disquieting to you and I, but please try and recall the tone of the times and – even though there’s still a whole lot of prejudice still to be dealt with today – just how far we’ve come…

The old salt’s greatest “emeny” returned in another bombastic fantasy romp entitled ‘The Sea Hag’s Sister or The Pool of Youth’, wherein the vile villainess, her scurvy band of cutthroats and Alice the Goon tried to wrest control of a literal fountain of youth from her own sister and a 20, 000 year-old caveman, Toar. Unfortunately Popeye, Castor, Olive and Wimpy found themselves caught in the crossfire…

One less than wonderful “treat” can be experienced at the end of this volume: one that tormented the kids of all ages addicted to Popeye eighty years ago. ‘Popeye’s Ark’ was another spectacular six-month long adventure, wherein the sailorman decided to emulate the Biblical mariner who built “Nora’s Ark” and sail the seas in a giant vessel filled with beasts until he found the promised land of “Spinachova”. Sadly we all get to “enjoy” cliffhanging tension until the next installment as this sequence ends 12 weeks into the saga. Oh, the unrelenting tension of it all…

There is more than one Popeye: most of them are pretty good and some are truly excellent. Elzie Crisler Segar’s comic strip masterpiece features the very best of them all and you’d be crazy to deny it… or miss him.

© 2008 Fantagraphics Books Inc. All comics and drawings © 2008 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 3: “Let’s You and Him Fight!”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-962-3

There are relatively few comic characters that have entered world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech-impediment is possibly the most well known of that select bunch. Elzie Crisler Segar had been producing the Thimble Theatre daily newspaper strip since December 19th, 1919, but when he introduced a coarse, brusque “sailor man” into the ever-unfolding adventures of Castor Oyl and Ham Gravy on January 17th 1929 nobody suspected the heights that walk-on would reach.

This third magnificent collection of Segar’s immortal – certainly unkillable – clay-footed reprobate reproduces one spectacular groundbreaking epic after another as the artist, in a whirlwind of creative inspiration, took the daily strip to new heights of cliffhanging thrills and absurdity, whilst building unique and jovial character studies with the more humorous Sunday pages, generally set in the generic small seaside town of Sweethaven.

Following another erudite essay by Comics historian Donald Phelps the daily delights (stretching from June 9th 1932 to December 9th 1933) begin with a rip-snorting mystery thriller full of action, tension, scares and laughs featuring a large portion of Thimble Theatre’s extensive cast. ‘The Eighth Sea’ finds Popeye, Castor, Olive, King Blozo of Nazilia and his idiot retainer Oscar all following the instructions of Oolong the Chinese Parrot to recover a fabulous lost treasure, aided by the incredible Merlock Jones, quick-change detective. This sinister sea saga was the one-and-only Segar tale to feature Popeye’s ultimate nemesis (in the animated cartoons at least) Bluto.

With breakneck pace – Segar never rested on his laurels or his plots – that adventure led the voyagers back to Nazilia for ‘Long Live the King or Gold and Goofs’ and a rematch with General Bunzo and his new Mata Hari Dinah Mow – a worldly-wise vamp that even the iron-willed Popeye couldn’t resisk…

After taking a well-aimed pop at popular democracy in ‘The Great Lection’ the old sea-dog sets up his own nation in ‘Popeye: King of Popilania’ another stinging satire which saw the increasingly irrepressible J. Wellington Wimpy expand beyond the Sunday pages and join the dailies cast, almost mooching the infant country away from its idealistic founder. Popilania’s problems were multiplied by an invasion of “furiners”, “emmygrunts” and even jungle-Neanderthals in ‘Wild Men and Wild Women’ before the well-meaning reformer learned his lesson.

