Jonah Hex: Shadows West


By Joe R. Lansdale, Timothy Truman, Sam Glanzman & various (DC/Vertigo)
ISBN: 978-1-4012-4715-7

As initially imagined by John Albano & Tony DeZuñiga, Jonah Hex is probably the most memorable western comic character ever created. He’s certainly the darkest and most grippingly realised, as is the brutal and uncompromising world he inhabits.

A ruthless demon with gun or knife or whatever is at hand, he hunts men for the price on their heads in the years following the American civil war, and the scars inside him are more shocking even than the ghastly ruin of his face.

DC – or National Periodicals as it then was – had run a notable stable of clean-cut gunslingers since the collapse of the super-hero genre in 1949, with such dashing – and immensely readable – luminaries as Johnny Thunder, The Trigger Twins, Nighthawk, Matt Savage and dozens of others in a marketplace that seemed limitless in its voracious hunger for chaps in chaps. However, all things end and comic tastes are notoriously fickle, and by the early sixties the sagebrush brigade had dwindled to a few venerable properties as an onslaught of costumed super-characters assaulted the newsstands and senses.

They too would temporarily pass…

As the 1960s closed, the thematic changes in the cinematic Cowboy filtered through to a comics industry suffering its second superhero retreat in twenty years. Although a critical success, the light-hearted Western series Bat Lash couldn’t garner a solid following, but DC, desperate for a genre that readers would warm to, retrenched and revived an old and revered title, gambling once again on heroes who were no longer simply boy scouts with six-guns.

the very model of the modern anti-hero, Jonah Hex, who first appeared in All-Star Comics #10: a vulgarly coarse and engagingly callous bounty hunter clad in a battered Confederate Grey tunic and hat.

With half his face lost to some hideous past injury, Hex was a brutal thug little better than the scum he hunted and certainly a man to avoid.

From the very start the series sought to redress some of the most unpalatable motifs of old-style cowboy literature and any fan of films like Soldier Blue and Little Big Man or Dee Brown’s iconoclastic book Bury My Heart at Wounded Knee will feel a grim sense of vicarious satisfaction and redress at most of the stories here.

There’s also a huge degree of world-weary cynicism that wasn’t to be found in other comics until well past the Watergate Scandal, the first time when America as a whole lost its social and political innocence. Sadly, not the last, though…

It was that edgy dissimilarity to standard comicbook fare that first attracted esteemed author, occasional comics scripter and devout Robert E. Howard fan Joe R. Lansdale (Bubba Hotep, Edge of Dark Water, Dead Aim) to the series as a child.

As his Introduction details, it’s also a large part of what convinced him and fellow craftsmen Timothy Truman (Grimjack, Scout, Turok: Dinosaur Hunter, Conan) and Sam Glanzman (USS Stevens, Haunted Tank, A Sailor’s Story, The Lonely War of Willy Schultz) to revive and reimagine the grizzled veteran in what turned out to be a highly popular and painfully controversial trio of adulted-oriented miniseries for DC’s Vertigo Comics imprint.

Collecting Jonah Hex: Two-Gun Mojo #1-5 (August-December 1993), Jonah Hex: Riders of the Worm and Such #1-5 (March-July 1995) and Jonah Hex: Shadows West #1-3 (February-April 1999), this volume – available in trade paperback and digital editions – also references heaping helpings of Spaghetti Western tropes, raw-edged Texan lore and attitudes, supernatural weirdness and some of the broadest, crudest, daftest belly-laugh humour ever seen in street-level American comics…

It all kicks off with Jonah Hex: Two-Gun Mojo as the bounty hunter is saved from lynching by the criminals he’s hunting. His saviour is nigh-decrepit aging manhunter Go Slow Smith. Together they despatch the outlaws who arranged the necktie party, but when the pecuniary lawmen try to claim the money on their latest gory prizes, they’re faced with bureaucratic obfuscation and delay.

That’s not too terrible as the town of Mud Creek has booze, beds and hot food, but when the sun goes down horror stalks Main Street and Smith is gunned down by a dead man…

Falsely accused of murder, Hex narrowly avoids another hanging and sets after traveling man Doc “Cross” Williams. When he tracks him down, however, the gunman realises the scientist has perfected a diabolical means of resurrecting the dead. It’s not so hard tackling the Doc’s bizarre coterie of ghastly freaks, but Hex has no chance against the wanderer’s star attraction, the undead but still lightning fast-draw Wild Bill Hickok.

