Hey Wait…


By Jason, translated by Kim Thompson (Fantagraphics Books)
ISBN: 978-1-56097-641-7

It’s usually a cheap cop-out by tired or hackneyed critics but some creators’ work comes close to defying description. That’s never more true than when reviewing another brilliant graphic exposition by Jason.

Jason is secretly John Arne Saeterrøy: born in Molde, Norway in 1965 and an overnight international cartoon superstar since 1995 when his first graphic novel Lomma full ay regn (Pocket Full of Rain) won that year’s Sproing Award (Norway’s biggest comics prize).

He won another Sproing in 2001 for the series Mjau Mjau and in 2002 turned almost exclusively to producing graphic novels.

A global star among the cartoon cognoscenti, Jason has earned many major awards from all over the planet. His work always jumps directly into the reader’s brain and heart, utilising the beastly and unnatural to gently pose eternal questions about basic human needs in a soft but relentless quest for answers. That you don’t ever notice the deep stuff because of the clever gags and safe, familiar “funny-animal” characters should indicate just how good a cartoonist and storyteller he is…

The stylised static-seeming artwork is delivered in formalised page layouts rendered in a minimalist evolution of Hergé’s Claire Ligne style, solid blacks, thick outlines and settings of seductive simplicity – often augmented by a deft and subtle use of flat colour which enhances his hard, moody, suspenseful and utterly engrossing Cinema-inspired world.

The superbly understated art acts in concert with his dead-on, deadpan pastiche repertoire of scenarios which dredge deep from our shared experience of old film noir classics, horror and sci fi B-movies and other visual motifs which transcend time and culture, and the result is narrative dynamite. His preferred oeuvre mixes such fantasy elements with a deep and overwhelming inquiry into why bad stuff happens to ordinary “people”…

A compact (176 x 254mm) monochrome paperback, Hey Wait… is just such a confection: an eerie and glorious paean to boyhood friendships with young Bjorn and Jon enjoying a life of perfect childhood of collecting comics, watching movies and gadding about until a tragic accident – perhaps the result of boon companions egging each other on a little too much? – ends the idyll forever.

Life, however, goes on (and on and on and on) for one of the inseparable childhood comrades but it has become a life sentence…

The survivor’s existence becomes populated from then on with mundane encounters, tedious assignations, failed aspirations and the usual parade of ghosts and visions, but then again so is everybody else’s tedious day to day progress to the end …

Hey Wait… resonates with Jason’s favourite themes and shines with his visual dexterity and skewed sensibilities. disclosing a decidedly different slant on secrets and obsessions. Primal art supplemented by sparse and spartan dialogue, enhanced to a macabre degree by immaculate cartooning and skilled use of silence and moment utilised with devastating economy, affords the same quality of cold, bleak yet perfectly harnessed stillness which makes Scandinavian crime dramas such compelling, addictive fare.

This comic tale allows us all to look at the world through wide-open young eyes but never sugar-coats what’s there to see…
© 1998, 1999, 2001, 2005 Jason. Translation © 2001 Fantagraphics Books. All rights reserved.

Red Range: A Wild West Adventure


By Joe R. Lansdale, Sam Glanzman & various (It’s Alive!/IDW)
ISBN: 978-1631409943

Once upon a time, not that very long ago, nearly all of fiction was engorged with tales of Cowboys and Indians. As always happens with such periodic popular phenomena – for example the Swinging Sixties’ Superspy and Batmania booms or the recent trend for Vampire and/or Werewolf Boyfriends – there was a tremendous amount of momentary merit, lots of utter dross and a few irrefutable gems that would affect public tastes from then on.

Most importantly, once such surges have petered out there’s also generally a small cadre of frustrated devotees who mourn its passing and, on growing up, resolve to do something to venerate or even revive their lost and faded favourite fad…

Following World War II the American family entertainment market – for which read comics, radio and the burgeoning television industry – became comprehensively enamoured of the clear-cut, simplistic sensibilities and easy, escapist solutions offered by the antiseptic anodyne branch of Tales of the Old West; already a firmly established favourite of paperback fiction, movie serials and feature films.

I’ve often pondered on how almost simultaneously a dark, bleak, nigh-nihilistic and oddly left-leaning Film Noir genre quietly blossomed alongside that wholesome revolution, seemingly for the cynical minority of entertainment intellectuals who somehow knew that returned veterans still hadn’t found a Land Fit for Heroes… but that’s a thought for another time and a different review.

Even though comicbooks had encompassed Western heroes from the very start – there were cowboy crusaders in the premier issues of both Action Comics and Marvel Comics – the post-war years saw a vast outpouring of anthology titles with new gun-slinging idols to replace the rapidly-dwindling supply of costumed Mystery Men, and true to formula, most of these pioneers ranged from transiently mediocre to outright appalling.

With every comic-book publisher turning hopeful eyes westward, it was natural that most of the historical figures would quickly find a home and of course facts counted little, as indeed they never had with cowboy literature…

Despite minor re-flowerings in the early 1970s and mid-1990s, for the longest of times Cowboy comics largely vanished from our funnybook pages: seemingly unable to command enough mainstream commercial support to survive the crushing competition of garish wonder-men and the furiously seductive futurescapes.

Europe and Britain also embraced the Sagebrush zeitgeist and produced some pretty impressive work, with France and Italy eventually making the genre their own by the end of the 1960s. They still make the best straight Western strips in the world…

Happily, however, an American revolution in comics retailing and print technologies at the end of the 20th century allowed fans to create and disseminate relatively inexpensive comicbooks of their own and, happier still, many of those fans are incredibly talented creators in other genres. A particularly impressive case in point is this captivating lost treasure originally published by independent creator-led outfit Mojo Press.

The brainchild of Richard Klaw (publisher, reviewer, essayist, writer, historian and self-confessed geek maven), the little outfit published some amazing and groundbreaking horror, fantasy, science fiction and Western graphic novels and prose books between 1994 and their much-lamented demise in 1999.