The trenchant social commentary and barbed satire continued when he returned to America and became ‘Star Reporter’ for The Daily Blast, a periodical edited by Castor and “blessed” with Wimpy as photographer. This led to the next big cast addition and our hero’s greatest advncement when a reader mailed Popeye a baby in ‘Me Sweet Pea.’ The “infink’s” true history and heritage pitted the sailor-man against some pretty ruthless types, and resulted in him suffering a serious brain injury in ‘Bonkus of the Konkus’ but his indomitable soul and noble heart won through as always in the turbulent desert debacle ‘Popeye’s Cure’

The Sundays’ selection follows a decidedly more domestic but no less riotous path. Running from 9th October to 23rd November 1933, the full-colour section was increasing given over to – or more correctly, appropriated – by the insidiously oleaginous Wimpy: ever hungry, always cadging, yet intellectually stimulating, casually charming and usually triumphant in all his mendicant missions. Whilst still continuing his pugilistic shenanigans the action of the Sunday strips moved away from Popeye hitting quite so much to alternately being outwitted by the unctuous moocher, and saving him from the vengeance of Diner owner Rough-house and the passionately loathing George W. Geezil, an ethnic Jewish stereotype, who like all Segar’s characters swiftly developed beyond comedic archetype into a unique person with his own story… and another funny accent.

Wimpy was unstoppable – he even became a rival suitor for Olive Oyl’s scrawny favours – and his development owed a huge debt to his creator’s love and admiration of comedian W.C. Fields. A mercurial force of nature the moocher was the perfect foil for the common-man but imperfect champion, Popeye. Where the sailor was heart and spirit, unquestioning morality and self-sacrifice, indomitable defiance, brute force and no smarts at all, Wimpy was intellect and self-serving, rapacious greed, freed from all ethical restraint or consideration, and gloriously devoid of any impulse-control.

He literally took candy from babies and food from the mouths of starving children, yet somehow Segar made us love him. He was Popeye’s other half: weld them together and you have an heroic ideal… (and yes, those stories are true: British Wimpy burger bars are built from the remnants of a 1950s international merchandising scheme that wanted to put a J Wellington Wimpy themed restaurant in every town and city.)

The gags and exploits of the two forces of human nature build riotously during this period, ever-more funny, increasingly outrageous. The laugh-out-loud antics seem impossible to top and maybe Segar knew that. Either he was getting the stand-alone gag-stuff out of his system, or perhaps he was clearing the decks and setting the scene for a really big change. Within weeks (or for us, next volume) the Thimble Theatre Sunday page changed forever. In a bold move the blood-and-thunder serial-style adventure epics of the dailies transferred to the Technicolor splendour of the “family pages” and all stops would be pulled out…

The topper strip Sappo actually increased its page share during this period, going from two to three tiers as the unstoppable scientist O.G. Watasnozzle took the little feature into increasingly surreal and absurdist realms. On a rocket ship journey Sappo and his insufferable but long-suffering wife Myrtle experienced incredible thrills, chills and spills during an extended trip around the solar system; experiencing all the goofy wonders and embarrassments Segar’s fevered mind could concoct.

Always innovating the restless creator also began adding extra value for his fans by incorporating collector stamps, games and puzzles to his Sunday pages. In an era with no television – and indeed with only the very first prototype comic books just starting to appear – radio-shows and the Sunday pages were the home entertainment choices of most Americans. Many strips offered extras in their funny-pages and Segar excelled in creating paper-based toys and amusements. In this book alone there are stamps, play money “lucky bucks”, cartooning tips, drawing lessons and ‘Funny Films’ – dioramic scenes through which continuous strips of cartooned “filmstrips” could be moved to create a home cinema!

As an especially welcome bonus this volume concludes with an incredibly rare piece of Popeye memorabilia: one I’d heard of but never thought I’d ever see. In 1934 the Chicago World’s Fair was held in the Windy City, and for two weeks before, at the end of 1933 it was advertised and promoted in the Hearst papers with an original full-page, monochrome Popeye serial. That’s terrific enough but the extended yarn was given extra push by escaping the funny-pages ghetto to run for that fortnight in the Sports section, as Popeye and crew explored the wonders of the World’s Fair in a truly spectacular and irresistible enticing prom feature – possibly the first of its kind.