The madman’s big mistake is trying to turn Hex into another zombie slave. After the hell-faced gunman gets way and regroups, Jonah undertakes a slow, relentless revenge that pulls Williams across the deadliest terrain in Texas and straight into the unforgiving sights of remorseless Apache renegades…

The result is a spectacular and breathtaking battle of wills you’ll never forget…

The creative band got back together for Jonah Hex: Riders of the Worm and Such: a truly inspired and deftly ridiculous spoof on western themes and attitudes with Hex cast as willing straight man in a yarn touching base with Robert E. Howard’s subterranean horror myths as viewed through Mel Brook’s Blazing Saddles.

In the searing inhospitable desert scrub a rather quaint English émigré is trying to establish a cattle ranch. He’s got lots of other strange ideas too, based on a lecture he once saw by Oscar Wilde.

At the Wilde West Ranch and Culture Emporium, Mr. Graves pays good wages and provides every amenity. He is well respected, but in return expects his doughty cowpokes to write and recite poetry, perform skits and enthusiastically burst into song at every opportunity.

Sadly, they got the enthusiasm down pat, but exhibit no discernible talent or artistic ability to underpin it…

When the restless Hex and his brash young sidekick stumble upon the cultural bastion, they have just barely survived an horrific encounter with a subterranean monster that drags people and animals beneath the earth to suck out their innards via efficiently-sliced off heads.

It’s not long before the newcomers realise the Englishman and his prairie troubadours are having their own encounters with the vile beasts.

When the effusive Graves reveals that the ranch previously belonged to a luckless fool named Errol Autumn an incredible tale emerges…

Autumn had set up his spread on land that had been contested for millennia by the local Indians and an antediluvian subhuman race dubbed the Worms of the Earth. After the idiot white man accidentally destroyed the wards and charms the natives had used to keep the monsters safely below, something escaped and raped his wife.

The offspring were still wandering the region and now seem intent on reviving that age-old war on humanity…

After one particularly hungry horror busts through the floor of Graves’s compound, Hex and the cowboys decide to take the battle to them and embark on a brain-blasting, ultimately cataclysmic voyage to the heart of hell, with the hybrid worm-children dogging their heels.

At least the underground argonauts can keep up their spirits with a song or two…

The bawdy and absurdist humour remain for the final outing but Jonah Hex: Shadows West also offers plenty of trenchant things to say about the treatment of native cultures too.

After another painful brush with ever-encroaching white civilisation and the stupidity of the law, Hex is induced by diminutive sharpshooter ‘Long Tom’ to join the shamefully low-rent Wild West Show of failed dentist and inveterate chancer Buffalo Will.

It’s an uncomfortable fit despite the huge salary and a reunion with old friend Spotted Balls. Will is an unrepentant shyster and charlatan and his white performers brutally and continually abuse the native hires.

After seeing how the men treat a squaw, Hex decides to quit and is astonished when she and Spotted Balls elect to come with him. The woman has an ulterior motive: her young son is the spawn of a spirit and looks it. He’s half bear, half human, talks and is the proposed means Buffalo Will plans to become stinking rich…

Happy to frustrate the evil impresario, Hex and his charges ride out in search of the spirit folk under ‘Gathering Shadows’ with Long Tom and a posse of killers in hot pursuit and a deadly race and mobile war of attrition ensues.

By the time the fugitives reach their destination, leaving bodies on both sides, ‘Final Shadows’ are falling and all hope seems lost. But even Hex’s cynical disbelief in mystic mumbo-jumbo takes a pounding when the child is reunited with the chief of the Bear Folk…

Raucous, excessively violent and bitingly funny, these irreverent yarns capture the spirit of the original Hex series whilst adding a modicum of unnatural unworldliness and outrageously lampooning the beloved cinema standbys of a bygone era.

If you love dry wit, trenchant absurdity and a non-stop bombardment of high-octane action, you must get this book.
© 1993, 1995, 1999, 2014 DC Comics. All Rights Reserved

Showcase Presents Jonah Hex volume 1


By John Albano, Arnold Drake, Michael Fleisher, Robert Kanigher, Denny O’Neil, Tony DeZuñiga, Noly Panaligan, Doug Wildey, George Moliterni, José Luis García-López, Gil Kane, Jim Aparo & various (DC Comics)
ISBN: 978-1-4012-0760-1

These days comics fans are not well-served in regard to genre fare. Although Marvel has gone a long way towards recovering (at least in digital formats) its back catalogue of war, crime horror and western yarns, DC – which arguably excels in all those categories as well as teen humour and funny animal publications – seems content to let such riches lie fallow.

So if you want classic material you need to look at older offerings such as their wonderful Showcase Presents archive line…

The Western is an odd story-form which can almost be sub-divided into two discrete halves: the sparkly, shiny version that dominated kids’ books, comics and television for decades, best typified by Zane Grey stories and heroes such as Roy Rogers and Gene Autry… and the other stuff.