As revealed in Klaw’s informative Introduction ‘When Old is New and New Old’, Red Range was probably their most controversial release: an uncompromising adventure tale and deftly-disguised (a tad too much so, apparently) attack on contemporary racism and institutionalised bigotry astoundingly approached as an ultra-violent cowboy revenge yarn.

Originally published in stark black and white in 1999, Joe E. Lansdale and Sam Glanzman’s amazing unfinished odyssey has been remastered and adapted to full-colour (courtesy of Jorge Blanco & Jok and letterer Douglas Potter) and given a new lease of life in this sublime hardcover edition, just as America’s latest President seems set to return the nation to those days of implicit supremacism, casual segregation and wealth-based Jim Crow laws…

A Word of Warning: if your sensibilities and senses are liable to freak out at profoundly yet historically accurate scenes of violence or repeated use of the “N” word as used by drawn representations of murdering racist bastards in white sheets, don’t buy this book. Actually, do buy it; just don’t whine that you weren’t warned…

In Texas in the late 19th century a band of Klansmen are brutally torturing a black family who have had the temerity to buy land and plant crops. The ignorant butchers’ repugnant fun is mercilessly interrupted when a masked negro vigilante known as The Red Mask attacks, killing many of them and driving off their leader Batiste.

The unlikely avenger is too late to save the parents but does take their son Turon under his wing. As they ride to his hideout, the lone rider confides in his youthful new companion.

Caleb Range’s story is appallingly similar to the boy’s own recent tragedy. It’s probably one repeated hundreds of times every day in America since the Black Man was emancipated…

Back in town, Batiste recruits a specialist tracker and plenty more white men eager to teach coloureds their rightful place. Hunting down Red Mask the bigot again underestimates his quarry’s determination and facility with weapons…

Angry, frustrated and humiliated, Batiste gathers yet more men and sets out to end his nemesis forever. The relentless pursuit leads into the desert wastes and straight out of any semblance of rationality as Caleb and Turon survive one more cataclysmic battle before falling into a lost world of ancient tribes and ravenous dinosaurs with Batiste and his few surviving killers hard on their heels…

In this place however, the so-superior white men are seen as less than human by the indigenous humans: nothing more than prey and provender. Regrettably, they hold pretty much the same opinion regarding Caleb and Turon, who quickly discover they might not just be lost in space but also time…

To Be Continued…

Vivid, shocking, staggeringly exciting, ferociously uncompromising and yet often outrageously, laugh-out-loud funny, Red Range has both message and moral but never for a moment lets that stand in the way of telling a great story. Hopefully, this long-overlooked gem will get fair shake this time around…

Adding value and enlightenment, this opening chapter in a hopefully longer saga is augmented by ‘Beneath the Valley of the Klan Busters: (A Sort of) Afterword by Stephen R. Bissette’ which offers some historical and social context to the proceedings and inside gen on creators Lansdale and Glanzman, as well as a potted history of the role of black people in western movies from 1920s star-turn Bill Pickett to Jamie Foxx in Django Unchained.

The bonus goodies continue with a silent monochrome masterpiece of action and bleak, black humour in ‘I Could Eat a Horse!’ (first seen in Wild West Show, 1996), with the artist displaying a firm grip of both killer slapstick and grim irony as Cowboy, Indian and other beasts go in search of meal, before Bissette rides us into the sunset with an erudite and fascinating trip down memory lane for “Pop Culture Cowpokes and Carnosaurs” with ‘A Brief History of Cowboys & Dinosaurs’

These fresh looks at an overexposed idiom prove there’s still meat to found on those old bones, and cow-punching aficionados, fans of nostalgia-tainted comics and seekers of the wild and new alike can all be assured that there’s a selection of range-riding rollercoaster thrills and moody mysteries still lurking in those hills and on that horizon…

What more could you possibly ask for?
Red Range: A Wild West Adventure © 1999-2017 Joe R. Lansdale. “I Could Eat a Horse” © 2017 Sam Glanzman. “When Old is New and New Old” © 2017 Richard Klaw. “Beneath the Valley of the Klan Busters” and “A Brief History of Cowboys & Dinosaurs” © 2017 Stephen R. Bissette. All rights reserved.

Red Range: A Wild West Adventure is scheduled for publication June 28th 2017 and is available for pre-order now.

Hellboy volume 10: The Crooked Man and Others


By Mike Mignola, Richard Corben, Duncan Fegredo, Joshua Dysart, Jason Shawn Alexander, Dave Stewart & Clem Robins (Dark Horse Books)
ISBN: 978-1-59582-740-1

As a baby Hellboy was taken – on December 23rd 1944 – from Nazi cultists by American superhero The Torch of Liberty and a squad of US Rangers. They had interrupted a satanic ritual predicted by Allied parapsychologist Professor Trevor Bruttenholm and his associates.

They were waiting at a ruined church in East Bromwich, England when an abominable infant with a huge stone right hand materialised in a fireball. Raised by Bruttenholm, the child grew into a mighty warrior fighting a never-ending secret war. The Professor trained the infernal foundling whilst forming an organisation to destroy supernatural threats – the Bureau for Paranormal Research and Defense.

After years of such devoted intervention, education and warm human interaction, in 1952 the neophyte hero began destroying unnatural threats and supernatural monsters as lead agent for the BPRD. “Hellboy” rapidly became its top operator… the world’s most successful paranormal investigator…

As the decades unfolded, Hellboy gleaned snatches of his origins, learning he was a supposedly corrupted creature of dark portent: born a demonic messiah, destined to destroy the world and bring back ancient powers of evil. It was a fate he despised and utterly rejected…

This creepy tenth collection re-presents the 3-issue miniseries Hellboy: the Crooked Man, one-shot Hellboy: In the Chapel of Moloch, the extremely rare Hellboy: They That Go Down to the Sea in Ships computer game premium and a short story from Free Comic Book Day 2008: Hellboy: once again relating tales set at various stages of his globe-trotting, world-saving fifty year career batting the arcane, occult and unknown…

Following an expansively effusive Introduction from cartoonist Gahan Wilson, this collation of chillers commences with Eisner Award-winning saga ‘The Crooked Man’, limned by Richard Corben, with colours and letters by regular support crew Dave Stewart and Clem Robins.