This work is among the finest strip narrative ever created: reading it should be on everybody’s bucket list, and even when you do there’s still more and better yet to come…

© 2008 Fantagraphics Books Inc. All comics and drawings © 2008 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 2: “Well, Blow Me Down”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-874-9

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894.His father was a handyman, and Elzie’s early life was filled with the kinds of solid blue-collar jobs that typified his generation of cartoonists. He worked as a decorator and house-painter, and played drums, accompanying vaudeville acts at the local theatre. When the town got a movie house he played for the silent films, absorbing the staging, timing and narrative tricks from the close observation of the screen that would become his bread-and-butter as a cartoonist. He was working as the film projectionist, when aged 18, he decided to become a cartoonist and tell his own stories.

Like so many others he studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio (from where Jerry Siegel and Joe Shuster would launch Superman upon the world), before gravitating to Chicago where he was “discovered” by Richard F. Outcault – arguably the inventor of newspaper comic strips with The Yellow Kid and Buster Brown – who got him an introduction at the prestigious Chicago Herald. Still wet behind the ears, Segar’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

In 1918 he married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop, but the Managing Editor William Curley saw a big future for Segar and packed the newlyweds off to New York and the King Features Syndicate.

Within a year Segar was producing Thimble Theatre, which launched December 19th 1919 in the New York Journal. It was a pastiche of Movie features similar to Hairbreadth Harry and Midget Movies with a repertory cast who would act out comedies, melodramas, comedies, crime-stories, chases and especially comedies, for huge daily audiences. The core cast included parental pillars Nana and Cole Oyl, their lanky daughter Olive, diminutive-but-pushy son Castor and Olive’s plain and simple, sometime boyfriend Horace Hamgravy (later just Ham Gravy).

In 1924 he created a second daily strip The 5:15; a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle (obviously quite a common name, hmm?). A born storyteller, Segar had from the start an advantage even his beloved cinema couldn’t match. His brilliant ear for dialogue and accent shone out from his admittedly average adventure plots, adding lustre to stories and gags he always felt he hadn’t drawn well enough. After a decade or so and just as cinema caught up with the invention of “talkies” he finally discovered a character whose unique sound and individual vocalisations blended with a fantastic, enthralling nature to create a literal superstar.

Popeye the sailor, brusque, incoherent, plug-ugly and stingingly sarcastic, shambled on stage midway through the adventure ‘Dice Island’, (on January 17th 1929: see E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”) and once his part was played out, simply refused to leave. Within a year he was a regular, and as the strip’s circulation skyrocketed, he became the star. Eventually the strip was changed to Popeye and all of the old gang except Olive were consigned to oblivion…

Popeye inspired Segar. The near decade of funny thrillers that followed revolutionised the industry, laid the groundwork for the entire superhero genre (but sadly, usually without the leavening underpinnings of his self-aware humour) and captivated the whole wide world. The truly unique cast of characters invented in this period: Sea Hag, Toar, Poopdeck Pappy, Swee’pea, Eugene the Jeep, Alice the Goon, George W. Geezil, and especially J. Wellington Wimpy (potentially as big and innovative a star as Popeye) – even Professor O.G. Wotasnozzle in the Sappo daily strip which had evolved into the Sunday Popeye “Topper” – all individually verge on manic brilliance, and combined to make Popeye a global figure to rival Mickey Mouse, Tarzan and Sherlock Holmes. To most of the world Popeye was real.

All the attendant peripherals of a major brand accrued to Popeye. There were toys, games premiums, books, comics, film, radio shows, and especially those incredible animated cartoons. Tragically Segar died at the height of his creative powers and with so much more magic still to make on 13th October 1938, sole creator of an incredible galaxy of imagination, but his legacy briefly lived on through his assistant Forrest “Bud” Sagendorf, before the syndicate appointed Doc Winner, Tom Sims, Ralph Stein and Bela Zambuly to work on the printed strip, whilst the animated features increasingly became the main means of bringing Popeye to the world – but it just wasn’t the same.