That sort of cowboy tale – grimy, gritty, excessively dark – was done best for years by Europeans in such strips as Jean-Michel Charlier’s Lieutenant Blueberry or Bonelli and Galleppini’s Tex Willer, which made their way into US culture through the films of Sam Peckinpah and Sergio Leone.

Jonah Hex was always the latter sort.

DC – or National Periodicals as it then was – had run a notable stable (sorry!) of clean-cut gunslingers since the collapse of the super-hero genre in 1949, with such dashing – and immensely readable – luminaries as Johnny Thunder, The Trigger Twins, Nighthawk, Matt Savage and dozens of others in a marketplace that seemed limitless in its voracious hunger for chaps in chaps. However, all things end and comic tastes are notoriously fickle, and by the early sixties the sagebrush brigade had dwindled to a few venerable properties as an onslaught of costumed super-characters assaulted the newsstands and senses.

They too would temporarily pass…

As the 1960s closed, the thematic changes in the cinematic Cowboy filtered through to a comics industry suffering its second superhero retreat in twenty years. Although a critical success, the light-hearted Western series Bat Lash couldn’t garner a solid following, but DC, desperate for a genre that readers would warm to, retrenched and revived an old and revered title, gambling once again on heroes who were no longer simply boy scouts with six-guns.

All-Star Western #1 was released with an August/September 1970 cover date, packed with Pow-Wow Smith reprints, and became an all-new anthology title with its second bi-monthly issue.

The magazine was allocated a large number of creative all-stars, including Robert Kanigher, Neal Adams, Gray Morrow, Al Williamson, Gil Kane, Angelo Torres, and Dick Giordano, working on such strips as Outlaw!, Billy the Kid and the cult sleeper hit El Diablo, which combined shoot-’em-up shenanigans with supernatural chills, in deference to the true hit genre that saved comics in those dark days.

But it wasn’t until issue #10 and the introduction of a disfigured and irascible bounty hunter created by writer John Albano & Tony DeZuñiga that the company found its greatest and most enduring Western warrior.

This superb collection of the early appearances of Hex has been around for a few years, so consider this a heartfelt attempt to generate a few sales and lots of interest…

But before we even get to the meat of the review let’s look at the back of this wonderfully economical black-&-white gunfest where some of those abortive experimental series have been included at no added expense.

Outlaw was created by Kanigher and DeZuñiga, a generation gap drama wherein Texas Ranger Sam Wilson is compelled by duty to hunt down his troubled and wayward son Rick. Over four stylish chapters – ‘Death Draw’, ‘Death Deals the Cards!’ (#3, illustrated by Gil Kane), ‘No Coffin for a Killer’ and the trenchant finale ‘Hangman Never Loses’ (#5, drawn by Jim Aparo), the eternal struggles of Good and Evil, Old and New effectively played out, all strongly influenced by Clint Eastwood Spaghetti Westerns.

The series was replaced by one of the best and definitely the most radical interpretation of Billy the Kid ever seen in comics; a sardonic, tragic vengeance-saga that begins with the hunt for the killer of Billy’s father and develops into a poignant eulogy for the passing of an era.

Billy’s quest (‘Billy the Kid… Killer’, Bullet for a Gambler’ and ‘The Scavenger’: all by Albano & DeZuñiga) ran in issues #6-8. The book closes with a classic spooky Western tale from issue #7: ‘The Night of the Snake’ was written by Gil Kane & Denny O’Neil, and strikingly illustrated by Kane & DeZuñiga, clearly showing each creator’s love for the genre…

As good as those lost gems are, the real star of this tome is the very model of the modern anti-hero, Jonah Hex, who first appeared in All-Star Comics #10: a vulgarly coarse and callous bounty hunter clad in a battered Confederate Grey tunic and hat.

With half his face lost to some hideous past injury he was a brutal thug little better than the scum he hunted and certainly a man to avoid. ‘Welcome to Paradise’ by Albano & DeZuñiga introduced the character and his world in a powerful action thriller, with a subtle sting of sentimentality that anyone who has seen the classic Western Shane cannot fail to appreciate.

From the first set-up Albano was constantly hinting at the tortured depths hidden behind Hex’s hellishly scarred visage and deadly proficiency. In ‘The Hundred Dollar Deal’ (#11) the human killing machine encounters a wholesome young couple who aren’t at all what they seem and the scripts took on an even darker tone from #12. The comic had been re-titled Weird Western Tales (aligning it with the company’s highly successful horror/mystery books) and ‘Promise to a Princess’ combine charm and tragedy in the tale of a little Pawnee girl and the White Man’s insatiable greed and devilish ingenuity.

