The Shadow 1941: Hitler’s Astrologer


By Dennis O’Neil, Michael William Kaluta, Russ Heath & various (Dynamite Entertainment)
ISBN: 978-1-60690-429-9

In the early 1930s, The Shadow gave thrill-starved Americans their measured doses of extraordinary excitement via cheaply produced pulp periodical novels, and over the mood-drenched airwaves through his own radio show.

“Pulps” were published in every style and genre in their hundreds every month, ranging from the truly excellent to the pitifully dire, but for exotic or esoteric adventure-lovers there were two stars who outshone all others. The Superman of his day was Doc Savage, whilst the premier dark, relentless creature of the night dispensing terrifying grim justice was the putative hero featured here.

Radio series Detective Story Hour – based on stand-alone yarns from the Street & Smith publication Detective Story Magazine – used a spooky-toned narrator (variously Orson Welles, James LaCurto or Frank Readick Jr.) to introduce each tale. He was dubbed “the Shadow” and from the very start on July 31st 1930, he was more popular than the stories he related.

The Shadow evolved into a proactive hero solving instead of narrating mysteries and, on April 1st 1931, began starring in his own printed adventures, written by the astonishingly prolific Walter Gibson under house pseudonym Maxwell Grant. On September 26th 1937 the radio show officially became The Shadow with the eerie motto “Who knows what evil lurks in the hearts of Men? The Shadow knows!” ringing out unforgettably over the nation’s airwaves.

Over the next eighteen years 325 novels were published, usually at the rate of two a month. The uncanny crusader spawned comicbooks, seven movies, a newspaper strip and all the merchandising paraphernalia you’d expect of a smash-hit superstar brand.

The pulp series officially ended in 1949 although Gibson and others added to the canon during the 1960s when a pulp/fantasy revival gripped the world, generating reprinted classic yarns and a run of new stories as paperback novels.

In graphic terms The Shadow was a major player. His national newspaper strip – by Vernon Greene – launched on June 17th 1940 and when comicbooks really took off the Man of Mystery had his own four-colour title; running from March 1940 to September 1949.

Archie Comics published a controversial contemporary reworking in 1964-1965 under their Radio/Mighty Comics imprint, by Robert Bernstein, Jerry Siegel, John Rosenberger and Paul Reinman. In 1973 DC acquired the rights to produce a captivating, brief and definitive series of classic comic sagas unlike any other superhero title then on the stands.

DC periodically revived the venerable vigilante. After the runaway success of Crisis on Infinite Earths, The Dark Knight Returns and Watchman, Howard Chaykin was allowed to utterly overhaul the vintage feature for an audience at last acknowledged as grown-up enough to handle more sophisticated fare.

This led to further, adult-oriented iterations and one cracking outing from Marvel before Dark Horse assumed the license of the quintessential grim avenger for the latter half of the 1990s and beyond.

Dynamite Entertainment secured the option in 2011 and, whilst reissuing much of those other publishers’ earlier efforts, began a series of new monthly Shadow comics.

A year after Howard Chaykin and DC catapulted The Shadow into the grim ‘n’ grungy contemporary arena the dream-team that had first returned him to comic-book prominence reunited for a larger-than-life grand romp, ably abetted by the inking skills of master artist Russ Heath.

Denny O’Neil and Michael Kaluta had produced a stand-out series of adventures in the early 1970s (collected as The Private Files of the Shadow), set in the mad scientist/spy/gangster-ridden ‘thirties, and when they reunited to produce a Marvel Graphic novel expectations were high. As it turned out, in many ways that complex and devious yarn was the final chapter in that astounding graphic procession. In 2013 Dynamite re-released Hitler’s Astrologer with the entire affair re-mastered by Mike Kelleher, finally doing justice to the colouring of Mark Chiarello, Nick Jainschigg and John Wellington – as well as letterer Phil Felix – which had nor fared well under the production processes of the time…

On Easter Sunday 1941 a beautiful woman is pursued through the teeming crowds of Times Square theatre-goers by sinister thugs until rescued in the nick of time by agents of The Shadow.

She is Gretchen Baur, personally despatched to America by Josef Goebbels to gather astrological data for the Reich’s Ministry of Propaganda. However, now the confused fräulein cannot understand why agents of her own government have tried to abduct her…

The Shadow reveals that she is an unwitting pawn in a deadly battle for supremacy within the Nazi Party that revolves around her father, Der Führer’s personal astrologer…

And thus begins a tense and intricate conspiracy thriller that ranges from the bloody streets of New York through the killer skies of Europe to the very steps of Hitler’s palace in Berlin as a desperate plan to subvert the course of the war comes up hard against a twisted, thwarted love and a decades-long hunt for vengeance.

Deliciously and suitably Wagnerian in style, this action-packed mystery drama exudes period charm; nobody has ever realised The Shadow and his cohorts as well as Kaluta, whilst Russ Heath’s sleek inks add weight and volume to the cataclysmic proceedings.

This sinister saga of the man in the black slouch hat with the girasol ring is another superb addition to the annals of the original Dark Knight, and one no one addicted to action and mystery should miss.
The Shadow ® & © 2013 Advance Magazine Publishers Inc. d/b/a Conde Nast. All Rights Reserved.

Clifton volume 7: Elementary, My Dear Clifton


By Rodrigue & de Groot, translated by Mark Bence (Cinebook)
ISBN: 978-1-84918-198-3

An infallible agent of Her Majesty’s assorted security forces, Clifton was created by Raymond Macherot for the weekly Tintin. The doughty exemplar of Albion debuted in December 1959, just as a filmic 007 was preparing to set the world ablaze and get everyone hooked on spycraft…

After three albums of strip material – all compiled and released in little more than a year – Macherot defected to arch-rival Spirou and his bombastic British buffoon was benched. Tintin reactivated him at the height of the Sixties’ Swinging London scene and that aforementioned spy-craze, courtesy of Jo-El Azaza & Michel Régnier (code-named Greg to his millions of fans).

Those strips were subsequently collected as Les lutins diaboliques in French and De duivelse dwergen for Dutch-speakers in 1969.

Then it was back into retirement until 1971 when Greg – with artist Joseph Loeckx – took another shot. They tinkered with the True Brit until 1973 when Bob De Groot & illustrator Philippe “Turk” Liegeois fully regenerated the be-whiskered wonder man. After ten more tales, in 1984 artist Bernard Dumont (AKA Bédu) limned de Groot’s scripts before eventually assuming the writing chores as well. The series concluded in 1995.

…But You Only Die Twice… or thrice, or lots…

In keeping with its rather haphazard Modus Operandi and indomitably undying nature, the Clifton strip returned yet again in 2003, crafted now by De Groot & Michel Rodrigue for four further adventures. Although the humorous visual vein was still heavily mined in these tales, now the emphasis was subtly shifted and the action/adventure components strongly emphasised…

Bob de Groot was born in Brussels in 1941, to French and Dutch parents. He became art assistant to Maurice Tillieux on Félix, before creating his own short works for Pilote. A rising star in the 1960s, he drew 4 × 8 = 32 L’Agent Caméléon, where he met Liegeois, consequently began a slow transition from artist to writer. Together they created Archimède, Robin Dubois and Léonard before eventually inheriting Macherot’s moribund spy.