Sagendorf returned in1958 and his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool once more. He wrote and drew Popeye until Bobby London took over in 1994.

These superb hardback collections are the perfect means of discovering or rediscovering Segar’s magical tales. The second huge volume (almost 14 ½ by 10½ inches) contains a fascinating essay from historian Donald Phelps, a testimonial from Mort “Beetle Bailey” Walker which includes the beautiful inspirational drawing Segar sent the young fan in 1934, and another batch of incredible tales from the daily and Sunday strips.

The black and white section here (covering December 22nd 1930 to June 6th 1932) sees Popeye, Castor and Olive soar to stardom in the fabulous western spoof ‘Clint Gore, the Outlaw’ and strike a blow for the Depression-era poor by inventing a financial institution that gives money away in ‘A One-Way Bank’, before resuming their globe-trotting adventuring in ‘The Great Rough-House War’ and its immediate sequel ‘Tragedy in the Land of Saps’ wherein the peculiar King Blozo of Nazilia seeks aid in ending a war with the neighbouring kingdom of Tonsylania – although the real problem seems to be his own over-ambitious Generals and the fact that all his soldiers are cowards…

This classy screwball epic displays Segar’s trenchant skill with the sharp swift scalpel of satire as well as broad slapstick, and has glorious overtones of if not actual influences upon the Marx Brothers gem “Duck Soup.” With an initially reluctant Popeye compelled by his sense of duty to become King of the unlovable Nazilians, it’s also where the superman sailor reveals for the first time the strength inducing properties of Spinach…

From there Popeye and Olive head back to the wild, wild west to visit ‘Skullyville, Toughest Town in the World’ and we’re treated (I think that’s the word) to the unforgettable yet frankly grisly vision of Olive Oyl as a bar hall dancer in a raucous, ridiculous romp that’s jam-packed with lampooned cowboy clichés and hilariously brilliant original gags.

The full-colour Sunday pages cover March 1st 1931 to October 2nd 1932, with the increasingly absurdist Sappo toppers thoroughly complimenting the whacky shenanigans of the lead feature. May 8th is particularly noteworthy for the first appearance of insane Professor O.G. Wotasnozzle – another Segar walk-on who would usurp his host feature…

The Popeye strip continued the uproarious and exceedingly violent boxing career of the one-eyed sea-dog, who took on all exceedingly monstrous comers, including the awesome man-mountain Tinearo, Kid Klutch (a giant gorilla) and even a robot boxer as the increasingly obsessive and belligerent Mr. Kilph, crazed by his inability to beat the grizzled sailor-man, slipped slowly into utter wackadoodleness.

When not beating the stuffing out of his opponents Popeye pursued his flighty, vacillating and irresolute Olive Oyl with desperate verve, if little success, and his life was forever changed when the ever-so-corruptible and adorably contemptible J. Wellington Wimpy made his debut.

The engaging Mr. Micawber-like coward, moocher and conman was first seen on 3rd May 1931 as an unnamed referee in the bombastic month-long bout against Tinearo but he obviously struck a chord with Segar who gradually made him a (usually unwelcome) fixture. Always hungry, ever happy and eager to take a bribe, we learned his name in the May 24th installment and he uttered the first of his many immortal catchphrases a month later. It was June 21st – but “I would gladly pay you Tuesday for a hamburger today”, like most phrases everybody knows, actually started as ‘Cook me up a hamburger, I’ll pay you Thursday’

There will be more of Wimpy’s incredible influence in volume 3, but for now another aspect of Popeye’s complex character was revealed in an extended sequence that ran from May 29th 1932-July 17th, one that quickly secured his place in reader’s hearts.