From the very start the series sought to redress some of the most unpalatable motifs of old-style cowboy literature and any fan of films like Soldier Blue and Little Big Man or Dee Brown’s iconoclastic book Bury My Heart at Wounded Knee will feel a grim sense of vicarious satisfaction and redress at most of the stories here.

There’s also a huge degree of world-weary cynicism that wasn’t to be found in other comics until well past the Watergate Scandal, when America as a whole lost its social and political innocence…

Issue #13 ‘The Killer’s Last Wish!’ again tugged the heartstrings in the tale of a lovable old man and his greedy, impatient son, with Hex the unlikely arbiter of final justice. ‘Killers Die Alone!’ is an vicious tear jerker as Hex’s only friend dies to save him from the vengeance of killers who blame the bounty man for their brother’s death, whilst ‘Grasshopper Courage’ (#16 – Hex didn’t appear in #15) displays a shrewd grasp of human nature as Hex and an inept young sheriff track a gang of stagecoach robbers.

‘The Hangin’ Woman’ in #17 is a classy thriller wherein Hex runs afoul of a sadistic harridan who rules her hometown with hemp and hot lead, after which ‘The Hoax’ finds him embroiled in a gold-rush scam that – as usual – ends bloody.

With this tale the length of the stories, always growing, finally reached the stage where they pushed everything else out of the comic for the first time. Before too long the situation would become permanent. ‘Demon on my Trail’ in #19 dealt with kidnapping and racism, whilst ‘Blood Brothers’ (written by Arnold Drake) again addressed Indian injustice as Hex is hired by the US Cavalry to track down a woman stolen by a charismatic “redskin”.

Albano returned for ‘The Gunfighter’, as an injured Hex at last hinted about his veiled past while tracking a gang of killers, but it was new writer Michael Fleisher (assisted at first by Russell Carley) who would reveal Hex’s secrets beginning with Weird Western Tales #22’s ‘Showdown at Hard Times’.

A chance meeting in a stagecoach sets a cabal of ex-Confederate soldiers on the trail of their former comrade for some unrevealed betrayal that inevitably ends in a six-gun bloodbath and introduces a returning nemesis for the grizzled gunslinger.

More is revealed in ‘The Point Pyrrhus Massacre!’ as another gang of Southern malcontents attempt to assassinate President Ulysses Grant, with Hex crossing their gun-sights for good measure.

Issue #24 was illustrated by Noly Panaligan, and ‘The Point Pyrrhus Aftermath!’ finds the grievously wounded Hex a sitting duck for every gunman hot to make his reputation, and depending for his life on the actions of a down-and-out actor…

‘Showdown with the Dangling Man’ looked at shady land deals and greedy businessmen with a typically jaundiced eye – and grisly imagination – whilst train-robbers were the bad-guys in the superb ‘Face-Off with the Gallagher Boys!’, illustrated by the inimitable Doug Wildey. Issue #27, by Fleisher & Panaligan featured ‘The Meadow Springs Crusade’ as the bounty hunter is hired to protect suffragettes agitating for women’s rights in oh-so-liberal Kansas, before ‘Stagecoach to Oblivion’ (drawn by George Moliterni) sees him performing the same service for a gold-shipping company.

Hex’s awful past is finally revealed in #29’s ‘Breakout at Fort Charlotte’, a 2-part extravaganza that gorily concludes with ‘The Trial’ (illustrated by Moliterni), as a battalion of Confederate veterans pass judgement on the man they believe to be the worst traitor in the history of the South.

‘Gunfight at Wolverine’ is a powerful variation on the legend of Doc Holliday after which the Hex portion of the book concludes with a 2-part adventure from Weird Western Tales #32 and 33, drawn by the great José Luis García-López.

‘Bigfoot’s War’ and ‘Day of the Tomahawk’ is a compelling tale of intrigue, honour and double-cross as Hex is again hired to rescue a white girl from those incorrigible “injuns” – and, as usual, hasn’t been told the full story…

Jonah Hex is the most unique and original character in cowboy comics, darkly comedic, rousing, chilling and cathartically satisfying. It’s a Western for those who despise the form whilst being the perfect modern interpretation of a great storytelling tradition. No matter what your reading preference, this is a collection you don’t want to miss.
© 1970-1976, 2008 DC Comics. All Rights Reserved.