In 1989, de Groot – with Jacques Landrain – devised Digitaline, a strong contender for the first comic created entirely on a computer, and co-created Doggyguard with Rodrigue, even whilst prolifically working with the legendary Morris on both Lucky Luke and its canine comedy spin-off Rantanplan.

He’s still going strong with strips such as Léonard in Eppo, Père Noël & Fils and Le Bar des acariens (both published by Glénat) and so much more.

Michel Rodrigue was born in Lyon in 1961 and really, really likes Rugby. He pursued higher education at the National School of Fine Arts, where he also studied medieval archaeology and from 1983-85 was part of the French Rugby team. In 1987, he designed France’s mascot for the World Cup.

His comics debut came in 1984 with sports (guess which one) strip Mézydugnac in Midi Olympique. After illustrating an adaptation of Edmond Rostand’s Cyrano de Bergerac in 1986 he and collaborator Jean-Claude Vruble produced a volume of La Révolution Française, scripted by Patrick Cothias.

Rodrigue then joined Roger Brunel on Rugby en B.D., Du Monde dans la Coupe!, Concept, Le Rugby en Coupe and La Foot par la Bande.

For Tintin he drew Bom’s Les Conspirateurs and produced Rugbyman, the official monthly of the French Rugby Federation, amongst a welter of other strips. Along the way he began scripting too, and, after working with de Groot on Doggyguard joined him on the revived Clifton.

He also remains astonishingly creatively occupied, working on Ly-Noock with André Chéret, Brèves de Rugby, La Grande Trambouille des Fées for René Hausmann, Futurama comics, Cubitus with Pierre Aucaigne, and many more…

For Your Eyes Only: Pompous, irascible Colonel Sir Harold Wilberforce Clifton is ex-RAF, a former officer with the Metropolitan Police Constabulary and recently retired from MI5. He has great difficulty dealing with being put out to pasture in rural Puddington and takes every opportunity to get back in the saddle, assisting Her Majesty’s Government or needy individuals as an amateur sleuth whenever the opportunity arises. He occupies his idle hours with as many good deeds as befits a man of his standing and service. He is particularly dedicated to sharing the benefits of organised Scouting with the younger generations…

Originally released as Elémentaire mon cher Clifton in 2006 this yarn is a little off the far-from-sedentary sleuth’s beaten paths. As the cover and title might lead you to deduce, Elementary, My Dear Clifton takes its lead from that unflinching bastion of British fiction Sherlock Holmes, but not quite in the way you might imagine…

This rollicking caper begins with the old soldier and his svelte sidekick Jade inspecting a fleet of outrageously expensive luxury cars before getting into a headbanging prang whilst driving home in Clifton’s own stylish sports-roadster.

When he regains consciousness, Jade is missing, abducted by a shadowy figure from the vintage car which forced him off the road…

After another frustrating and infuriating interview with Highway Code martinet and personal gadfly Constable Strawberry, Clifton sets in motion the wheels of protocol that will enable his intelligence community contacts to find the missing assistant, before staggering home to bed and passing out.

Next morning, he finds his multi-talented housekeeper Mrs. Partridge chatting with a distinguished gentleman. Clothed in outmoded attire, “the Doctor” claims to know what’s happened to Jade but if Clifton wants to save her he’ll have to return with him to October 7th 1912…

The physician claims that he and his partner – a certain unnamed consulting detective – were on the trail of a nefarious inventor named Professor Hamilton. That villain was nosing about the preparations for the gala celebrations of a Maharaja on the eve of a sumptuous nuptial event when the Doctor fortuitously trailed him to a warehouse and saw him vanish into a bizarre contraption. Having keenly observed, the stealthy stalker then followed and ended up here and now…

Refusing to believe the cock-and-bull story but equally unable to disprove the evidence before him Clifton eventually concedes defeat and follows the crime doctor back in time and into his strangest adventure ever…

What follows is a hilarious and gripping romp with eerie personal echoes and foreshadowings for our temporally-misplaced manhunter: a ripping yarn all devotees of crime capers and time travels will love…

Funny, fast and furiously thrill-packed, Elementary, My Dear Clifton reveals hidden depths to our Old Soldier whilst playing deliriously fast and loose with history in the grandly enticing manner of Nicholas Meyer’s Time after Time and Terry Gilliam’s Time Bandits; a confection guaranteed to astound and delight thrill and laughter-addicts of every age.
Original edition © Les Editions du Lombard (Dargaud-Lombard SA) 2006 by Rodrigue & De Groot. English translation © 2014 Cinebook Ltd.

XIII volume 4: SPADS


By William Vance & Jean Van Hamme, coloured by Petra (Cinebook)
ISBN: 978-1-84918-058-0

One of the most consistently entertaining and popular adventure serials on the European scene, XIII was created by author Jean Van Hamme (Wayne Shelton, Blake and Mortimer, Lady S.) and illustrator William Vance (Bruce J. Hawker, Marshal Blueberry, Ramiro).

Van Hamme was born in Brussels in 1939 and is one of the most prolific writers in comics. After pursuing Business Studies, he moved into journalism and marketing before selling his first graphic tale in 1968. Immediately clicking with the public, by 1976 he had also branched out into prose novels and screenwriting. His big break was monumentally successful mixed-genre fantasy series Thorgal for Tintin magazine but he truly cemented his reputation with mass-market bestsellers Largo Winch and XIII as well as more cerebral fare such as Chninkel and Les maîtres de l’orge. In 2010 Van Hamme was listed as the second-best selling comics author in France, ranked between the seemingly unassailable Hergé and Uderzo.

William Vance is the bande dessinée nom de plume of William van Cutsem. He was born in 1935 in Anderlecht and, after military service in 1955-1956, studied art at the Académie Royale des Beaux-Arts. He became an illustrator of biographic features at Tintin in 1962. His persuasive illustrative style is a classical blend of meticulous realism, scrupulous detail and spectacular yet understated action.

In 1964 he began maritime adventure serial Howard Flynn (written by Yves Duval) before graduating to more popular genre work with western Ray Ringo and espionage thriller Bruno Brazil (scripted by Greg). Further success followed when he replaced Gérald Forton on science fiction classic Bob Morane in Femmes d’Aujourd’hui and latterly Pilote and Tintin.

Although working broadly and constantly on serials and stand-alone stories, Vance’s signature achievement is his lengthy collaboration with fellow Belgian Van Hamme on this contemporary thriller loosely based on Robert Ludlum’s novel The Bourne Identity

XIII launched in 1984, originally running in Spirou to great acclaim. A triad of albums were rushed out – simultaneously printed in French and Dutch editions – before the first year of serialisation ended.

The series was a monumental hit in Europe but fared less well in its earlier attempts to make the translation jump to English, with Catalan Communications, Alias Comics and even Marvel all failing to find an audience for the epic mystery thriller.

