Richard Moore goes from strength to strength in the latest colour collection of his superb horror-comedy as an invasion of flesh-eating zombies puts the cast of lovable monsters and their endearing human minder Paris through a range of emotional hoops that elevates them from the merely humorous into well-rounded characters that we can weep with and feel for.
Well except Glump of course. He’s still a demonic little rat-bag pervert with delusions of grandeur and an insatiable need to conquer the world: this time via his diabolical Doomsday Frog!
This delightful supernatural Rom-Com displays depths many “serious works†can only dream of whilst the entrancing art augments the sneaky cleverness of a born comedian. Sad, silly and unrelentingly funny this is a book every adult with a funny-bone (visible or otherwise) should own.
One of the most venerated and loved characters in American comics was created by Bill Parker and Charles Clarence Beck as part of the wave of opportunistic creativity that followed the successful launch of Superman in 1938. Although there were many similarities in the early years, the Fawcett character moved solidly into the area of light entertainment and even comedy, whilst as the 1940s progressed the Man of Steel increasingly left whimsy behind in favour of action and drama.
Homeless orphan and good kid Billy Batson is selected by an ancient wizard to be given the powers of six gods and heroes to battle injustice. He transforms from scrawny boy to brawny (adult) hero Captain Marvel by speaking aloud the wizard’s name – itself an acronym for the six patrons Solomon, Hercules, Atlas, Zeus, Achilles and Mercury
At the height of his popularity Captain Marvel outsold Superman and was even published twice a month, but as tastes and the decade changed sales slowed and an infamous court case begun by National Comics citing copyright infringement was settled. The Big Red Cheese disappeared – as did many superheroes – becoming a fond memory for older fans.
In Britain, where an English reprint line had run for many years creator/publisher Mick Anglo had an avid audience and no product, and so swiftly transformed Captain Marvel into the atomic age hero Marvelman, continuing to thrill readers into the early 1960s.
As America lived through another superhero boom-and-bust, the 1970s dawned with a shrinking industry and a wide variety of comics genres servicing a base that was increasingly founded on collector/fans and not casual or impulse buys. National, now DC Comics, needed sales and were prepared to look for them in unusual places. After the settlement with Fawcett in 1953 they had secured the rights to Captain Marvel and Family, and even though the name itself had been taken up by Marvel Comics (via a circuitous and quirky robotic character published by Carl Burgos and M.F. Publications in 1967) decided to tap into that discriminating fanbase.
In 1973 riding a wave of nostalgia DC brought back the entire beloved cast of the Captain Marvel crew in their own kinder, weirder universe. To circumvent the intellectual property clash, they entitled the new comic book Shazam! (‘With One Magic Word…’) the trigger phrase used by the Marvels to transform to and from mortal form and a word that had already entered the American language due to the success of the franchise the first time around.
Recruiting the top talent available the company tapped editor Julie Schwartz – who had a few successes with hero revivals – to steer the project. He teamed top scripter Denny O’Neil with the original artist C.C. Beck for the initial story. ‘In the Beginning’ in grand old self-referential style retold the classic origin whilst ‘The World’s Wickedest Plan’ related how the entire cast had been trapped in a “Suspendium†trap for twenty years after their arch-foes the Sivana family attacked them at a public awards ceremony. Two decades later, they were all freed, baddies included, to restart their lives. That first issue also included a text-feature/score-card by devotee E. Nelson Bridwell to bring new and old readers up to speed.
With issue #2 a format of two stories per issue was instigated. ‘The Astonishing Arch Enemy’ saw the return of the super-intelligent worm Mr. Mind and a running gag about how strange people in the 1970s were. The second tale was written by Elliot Maggin and introduced irresistible Sunny Sparkle ‘The Nicest Guy in the World’. O’Neil wrote ‘A Switch in Time’ wherein magic disrupted the boy-to-super-adult gimmick for young Billy in #3 and a wry spy tale ‘The Wizard of Phonograph Hill’ by Maggin and Beck filled out that issue. Evil Captain Marvel analogue ‘Ibac the Cursed’ returned in #4 courtesy of O’Neil, and Maggin again went for a human interest yarn with ‘The Mirrors that Predicted the Future’.