It’s preceded by an introductory commentary from author Mignola where he acknowledges the influence of and debt to pulp, comics, magazine and novel-writer Manly Wade Wellman and how he helped shaped the supernatural shocker which follows…

Roaming the Appalachian Mountains of Virginia in 1958, Hellboy encounters a plague of witches and meets a fellow victim of fate in wandering Tom Ferrell.

As they jointly seek a cure for a hexed woman they encounter an old friend of Tom’s who has been lured into the craft by the Devil. Having met the infernal fiend in his local guise as the Crooked Man, Tom reveals a dark secret of his own…

Years ago when he was a stupid kid, Ferrell was seduced by teen temptress Effie Kolb who lured him into making a pact with the Crooked One. His reward was great power – in the form of a lucky wishing bone – but the boy was so shocked by the experience that he fled the Appalachians in terror: joining the army, becoming a globe-trotter and never, ever calling upon the demonic power at his command…

And now he’s been drawn home to settle accounts…

Witches and devils are waiting for him with many cruel punishments in store but, with Hellboy beside him, Tom pushes on up the mountains to the seat of the monsters’ power. Here, a dedicated, unswerving preacher holds out on the last piece of consecrated ground in the entire district, and with his divine support the damned heroes confront all the powers of Hell and temptations of Perdition to banish the dark forces.

As always, however, there is a price to pay…

Written by Mignola and Joshua Dysart with art by Jason Shawn Alexander ‘They That Go Down to the Sea in Ships’ was created as a comic premium given away with a computer game. The scene is Newburyport, Massachusetts in 1986, where a hustling fortune teller steals – or is perhaps glamoured by – the skull Blackbeard the Pirate.

A month later Hellboy and amphibian agent Abe Sapien are called to Ocracoke Island, North Carolina where the brain-slaved conman is attempting to unite the piratical pate with its former body to resurrect the bloodiest murderer in history to his old red-handed antics…

Even Hellboy’s great strength seems unable to still the unquiet ghost, but other vengeful forces have also been awakened by the rowdy Blackbeard…

‘In the Chapel of Moloch’ is an all-Mignola affair set in 1992 wherein the weird wanderer visits an old friend in southern Portugal and is drawn into an eerie case of possession. They investigate the disappearance of a painter who has been beguiled by the works of Francisco Goya and apparently summoned to Earth the personification of a biblical devil, and discover something old and fierce and deadly on the loose…

The comics cavalcade of chills and thrills ends with a whimsical vignette by Mignola & Duncan Fegredo from Free Comic Book Day 2008: Hellboy. As the B.P.R.D. top gun spends a little downtime in England with some old – and largely deceased – pals, he has a bit of an extended fright after one of them points out ‘The Mole’ growing on the arcane agent’s hand…

This capital collection of Chthonic capers is accompanied by a gallery of covers by Mignola and Corben and supplemented by a copious ‘Hellboy Sketchbook’ assemblage with art from all stages of production and commentary from the author and artists Alexander, Fegredo & Corben before closing with an erudite and tantalising biographic appreciation of ‘Manly Wade Wellman: American Mythmaker’ by author, archivist and historian John Pelan.

Spooky, suspenseful and explosively action-packed, this is another uniquely unsettling rollercoaster ride to delight horrorists of very stripe and character.
© 2008, 2009, and 2010 Mike Mignola. Hellboy is ™ Mike Mignola. Introduction © 2010 Gahan Wilson. All rights reserved.

Solomon Kane volume 2: Death’s Black Riders


By Scott Allie, Mario Guevara, Juan Ferreyra & various (Dark Horse)
ISBN: 978-1-59582-590-2

Following on from their revitalisation – if not actual creation – of the comicbook Sword and Sorcery genre in the early 1970s with their magnificent adaptation of pulp superstar Conan the Barbarian, Marvel Comics quite naturally looked for more of the same, and found ample material in Robert Ervin Howard’s other warrior heroes such as King Kull, Bran Mac Morn and dour Puritan Avenger Solomon Kane.

The fantasy genre had undergone a global prose revival in the paperback marketplace since the release of soft-cover editions of Lord of the Rings (first published in 1954), and the 1960s resurgence of two-fisted action extravaganzas by such pioneer writers as Edgar Rice Burroughs, Otis Adelbert Kline and Fritz Lieber. This led to a generation of modern writers such as Michael Moorcock and Lin Carter kick-starting their literary careers with contemporary interpretations of man, monster and mage. Without doubt, though, nobody did it better than the tragic Texan whose other red-handed stalwarts and tough guys such as El Borak, Steve Costigan, Dark Agnes and Red Sonya of Rogatino excelled in a host of associated genres and like milieux.

As a prose paragon, Solomon Kane debuted in the August 1928 issue of Weird Tales in a gripping tale of vengeance entitled “Red Shadows”; thereafter making seven more appearances before abruptly vanishing in 1932 as his creator concentrated on the far more successful Conan.

Three more tales, some epic poems and a few unfinished ideas and passages remained unpublished until 1968 when renewed interest in the author’s work prompted publishers to disinter and complete the yarns.

Apart from two noteworthy 4-colour exceptions, during the 1970s and 1980s, Marvel was content to leave Solomon Kane to monochrome adaptations of canonical Howard stories in Dracula Lives, Savage Sword of Conan, Monsters Unleashed and other older-reader magazines, but with his 21st century transfer to the Dark Horse stable, the Holy Terror has flourished in broader, lavishly-hued and much-expanded interpretations of the short stories and assorted unfinished snippets left when the prolific Howard took his life in 1936.