The grand conspiracy saga of unrelenting mood, mystery and mayhem opened in The Day of the Black Sun when an old beachcomber found a body. The human flotsam had a gunshot head wound and was near death when Abe and his wife Sally found him. She discovered a key sewn into his clothes and the Roman numerals for thirteen tattooed on his neck. The remote hideaway offered little in the way of emergency services, but their alcoholic, struck-off surgeon friend managed to save the stranger…

As he recuperated, a complication became apparent. The patient – a splendid physical specimen clearly no stranger to action or violence – had suffered massive and irreversible brain trauma. Although increasingly sound in body he had completely lost his past.

Language skills, muscle memories, even social and reflexive conditioning all remained, but every detail of his life-history was gone…

They named him “Alan” after their own dead son – but hints of the intruder’s lost past explosively intruded when hitmen invaded the beach house with guns blazing. Alan lethally retaliated with terrifying skill, but too late…

In the aftermath he found a photo of himself and a young woman on the killers and traced it to nearby Eastown. Desperate for answers and certain more killers were coming, the human question mark headed off to confront unimaginable danger and hopefully find the answers he craved.

The picture led to a local newspaper and a crooked cop who recognised the amnesiac but said nothing…

The woman in the photo was Kim Rowland, a local widow recently gone missing. Alan’s key opened the door of her house. The place had been ransacked but a thorough search utilising his mysterious talents turned up another key and a note warning someone named Jake that “The Mongoose” had found her…

He was then ambushed by the cop and newspaper editor Wayne. Calling him “Shelton” they demanded the return of a large amount of missing money…

Alan/Jake/Shelton reasoned the new key fitted a safe-deposit box and bluffed the thugs into taking him to the biggest bank in town. The staff there also knew him as Shelton, but when his captors examined the briefcase in Shelton’s box a booby trap went off. Instantly acting, the mystery man expertly escaped and eluded capture, holing up in a shabby hotel room, pondering again what kind of man he used to be…

As he prepared to leave he stumbled into a mob of armed killers. In a blur of lethal action he escaped and ran into another bunch of heavies led by a Colonel Amos. This chilling executive referred to his captive as “Thirteen”, claiming to have dealt with his predecessors XI and XII in regard to the “Black Sun” case…

Amos very much wanted to know who Alan was, and offered some shocking titbits in return. The most sensational was film of the recent assassination of American President, William B Sheridan, clearly showing the lone gunman was XIII…

Despite the amnesiac’s heartfelt conviction that he was no assassin, Amos accused him of working for a criminal mastermind, and wanted that big boss. The interrogator failed to take Alan’s instinctive abilities into account and was astounded when his prisoner leapt out of a fourth floor window…

The fugitive headed back to the beach where he was found but more murderers awaited; led by a mild-seeming man Alan inexplicably knew was The Mongoose. The criminal overlord expressed surprise and admiration: he thought he’d killed Thirteen months ago…

Following an explosion of hyper-fast violence which left the henchmen dead and Mongoose vanished but vengeful, the mystery man regretfully hopped a freight train west towards the next stage in his quest for truth…

His journey of discovery took him to the army base where Kim Rowland’s husband was stationed. His enquiries provoked an unexpected and violent response resulting in his interrogation by General Ben Carrington and his sexily capable aide Lieutenant Jones.

They’re from the Joint Chiefs of Staff, know an awful lot about black ops units and have proof that their memory-challenged prisoner is in fact their agent: believed-deceased Captain Steve Rowland

After testing the amnesiac’s abilities Carrington then drops him off in Rowland’s home town of Southberg to pursue his search for his missing wife, but the prodigal’s return to his rat’s nest of a family rekindles long-simmering passions and jealousies. The entire town seems to want Rowland’s blood and before long he’s been made the target of an assassination attempt and victim of a diabolical murder-plot…

Despite Carrington and Jones’ last-minute intervention Alan/Steve is framed for murdering his father and grabbed by a furious posse.

After an indeterminate period of time “Steve” resurfaces, undergoing the worst kind of psychiatric care at Plain Rock Penitentiary for the Criminally Insane. Despite drugs and shock treatments, progress is negligible, probably because aging martinet Dr Johansson’s claims of curing for his patient’s apparent amnesia are clearly just a judgemental sadist’s justifications for inflicting agony on the helpless…

Carrington and Jones meet with Amos who has troubling information. His investigations revealed the amnesiac had undergone illicit plastic surgery and his army records were altered. Whoever was in Plain Rock, he wasn’t Steve Rowland…

Amos’ files proved the plotters who had the President killed were still active and their amnesiac assassin was now the only link to them. Acting on her own initiative, Jones decided it was time she took a hands-on approach…

Anxious and isolated, Not-Rowland received a visitor who galvanised him out of his induced torpor and knew his days were numbered…

Deep within the corridors of power, Amos informs Carrington further researches have obtained them a name. XIII and the man they are actually dealing with is former soldier and intelligence operative Ross Tanner.

Probably…

Perhaps…

Rowland/Tanner opts for escape but is swiftly recaptured and restricted to the medical section. XIII is helpless when the Mongoose’s inside man makes his move. Luckily Jones had also inserted herself in a position where she could do the most good…

Spectacularly busting out, “Rowland” and the mystery woman then race into the desert, somehow avoiding a massive manhunt before vanishing without trace.

Some time later, Amos and Carrington confer over the disappearance, but one of them knows exactly where the fugitive is. Now, with another new name, the warrior without a past and his new powerful allies lay plans to take the fight to their secret enemy…

SPADS is the fourth complex and convoluted chapter (first released in Europe in 1987) and opens with a much more concise and visual recap than I’ve just given, before kicking the plot into high gear as the race to replace murdered President Sheridan hots up. The contenders are Old Boy Network hack and former Vice President Joseph Galbrain battling Sheridan’s glamorous and idealistic younger brother Walter: latest scion of a venerable dynasty of leaders…

Amos’ diligent investigation is relentless. After exhuming a host of bodies, he can confidently claim to know who Tanner really is, is but when his search leads him into a trap that kills his assistant and incapacitates him, he starts to wonder if he’s tracking a target or being led onto a bullseye…

Elsewhere, in a green hell of sweat and testosterone, Ross Tanner is making no friends as he trains to join elite combat unit SPADS (SPecial Assault and Destruction Squads). He doesn’t fit in and is always causing trouble. It’s as if he’s there under false pretences…

When Amos and Judge Allenby confront Carrington at the Pentagon with news that Tanner is also an alias for an as yet unknown operative, the reaction is little short of explosive. Soon after, special aide Lieutenant Jones goes AWOL…

Back in the Bayou, the man everybody is hunting has made a fresh advance into uncovering his occluded past. Sergeant Betty served with the real Rowland and knows he didn’t die at the time and in the manner the official reports describe. Before she shares the details, however, she has an itch that needs scratching…

That conversation is curtailed by camp commander Colonel McCall, who tells the undercover operative that he’s being transferred out in the morning by direct order of General Carrington. Realising his chance to solve his personal mystery is evaporating, XIII settles a few outstanding scores before sneaking into Betty’s quarters…

Amos and Allenby meanwhile have not been idle, and the former is certain he has at last gleaned the actual identity of the multi-named agent XIII, but when they visit a certain grave they walk right into another ambush and a well-placed mole is forced to break cover…