In the ’70s economics dictated costs in comics be cut whenever possible so there was really no choice about filling pages with reprints, which had been an addition from the start. A huge benefit however is that almost all of those stories were unknown to the general readership and of a very high standard. Although not included in this volume I mention them simply because they kept the page-count of most issues to around fifteen pages of new material per month (Shazam! was actually published eight times a year so the savings were even greater). Hopefully DC will get around to reprinting the Fawcett stories too – perhaps in the same format as the excellent Batman and Superman Chronicles trade paperbacks.
Maggin took the lead slot with #5’s ‘The Man who Wasn’t’ and provide the back-up which saw the return of Sunny Sparkle and his obnoxious cousin Rowdy who briefly was ‘The World’s Toughest Guy!’ O’Neil returned in the next issue as did Dr, Sivana in ‘Better Late than Never!’ and Maggin reintroduced the 1940’s boy-genius in the charming ‘Dexter Knox and his Electric Grandmother’. The loquacious Tawky Tawny took centre-stage in O’Neil’s ‘The Troubles of the Talking Tiger’ and uber-fan and wonderful guy E. Nelson Bridwell finally got to write a tale with the delightfully zany and clever ‘What’s in a Name? Doomsday!
Issue #8 was the first of many 100 Page Spectaculars stuffed with great old reprints, but as such it’s only represented here by the C.C. Beck cover, whilst the normal-sized #9 provides us with O’Neil’s ‘Worms of the World Unite’ and the first solo adventure of Captain Marvel Jr. in over twenty years. ‘The Mystery of the Missing Newsstand!’ is a fine tribute to the works of early Fawcett mainstay and Flash Gordon maestro Mac Raboy, written by Maggin and drawn by a young and brilliant Dave Cockrum. It is truly lovely to look upon. A third new story completed the issue. Maggin and Beck had heaps of fun on ‘The Day Captain Marvel Went Ape!’ as a mystic jewel deflected Shazam’s magic lightning into a monkey.
Beck, notoriously opinionated, had been unhappy with the stories he was being asked to draw and left the series with #10. He was a supremely understated draughtsman with a canny eye for caricature and gag-timing, and his departure took away an indefinable charm. Many other fine artists would continue the strip but a certain kind of magic left the strip with him. He wasn’t even the lead artist on that issue.
Bob Oksner and Vince Colletta illustrated Maggin’s mediocre ‘Invasion of the Salad Men’, but Mary Marvel’s solo debut ‘The Thanksgiving Thieves’ was a much better effort with Bridwell’s script handled by Oksner alone (if ever an artist should ink himself it was this superb stylist). Beck bowed out with Bridwell’s ‘The Prize Catch of the Year’ which returned the formidable octogenarian villainess Aunt Minerva – one of the most innovative baddies of the Golden Age.
Issue #11 kicked off with ‘The World’s Mightiest Dessert!’ by Bridwell, Oksner and Colletta, but the real gem of this comic was ‘The Incredible Cape-Man’ written by Maggin and featuring the long-awaited return of Kurt Schaffenberger, a brilliant and highly accomplished artist who by his own admission considered drawing Captain Marvel the best of all possible jobs.
He began his career at Fawcett before moving to DC when the company folded, and his resumption of the art-chores was inevitable. In this tale of a mail man who becomes a Mystery Man the art positively glows with joyous enthusiasm. This end of year issue concluded with a good old-fashioned Yule yarn featuring the entire extended cast in Maggin and Schaffenberger’s ‘The Year Without a Christmas!’
The twelfth issue was another 100 Page Spectacular but with three all new tales, ‘The Golden Plague’ by Bridwell and Oksner, another glorious Captain Marvel, Jr. adventure ‘The Longest Block in the World!’ by Maggin and Dick Giordano, and the cheerfully daft Kung Fu spoof ‘Mighty Master of the Martial Arts!’ by Maggin, Oksner and Colletta. The next six issues retained this same format, combining around twenty pages of new material with a superb selection of Fawcett reprints, but as the character spawned a children’s TV show, the comic was again slimmed down to a cheaper standard format.