Jonah Hex volume 9: Counting Corpses


By Justin Gray, Jimmy Palmiotti, Paul Gulacy, Darwyn Cooke, Dick Giordano, Jordi Bernet, Billy Tucci, Dave Stewart, Rob Schwager & Rob Leigh (DC Comics)
ISBN: 978-1-4012-2899-6

When Justin Grey & Jimmy Palmiotti revived DC’s western wild-man Jonah Hex, they cunningly incorporated an even more mordant, blackly ironic streak of wit than that pioneered by the lone gunman’s originators John Albano & Tony DeZuñiga to amplify the already sanguine view of morality and justice that permeates the feature. The gritty – often outright chilling – narratives thus result in some of the most accessible and enjoyable comics fiction ever.

The writers also had the services of extremely talented people like colourists Dave Stewart, Paul Mounts and Rob Schwager and letterer Rob Leigh plus a virtual Who’s Who of top artists to lend veracity, authenticity and sheer style to the always uncompromising tales such as those populating this ninth trade paperback (or eBook) compilation from 2010.

The contents comprise issues #43 and 50-54 of this much-missed iteration of the greatest gunman of all time: a perambulation passel of potent one-shot yarns to entice and bedazzle one and all…

The suspense-drenched action opens with ‘The Hyde House Massacre’ with art by Paul Gulacy & Schwager from issue #43 (July 2009). Hired to rescue a kidnapped hotelier and his daughter from an army of bandits, the bounty killer is only half successful, and makes the painful and foolish error of trying to negotiate with the clients about how much of his fee he actually deserves…

‘The Great Silence’ crafted by Darwyn Cooke & Stewart for anniversary issue #50 (February 2010) is a milestone of action and tragedy as Hex contracts to hunt down fifty outlaws even as old hunting ally and sometime dalliance Tallulah Black moves into a quiet little town to secretly bring her baby to term.

Of course, villains and mad killers can be found everywhere and when Hex’s surviving quarry lay a trap, grim fate intervenes to destroy his last hope for happiness before he even knows it exists…

Dick Giordano & Schwager then offer up a lush and sultry tale of grifters and men of faith when Hex is hired to track down bandits who murdered a prominent citizen of a frontier town. More importantly, those road agents also stole the ‘Divining Rod’ the victim used to ferret out gold, silver and water for the newly established boom town-to-be, and his decent god-fearing widow, the creepy preacher and the shocked citizens all seem more concerned with the theft than the killing.

Hex soon smells a rat but he’s underestimated quite how many…

A double bill for illustrator Jordi Bernet & Schwager opens with ‘Too Mean to Die’ (#52, April) as a gravely-wounded Jonah stumbles upon a cabin in the swamp and a mother nursing her infant. When she offers assistance and he accepts neither realise the family bonds of blood and vengeance they’re breaking… until the shooting (and stabbing and punching and drowning and…) starts…

Never one to make big plans, Hex plays against type and concocts a cunning trap to drawn in a gang of train robbers, before learning again that you can’t trust anybody – especially gorgeous, crafty saloon girls and actresses – before the dust settles in ‘“You’ll Never Dance Again”’, as limned by Billy Tucci & Mounts.

Bernet then shuts down the show in ‘Shooting Stars’ (#54, June) as Hex links up again with the one outlaw he won’t hunt to confront a lawman and his deputies who are far worse than any bandit, owlhoot or renegade…

With covers and variants by Gulacy, Cooke, Giordano, Bernet and Tucci, these smart, fast-paced, deliciously convoluted and compellingly gritty stand-alone sagas provide maximum bang for your buck and a front row seat as the darkest knight of the Wild West proves over and again why he’s the greatest antihero in comics.
© 2009, 2010 DC Comics. All Rights Reserved.

Jonah Hex volume 8: The Six Gun War


By Justin Gray, Jimmy Palmiotti, Cristiano Cucina, Rob Schwager & Rob Leigh (DC Comics)
ISBN: 978-1-4012-2587-2

When Justin Grey & Jimmy Palmiotti resurrected DC’s western wild-man Jonah Hex, they cunningly incorporated an even more mordant, blackly ironic streak of wit than originators John Albano and Tony DeZuñiga to amplify the already sanguine view of morality and justice that permeates the feature. The gritty – often macabre – narratives thus result in some of the most accessible and enjoyable comics fiction ever.

The writers also had the services of extremely talented people like colourist Rob Schwager and letterer Rob Leigh plus their pick of top artists such as Italian maestro Cristiano Cucina (Dragonero) who illustrates this entire uncompromising eighth trade paperback (or digital edition, should you be so inclined) compilation from 2010.

The contents comprise issues #44-49 of this much-missed iteration of the greatest gunman of all time: this go-round generally down-playing sly wit and slick satire in favour of a brutal, wide-ranging saga of death and vengeance…

The Six Gun War begins in the middle of a Texas tornado as Hex blithely stumbles into a cunning trap set by long-term nemeses Quentin Turnbull and El Papagayo.