As Amos is plucked from the firefight by the last person he expected to see, a continent away Tanner’s liaison gets even more dangerous when another Mongoose mole interrupts and tries to kill them both. Happily, Carrington’s back-up agent is well placed to save them and they all flee together, unaware that their escape vehicle has been boobytrapped and sabotaged…

Amos by now is securely ensconced in a palatial hideaway, being feted by a coterie of political heavyweights who finally reveal the truth about all the men Ross Tanner is and isn’t. They then explain the incredible reason for the smoke-&-mirrors operation and the earth-shattering stakes…

To Be Continued…

XIII is one most compelling and multi-layered mystery adventures ever conceived, with subsequent instalments constantly taking the questing human enigma two steps forward, one step back, stumbling through a world of pain and peril whilst cutting through an interminable web of past lives he seemingly led…

Rocket-paced and immensely inventive, XIII is a series no devotee of action sagas and conspiracy thrillers will want to miss.
Original edition © Dargaud Benelux (Dargaud-Lombard SA), 1987 by Van Hamme, Vance & Petra. All rights reserved. This edition published 2010 by Cinebook Ltd.

My Favorite Thing is Monsters


By Emil Ferris (Fantagraphics Books)
ISBN: 978-1-60699-959-2

Once upon a time, comics were ubiquitous and universal and scorned by most people.

Gradually people came to realise that there were gems amongst the dross, and a critical arena grew where graphic novels could be judged on their own intrinsic merits and afforded serious consideration as Art.

Every so often an example of purely perfect sequential narrative emerges which reshapes the Artform and forces the entire world to sit up and take notice: Maus, Persepolis, American Splendor, Watchmen

I’m pretty certain as I read my review copy (for the third time in two weeks) that My Favorite Thing is Monsters is soon going to be automatically added to that list of ground-breaking, world-shaking graphic masterpieces whenever people talk about the absolute best that sequential graphic narrative has to offer…

Crafted over decades, this massive onion-skin of tales-within-tales ostensibly details a murder mystery, but conceals within its astoundingly illustrated layers a “you-are-here” historical perspective of the social chaos resulting amongst the impoverished and disenfranchised after the assassination of Dr. Martin Luther King, Jr., a crushing examination of child abuse, an impassioned discourse on the nature and role of Art, a chilling coming-of-age experience, a telling testament of the repercussions of survival for Holocaust victims and a mesmerising trek through the psyche of a very troubled little girl on the cusp of leaving the security of childhood forever…

The viper’s nest of stories is delivered through the beguiling conceit that we are reading the diary of an extremely intelligent, artistically gifted little girl who has inscribed and illustrated in her spiral-bound notebook the far-from-mundane recent events of her life: an unedited, unexpurgated stream-of-consciousness account, just as the events happened…

Karen Reyes sees monsters. She sees them everywhere but that’s okay because most of them are her friends or at least not overly hostile and besides, she’s a monster too…

In 1968 Chicago, our 10-year-old protagonist/narrator is obsessed with movie and comicbook creature features, to the point of seeing herself as a cute werewolf (much in the mould of Maurice Sendak’s Wild Things).

She is also worldly-wise beyond her years perhaps blessed with synaesthesia: able to smell colours, taste the tone or character of places and enter the many paintings her artist brother takes her to see at the gallery…

The single-parent family lives in Chicago in 1968 in a tenement owned by local gangboss Mr. Gronan. The mobster’s wife is one of the many women Karen’s brother Deeze regularly shares his bed with, not the wisest of things to admit to…

Despite his social shortcomings Deeze is a brilliant artist who has always shared his passion with his gifted sister, but as the story opens he is keeping a secret from Karen. Their adoring mother is dying…

Karen’s cool reserve is frequently tested. Many kids at school bully and abuse her whilst their parents scorn and despise her. At least she has a few trusted outcast associates in her corner. It’s no wonder though that she prefers the clannish world of screen and comicbooks to what reality offers up daily…

Blithely unaware of how painful the world can be, the dutiful daughter’s world shifts from filmic fantasy to real life tragedy when troubled tenant Anka Silverberg dies. Karen, who has shared a special relationship with the concentration camp survivor for years, realises it must be murder, not the inevitable suicide most of the adults say it was.

The Werewolf-girl thus resolves to use her gifts to find the killer and embarks on an horrific voyage of discovery. With the unwittingly aid of befuddled sot Sam Silverberg and her own uncanny, wise-beyond-her-years instincts, Karen stalks her elusive prey, slowly gaining an understanding of the real-world atrocities Anna endured before reaching America and her inescapable date with doom…

Moreover, as Karen continues to investigate the life and death of Anka, the increasingly violent real world gets a stronger hold on her inner landscape, distracting the monster girl from her self-appointed mission…

Astoundingly complex and multi-layered, and accessing a phenomenally intricate interior landscape blending the shocking squalor, deprivation and social unrest of mid 1960’s Chicago with the thoughts and impression of a brilliant child and natural outsider, My Favorite Thing is Monsters offers a stunning examination of loss and what it means to be human. Moreover, the barrage of intertwined stories never obfuscates, but always offers some snippet of revelation and does so with warmth, humour, great heart and inspirational passion.

Best of all, this tome is only the beginning and the story will continue in a sequel…
© 2016 Emil Ferris. All rights reserved.

Little Tulip


By Jerome Charyn & François Boucq (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80872-7

Some creative teams spend all their time collaborating: crafting works that constantly remind us why we are wise to await their every effort. Other artisans only link up at agonisingly rare intervals, and when their newest works are finally finished we hungry lovers of their art can only breathe a huge sigh of relief and release.

A sublime case-in-point are the all-too-rarely seen concoctions of American crime author and graphic novelist Jerome Charyn (Johnny One-Eye, I Am Abraham, Citizen Sidel, Bitter Bronx: Thirteen Stories) and French illustrator François Boucq (Bouncer, Sente, Jérôme Moucherot, Bouche de diable) who together created Femme du magicien/The Magician’s Wife and Billy Budd, KGB: uniquely compelling graphic novels which have won popular acclaim and numerous awards all over the world.

Now their latest dark masterpiece – published in French in 2014 – is at last available in a remastered English translation by Charyn himself.

A ferocious and captivating blend of bleak reverie, coming-of-age drama, noir thriller and supernatural vengeance tale, the action opens in New York City in 1970 where tattooist Pavel plies his trade under the admiring gaze of fascinated teen Azami.

She too is enslaved to the act of drawing, and wants to know everything: how to mark the skin, the secrets of adapting a past design, where and how the master got his own skinful of stories…

The city is in a growing panic. A serial-killing rapist dubbed Bad Santa is terrorising the night; targeting late working women such as Azami’s mother, so Pavel is keeping a quiet eye on them both. He’s actually far more informed than most citizens, as his uncanny ability to draw likenesses from the barest of witness accounts makes the old man a crucial component of the cops’ war on crime.

This almost magical ability has been consistently failing in regard to the Bad Santa killings, however, and the tension makes Pavel dream of his own appalling childhood…

Just after WWII ended, his artist father emigrated from Washington Heights, USA to the Soviet Union to work with legendary film-maker Sergei Eisenstein.