‘The Case of the Charming Crook!’ by Maggin and Oksner led in #13 wherein a felon managed to synthesise “essence of Sunny Sparkle†and the artist was on familiar ground as an illustrator of beautiful women when he drew Bridwell’s Mary Marvel solo strip ‘The Haunted Clubhouse!’ The entire Marvel Family was needed in the next issue when O’Neil and Schaffenberger produced ‘The Evil Return of the Monster Society’ a splendid action thriller that served to remind us that Shazam wasn’t just about charm and comedy.
You know what fans are like: they had been arguing for decades – and still do – over who was best (for which read “who would win if they fought?â€) out of Superman or Captain Marvel so it’s amazing that a meeting took as long as it did to materialise. However the lead strip in #15 wasn’t it. Instead fans had to be content with a guest villain when Mr. Mind and ‘Captain Marvel Meets… Lex Luthor!?!’ by O’Neil, Oksner and veteran inker (Phillip) Tex Blaisdell, who had worked un-credited on many DC strips over the decades, as well as drawing Little Orphan Annie, On Stage and many others. Bridwell and Schaffenberger contributed an excellent crime–caper in ‘The Man in the Paper Armor!’ to round out the issue.
Schaffenberger kicked off the next issue with Maggin’s ‘The Man Who Stole Justice’; a taut thriller involving the incarnation of the one of the iconic Seven Deadly Enemies of Man (Sins to you and me) and a key part of the legend since the strip’s inception. Bridwell and Oksner utilised another Deadly Enemy in the Mary Marvel solo story ‘The Green-Eyed Monster!’ but aliens and a Hippie musician were the antagonists in the feature-length tale that lead off #17, the last 100 page issue. ‘The Pied Un-Piper’ was a tongue-in-cheek thriller from O’Neil and Schaffenberger but a slightly older tone started to creep into the whimsy with #18’s ‘The Celebrated Talking Frog of Blackstone Forest!’ (Maggin and Oksner) and Bridwell and Schaffenberger’s CM Jr. thriller ‘The Coin-Operated Caper’, but still not enough to deaden the charm.
Issue #19 introduced extra-dimensional delinquent Zazzo, the culprit revealed when Maggin and Schaffenberger asked ‘Who Stole Billy Batson’s Thunder?’. Mary Marvel was the back-up feature in the first slim-line comic, solving Bridwell and Oksner’s ‘Secret of the Smiling Swordsman!’, but the next issue teamed the entire Marvel Family in the full-length Sci Fi thriller ‘The Strange and Terrible Disappearance of Maxwell Zodiac!’, courtesy of Maggin and Schaffenberger.
Shazam! #21, 22,23 and 24 were all reprint, represented here by covers from Ernie Chua/Bob Oksner, two from Kurt Schaffenberger and then another from Chua & Oksner, reflecting a scheduling change that saw the comic come out quarterly.
I suspect, but have no proof, that this coincided with the TV show being off-air, as when issue #24 appeared in Spring 1976, new editor Joe Orlando oversaw a massaging of the scenario which would see young Billy and Uncle Dudley (a mainstay of the TV incarnation) set off around America in a minivan as roving reporters, encountering threats and felons in America’s Bicentennial year. Bridwell and Schaffenberger became the permanent creative team, with occasional inkers such as Vince Colletta, Bob Wiacek and Bob Smith pitching in, but seldom to the enhancement of Schaffenberger’s pencils.
To further confuse things issue #25 isn’t included even as a cover since it depicted a team-up of the Captain with Mighty Isis, a TV character that DC was then licensing for a tie-in comicbook. As that cover and story are absent I’m assuming that some Intellectual Property problem couldn’t be solved. That issue’s back-up ‘The Bicentennial Villain’ which introduces the new roving format does appear though. It was followed by the far less contentious and highly enjoyable ‘The Case of the Kidnapped Congress’ as Billy and Dudley combat Sivana in Washington DC. Colletta inked the self-explanatory ‘Fear in Philadelphia’, and the less than perfect art doesn’t detract from a right royal romp as Sivana uses a resurrection machine to bring back the greatest rogues in America’s history (that was a much shorter list to pick from in 1976).