The sailor was a rough-hewn orphan, who loved to gamble and fight, not too smart and superhumanly powerful, but he was a big-hearted man with an innate sense of decency who hated injustice – even if he couldn’t pronounce it. When Mary Ann, a starving little girl, tried to sell him a flower, he adopted her, taking her from the brutal couple who used her in a begging racket. He grew to love her and there’s a genuine sense of happy tragedy when he finds her real parents and gives her up. That such a rambunctious, action-packed comedy adventure serial could so easily turn an audience into sobbing sentimental pantywaists is a measure of just how great a spellbinder Segar was…

These tales are as vibrant now as they’ve ever been and comprise a world classic of graphic literature that only a handful of creator’s have ever matched. No one has ever bettered Segar’s Popeye and these superb volumes are books you’ll treasure for the rest of your life. Don’t miss them.

© 2006 Fantagraphics Books Inc. All comics and drawings © 2006 King Features Inc. All rights reserved.

E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”


By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-779-7

HAPPY BIRTHDAY POPEYE!

Call me an idiot (you know you want to) but for years I laboured under the misapprehension that comics’ first superhuman hero debuted on January 29th 1929. Luckily, thanks to a superb collection from those wonderful folk at Fantagraphics I’ve been disabused of that erroneous notion at last and forever.

Thimble Theatre was an unassuming comic strip which began on 19th December 1919, one of many newspaper features that parodied/burlesqued/mimicked the silent movies. Its more successful forebears included C.W. Kahles’ ‘Hairbreadth Harry’ and Ed Wheelan’s ‘Midget Movies’ (later and more famously renamed Minute Movies), which used a repertory company of characters for generic adventures firmly based on the cinema antics of the silent era. Thimble Theatre’s cast included Nana and Cole Oyl, their gawky daughter Olive, diminutive-but-pushy son Castor, and Horace Hamgravy, Olive’s sappy, would-be beau.

The series ticked along for a decade, competent and unassuming, with Castor and Ham Gravy, as he became, tumbling through get-rich-quick schemes, gentle adventures and simple gag situations until September 10th 1928 (the first strip reprinted in this astonishingly lavish and beautiful collection), when explorer uncle Lubry Kent Oyl gave Castor a present from his latest exploration of Africa: a hand-reared Whiffle Hen – most fabulous of all birds. It was the start of something groundbreaking.

As eny fule kno Whiffle Hens are troublesome, incredibly rare and possessed of fantastic powers, but after months of inspired hokum and slapsick shenanigans Castor was resigned to Bernice – for that was the hen’s name – when a series of increasingly peculiar circumstances brought him into contention with the ruthless Mr. Fadewell, world’s greatest gambler and king of the gaming resort of ‘Dice Island’.

Bernice clearly affected creator E.C. Segar, because his strip increasingly became a playground of frantic, compelling adventure and comedy during this period, and when Castor and Ham discovered that everybody wanted the Whiffle Hen because she could bestow infallible good luck, they decided to sail for Dice Island to win every penny from its lavish casinos. Sister Olive wanted to come along but the boys planned to leave her behind once their vessel was ready to sail. It was 16th January 1929…

The next day and in the 108th installment of the saga, a bluff, irascible, ignorant, itinerant and exceeding ugly one-eyed old sailor was hired by the pair to man the boat they had rented, and the world was introduced to one of the most iconic and memorable characters ever conceived. By sheer, surly willpower, Popeye won the hearts and minds of every reader, his no-nonsense, grumbling simplicity and dubious appeal enchanting the public until by the end of the tale his walk-on had become a full residency. He would eventually make the strip his own…

The journey to Dice Island was a terrible one: Olive had stowed away, and Popeye, already doing the work of twelve men, did not like her. After many travails the power of Bernice succeeded and Castor bankrupted Dice Island, but as they sailed for home with their millions Fadewell and his murderous associate Snork hunted them across the oceans before Popeye settled their hash too, almost at the cost of his life.