In those constrained environs Pavel absorbed a love of drawing and hunger for creative expression that was not crushed even when a political shift in climate saw him and his family arrested as spies and shipped off to the horrific Siberian gulag of Kolyma.

The daily casual atrocities of the corrupt guards were worse than what the boy experienced at the hands of the rival criminal gangs who actually ran the prisons. Soon he was alone, but his instinct for survival and gifts as an artist set him upon a new path, creating the sacrosanct, almost-holy tattoos the inmates used to define, embolden and characterise themselves.

It was not the only art Pavel learned. As he grew older he became the top gladiator of his gang: a fast deadly warrior with a blade in pitch darkness or broad daylight…

As the wave of killings continue in the blighted Big Apple, Pavel’s thoughts keep returning to the unceasing stream of hardships and atrocities he experienced in the camp. Slowly a grim conclusion comes to him about the nature of the Bad Santa… but too late for him to save the people nearest and dearest to him…

Bleak, uncompromising, seductive and painfully authentic whilst tinged with a smear of supernatural mystery, the story of Little Tulip is an unforgettable peek into the forbidden and the profane that will take your breath away.

Also included in this album-sized (280 x 210 mm) full-colour paperback is a glorious selection of sketches and working drawing in an entrancing display of ‘Artwork by François Boucq’ to inspire you to making your own meaningful marks on paper – or any preferred medium…
© 2014 Jerome Charyn and François Boucq. © 2014 Le Lombard. Lettering © 2016 Thomas Mauer. All rights reserved.

Little Tulip is officially released January 27th 2017 and is available for pre-order now. Check out www.doverpublications.com, your internet retailer or local comics-store or bookshop.

The Shadow volume 3: The Light of the World


By Chris Roberson, Giovanni Timpano & various (Dynamite Entertainment)
ISBN: 978-1-60690-461-9

In the early 1930s, The Shadow gave thrill-starved Americans their measured doses of extraordinary excitement via cheaply produced pulp periodical novels, and over the mood-drenched airwaves through his own radio show.

“Pulps” were published in every style and genre in their hundreds every month, ranging from the truly excellent to the pitifully dire, but for exotic or esoteric adventure-lovers there were two stars who outshone all others. The Superman of his day was Doc Savage, whilst the premier dark, relentless creature of the night dispensing terrifying grim justice was the putative hero under discussion here.

Radio series Detective Story Hour – based on stand-alone yarns from the Street & Smith publication Detective Story Magazine – used a spooky-toned narrator (variously Orson Welles, James LaCurto or Frank Readick Jr.) to introduce each tale. He was dubbed “the Shadow” and from the very start on July 31st 1930, he was more popular than the stories he highlighted.

The Shadow evolved into a proactive hero solving instead of narrating mysteries and, on April 1st 1931, began starring in his own printed adventures, written by the incredibly prolific Walter Gibson under the house pseudonym Maxwell Grant. On September 26th 1937 the radio show officially became The Shadow with the eerie motto “Who knows what evil lurks in the hearts of Men? The Shadow knows!” ringing out unforgettably over the nation’s airwaves.

Over the next eighteen years 325 novels were published, usually at the rate of two a month. The uncanny crusader spawned comicbooks, seven movies, a newspaper strip and all the merchandising paraphernalia you’d expect of a superstar brand.

The pulp series officially ended in 1949 although Gibson and others added to the canon during the 1960s when a pulp/fantasy revival gripped the world, generating reprinted classic yarns and a run of new stories as paperback novels.

In graphic terms The Shadow was a major player. His national newspaper strip – by Vernon Greene – launched on June 17th 1940 and when comicbooks really took off the Man of Mystery had his own four-colour title; running from March 1940 to September 1949.

Archie Comics published a controversial contemporary reworking in 1964-1965 under their Radio/Mighty Comics imprint, by Robert Bernstein, Jerry Siegel, John Rosenberger and Paul Reinman. In 1973 DC acquired the rights to produce a captivating, brief and definitive series of classic comic sagas unlike any other superhero title then on the stands.

DC periodically revived the venerable vigilante. After the runaway success of Crisis on Infinite Earths, The Dark Knight Returns and Watchman, Howard Chaykin was allowed to utterly overhaul the vintage feature for an audience at last acknowledged as grown-up enough to handle more sophisticated fare.

This led to further, adult-oriented iterations (and even one cracking outing – Hitler’s Astrologer – from Marvel) before Dark Horse assumed the license of the quintessential grim avenger for the latter half of the 1990s and beyond.

Dynamite Entertainment secured the option in 2011 and, whilst reissuing much of those other publishers’ earlier efforts, began a series of new monthly Shadow comics.

Set in the turbulent 1930s and war years that followed, these were crafted by some of the top writers in the industry, each taking their shot at the immortal legend, and all winningly depicted by a succession of extremely gifted illustrators.

This third volume – collecting #13-18 of the monthly comicbook from 2013 – comes courtesy of author Chris Roberson (House of Mystery, iZombie, Cinderella: From Fabletown with Love, Superman/Batman) and illustrator Giovanni Timpano, ably abetted by colourist Fabrício Guerra and letterer Rob Steen. This time the Master of the Dark prowls the bloody streets of New York in search of a fantastic vigilante as deadly and remorseless as himself…

The drama begins as yet another rich, powerful man is butchered whilst secretly indulging in sordid pleasures of the flesh. The perpetrator is rumoured to be a ghostly, sword-wielding “lady phantom”…

Very few know that the black-cloaked fist of final retribution known as The Shadow masquerades by day as abrasive, indolent playboy Lamont Cranston. Most are agents in his employ: all aware of his semi-mystical abilities to detect thoughts and cloud the minds of men. They are about to learn that there are other beings blessed with uncanny abilities, relentless determination and unshakeable agendas…

Cranston and his paramour/top operative Margo Lane begin their investigations at the prestigious Cobalt Club: pumping the wealthy patrons and Police Commissioner Weston in the guise of idle gossip-mongering and scandal-seeking…

The authorities, it seems, give little credence to the testimony of prostitutes – the only survivors of the attacks – and have dismissed reports of a vengeful woman as sole perpetrator. The Shadow’s operatives are far more astute and less prejudiced: information is gathered and soon after the Dispenser of Vengeance is on hand when the woman in white confronts her next victim…

As the first of a series of poignant flashbacks begins to reveal the secret of the bizarrely radiant swordswoman, in the modern moment of her confrontation with The Shadow, the Master of Men quickly realises this seeming angel of death is every inch his equal in the arts of combat. In fact, her ability to cast a blinding glow might well give her the edge…

After a brutal duel he manages to drive her off before she can finish off her latest victim, but, before he or the police can get any useful information from the survivor, the maimed man is silently butchered in his locked and guarded hospital room…

And thus the war between light and darkness progresses with The Shadow losing battles but gradually winning the war: inexorably closing in on The Light by pitting all his resources and risking his greatest assets to trap his glowing antithesis who works for the most pure, if misguided, of causes…

Dynamite publishes periodicals with a vast array of cover variants and here that gallery features a wealth of iconic alternate visions by Alex Ross, Francesco Francavilla, Tim Bradstreet, Paolo Rivera and Jason Shawn Alexander to delight any art lover’s eyes and heart.