Clearly having tremendous fun, writer Bridwell began his own resurrections: bringing back Fawcett and Quality Comics characters as guest-stars. First up was the ghostly Kid Eternity, and with the next issue he scripted his masterstroke with ‘The Return of Black Adam’, a Golden-Age villain whose fabled single appearance was a landmark long remembered by fans. That this character is still a huge favourite today shows the astuteness of that decision. That was in Boston, and #29 was set in Buffalo and Niagara Falls where ‘Ibac meets Aunt Minerva!’ a comedic battle of the sexes that was heavy on the hitting.
Another Faux meeting with his greatest rival occurred in #30’s ‘Captain Marvel Fights the Man of Steel’ when the Batson bus reached Pittsburgh, Pennsylvania, as folk legend Joe Magarac (the Paul Bunyan of Steel workers) and the Three Lieutenant Marvels guest-starred. All girl villain-team ‘The Rainbow Squad’ found Captain Marvel’s gentlemanly weakness in #31 which heralded the return of patriotic hero Minute Man to save the day.
Tenny Henson pencilled #32’s tale from Detroit as aliens led by Mr. Mind tried to destroy Baseball in ‘Mr. Tawny’s Big Game!’ and fans knew that the good old days were coming to an end. A radical change to Shazam! was coming but mercifully that’s a tale for another time since this book ends with #33’s ‘The World’s Mightiest Race’ when Bridwell, Henson and Colletta reintroduced the Nuclear robotic menace Mister Atom during the Indianapolis 500 motor race.
Although controversial amongst older fans the 1970’s incarnation of Captain Marvel has a tremendous amount going for it. Gloriously free of angst and agony, (mostly) beautifully, simply illustrated, and charmingly scripted, these are clever, funny wholesome adventures that would appeal to any child and positively promote a love of graphic narrative. There’s a horrible dearth of exuberant superhero adventure these days. Isn’t it great that there is somewhere to go for a little light action?
By Richard Moore (Amerotica/NBM)
ISBN: 978-1-56163-475-0
Oi! How old are you?
Richard Moore is the brilliant cartoonist (in comics we prefer the term Writer/Artist) responsible for Boneyard – probably the funniest comic being produced in English today, but he also has a much more – gulp! – popular and no doubt more profitable sideline.
When he’s not making a few people laugh he’s making lots of adults – both men and women, I suspect – breathe a little faster with an extremely graphic comics feature in Sizzle Magazine, a comic book dedicated to erotic art.
This second volume consists of thirteen beautiful and glamorous pin-ups and a number of comedic tales lavishly illustrated in a variety of black and white styles, commencing with Dorothy’s revelations of ‘The Real Oz’, followed by the sly funny-animal western ‘Ambush’, the cover-featured ‘Space Pimp’, the elfin fantasy ‘Backdoor Beauties’ and culminating in the good old-fashioned sex-romance ‘Stood Up’.
Unashamedly raunchy, these aren’t stories with a great deal of narrative. That’s really not the point. These are wickedly beautiful, funny – because the best sex is – teaser tales that intend to entice and delight.
And if you aren’t old enough to read these yet, they’ll be just as good when you are…
By Darwyn Cooke & various (DC Comics)
ISBN: 1-84023-773-3
I suspect this started life as a miniseries and for best effect it should be read in conjunction with Catwoman: The Dark End of the Street (ISBN13: 978-1-84023-567-8), but still this wonderful homage to the caper-tales of Elmore Leonard, set firmly on the other side of the tracks, is a sheer delight all on its own as Selina Kyle, basking in the comfortable anonymity that comes when the World thinks you’re dead, gets lured into a robbery from the Mob that’s just too big and too exciting to ignore.
Reuniting with the crime-legend who taught her all the tricks – and whom she subsequently betrayed – a team is assembled to steal the cash. But in this murky world of cross, double cross and treble cross anything that can go wrong probably will…
And how does grizzled PI Slam Bradley fit into the mix?
Set between the Slam Bradley back-up feature in Detective Comics #759-762 and the beginning of Catwoman’s current comic series, this is a slick, absorbing and unique exploit from one of the industries most talented creators: a superhero story for readers who hate fights ‘n’ tights stories.