Beginning in 2008 and released as a succession of miniseries, these almost-new adventures offer modern fans a far darker and more moody iteration of the driven, doom-laden wanderer. This second volume features as graphic narrative short story Rattle of the Bones combined with a mere fragment of recovered prose latterly dubbed Death’s Black Riders, with scripter Scott Allie fleshing out the meagre fare for modern audiences. The strips were originally published in 4-issue miniseries Solomon Kane: Death’s Black Riders and are supplemented here by an all-new short continued saga which originally ran online in MySpace Dark Horse Presents #27 and 28.

For the uninitiated: Kane is a 17th century disenfranchised English soldier-of-fortune on a self-appointed mission to scour the Earth doing God’s Work. He interprets that to mean punishing the wicked and destroying devils and monsters. With no seeming plan, the devout Puritan lets fate guide his footsteps ever onwards towards trouble…

The drama opens here where the previous collection left off. Having survived epic clashes with demon wolves, devilish pagans and satanic thralls, the surly pilgrim is still lost in Germany’s vast and foreboding Black Forest and eager to find his way out.

Sadly, his wanderings merely lead to more conflict as he encounters the remains of a band of slaughtered gypsies where an extremely capable Frenchman named Gaston battles against a vile pack of voracious double-mouthed, distressingly equine talking horrors.

Joining the fray, the chilling churchman kills three of ‘Death’s Black Riders’, but not in time to save any but Gaston from the beast’s butchery…

Although something about the Frenchman disturbs and unsettles him, Kane accompanies the sole survivor as they make their way on foot through the benighted forest, eventually coming upon a lonely inn, blithely unaware that the hostelry is afflicted by ‘The Rattle of Bones’

The deeply suspicious landlord is far from welcoming but the wanderers’ misgivings are offset by inclement weather and the fact that the four-legged devils are still at large and probably close at hand. Despite gaining entry behind the stout walls and sturdy doors the travellers are cautiously on guard as they assess their temporary dwelling, especially after discovering their room cannot be secured from the inside…

Searching for bars and barricades, they come upon a room with a skeleton chained to a wall and Gaston – in an act of courage-bolstering bravado – smashes the aged links with his sword. Not long after, the Frenchman makes his long-delayed move, ambushing Kane and attempting to steal his purse. Too late the puritan recognises infamous bandit Gaston the Butcher, but before he can save himself the demented innkeeper strikes…

This madman had been preying on visitors for years, despatching those unfortunate enough to share his hospitality. The lunatic even managed to kill a travelling sorcerer and was wise enough to chain up his corpse so that the enchanter could not strike back at from beyond the grave…

Thus, although recently added to the murderer’s tally, Gaston’s revenge comes as the skeleton prowling the inn finds the target it has waited decades to meet again, and in the gory aftermath the aghast Kane prepares to take his chance with the forest when a pounding comes upon the door. It is a terrified Catholic priest and at his heels is a pack of ravening horse-like monsters…

The terrifying tension rises to fever pitch as ‘The Black Riders Return’ to lay siege to the inn with puritan and priest trading doctrinal sallies whilst battling the bludgeoning beasts outside and evading the unquiet sorcerer’s unburied corpse within the house…

As a shattering storm rages, the war of Good and Evil reaches an appalling crescendo, and when day breaks only one man walks away…

A non-stop parade of peril and explosive action, the art here is both beguiling and emphatically evocative with Mario (The Lone Ranger and Tonto) Guevara’s pencils ably augmented by the potent palette of colourist Juan Ferreyra (Rex Mundi), but the tone changes utterly as Guy Davis assumes the illustration chores for Allie’s eerie follow-up ‘All the Damned Souls at Sea’

Here the exhausted, world-weary horror hunter takes ship for his long-missed England, intent on seeing once more his beloved childhood haunts of Devon.

Typically, however, Kane clashes with a witch before boarding and, as he reminisces during the crossing of his previous voyages battling the Spanish navy, an uncanny transformation grips the ship, remaking it into a predatory beast hungry for sailors’ souls…

As always, this turbulent battle-scarred tome is packed with fascinating artistic extras and behind-the-scenes bonuses such as a gallery of covers and art pieces from Mike Mignola, Jason Shawn Alexander and Darick Robertson plus creative insights via ‘The Art of Solomon Kane’ with sketches, designs, process art and commentary by Guevara, Davis, Chad Vaughn and Allie.

Powerful, engaging and sumptuously spooky, this fight-filled fantasy fear-fest will delight both fans of the original canon and all lovers of darkly dreaming, ghost-busting thrillers.
© 2009 Solomon Kane Inc. (“SKI”). Solomon Kane and all related characters, names and logos are ™ and ® SKI.

The Dead Rider: Crown of Souls


By Kevin Ferrara (Dark Horse)
ISBN: 978- 1-61655-750-8

Westerns are very much in the eye of the beholder. Some of my very favourites are The Seven Samurai, The Thirteenth Warrior and Outland …and not a Six-gun or Stetson in the bunch.

I think that it’s all about tone and themes and timbre; motivation and resolution, rather than just slavish attention to genre forms. Trappings and locations are not as important as the Why and the How…

A fascinating case in point is Dead Rider. Conceived and crafted by writer, artist and historian Kevin Ferrara (Aliens/Predator, Green Lantern, Creepy) it offers a miasmic merging of classical EC-styled tongue-in-cheek horror with grittily familiar cowboy themes and locales, resulting in a beautifully rendered if somewhat meandering yarn about true love, magical misery and vengeance forestalled, but never escaped…

Originally released as two issues the saga came to an abrupt ending before concluding, but in this graphic album the entire tale is finally told…

Near the frontier town of Magruder, Nevada in the 1890s a vile owlhoot calling himself the Cobra is hunting a man. Having successfully diverted a similarly employed cavalry troop into a wild goose chase, the villain relishes the prospect of tackling the legendary gunman known as the Dead Rider. He has no idea what he is about to confront, or that his prospective prey is being watched over by an Indian shaman with much more than skin in the game…