Moody and brooding, The Light of the World is a solid pulp thriller with an intriguing history and premise for its “player on the other side” scenario, plenty of action and a spectacular cinematic climax at the top of New York’s steel-&-concrete canyons…

This is another superb addition to the annals of the original Dark Knight, and one no one addicted to action and mystery should miss.
The Shadow ® & © 2013 Advance Magazine Publishers Inc. d/b/a Conde Nast. All Rights Reserved.

James Bond™ volume 1: VARGR


By Warren Ellis, Jason Masters, Guy Major & Simon Bowland (Dynamite Entertainment)
ISBN: 978-1-60690-901-0

James Bond is the ultimate secret agent. You all know that and have – thanks to the multi-media empire that has grown up around Ian Fleming’s masterful creation – your own vision of what he looks like and what he does. That’s what dictates how you respond to the latest movie, game or novel.

There are also some exceedingly enjoyable comicbook and newspaper strip versions detailing the further exploits of 007 which have never really found the appreciation they rightly deserve. This collection is just one of the most recent, compiling the first six issues of a regular comicbook series from licensing specialists Dynamite Entertainment and quite possibly one of the top ten Bond adventures ever seen in any medium…

Dumping the decades of gaudy paraphernalia that’s grown around the brand, writer Warren Ellis, illustrator Jason Masters, colourist Guy Major and letterer Simon Bowland have opted for a stripped-down, pared-back, no-nonsense iteration who is all business.

It begins after Bond’s return from a personal mission to Helsinki which culminated in the elimination of the assassin who recently killed 008. On returning to MI6, however, the infallible agent is carpeted by M.

With motions in progress to close the Double-O department, Bond is given a simple assignment: “dissuading” a small European drug dealer from distributing his latest recreational designer dope in the United Kingdom.

Of course, no job is ever simple…

The first snag is a new Home Office ruling depriving Bond of his gun whilst within British borders, but at least Q has few treats for him to use once he’s touched down on foreign soil…

Following an impromptu briefing on his contact – the Intel has come via a CIA informant used by old comrade Felix Leiter, so at least that’s reliable – Bond jets off for Berlin Station, only to narrowly escape being murdered by impossibly strong impostor-agent Dharma Reach as soon as he gets out of the airport…

Taking the near-miss in stride, 007 swiftly starts his surveillance by meeting the CIA’s asset, Serbian geneticist and medical pioneer Slaven Kurjak, who has been making astounding breakthroughs in both pharmaceuticals and powered prostheses.

The exceedingly eccentric doctor puts him on the trail of a minor local gang with a new method of processing cocaine, so Bond sets off on the trail of his new target, resolute but clearly suspicious…

Meanwhile in London, drug addicts begin exhibiting strange, horrific and ultimately fatal side-effects after their latest scores…

Kurjac obviously has his own agenda, but the methodical Bond opts to investigate this disquieting informant’s “information” first and is soon in the fight of his life after stumbling into a major drugs operation run by the huge Al-Zein cartel.

On returning – shaken, stirred but largely intact – to the MI6 office, he’s intercepted by Slaven’s most dangerous guinea pig Mr. Masters, moments after the chemically-corrupted killer has depopulated the entire Berlin Station. Attempts to lure Bond into a fresh trap have been anticipated, however, and 007 is more than ready when the killer makes his move. Masters’ agonised last words to Bond are “Vargr. Please. Vargr”…

A frustrating confrontation with Kurjac then reveals the shocking truth about the crazy doctor’s hideous plans for the tainted drugs on Britain’s streets, but ends with apparent defeat and Bond stuck in a seemingly inescapable death-trap…

Through his usual blend of ingenuity and inspired insanity Bond survives and returns to London for debriefing but is again ambushed by Dharma Reach. She inadvertently provides a clue to her boss’ whereabouts before explosively expiring…

With a clear target and destination – and determined to end the bloody shambles at any cost – Bond heads to Norway and a final confrontation with Kurjak. The resolution to the mystery of Vargr is cataclysmic and incomprehensibly bloody…

With a gallery of covers by Dom Reardon and 22 variants from Masters, Glenn Fabry, Francesco Francavilla, Gabriel Hardman, Jock, Stephen Mooney, Dan Panosian, Joe Jusko, Aaron Campbell, Timothy Lim, Dennis Calero, Robert Hack and Ben Oliver plus Concept Art from Masters featuring character designs and model sheets, this elegant espionage episode is fast, furious, dryly witty, superbly smart and impeccably stylish: in short, the perfect James Bond thriller.

Try it and see for yourselves…
© 2016 Ian Fleming Publications, Ltd. James Bond and 007 are ™ Danjaq LLC, used under license by Ian Fleming Publications, Ltd. All rights reserved.

Snow


By Benjamin Rivers (Benjamin Rivers Inc.)
ISBN: 978-0-9813495-8-9

Life isn’t drama. Life is ordinary: dull, repetitive, anxiety-provoking, tedious, unsatisfactory and just a bit less good than everybody else’s.

Until it isn’t…

And then we make it a story. In a story you can mould reality into a shape you like and polish it to your own satisfaction. Then again, there are some stories which like to bend their own rules and aspire to being life-like…

If you’re a fan of high-tension thrillers or blockbuster epics, there doesn’t appear to be much going on in Snow: a miniseries-turned-graphic compilation detailing the overlapping and intersection of ordinary people living and/or working on Queen Street West, Toronto.

However, that either means you have a very glamorous lifestyle or you spend too much time submerged in fiction and not enough looking and listening to what’s going on around you…

Crafted by illustrator and games developer Benjamin Rivers (who somewhat shoots my argument in the foot by having turned this comics collation into both an Indy movie and computer game), Snow is delivered in stark, monochrome simplicity, centring on Dana, a rather nervous young woman who works in a bookstore.

Economically, times are tough and she’s fixating on the number of shops and businesses that are closing in the locality.

Dana doesn’t like change and she doesn’t like confrontation.

However, these days there’s an aura of tension everywhere – even in her former comfort zone at the store. Her co-workers are mostly ok, but old Mr. Abberline isn’t looking well and Dana can’t shift the suspicion that soon they’ll all be looking for new jobs. Even best friend Julia doesn’t get it though: it seems so easy for her to shut out such concerns and just party…

As she trudges along snowbound Queen Street to work and back, to the bar or the Laundromat, Dana can’t shift an oppressive sense of impending doom. Things come to a head abruptly when she overhears an argument in a closing-down, already shuttered CD store.

She can just about ignore that and go home, but after hearing a gunshot, Dana, in her unrushed, gradual manner, abandons the instincts of a lifetime and goes to investigate…

What she finds on entering the shop is the trigger to remaking her entire life, but change is so hard and so comes so painfully slowly…

Appearing cautious and careful, this deceptively simple and elegant saga offers a supremely understated exploration of how folk like you and me react to a shocking event and its aftermath: treating the extraordinary with the dismay and respect it deserves when it impinges on real lives.