This splendid stylish, ever-so-retro yarn is augmented by a pin-up gallery from some of comics’ most individual artists: to wit Mike Mignola, Michael Allred, Shane Glines, Kevin Nowlan, Adam Hughes, Daniel Torres, Jaime Hernandez and the inimitable Steranko. Even if you hate all that super-stuff, take a chance and track down this book. It really is something very special…
By J. F. Charles (Michel Deligne Co)
ISBN: 2-87135-021-3
A little while ago I reviewed a European classic by J. F. Charles set in America and Canada which outlined How the West Was Lost by the French in the 1750s. I mentioned that there were six albums in the series and that as far as I knew only the first – Pioneers of the New World: The Pillory (ISBN: 2-87135-020-5) – had been translated into English.
Obviously I underestimated the knowledge – and generosity – of the readership I’m preaching to, as a few days ago this glorious little gem swished through my letterbox and plunked on my mat. So whoever you are (you didn’t sign the attached note) thank you very much indeed, and if I can ever reciprocate…?
At the close of The Pillory Graindall and other French survivors of a massacre are being held prisoners at Fort Niagara by the British when French forces attack to rescue Louise, Benjamin’s lover and daughter of a French General. In the carnage following the assault she and the experienced trapper Billy the Nantese are rescued, but Graindall appears to have been killed by cannon-fire.
The liberated French settlers are evacuated to Montreal and Louise, pregnant with the wastrel’s child, is taken by Billy to her aunt in Greenbay on the St Lawrence River. But the war is unrelenting and by 1756 the pair are overtaken by British forces. Until this time the joint Anglo-French Nova Scotia trading company controlled the resources of the New World region of Acadia, but the British advance allowed the English to dispossess the French and keep everything for themselves.
Like the Highland Clearances in Scotland (from 1725 until well into the 19th century) French settlers were forced from their lands between 1755 and 1762, literally driven into the sea. Most of the Acadians made their way down the coast, eventually settling in Louisiana. Forced together by hardship and circumstance Louisa and Billy grow closer and closer when their ship is forced into safe-harbour in Boston Bay…
Benjamin survived the attack on Fort Niagara. Wounded in the first attack he was dragged to safety by the wayward firebrand Mary Shirley. Braving the horrors of New England winters, and aided by friendly Indians they make their torturous way to New York and ultimately Albany where Benjamin is astounded to discover that the lascivious wild-child is actually the daughter of a wealthy and extremely powerful family.
He grudgingly becomes Mary’s stud and boy-toy but chafes under the witless pomp and snobbery of the English gentry. At a ball he accidentally maims the malignant Mr. Crimbel, manager of the Hudson Bay Company in a drunken brawl and flees. Frustrated Mary swears vengeance but Benjamin is already in Boston just as a refugee ship carrying Acadians beaches to avoid a winter storm. On the sands the three companions are finally reunited but Louise is torn as her first love and the father of her child greets her current lover… and his best friend
This powerful adventure saga of classic adventure is an historical drama in the inimitable Franco-Belgian manner, full of detail and yet entrancingly readable. Charles is a master of incredible wilderness scenes and breathtaking battle sequences, and here natural beauty is augmented by the veracity of historical grandeur he imparts into renditions of genteel English society.
Written with wife Maryse, Pioneers of the New World is a minor masterpiece and I fervently pray some publisher will adapt and release the series for English-reading public…
By Sheldon Mayer & Nestor Redondo, designed/edited by Joe Kubert (DC Comics/National Periodical Publications)
No ISBN:
This isn’t exactly a book or graphic novel but as the artist I want to highlight isn’t a fan-favourite in America or England (a fact I find utterly inexplicable) collections featuring his incredible artwork are few and far between.
Nestor Redondo was born in 1928 at Candon, Ilocas Sur in the American Territory of the Philippines. Like so many others he was influenced by the US comic-strips such as Tarzan, Superman, Buck Rogers and Flash Gordon which were immensely popular in the entertainment-starved Pacific Achipelago. Drawing from an early age Nestor emulated his brother Virgilio who already worked as a comics artist for the cheap magazines of the young country. The Philippines became a commonwealth in 1935, and achieved full-independence from the USA in 1946, but maintained close cultural links to America.