After brutalising and terrorising the entire township, Cobra secures the lead he needs and rides off to his date with destiny whilst the shaman rushes to warn the much sought after rider who currently resides in an old iron mine. The décor doesn’t trouble the wanted man much. After all, he’s been an ambulatory rotting corpse for years now and physical feeling is long-forgotten luxury…

Once, Jacob Bierce was a gentle, loving man whose only desire was to wed his adored paramour Sarah. However, due a string of cruel accidents and malign misfortunes, Jacob fell under the power of a scheming and manipulative Bog Witch who made him immortal by turning him into a walking corpse. The downside was that he retained his mind and conscience, even during those appalling and frequently recurring moments when the sorceress possessed his body to go on killing sprees…

Thus the revenant’s formidable reputation, the authorities pragmatic despatching of deranged General Cavanaugh and a troop of soldiers to capture the notorious Dead Rider and Cobra’s obsession with immortalising his own reputation by killing the zombie fugitive…

Now all the disparate players are converging for a final showdown, but the Witch has one last eldritch card to play: she has been collecting the last vestiges of the dead to build a potent artefact known as the Crown of Souls but has not fully appreciated the power of true friendship, love from beyond the grave and the obsessive nature of glory-crazed military men…

Although the plot contains some gaping inconsistencies and the dialogue is often uninspired, The Dead Rider is rendered in a spectacularly lush manner reminiscent of the best of Graham Ingels, Bernie Wrightson, Scott Hampton or Thomas Yeates and fairly rockets along, offering plenty of action and wry humour as well as a classic tragedy-laced horror hero that would certainly score well with today’s movie-going genre aficionados.

Fast, fun and fabulous, this turbulent tome comes with a Gallery of sketches, roughs, covers and unused art pages complete with accompanying commentary and is a sure-fire guilty pleasure for fans looking for quality art and a tale outside the tried-&-true comicbook mainstream.
© 2007, 2008, 2015 Kevin Schnaper. All rights reserved.

Hellboy volume 9: The Wild Hunt


By Mike Mignola, Duncan Fegredo, Dave Stewart & Clem Robins (Dark Horse Books)
ISBN: 978-1-59582-431-8

On December 23rd 1944 an uncanny baby was confiscated from Nazi cultists by American superhero The Torch of Liberty and a squad of US Rangers moments after his unearthly nativity on Earth. The Allied forces had interrupted a satanic ritual predicted by parapsychologist Professor Trevor Bruttenholm and his associates who were waiting for Hell to literally come to Earth…

The heroic assemblage was stationed at a ruined church in East Bromwich, England when the abominable infant with a huge stone right hand materialised in an infernal fireball. This “Hellboy” was subsequently raised by Bruttenholm, and grew into a mighty warrior engaged in fighting a never-ending secret war against the uncanny and supernatural. The Professor trained the happy-go-lucky foundling whilst forming and consolidating an organisation to destroy arcane and occult threats – the Bureau for Paranormal Research and Defense.

After years of such devoted intervention, education and warm human interaction, in 1952 the neophyte hero began hunting all agents of the malign unknown from phantoms to monsters as lead agent for the BPRD. Hellboy rapidly became its top operative; the world’s most successful paranormal investigator…

As decades unfolded, Hellboy gleaned snatches of his origins and antecedents, learning he was a supposedly corrupted beast of dark portent: a demonic messiah destined to destroy the world and bring back ancient powers of evil.

It is a fate he despised and utterly rejected…

This ninth necromantic collection re-presents the climactic 8-issue miniseries Hellboy: The Wild Hunt from 2008-2009, drawing together many subtly scattered clues disseminated throughout his innumerable tempestuous exploits and at last providing the conclusion to more than fifteen years of slowly boiling magical suspense… as well as the incredible answers to the enigma of the horrific hero’s doom-drenched double destiny…

Creator Mignola reunites with illustrator Duncan Fegredo – supplemented as always by colourist Dave Stewart and letterer Clem Robins – as the fey folk and other creatures of ancient mythology and legend are fading into non-existence in the face of a rising of witches.

The malevolent hags have a new queen who promises blood and slaughter and domination of the world by her kind whilst the only being who might stop her inexorable ascendance is missing…

Following an Introduction from Mark Chadbourn the drama opens in rural Italy as Hellboy receives a letter from a most ancient and august society. The paranormal paragon has been hiding; avoiding having to deal with a hard-wired cosmic fate which will not let him go…

Nevertheless, on receipt of the missive Hellboy returns to England and meets the oldest members of the aristocratic secret society known as the Wild Hunt.

They have been clandestinely defending the Sceptr’d Isles from mystic assault for centuries and – more aware of Hellboy’s destiny-drenched antecedents than the hero himself – want him to join them in exterminating a band of giants set to ravage the Realm…

Sadly the entire affair is a trap, but the mortal warriors are no match for Hellboy who defeats his duplicitous opponents before also despatching the giants in an uncontrollable burst of warrior-madness…

In a faraway place the ensorcelled goblin known as the Gruagach of Lough Leane reflects on the long-ago slight inflicted upon by Hellboy which has been the cause and trigger of all the carnage and world-shattering destruction about to unfold when the new Queen of Witches is ready. Perhaps he repents it all, just a shade…

The subject of his hate is currently in Ireland, renewing the acquaintance of Alice whom he saved from being abducted as a baby by the Little People. The decades have been uncannily kind, as if some elfin magic rubbed off on her…

As the Red Queen cruelly consolidates her power in England, Hellboy and Alice are visited by former pixie potentate Queen Mab who reveals another missing part of a decades-long puzzle and hints that there might be way to thwart this oppressive, inescapable destiny.

However when another supposed ally betrays them and Alice is wounded unto death, Hellboy is approached by ancient legend Morgan Le Fay who offers to trade for the mortal girl’s life.