The plutocratic southern millionaire has bedevilled Hex for more than a decade, mistakenly blaming the former Confederate soldier for the betrayal of his battalion to Union troops and consequent death of Turnbull’s son and heir Jeb.

Alternatively, the flamboyant Mexican bandit, border raider and rabid parrot-fancier is simply a psychotic madman who has had many murderous schemes frustrated by the bounty hunter and yearns to teach the goddam freak a painful final lesson…

Revelling in holding the upper hand, the human monsters do their worst and depart. Left for dead, Hex is miraculously saved by a most unlikely duo and sets off upon the trail of his unsuccessful murderers as they gleefully head back to Mexico.

Turnbull and El Papagayo have a secret joint venture in play. Far from American oversight, the Virginian aristocrat has restored his faded fortunes by enslaving an entire Mexican region and forcing the populace to mine gold for him. The bandit chief’s men act as enforcers and get their cut, as do local government officials…

As the villains head ever southward, they encounter Hex’s sometime allies Tallulah Black and Bat Lash and savagely take them captive for later fun and games…

Hex still has one creepy colleague to call on. Aging bank teller Lazarus Lane is unwilling host to injustice-stalking demon-spirit El Diablo who eagerly joins the coldly furious bounty killer upon the promise of many evil souls to reprimand…

The growing army of retribution is further bolstered by a war-party of Comanche braves trailing a band of whites and Mexicans who lately butchered an encampment of women, children and old men…

The quest quickly results in the grim pursuers liberating Lash and Tallulah – and even taking El Papagayo out of the picture – but after these setbacks, the rich man switches to wealth as his weapon of choice: hiring the world’s seven greatest assassins to stop Hex and Co by any means necessary…

An angry Jonah Hex is more elemental than human, however, and they won’t be nearly enough…

Sharp, smart, fast-paced, deliciously convoluted and staggeringly violent, The Six Gun War is a spectacular explosive epic showing the darkest side of the West’s greatest antihero and the depths to which his enemies will stoop. This is another intoxicating and unmissable yarn no fan of the genre or first tier comicbook wonder will want to miss.
© 2010 DC Comics. All Rights Reserved.

Jonah Hex volume 7: Lead Poisoning


By Justin Gray, Jimmy Palmiotti, Jordi Bernet, Rafa Garres, David Michael Beck, Rob Schwager & Rob Leigh (DC Comics)
ISBN: 978-1-4012-2485-1

When Justin Grey & Jimmy Palmiotti reinvigorated modern Western legend Jonah Hex they deftly blended a blackly ironic streak of wit with a sanguine view of morality and justice to produce some of the most accessible and enjoyable comics fiction available from the period. They also had the services of extremely talented people such as colourist Rob Schwager and letterer Rob Leigh and the pick of top artists such as European maestro Jordi Bernet who illustrates fully half the gritty tales in seventh trade paperback (or digital, should you be so inclined) compilation from 2009. The contents comprise issues 37-42 of the superb and much-missed iteration…

I first recognised Jordi Bernet’s work on The Legend Testers. By “recognised” I mean that very moment when I actually understood that somebody somewhere drew the stuff I was adoring, and that it was better than the stuff either side of it.

This was 1966 when British comics were mostly black and white and never had signatures or credits so it was years before I knew who had sparked my interest…

Jordi Bernet Cussó was born in Barcelona in 1944, son of a prominent and successful humour cartoonist. When his father died suddenly Jordi, aged 15, took over his father’s strip Doña Urraca (Mrs. Magpie).

A huge fan of Alex Raymond, Hal Foster and particularly expressionist genius Milton Caniff, Bernet yearned for less restrictive horizons and left Spain in the early 1960s to chance his hand at dramatic storytelling.

He worked for Belgium’s Spirou, Germany’s Pip and Primo, before finding work on English weeklies. Bernet toiled on British publishers between 1964 and 1967, and as well as the Odhams/Fleetway/IPC anthologies Smash, Tiger and War Picture Library he also produced superlative material for DC Thomson’s Victor and Hornet.

He even illustrated a Gardner Fox horror short for Marvel’s Vampire Tales #1 in 1973, but mainstream America was generally denied his mastery (other than some translated Torpedo volumes and a Batman short story) until the 21st century reincarnation of Jonah Hex.

His most famous strips include thrillers Dan Lacombe (written by his uncle Miguel Cussó), Paul Foran (scripted by José Larraz) the saucy Wat 69 and spectacular post-apocalyptic barbarian epic Andrax (both with Cussó again).