His parents pushed him into architecture but within a year he had returned to comics. A superb artist, he far outshone Virgilio – and everybody else – in the cottage industry. His brother switched to writing and the brothers teamed up to produce some of the best strips the Islands had ever seen, the most notable and best regarded being Mars Ravelo’s ‘Darna’.
Capable of astounding quality at an incredible rate, by the early 1950s Nestor was drawing for many comics simultaneously. Titles such as Pilipino Komiks, Tagalog Klasiks, Hiwaga Komiks and Espesial Komiks were fortnightly and he usually worked on two or three series at a time, pencils and inks. He also produced many of the covers.
In 1953 he produced an adaptation of the MGM film Quo Vadis for Ace Publications’ Tagalong Klasiks #91-92. Written by Clodualdo Del Mundo, it was serialized to promote the movie in the country, but MGM were so impressed by the art-job that they offered 24 year old Nestor a US job and residency, but he declined, thinking himself too young to leave home yet. If you’re interested, you can see the surviving artwork by Googling “Nestor Redondo’s Quo Vadis”, and you should because it’s frankly incredible.
Ace was the country’s biggest comics publisher, but by the early 1960s they were in dire financial straits. In 1963 Nestor, Tony Caravana, Alfredo Alcala, Jim Fernandez, Amado Castrillo and brother Virgilio set up their own company CRAF Publications, Inc., but the times were against them (and publishers everywhere).
About this time America came calling again, but in the form of DC and Marvel Comics. By 1972 US based Tony DeZuniga had introduced a wave of Philippino artists to US editors, and Nestor produced short horror tales for House of Mystery, House of Secrets, The Phantom Stranger, Secrets of Sinister House, Witching Hour, The Unexpected, Weird War Tales, fill-ins for Marvel’s Man-Thing, an astonishingly beautiful run on Rima the Jungle Girl #1-7 (an loose adaptation of W H Hudson’s seminal 1904 novel Green Mansions) and replaced Berni Wrightson as the artist on Swamp Thing. He also worked on Lois Lane and Tarzan.
In 1973 he produced adaptations including Dracula and Dr. Jekyll and Mr. Hyde for Vincent Fago’s Pendulum Press Illustrated Classics. These were later reprinted as Marvel Classics Comics. In later years he would move to Marvel where he inked and eventually fully illustrated Savage Sword of Conan.
During that DC period he was tapped to draw an adaptation of King Arthur which DC killed before it was completed (once again some pages survive and the internet is your friend if you want to see them). He also illustrated issue C-36 of the tabloid sized Limited Collectors Edition.
Another ambitious project that was never completed, The Bible was written by Sheldon Mayer and designed/edited by Joe Kubert. A deeply religious man, Redondo had already produced the serial Mga Kasaysayang Buhat sa Bibliya (Tales from the Bible) for the Philippine’s Superyor Komiks between 1969-1970 as well as creating an on-the-job training scheme for young creators there. Over the years he contributed to various Christian comics, including Marx, Lenin, Mao and Christ, published in 1977 by Open Doors, Aida-Zee and Behold 3-D, produced in the 1990s by Nate Butler Studio. He was also a panelist for the first Christian comics panel discussion of Comic-Con International, in 1992.
Stories from the Bible have been a part of US comics since the earliest days of the industry, but they have never been so beautifully illustrated as in this book. Included here are The Creation, The Garden of Eden, Cain and Abel, The Generations of Adam, Noah and the Flood, The Tower of Babel, The Story of Abraham and Sodom and Gomorrah.
Also included are single page information features Digging into the Past, School Days in Bible Times, The Ziggurat and Soldiers in the Time of Abraham all illustrated by Kubert, but the true star is the passionate beauty of Redondo’s, lush, glorious art.
Redondo worked as an animation designer for Marvel Studios in the 1990s. He wrote On Realistic Illustration – a teaching session for the 1st International Christian Comics Training Conference in Tagaytay, the Philippines, in January 1996, but sadly, died before he was able to deliver it.
Whatever your beliefs – and to be honest I don’t really care – you wouldn’t be reading this unless comics meant something to you. On that basis alone, this is work that you simply cannot be unmoved by and truly should be aware of. Even if there isn’t a comprehensive collection of his work – yet – this single work will stand as a lasting tribute to the unparalleled talent of Nestor Redondo.