She reveals that although the hell-born hero is certainly the son of the devil his human mother could trace her own line back to Arthur Pendragon. Hellboy is the doom of mankind but also the True King of England and she is his many-times removed grandmother…

If he wants to save humanity from an army of darkness he has his own to call upon – one comprising millennia of the noble dead of Britain. All Morgan’s heir has to do is take up the Sword in the Stone. It should be easy. His new occult opponent – now calling herself the Mor-Rioghain – also wants to awaken the dragons from the beginning of time and wipe out humanity: the fore-ordained role Hellboy has sworn never to enact…

With horror Hellboy realises he has not been running from one unwanted Destiny, but two…

With his fate closing in all around him Hellboy is uncharacteristically nonplussed, but an ethereal visitation prompts him to ferocious action and as he confronts his own inherently evil nature he finally throws off all the sly influences attempting to sway him and once again chooses his own path…

Offering astounding supernatural spectacle, amazing arcane action, mounting mystical tension and the imminent end of decades of slowly unfolding wonderment, this epic adventure is supplemented by a copious Sketchbook Section from Mignola and Fegredo, offering unused covers, roughs, designs, and informative commentary.

Unfolding with the pace of a mythic epic of enthralling power, the saga and mystery of Hellboy is a true landmark of comics storytelling and one every fan and aficionado should read.
™ and © 2008, 2009, 2010 Mike Mignola. Hellboy is ™ Mike Mignola. Introduction © 2010 Mark Chadbourn. All rights reserved.

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.

Seekers Into the Mystery – the Complete Collection


By J. M. DeMatteis, Jon J Muth, Glenn Barr, Michael Zulli, Jill Thompson & various (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80843-7

Isn’t everybody looking for ultimate truth and a bit of personal revelation?

That spiritual quest for enlightenment has moved millions of souls, thousands of philosophers, thinkers and mystics and – at conservative estimates – hundreds of writers and artists over the centuries.

At the dying fringes of the 20th century spiritually invested thinker and writer J. M. DeMatteis convinced a high-powered publishing company to let him look for Revelation in the pages of a comicbook.

As detailed in his Introduction ‘And Ye Shall Find’ – which details the origins and simultaneously troubled yet blessed release of the tale as a periodical publication from DC Comics’ creator owned Vertigo imprint – his story concerned a modern man lost and yearning for something greater than his sorry self and pointless, dead-end existence.

In the nature of such things, the series briefly blossomed and – like so many spiritual moments – tragically faded before a clean, clear-cut culminating finish.

However, viewed as an instructional excursion in this new complete compilation from Dover Books, Seekers into the Mystery is a superb fantasy-drenched magical mystery tour that asks big questions with no real answers through a cast of utterly amiable characters you’ll wish were real.

DeMatteis, whose other works include long runs on numerous mainstream costumed champions such as Justice League, Defenders and Spider-Man, introspective, genre-warping serials such as Moonshadow and a string of uniquely quirky graphic novels such as Blood: A Tale, The Last One, Brooklyn Dreams and Greenberg the Vampire, is a smart scribe with a solid appreciation of the light side of life as well as comics’ usual trendy angst-driven nihilism.

Thanks to that broad vision, SITM abounds with human warmth, sentimental uplift and wild whimsy to counterbalance the horrific sight of a man who slowly drives himself through hell and madness in pursuit of a dream…

This is not a book you want me to be too specific about. Like the adage goes, it’s all about the journey, but here at least are few directions you might appreciate…

Seekers into the Mystery gathers all fifteen episodes of the Vertigo series, subdivided in a sequence of self-contained Books which open with ‘The Pilgrimage of Lucas Hart’ as a washed up, crashed-&-burning Hollywood screenwriter begins to see that he is not just destroying himself, but also taking with him his devoted girlfriend, ex-wife and daughter as well as everyone who ever knew or cared about him.

And then the universe reaches out to him, in the form of visions and visitations: bombarding Hart with every kind of hint and message and above all else a recurring image of a gentle beatific man all the new age weirdoes suddenly afflicting him refer to as “The Magician”. More obnoxious and certainly most noisome is the recurring appearance of a foul, homeless lunatic dubbed Charlie Limbo who might just be God’s agent on Earth…

Illustrated by Glenn Barr with an Epilogue Chapter crafted by Jon J Muth, the horrors and wonders Lucas experiences inescapably lead to a shocking revelation that his memories of an idyllic childhood are all false: his formative years were actually the stuff of nightmare he has forgotten that he forgot, leading him to make a leap of faith and search out a woman who actually knows the Magician…

Michael Zulli (with Muth again contributing an Epilogue segment) beatifically illuminates the next stage of our suffering pilgrim’s progress as ‘Falling Down to Heaven’ traces the writer’s search for Absolute Truth and the elusive Man Who Knows Everything; encompassing encounters with psychics and mediums, confrontations with Angels, Aliens, Elves and Demons, and a shocking revelation that Lucas’s daughter Aimee has been seeing all theses impossible visitors since the day she was born…

The journey culminates with Hart reaching a tipping point in his own re-creation, but that only gives rise to his greatest challenge yet in Book Three as ‘God’s Shadow’ (art by Jill Thompson) makes her presence known.

Maya, the malevolent Spirit of Illusion, is determined to derail Lucas’ evolution towards enlightenment and employs torment and seduction in equal measure to achieve her aims. She has not, however, fully appreciated the power her intended victim’s loved ones still exert over him and his own desire for ultimate clarity and truth…

When all the illusions are at last undone, Lucas is in possession of the totality of his occluded memories for the first time in decades, but one last horrifying recollection indicates that there is only one possible outcome which manifests in ‘Finale: The Death of Lucas Hart’. As is normal for this story that does not mean what you think it means…

Supplemented with a cover gallery by Barr, Muth, Zulli and John Bolton, plus a large selection of Character Sketches from the series’ artic originator Glenn Barr, this monumental voyage of miasmic self-discovery is a weird, thrilling, disquieting, scary, enlightening and magnificently engaging walk on the astral wild side: one that readers in search of a different comics experience will be well-rewarded by…
© 1996, 1997, 2017 J. M. DeMatteis. Introduction © 2017 J. M. DeMatteis. All rights reserved.