Once home their new wealth soon led Castor, Ham and Olive into more trouble, with carpetbaggers, conmen and ne’er-do-wells quickly circling, and before long they lost all their money (a common occurrence for them), but one they thing they couldn’t lose was their sea-dog tag-along.  The public – and Segar himself – were besotted with the unlovable, belligerent old goat. After an absence of 32 episodes Popeye shambled back on stage, and he stayed.

Although not yet the paramour of Olive, Popeye increasingly took Ham’s place as a foil for the sharp-talking, pompous Castor Oyl, and before long they were all having adventures together. When they escaped jail at the start of ‘The Black Barnacle’ (December 11th 1929) they found themselves aboard an empty ship and at the start of a golden age of comic strip magic…

Segar famously considered himself an inferior draughtsman – most of the world disagreed and still does – but his ability to weave a yarn was unquestioned and it grew to epic proportions in these strips. Daily he was creating the syllabary and graphic lexicon of a brand new art-form, inventing narrative tricks and beats that a generation of artists and writers would use in their own works, and he did it while being scary, thrilling and funny.

‘The Black Barnacle’ introduced the dire menace of the hideous Sea-Hag – one of the greatest villains in fiction – and the scenes of her advancing in misty darkness upon our sleeping heroes are still the most effective I’ve seen in all my years…

This incredible tale leads seamlessly into diamond-stealing, kidnappings, spurned loves, an African excursion and the introduction of wealthy Mr. Kilph, whose do-gooding propensities would lead Castor and Popeye into plenty of trouble, beginning with the eerie science fiction thriller ‘The Mystery of Brownstone Hill’ and the return of the nefarious Snork who almost murdered the salty old seadog a second time…

The black and white dailies section ends with ‘The Wilson Mystery’ as Castor and Popeye set up their own detective agency: something that would become a common strip convention and the perfect maguffin to keep the adventures tumbling along – even Mickey Mouse would don metaphoric deerstalker and magnifying glass (see Mickey and Donald and The Lair of Wolf Barker).

These superb and colossal hardcover albums (200 pages and almost 14½ by 10½ inches) are augmented with fascinating articles and essays and include testimonial remembrances from famous cartoonists – Jules Feiffer in this first one – and the relevant full colour Sunday pages from the same period. Here then are the more gag-oriented complete tales from 2nd March 1930 through February 22nd 1931, including the “topper” Sappo.

A topper was a small mini-strip that was run above the main feature on a Sunday page. Some were connected to the main strip but many were just filler. They were there so that individual editors could remove them if their particular periodical had non-standard page requirements. Originally entitled “The 5:15 Sappo was a surreal domestic comedy gag strip created by Segar in 1924 which became peculiarly entwined with the Sunday Thimble Theatre as the 1930s unfolded – and it’s a strip long overdue for consideration on its own unique merits….

Since many papers only carried dailies or Sundays a system of differentiated storylines developed early in American publishing, and when Popeye finally made his belated appearance he was already a fairly well developed character. Thus Segar concentrated on more family-friendly gags – and eventually continued mini-sagas – and it was here that the Popeye/Olive Oyl modern romance began: a series of encounters full of bile, intransigence, repressed hostility, jealousy and passion which usually ended in raised voices and scintillating cartoon violence – and they are still as riotously funny now as then.

We saw softer sides of the sailor-man and when Castor and Mr. Kilph realised how good Popeye was at boxing, an extended, trenchant and scathingly funny sequence about the sport of prize-fighting began. Again cartoon violence was at a premium – family values were different then – but Segar’s worldly, probing satire and Popeye’s beguiling (relative) innocence and lack of experience kept the entire affair in hilarious perspective whilst making him an unlikely and lovable waif.

Popeye is fast a approaching his centenary and still deserves his place as a world icon. These magnificent volumes are the perfect way to celebrate the genius and mastery of EC Segar and his brilliantly imperfect superman. These are books that every home should have.