Most importantly, just like life, although there are always questions asked, we seldom get all the answers we want or need before, in the end, life goes on…

Amongst the Bonus Material included here is the movie poster for the film adaptation, annotated creator’s notes and sketches, concept-&-character designs, an examination of the drawing process which resulted in the book’s signature visual style and the author’s reminiscent Afterword: Is It Still Snowing?, as well as a handy street guide and map of the ‘The World of Snow’.

Just like life, Snow is better experienced than fed to you second-hand or reprocessed, so please read this graphic novel if you’re looking for something a little different from what comics think of as normal…
© 2014 Benjamin Rivers. All rights reserved.

Clifton volume 6: Kidnapping


By Turk & de Groot, translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-87-8

An infallible agent of Her Majesty’s assorted security forces, Clifton was created by Raymond Macherot (Chaminou, Les croquillards, Chlorophylle, Sibylline) for the weekly Tintin. Our doughty exemplar of Albion debuted in December 1959, just as a filmic 007 was preparing to set the world ablaze and get everyone hooked on spycraft…

After three albums worth of strip material – all compiled and released between 1959 and 1960 – Macherot left Tintin for arch-rival Spirou and his bombastic buffoon was benched.

Tintin revived him at the height of the Swinging London scene and aforementioned spy-craze, courtesy of Jo-El Azaza & Greg (Michel Régnier). Those strips were subsequently collected as Les lutins diaboliques in French and De duivelse dwergen for Dutch-speakers in 1969.

Then it was back into retirement until 1971 when Greg – with artist Joseph Loeckx – took another shot. He toiled on the True Brit until 1973 when Bob De Groot & illustrator Philippe “Turk” Liegeois fully regenerated the be-whiskered wonder. They produced ten more tales after which, from 1984 on, artist Bernard Dumont (AKA Bédu) limned de Groot’s scripts before eventually assuming the writing chores as well. The series concluded in 1995.

…But Never Say Never Again…

In keeping with its rather haphazard Modus Operandi and indomitably undying nature, the Clifton experience resumed yet again in 2003, crafted now by De Groot & Michel Rodrigue for four further adventures. Although the humorous visual vein was still heavily mined in these tales, now the emphasis was subtly shifted and the action/adventure components strongly emphasised…

Originally released in 1983, Kidnapping was Turk & De Groot’s last collaboration and wrapped up their mock-heroic shenanigans in fine and foolish style…

Bob de Groot was born in Brussels in 1941, to French and Dutch parents. As a young man he became art assistant to Maurice Tillieux on Félix, before creating his own short works for Pilote. A rising star in the 1960s, he drew 4 × 8 = 32 L’Agent Caméléon where he met Liegeois, consequently began a slow transition from artist to writer. Together they created Archimède, Robin Dubois and Léonard before eventually inheriting Raymond Macherot’s moribund Clifton.

In 1989 de Groot – with Jacques Landrain – devised Digitaline, a strong contender for the first comic created entirely on a computer, and co-created Doggyguard with Michel Rodrigue, even whilst prolifically working with the legendary Morris on both Lucky Luke and its canine comedy spin-off Rantanplan.

He’s still going strong with strips such as Léonard in Eppo, Père Noël & Fils and Le Bar des acariens (both published by Glénat) and so much more.

Pompous, irascible Colonel Sir Harold Wilberforce Clifton is ex-RAF, a former officer with the Metropolitan Police Constabulary and recently retired from MI5. He has a great deal of difficulty dealing with being put out to pasture in rural Puddington and takes every opportunity to get back in the saddle, assisting the Government or needy individuals as an amateur sleuth whenever the opportunity arises. He occupies his idle hours with as many good deeds as befit a man of his standing and service. He is particularly dedicated to sharing the benefits of organised Scouting with the young generation…

This rollicking comedy crime caper begins with the old soldier and his fiery, ferociously competent, multi-talented housekeeper Mrs. Partridge preparing for a big camping trip for a motley crew of fresh-faced boy scouts.

Even after his own haphazard preparations are finally completed, Scoutmaster Clifton’s departure is further delayed by the stylishly late arrival of the troublesome son of wealthy and obnoxiously prestigious Sir Abylas Chickenpiece

Finally, however, the troop is under way and before too long they are setting up camp in an isolated patch of woodland. After organising jobs for the lads Clifton begins his own chores, setting tests for the boys trying out to win merit badges and catching a crafty snooze when he thinks nobody is looking…

It’s a very bad move. When the spoiled and appropriately codenamed “Distinguished Peacock” sets off to gather firewood, he’s pounced on by thugs working under the careful instructions of an obsessive porcelain collector who is well aware of the worth of the Chickenpiece Fortune…

A furtive observer to the crime, poor but honest “Thrifty Duckling” sees his companion being abducted and cunningly hides himself inside the getaway car, so when Clifton is made aware of the crisis he feels painfully responsible for the loss of two boys in his care…

Angry and insulted, the irascible Colonel eschews contacting the police and determines to give his remaining charges a lesson in the value of his scouting techniques by tracking the kidnappers to their lair and personally apprehending them.

The only real complication he envisages is apprising the victims’ fathers of the perilous current status of their sons and heirs…

A classic chase, memorable confrontation and Boys Own conclusion is the happy result of Clifton and his diminutive team working together, and when the action ends the reunions and subsequent outdoor celebrations are all any stout-hearted lad could hope for…

Funny, fast and furiously thrill-packed, Kidnapping shows our Old Soldier in his most engaging and flattering light with this craftily-concocted adventure romp in the grandly enticing manner of Charles Crichton’s Hue and Cry or Launder & Gilliat’s The Belles of St Trinian’s; sufficient to astound and delight devotees of simpler times whilst supplying a solid line in goofy gags for laughter-addicts of every age to enjoy.
Original edition © Les Editions du Lombard (Dargaud-Lombard SA) 1984 by Turk & De Groot. English translation © 2009 Cinebook Ltd.

Spirou and Fantasio volume 11: The Wrong Head


By André Franquin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-313-0

Win’s Christmas Gift Recommendation: Classic Madcap Mirth and Melodrama… 9/10

Spirou (which translates as both “squirrel” and “mischievous” in the Walloon language) was created by French cartoonist François Robert Velter using his pen-name Rob-Vel for Belgian publisher Éditions Dupuis in direct response to the phenomenal success of Hergé’s Tintin for rival outfit Casterman.

Thus, a soon-to-be legendary weekly comic entitled Spirou launched on April 21st 1938 with a rival red-headed lad as lead in an anthology which bears his name to this day.

The eponymous boy was originally a plucky bellboy/lift operator employed by the Moustique Hotel (a sly reference to the publisher’s premier periodical Le Moustique) whose improbable adventures with pet squirrel Spip gradually evolved into high-flying, far-reaching and surreal comedy dramas.

Spirou and his chums have spearheaded the magazine for most of its life, with a phalanx of truly impressive creators carrying on Velter’s work, beginning with his wife Blanche “Davine” Dumoulin who took over the strip when her husband enlisted in 1939. She was assisted by Belgian artist Luc Lafnet until 1943 when Dupuis purchased all rights to the property, after which comic-strip prodigy Joseph Gillain (“Jijé”) took the helm.