Seekers Into the Mystery will be released February 24th 2017 and is available for pre-order now. Check out www.doverpublications.com, your internet retailer or local comics-store or bookshop.

Graveslinger


By Shannon Eric Denton, Jeff Mariotte, John Cboins, Nima Sorat & various (IDW Publishing)
ISBN: 978-1-60010-364-3

The iconography and intrinsic philosophy of the western is so strong that it will readily mix-&-match with any other narrative genre.

Space Cowboys? Done.

Murder mystery? War?

Culture clash; political thriller; buddy movie; coming-of-age-drama; romance; epic quest? All covered in landmark cowboy books and/or film tales.

However – probably due to the brutal nature and subtext of the Wild West mythos – the most effective genre-mash-ups have always involved broad humour or supernatural shock.

Intriguing case in point is this short, sharp saga written by Shannon Eric Denton (The Revenant) and Jeff Mariotte (Desperadoes), beguilingly brought to un-life by illustrators John Cboins and Nima Sorat, with the whole chilling confection coloured by Chris Wood & Carlos Badilla with lettering courtesy of Ed Dukeshire.

Originally released in 2009 as a 4-issue miniseries, the tale is by no means an original one, but is stylishly undertaken (that’s a freebie from a veteran punslinger, folks) and rattles along at a breakneck pace to its gory conclusion…

The drama begins in ‘The Devil’s Playground’ as a strangely gaunt man closes in on a night-time campfire. With little ceremony the top-hatted old timer despatches the man-like things basking in the fire’s glow and dumps them unceremoniously in the coffin on the wagon pulled by his trusty mule Lucifer

In the growing daylight Frank Timmons meets some riders whilst crossing spartan cattle country and learns that a range war is brewing between the independent ranchers and merciless cattle-baron Harvey Newell.

Frank has no time for their petty problems as he is involved in a relentless pursuit. He used to be the undertaker at Gila Flats Territorial Prison and, after a recent incident, has been tasked with tracking down some very dangerous escapees…

As Timmons heads on, one of the cowboys joins him. Will Saylor already suspects something nasty is occurring and, since the manhunter’s course is in a direct line for his own stead – where his wife and daughters are waiting – Will thinks he ought to be heading home…

As they near the ranch Will’s worst suspicions are confirmed. Timmons is no normal bounty killer and the things threatening his family stopped breathing a long time ago. They also seem immune to his bullets and crave living human flesh…

The old man does have a few advantages of his own, however, and before long has the dead men on the run and the women-folk back with the horrified Will…

The hunter’s problems grow in ‘The Undertaker’s Lament’ as Frank shares a few more unwholesome truths with Will, even as miles distant, the bulk of the risen dead Timmons has been following introduce themselves to local tyrant Newell.

Timmons was not a good man when he worked at Gila Flats: abusing his position for profit and living the high life with a local woman named Dorothy. Things started to go bad in 1878 when Frank was cursed by hardened killer Bart Bevard as he fought the noose around his neck. They then got much worse when Frank desecrated the corpse of Mexican witch-man El Brujo to steal the shaman’s fancy amulet.

That night 117 corpses dug themselves out of the Boneyard and went on a ravenous killing spree, slaughtering an entire town… including Dorothy…

And that’s when something truly diabolical spoke to Frank: offering him a deal he could not refuse. Hell wanted its escaped souls back and, if Frank delivered them. he might be reunited with Dorothy…

As Frank and Will reach the local town to spread a warning, they are caught in a lethal ambush. However it isn’t Bevard’s corpse gang but Newell’s bully boys gunning for them. Faced with ‘The Good, the Bad, & the Undead’ Frank needs to make a quick decision about temporarily abandoning his unholy mission…

After an horrific gun battle he manages to convince a few cowed survivors to join him in a raid on Newell’s ranch for a showdown with the human monster before his own final apocalyptic confrontation with Bevard and ‘The Malevolent Six’ zombies he still commands…

And when the shooting stops Frank and Lucifer the mule head for the sunset, painfully aware that they still have 107 more soiled souls to send to the inferno before they can rest…

Simple, straightforward, eerily evocative and leavened with just the right amount of gallows humour, Graveslinger was quickly optioned for eventual movie glory – although to me it smacks more of numerous TV episodes rather than 120-odd minutes of supernatural shoot-outs – but the original comicbook inspiration has all but vanished from sight, despite its welcoming premise, solid action ethic and the vast gallery of guest art (three dozen potent and powerful pieces by the likes of Adam Archer, Bloodworth, Francesco Francavilla, Michael Geiger, Phil Noto, Tom Mandrake and others) that came with the collected edition.

If you’re in the mood for spooky six-gun thrills, Graveslinger is well worth tracking down in either printed or digital editions.
© 2009 Shannon Eric Denton and Jeff Mariotte. All rights reserved

Frankenstein: The Mad Science of Dick Briefer


By Dick Briefer & various (Dark Horse Comics)
ISBN: 978-1-61655-688-4                  eISBN: 978-1-63008-186-7

The Golden Age of American comicbooks is usually associated with the blockbusting birth and proliferation of the Superhero, but even at the headiest heights of costumed crusader craziness other fantastic fantasy fashions held their own. Some of the very best – like Jack Cole’s Plastic Man and the unlikely weird warrior under discussion here – also managed to merge genres and surmount their origins through astounding graphic craft, a healthy helping of comedic legerdemain and a deft dose of satire…

Richard Briefer was born in Washington Heights, Manhattan on January 9th 1915. He was a pre-Med student who also studied at the Art Student League in New York City and got into the fledgling comicbook business in 1936, working for the Will Eisner/ Jerry Iger shop after selling work to Wow, What a Magazine!, and others.