By Clive King and Giovanetti (Macmillan)
No ISBN Library of Congress catalog card number: 57-11517
Pericle Luigi Giovanetti was a huge star in the cartoon firmament in the years following World War II, and a prolific one who appealed to fans of all ages. Born in 1916 in Basel, he launched Max in Punch in April 1953. Max is a small, round furry creature most likened to a hamster, whose wordless pantomimes were both cute and whimsical and trenchantly self-deprecating. Don’t ask me how a beautifully rendered little puff-ball could stand for pride and pomposity punctured, but he did. It was also blissfully free of mawkish sentimentality, a funny animal for adults.
Max was syndicated across the world, and celebrities the likes of Charles (‘Peanuts‘) Schulz were huge fans. The British Navy and even the Swiss Air Force impressed the ambiguous little hairball as mascot and figurehead. There were four collections between 1954 and 1961: Max, Max Presents, Nothing But Max and The Penguin Max.
For all his trenchant ability to convey meaning without uttering a sound, Max’s origins – and indeed species – was a subject of much dispute in the four corners of the globe so this delightful children’s book written by Clive King and copiously, wonderfully illustrated by Giovanetti is a godsend to zoologists and lovers of great storytelling everywhere. Long out of print it recounts the peripatetic wanderings of Max’s Great-Grandfather Hamid who lived in a hole in a hill in the desert region of Aleppo.
At least he did under the wanderlust seized him and he went in search of adventure, friends and the secret of his own identity. An irresistible and charming tale from a period where whimsy was a desirable treasure, this meanders along doling out equal amounts of exoticism and mystery from the mystic East – which wouldn’t go far amiss in today’s troubled and intolerant times.
A sheer delight, this isn’t the easiest book to find – ‘though it should be – so if you’re burning to discover Hamid – and Max’s – close kept secret I’ll reveal it here. If you don’t want to know look away now.
Max and Hamid are Syrian Golden Hamsters!
By Murray Ball (Titan Books)
ISBN: 978-1-85286-398-2
Footrot Flats is one of the all-time classic humour strips and beloved the world over. It was created by New Zealand cartoonist Murray Ball in 1975 on his return to the North Island after many years travelling the globe drawing for everybody from Punch to the Labour Weekly via both DC Thomson and IPC/Fleetway.
Taking up farming, he never put down his pens and brushes, but turned his clearly frustrating experiences into a twenty-year odyssey of mud, charm, weather, hysteria, endurance, stark wit and tear-jerking sentiment. He captured the joy and magic of agriculture with a blend of fearsome candour and total surrealism which captivated millions (he was also sometimes a wee bit sarcastic and ironic).
The drama unfolds via Dog – a dog – and relates the life of Regular Bloke Wal, eking out a living on his small-holding (400 acres of swamp between Ureweras and the Sea with sheep, cows, a bull, goats, ducks, bugs, cats, geese and the occasional visiting relative) just trying to get by. He loves sport, has a girl-friend and would love an easy life… if only the flamin’ stock would do what it’s told.
The third volume introduced still more weird characters and as Ball hit his creative stride his brilliant cartooning reached new heights of manic zaniness. Wal’s prickly little niece Janice – known to all as “Pongo†– became a regular and the strip expanded from thrice weekly to a full seven days, which meant some episodes here are expanded from 3 or 4 panels to as many as 8 with the inclusion of Sunday Pages. Some of these are all too-rare huge single-panel gags taking up the whole page and showing the artist’s facility with zany, action-packed comedy set-pieces and his sheer cartoon inventiveness.
Footrot Flats was one of the most successfully syndicated strips in the world. It ran in newspapers on four continents until 1994 when Ball retired it, citing reasons as varied as the death of his own dog and the state of New Zealand politics. Books of new material continued until 2000, resulting in 27 daily strip collections, 8 volumes of Sunday pages, and 5 pocket books, plus ancillary publications. There was a stage musical, a theme park and a truly superb animated film Footrot Flats: The Dog’s Tail Tale.