When General Franco died Bernet returned to Spain and began working for Cimoc, Creepy and Metropol, collaborating with Antonio Segura on the sexy fantasy Sarvan and dystopian SF black comedy Kraken. His other job was collaborating with Enrique Sánchez Abulí on gangster and adult themes tales that have made him one of the world’s most honoured artists, and which culminated on the incredibly successful crime saga Torpedo 1936

The rawhide dramas commence with Bernet in top form as Hex tangles and torridly tussles with a trio of female former circus performers who take up bounty hunting and prove that ‘Trouble Comes in Threes’, after which ‘Hell or High Water’ finds the gritty gunslinger enduring horrific tortures at the hands of a sheriff he once shamed.

The brutal psychopath has no idea what real vengeance feels like until Jonah gives him a fast and final lesson…

Baroque stylist Rafa Garres supplies art and colours for a grim parable examining ‘Cowardice’ wherein a rookie sheriff gets life lessons in doing his job after Hex tracks murderous escaped convicts to a quiet country backwater, after which David Michael Beck depicts a gruesome two-part tale of savage madness.

When Hex and sometime ally/constant foil Tallulah track a serial-killing civil war surgeon teaching other perverts his bloody discoveries, the red-handed butcher displays enough body-shredding acumen to almost end them both. However, even his gory assaults and inclinations to devil-worship of the ‘Sawbones’ are no match for Jonah Hex in a mood to display his all-consuming displeasure and irritation…

Bernet wraps things up in inimitable blackly comedic style as ‘Shooting the Sun’ offers a shocking glimpse at the bounty hunter’s formative years with parental sadist Woodson Hex

Apparently, the abusive behaviour made Jonah the man he is: someone able to turn an inescapable death-trap into a private shooting gallery offering the added attraction of long-deferred vengeance on the bullies who garnished little Jonah’s hellish childhood with extra misery…

With captivating covers from Bernet, Garres and Beck, Lead Poisoning is another explosively grim, yet bleakly hilarious outing for the very best Western anti-hero ever created: an intoxicating blend of action and social commentary no fan of the genre or cream-of-the-crop comics magic will want to miss.
© 2009 DC Comics. All Rights Reserved.

Jonah Hex volume 6: Bullets Don’t Lie


By Justin Gray, Jimmy Palmiotti, Paulo Siqueira, Jordi Bernet, Darwyn Cooke, Mark Sparacio, J.H. Williams III, Rafa Garres & various (DC Comics)
ISBN: 978-1-4012-2157-7

Always savvy enough to apply a broad variety of experimental approaches to this grittiest of human heroes, the assembled string of all-star artists working with scripters Justin Grey & Jimmy Palmiotti on this incarnation of Jonah Hex deftly blended a blackly ironic streak of wit with a sanguine view of morality and justice to produce some of the most accessible and enjoyable comics fiction available from the period.

In this sixth paperback (or digital, should you be so inclined) collection, reprinting issues #31-36 of the comic book series from 2006, these six stand-alone sagas serve to show the ravaged and determinedly dissolute bounty hunter yet again facing the worst that humanity can offer… or sink to…

Coloured by Rob Schwager and Dave Stewart, the six-gun sextet starts with a wry and devious manhunt illustrated by Paulo Siqueira & Amilton Santos wherein the greatest bounty hunter in the west is hired to bring in infamous outlaw ‘The Red Mask’.

Sadly, the entire affair is a set-up from start to finish – a fact Hex is aware of almost from the start…

Murder-mystery gives way to exotic macho mayhem and a deft tribute – limned by the legendary Jordi Bernet – to Sergio Leone’s signature “Spaghetti-Westerns” as Jonah is enticed to visit Mexico by a rich man who wants him to kill ‘The Matador’ who seduced his wife.

Having made the mistake of refusing the job, Hex endures the millionaire’s sadistic displeasure before uniting with his original target to hand out some US-style retribution…

Much-missed hyper-stylist Darwyn Cooke illustrates the shocking trials of sub-arctic survivalism as ‘The Hunting Trip’ takes Hex deep into Canada and up against vicious, corrupt Mounties, inadvertently teaching a young orphan boy the cruellest facts of life…

Even a cold-hearted killer like Jonah Hex has a breaking point and ‘Outrunning Shadows’ – with rather stiff and static painted art by Mark Sparacio – sees the bounty killer turn his back on slaughter to peacefully settle down.

Sadly, greed and human nature never change and before long he’s forced to drop his dreams and pick up his guns again…

After another particularly bloody job, Hex lets his guard down enough to accept the hospitality of the local lawman. After envying the childless couple’s domestic bliss, Jonah’s refusal of ‘A Crude Offer’ on their part leads to a situation gunplay won’t fix in a tense thriller pictured by J.H. Williams III.