© 2006 Fantagraphics Books Inc. All comics and drawings © 2006 King Features Inc. All rights reserved.

Plunder Woman Must Go! Socialist Cartoons from Militant


By Alan Hardman with commentary by Lynn Walsh (Miltant/Mentorn)
No ISBN:

I thought I’d combine controversy and nostalgia by reviewing this now just in case the titular subject of the brilliantly bitter satire and vitriolic graphic commentary within finally pops her clogs and whatever meagre pretension to good taste I possess subsequently scuppers me from ever doing it.

Along with sex, religion and fighting, politics has always been the grist that feeds the cartoonist’s mill, and like many other creative people I often bemoan the fall of the Thatcher regime (it’s still hard to call it a government as those are systems of management purportedly run for people and society) because – and only because – it deprived us all of spectacularly worthy targets.

The best political cartooning comes from outrage and the Tory administrations of the 1980’s provided one bloated, bile-filled easy mark after another. Just look at TV’s Spitting Image which grew fat and healthy off that government’s peccadilloes, indignities and iniquities (as well as Reagan’s America and the Royal Family) in just the way that millions of unemployed and disenfranchised workers, students and pensioners didn’t.

From 1980 comes this starkly powerful collection of incisive images by justifiably vitriolic socialist cartoonist Alan Hardman (still fighting the good fight to this day) which originally appeared in Militant, the periodical of the Marxist-leaning portion of the Labour party, just before the internal crisis in the mid-80’s led to expulsions of the hard Left and the creation in 1997 of the Socialist Party. The infamous and demonized faction Militant tendency was named after the newspaper.

Militant began after the successful 1964 election of Labour as a four page monthly publication, growing into a 16 page weekly by the late 1970s, outlining policies of the Militant tendency and publicising its activities and campaigns.

Content in the newspaper usually carried a by-line stating, author, his or her Party branch, and/or the trade union branch. Militant never employed professional journalists. There was even a quarterly sister publication: the journal, Militant International Review, dedicated to more substantial analysis of global economic and political events. It became Socialism Today in 1995. Militant was renamed The Socialist when the Militant tendency changed its name.

None of which really matters now, but these cartoons have stood the test of time and surely deserve another look, not just because of their power and passion but also because a really great villain can always stand another good kicking.
© 1980 Alan Hardman.

John Ryan 1921-2009

I’m saddened to learn of the death of master story-teller John Ryan.  For my own potted biography of this gentle genius you can check out our review of Eagle Classics: Harris Tweed although I’m sure the papers and news services will be full of fulsome obituaries for a man who was a pioneer of British comics, children’s books and television animation.

Typically, I’ve been intending to review his Captain Pugwash children’s books for some time now but never quite got around to it.

I first met him whilst teaching at the London Cartoon Centre where he was a rapturously received guest-speaker one evening. Afterwards, while chatting with the delighted fans of four generations who had come to see and hear him, he very kindly showed me the actual cut-out and props (painted in black and white wash tones) he had produced for the very first 1950s Pugwash TV episodes, whilst simultaneously drawing a freehand biro sketch of Mary, Mungo and Midge for my bemused and overwhelmed wife.

He was a prince among men and we’re all the poorer for his passing, but at least his unique accomplishments will live in the legacy of brilliant tales he leaves behind.

Beware of the Dog


By Pericle Luigi Giovannetti (Macmillan)
ASIN: B0000CK63L

Pericle Luigi Giovanetti was a huge star in the cartoon firmament in the years following World War II, and a prolific one who appealed to fans of all ages. Born in 1916 in Basel, he launched his most beloved character Max in Punch in April 1953. Max was a small, round furry creature like a hamster, whose wordless pantomimes were cute, whimsical and trenchantly self-deprecating. Don’t ask me how a beautifully rendered little puff-ball could stand for pride and pomposity punctured, but he did. It was also blissfully free of mawkish sentimentality, a funny animal for adults.