Dry, surreal and wonderfully self-deprecating, the humour comes from the perfectly realised characters, human and otherwise, the tough life of a bachelor farmer and especially the country itself. The art is utterly captivating; expansive, efficient, exciting and just plain funny. I’m reviewing the 1991 Titan Books edition, but the same material is readily available from a number of publishers and retailers. If you want to give the Dog a go, your favourite search engine will be your own friend faithful unto death…
By various (Marvel/Panini UK)
ISBN: 987-1-905239-84-9
With the Wolverine movie looming and rumours of a spin-off for featured bad-guy Deadpool this timely collection of the unkillable assassin’s first two miniseries was inevitable and will hopefully lead to collections of the sterling run by scripter Joe Kelly that followed these tales. That’s not to disparage the fine efforts of Fabian Nicieza and Joe Madureira or Mark Waid, Ian Churchill, Lee Weeks, Ken Lashley and assorted inkers Mark Farmer, Harry Candelario, Jason Minor, Bob McLeod, Bob LaRosa and Tom Wegryzn, however.
What does it say about our industry that bloodthirsty – if stylish – killers and mercenaries make for such popular antagonists? Well, they certainly lead more interesting lives than your average plumber. Deadpool is Wade Wilson (and yes he is a thinly disguised knockoff of DC’s Slade Wilson AKA Terminator: Get over it – DC did) a hired killer and survivor of a genetics experiment that has left him capable of regenerating from any wound.
The wisecracking high-tech “merc with a mouth†was created by Rob Liefeld and Fabian Nicieza and first appeared in New Mutants #97, another product of the Canadian project that created Wolverine and the second Weapon X. He got his first shot at stardom with The Circle Chase miniseries in 1993.
This fast-paced if cluttered thriller sees Wade pursuing an ultimate weapon as one of a large crowd of mutants and ne’er-do-wells trying to secure the fabled legacy of arms dealer and fugitive from the future Mr. Tolliver. Among the other worthies after the boodle are Black Tom and the Juggernaut, the aforementioned Weapon X, shape-shifter Copycat and a host of half-cyborg loons with odd names like Commcast and Slayback. If you can swallow any nausea associated with the dreadful trappings of this low point in Marvel’s tempestuous history, there is a sharp little thriller underneath.
The second story (from 1994) revolves around Black Tom and Juggernaut. During the previous yarn it was revealed that the Irish arch-villain was slowly turning into a tree. Desperate to save his life they manipulate Wilson by exploiting the mercenary’s relationship with Siryn (a sonic mutant and Tom’s niece). Believing that Deadpool’s regenerating factor holds a cure, the villains cause a bucket-load of carnage at a time when Wade Wilson is at his lowest ebb. Fast paced, action-packed and full of mutant guest stars, this is a shallow but hugely immensely readable piece of eye-candy.
When the movie breaks, everyone is going to be an expert on Deadpool. Get this now and you’ll be one step ahead of the pack.
A MARVEL GRAPHIC NOVEL
By Jim Starlin, Bill Reinhold & Linda Lessman (Marvel)
ISBN: 0- 87135-855-7
The Silver Surfer was a popular star of Marvel’s Graphic Novel line, his elevated pedigree and the nature and location of his adventures obviously offering an appealing number of opportunities to many creators. This tale from 1991 teams “Mr. Cosmic Storyline†Jim Starlin with the hugely undervalued Bill Reinhold to tell a rather lacklustre saga of granted wishes and thwarted dreams.
Norrin Radd allowed himself to be transformed into the Silver Surfer to save his homeworld Zenn-La from planet-devouring cosmic entity Galactus. His eventual emancipation never gave him the opportunity to permanently return to his place of birth, nor settle down with his lost love Shalla Bal, whom he had forsaken for a life of service to the Great Destroyer. Years later whilst on his solitary wanderings he finds Zenn-La missing; removed from reality by a galactic hyper-being.
Coming to the rescue the Surfer discovers not a tyrant but a benefactor who is preserving many words from the horrors of a violent universe, and decides to remain in this paradise. Unfortunately this dream come true is only for the invited…
An interesting premise, and well-handled visually, Homecoming nevertheless falls short of its aim due to a heavy-handed script that lacks any real punch or insight. Another one best left for the dedicated fan and collectors, I’m afraid.