Wrapping up the hard-hitting feast of thrills is a grimly uncompromising examination of racism and self-loathing illustrated by Rafa Garres. Wearing Confederate grey in the aftermath of the war always brought Hex trouble but never as much as this time when the sight of him terrifies a young negro girl into killing herself.

When the appalled, guilt-ridden gunslinger is lynched by her outraged kin and friends, Hex is saved by the recently-convened Ku Klux Klan who also attribute far too much to the clothes he wears and not the beliefs he holds…

After dealing with the white marauders in a manner they so richly deserve, Hex makes the sole survivor dig ‘Seven Graves Six Feet Deep’

With captivating covers from Richard Corben, Bernet, Cooke, Andy Kubert & Pete Carlsson, Williams III and Garres, Bullets Don’t Lie is an explosively grim, yet blackly comedic collection starring the very best Western anti-hero ever created: doling out a fabulously intoxicating blend of action and social commentary no fan of the genre or top-notch comics magic will want to miss.
© 2006, 2007 DC Comics. All Rights Reserved.

Jonah Hex volume 2: Guns of Vengeance


By Justin Gray, Jimmy Palmiotti, Luke Ross, Dylan Teague, Val Semeiks, Phil Noto, Tony DeZuñiga, David Michael Beck, Paul Gulacy & various (DC Comics)
ISBN: 978-1-4012-1249-0

Confident enough to apply fantasy concepts to this grittiest of human heroes, the assembled string of all-star artists working with scripters Justin Grey & Jimmy Palmiotti on this recent incarnation of Jonah Hex deftly blended a blackly ironic streak of wit with a sanguine view of morality and justice to produce some of the most accessible and enjoyable comics fiction available from the period.

In this collection, reprinting issues #7-12 of the comic book series from 2006, six stand-alone sagas serve to show the ravaged and determinedly dissolute bounty hunter yet again facing the worst that humanity can offer, and even includes a deliciously wry face off with the devil himself…

Illustrated by Luke Ross, the red-handed slaughter opens in Blood Creek, Texas as Hex genteelly crashes a matrimonial affair in search of an absconded felon, only to witness a scene of callous catastrophe perpetrated by a jilted former suitor and his army of hirelings. Resolves to teach the killers their final lesson to assuage the bride’s loss, even Hex’s apocalyptic brand of vengeance-taking is not enough for her after enduring ‘One Wedding and Fifty Funerals’

The lone gunman is usually able to handle everything the universe can throw at him with the same irascible aplomb, but when an old friend comes looking for help Hex realises far too late that he’s on the wrong side of a fight and helping a monster in ‘Never Turn a Blind Eye’ (with art by Dylan Teague, Val Semeiks & Dan Green)…

Another raw exposure of the inner core of righteousness that drives Hex – whatever his aspect and actions might hint to the contrary – underpins the eerie ‘Gettin’ Un-Haunted’ (rendered by legendary Hex co-creator Tony DeZuñiga).

Here a chance and tragic encounter with a little girl results in years of heartbreak until the scarred shootist devises a cunning scheme to exorcise his demons and lay some mutual ghosts at the same time…

It’s a short ride from guilty misery to Grand Guignol as the misshapen manhunter fetches up in Black Swamp, Louisiana, forced to deal with a family of people-stealing cannibals (and worse). Although they intended him to be ‘Gator Bait’ (Phil Noto art), the ornery Galahad has a few ideas of his own on the subject of making the punishment fit the crime…

Whilst displaying the addictive thread of black humour that runs through these stories Grey, Palmiotti and inspired draughtsman David Michael Beck reunite the surly bounty hunter with ensorcelled Spirit of Justice and sometime ally El Diablo for a fun time at ‘The Hangin’ Tree’.

Despite being almost murdered by a troop of circus freaks, the ghostly avenger’s unsubtle prodding of Hex convinces him to go gunning for a pack of crazed pistoleros intent on eradicating the perfidious performers…

Concluding this odyssey of ordeals is a sub-arctic argosy ranging through the depths of a Utah winter. When Hex sets out to save a colony of Mormons from prejudice and maniacal bounty killers, he soon discovers that yet again few things are simply black and white in the ‘Bloodstained Snow’ (limned by Paul Gulacy): a dark confection of outrage and revenge which is conceptually the most adult and complex in this book.

With covers by Giuseppe Camuncoli & Lorenzo Ruggiero, Beck, DeZuñiga, Noto, Art Thibert and Ross, Guns of Vengeance is an explosively grim, yet wickedly funny collection starring the very best Western anti-hero ever created: offering a sly blend of action and social commentary no fan of the genre or top-notch excitement will want to miss.
© 2006, 2007 DC Comics. All Rights Reserved.