In 1946 Jijé’s assistant André Franquin assumed the creative reins, gradually sidelining the well-seasoned short gag vignettes in favour of epic adventure serials; introducing a broad, engaging cast of regulars and eventually creating phenomenally popular magic animal the Marsupilami to the mix.

First seen in Spirou et les héritiers in 1952, the elastic-tailed anthropoid eventually spun-off into his own strip series; becoming also a star of screen, plush toy store, console games and albums. Franquin continued concocting increasingly fantastic tales and spellbinding Spirou sagas until his resignation in 1969.

He was followed by Jean-Claude Fournier who updated the feature over the course of nine stirring adventures which tapped into the rebellious, relevant zeitgeist of the times: offering tales of environmental concern, nuclear energy, drug cartels and repressive regimes.

By the 1980s the series seemed outdated and without direction: three different creative teams alternated on the feature, until it was at last revitalised by Philippe Vandevelde – writing as Tome – and artist Jean-Richard Geurts AKA Janry, who adapted, referenced and in many ways returned to the beloved Franquin era.

Their sterling efforts revived the floundering feature’s fortunes and resulted in fourteen wonderful albums between 1984 and 1998. As the strip diversified into parallel strands (Spirou’s Childhood/Little Spirou and guest-creator specials A Spirou Story By…) the team on the core feature were succeeded by Jean-David Morvan & José-Luis Munuera, and in 2010 Yoann & Vehlmann took over the never-ending procession of amazing adventures…

Cinebook have been publishing Spirou & Fantasio’s exploits since 2009, alternating between Tome & Janry’s superb reinterpretations of Franquin and earlier efforts from the great man himself.

André Franquin was born in Etterbeek, Belgium on January 3rd 1924. Drawing from an early age, he only began formal art training at École Saint-Luc in 1943. When war forced the school’s closure a year later, he found work at Compagnie Belge d’Animation in Brussels. There he met Maurice de Bévère (AKA Lucky Luke creator “Morris”), Pierre Culliford (Peyo, creator of The Smurfs) and Eddy Paape (Valhardi, Luc Orient). In 1945 all but Peyo signed on with Dupuis and Franquin began a career as a jobbing cartoonist and illustrator; producing covers for Le Moustique and Scouting magazine Plein Jeu.

In those early days Franquin and Morris were tutored by Jijé – the main illustrator at Spirou. He turned the youngsters and fellow neophyte Willy Maltaite AKA Will (Tif et Tondu, Isabelle, Le jardin des désirs) into a smooth creative bullpen known as the La bande des quatre or “Gang of Four”.

They later reshaped and revolutionised Belgian comics with their prolific and engaging “Marcinelle school” style of graphic storytelling…

Jijé handed Franquin all responsibilities for the flagship strip part-way through Spirou et la maison préfabriquée, (Spirou #427, June 20th 1946) and the new guy ran with it for two decades; enlarging the scope and horizons until it became purely his own. Almost every week fans would meet startling new characters such as comrade/rival Fantasio or crackpot inventor and Merlin of mushroom mechanics the Count of Champignac.

Spirou and Fantasio became globe-trotting journalists, travelling to exotic places, uncovering crimes, exploring the fantastic and clashing with a coterie of exotic arch-enemies such as Zorglub and Fantasio’s rascally cousin Zantafio.

In a splendid example of good practise, Franquin mentored his own band of apprentice cartoonists during the 1950s. These included Jean Roba (La Ribambelle, Boule et Bill), Jidéhem (Sophie, Starter, Gaston Lagaffe) and Greg (Bruno Brazil, Bernard Prince, Achille Talon, Zig et Puce), who all worked with him on Spirou et Fantasio over the years.

In 1955 contractual conflicts with Dupuis droved Franquin to sign up with rival outfit Casterman on Tintin. Here he collaborated with René Goscinny and old pal Peyo whilst creating the raucous gag strip Modeste et Pompon. Although Franquin soon patched things up with Dupuis and returned to Spirou – subsequently co-creating Gaston Lagaffe in 1957 – Franquin was now contractually obliged to carry on his Tintin work too…

From 1959 on, co-writer Greg and background artist Jidéhem increasingly assisted Franquin but by 1969 the artist had reached his limit and resigned.

His later creations include fantasy series Isabelle, illustration sequence Monsters and bleak adult conceptual series Idées Noires, but his greatest creation – and one he retained all rights to upon his departure – is Marsupilami.

Plagued in later life by bouts of depression, Franquin passed away on January 5th 1997. His legacy remains; a vast body of work which reshaped the landscape of European comics.

Originally serialised in Spirou # 840-869 in 1954 and subsequently released on the continent in 1957 as hardcover album Spirou et Fantasio 8La mauvaise tête, this sinister yarn begins as Spirou visits his short-tempered pal Fantasio and finds the house a shambles. The intrepid reporter has ransacked his home in search of missing passport photos but his insensate fury abates a bit after Spirou convinces him to come play paddleball.

However, whilst looking for a lost ball in the woods, Spirou finds one of the missing photos but thinks nothing of it…

That evening strange events begin: Spirou sees Fantasio acting oddly in town and when a jeweller is robbed, a brutalised merchant identifies Fantasio as the smash-and-grab thief…

Seeds of suspicion are sown and Spirou doesn’t know what to think when a solid gold Egyptian mask is stolen on live TV. The bandit is clearly seen to be his best pal…

Spirou is still trying to reason with Fantasio when the police arrive and, with nobody believing the reporter’s ridiculous story of being in Paris on a spurious tip, watches with helpless astonishment as the accused makes a bold escape bid…

Still astounded, Spirou wanders to the ramshackle house where he found the missing photo and finds a strange set-up: a plaster cast of Fantasio and weird plastic goo in a mixing bowl…

His snooping is suddenly disturbed by screams and sounds of a struggle. Following the cacophony he finds one man holding the stolen gold mask and another on the floor. The standing man is too quick to catch and drives away with a third stranger, but as Spirou questions the beaten victim he learns that the loser of the fight is a sculptor who was hired to make astounding life-like masks of a certain journalist…

Soon Spirou is hot on the trail of the criminal confederates and uncovers a diabolical scheme to destroy Fantasio by an old enemy they had both discounted and almost forgotten…

Fast-paced, compellingly convoluted and perfectly blending helter-skelter excitement with keen suspense and outrageous slapstick humour, the search for The Wrong Head is a terrific romp to delight devotees of easy-going adventure.

As if the criminal caper and its spectacular courtroom drama climax is not enough, this tome also includes a sweet early solo outing for the marvellous Marsupilami as ‘Paws off the Robins’ finds the plastic pro-simian electing himself guardian of a nestful of newborn hatchlings in Count Champignac’s copious gardens, resolved to defend the chicks from a marauding cat at all costs…

Stuffed with fabulously fun, riotous chases and gallons of gags, this exuberant tome is a joyous example of angst-free action, thrills and spills. Easily accessible to readers of all ages and drawn with beguiling style and seductively wholesome élan, this is pure cartoon gold: an enduring comics treat, certain to be as much a household name as that other kid reporter and his dog…
Original edition © Dupuis, 1957 by Franquin. All rights reserved. English translation 2016 © Cinebook Ltd.