So imagine how such a graphic talent would flower when he turned his dry, laconic eye upon Man’s Best Friend? Luckily you don’t have to as in 1958 this fabulous collection of 52 pooches, drawn in a variety of styles and even captioned in two separate languages (French and English), and thanks to contemporary wits Mark Laurence and Richard Maury, three separate comedic styles, is available as your pedigree guide!

Giovanetti was a master of the pen, with a sparse and economical line, and completely au fait with all brush techniques from dry-point to tonal wash painting. The sheer variety he exhibits in this book would make any would-be illustrator weep with jealousy if they weren’t already splitting their sides with mirth.

To my knowledge there were six other Giovannetti books and collections between 1954 and 1961: Max, Max Presents, Nothing But Max, the Penguin Max, Birds Without Words and Hamid of Aleppo – and not one of these gems is currently in print! The sheer artistic virtuosity of Giovanetti is astounding to see. That his work should be forgotten is a crime. If you ever, ever find a collection of his work don’t hesitate!

Fetch!
© 1958 P. L. Giovannetti. All Rights Reserved.

Best of American Splendor

Best of American Splendor 

By Harvey Pekar and various (Titan Books)
ISBN 1-84576-096-4

Harvey Pekar is something of a conundrum. By his own reasoning and admission he is a fairly ordinary working stiff, just trying to get by. For all of his life he has had a “real job” and a “real life”. His comic scripts are introspective, and let’s be honest, not illustrated in a manner guaranteed to suck in the average comic fan, but his comics are always beguiling, intriguing and utterly readable. By telling tales and sharing thoughts he has managed to make an everyday world extraordinary.

This compilation features strips from 1990 to 2004 and is the usual, unusual mix of self-exploration, reminiscence and social trivia blended with some more of his compelling potted histories and commentaries of historically “lost” figures from literature, sports and music. This ability to impart his obvious fascination and empathy for other creators unjustly forgotten and critically downtrodden (like himself?) may simply point to personal bias. Maybe he is championing those he feels have been similarly mistreated, or does it perhaps go deeper than that?

Here is a creator inarguably obsessed with achievement and the justice of recognition, but he is not saying “Hey, look. You’re doing to me what you did to them!” Here is someone who simply perceives genuine worth that needs to be revered and shared, just doing his bit to make it right.

As for my earlier crack about the art, please don’t misunderstand. The artists are not pikers, they just aren’t cranking out your everyday fancy-dan, computer-coddled, mutant fan-boy fodder. The illustrators here include Dean Haspiel, Josh Neufeld, Joe Sacco, David Collier, Gerry Shamray, Sam Hurt, Joe Zabel, Gary Dumm, Paul Mavrides, Alex Wald, J. R. Stats, Jim Woodring, Carole Sobocinski, Scott A. Gilbert and even Spain. If you read comics broadly rather than stockpile fanatically, you will know most of these names. Hopefully you also know their other work.

The stories themselves range from slice of life single gags, to the familiar recollections and ruminations, from short yarns describing the authors’ close brushes with fame and security, to the extended and deeply moving “TransAtlantic Comics” co-pencilled and inked in two sections by Frank Stack and Colin Warneford. This gem alone is worth the price of admission. The stories set at comic conventions where Pekar was in attendance are horribly familiar and should serve as a warning to any comic collector who retains a semblance of rationality.

If graphic novels are ever to attain the critical, let alone popular acceptance of their picture-free namesakes, it is going to be because of creators like Pekar. I’m unsure of the value of a review such as this, in a venue like this one, to change the minds of notoriously close-minded comics fans, (and yes I regretfully include myself in that description) but I live in hope. Perhaps I’ve convinced you to try something a little different. To paraphrase this most extraordinary man himself, and his philosophy on Jazz, “You either get it or you don’t”. You should get it.

© 2005 Harvey Pekar LLC. All Rights Reserved.