He adapted literary classics such as the Hunchback of Notre Dame and, as Dick Hamilton, created early super-team Target and the Targeteers for Novelty Press. Briefer wrote and drew Rex Dexter of Mars, Dynamo, Biff Bannon, Storm Curtis, Crash Parker and more for a range of publishers. For Timely he co-created The Human Top and, as Dick Flood, produced anti-Nazi strip Pinky Rankin for The Daily Worker; the newspaper of the American Communist Party.

Another criminally near-forgotten master craftsman, Dick Briefer is best remembered amongst comics cognoscenti these days for Frankenstein; a suspense strip which debuted in Prize Comics #7 in December 1940 before gradually evolving into a satirical comedy-horror masterpiece which offered thrills and chills whilst ferociously sending up post war America.

A truly unique vision, Briefer’s Frankenstein ran intermittently until 1954 when the toxic paranoiac atmosphere of the anti-communist, anti-comics witch hunt killed it.

The author moved into advertising and latterly portraiture and, despite numerous attempts to revive the strip, never published any more of his absurd and acerbic antics…

Dick Briefer died in December 1980.

Here, however, as part of the wonderful Dark Horse Archives series, you can enjoy the superbly surreal strip in all its manic glory from its horrible heyday; either as this sterling and sturdy full-colour hardback or as an eBook.

Re-presented for your delectation are the contents of Frankenstein #1-7 (spanning January 1945-May 1947) with Briefer at the peak of his powers, writing and drawing the deliciously demented delights that have made him a legend amongst comics creators if not the general public.

After gleaning a few salient facts from appreciative devotee John Arcudi in his Foreword, and relishing some ultra-rare original art from Briefer and Alex Toth, the merry madness begins with issue #1 as we reveal ‘Frankenstein’s Creation’

When a bored mad scientist reads an old book he decides to create his own version of the infamous creature. Sadly, despite scrupulously following the recipe, the malevolent modern Prometheus’ secret formula only manifests a loving, protective nature in his super-strong homunculus and the hulking Frankenstein monster soon becomes a boon to his community and embarrassment to his malignant maker.

Left to his own devices, the artificial Adam is then drawn to the quiet little everytown of Mippyville where the populace are fighting off a supernatural invasion of atrocious arcane predators. ‘Frankenstein and the Ghouls and Vampires’ sees the creature – originally mistaken for a “Bobbysox” pop singer by the town’s screaming teenagers – hilariously clean up the infernal infestation before setting up home in a ramshackle abandoned mansion.

Only one thing is missing to complete his dreams of domestic bliss but, after a brief dalliance with the local spider saleswoman results in her becoming ‘Frankenstein’s Wife’, the man-monster soon learns why a hasty marriage often leads to repentance at leisure…

Mippyville is a place that just attracts weirdness, and the first issue concludes with another mad doctor as deranged surgeon Professor Hugo von Hoogenblotzen kidnaps Frankie and attempts to graft him to an elephant in ‘Frankenstein and the Manimals’

The second issue begins with ‘Frankenstein!’ – a quick recap of past events – before our unlikely hero tracks down a mad mass-murderer who wants others to suffer for his art in ‘Frankenstein and the Statue Maker’ after which the animal-loving oaf is accidentally mistaken for a mere beast and purchased by a moody millionairess. She puts him on a leash to one-up her pals in the Exotic Pets Club but ‘Frankenstein’s Job’ soon teaches them all the true value of animal companionship…

Eventually restored to his own home, ‘Frankenstein’s Ark’ then sees the towering titan re-enact the building of the fabled lifeboat to save his animal chums but end up clashing with a hoarding hermit and his mutant allies…

Issue #3 (July/August 1946 and with scripting assistance from Bruce Elliott) introduced ‘Frankenstein’s Family’ as the big guy won gainful employment as a junk man whilst his new boss tinkered with salvaged machines from a devil doctor’s lab. This resulted in an army of molecularly-unstable juvenile duplicates of Frankie and a great deal of gross chaos…

A legion of escaped horrors attacked Mippyville in ‘Frankenstein and the Monsters’ only to find the town’s ghastly defender too much to handle whilst in ‘Frankenstein and the Mummies’ a quick jaunt to Egypt finds the monster befriending a quartet of ancient, entombed pharaohs before ‘Frankenstein and the Time Machine’ apparently sends the credulous colossus into the furious future and perilous past. This time, however, all is not as it seems…

The regular cast expanded in the fourth issue (September/October 1946) as ‘Frankenstein and Awful Annie’ finds the mellow monster aiding the local purveyor of potions and charms to the city’s supernatural community when her long-lost son wants to come home for a visit. He then makes another odd acquaintance when ‘Frankenstein Meets the (Terrible) Werewolf’ which debuts the gentlest magical man-eater on earth…

Another whirlwind romance goes awry after ‘Frankenstein Sees the Effect of the Youth Restorer’ and makes an amorously ill-advised move on a once-elderly neighbour, before his mystic mates throw the monster a birthday party in ‘Frankenstein and the Sorcerer’ and almost start a magic war that only subsides after the gentle giant accidentally lands a job as a photographic model…

Briefer was an inveterate tinkerer, always looking for innovative new ways to present his mirthful material, and Frankenstein #5 (November/December 1946) trialled a new format of interlinked yarns beginning with ‘Act 1: How I Rehabilitated Maladjusted Ghosts’ as the monster became a troubleshooter for the restless dead and unmasked a murderer.

In ‘Act 2: How I Had (and Lost) a Pet Dinosaur’ he accidentally hatches an antediluvian egg and manages to switch it with a parade-balloon doppelganger whilst ‘Act 3: How I Became a Genii in a Magic Bottle’, saw the monster mysteriously abducted by a street-corner hustler before escaping to save the town from a malicious malady in concluding ‘Act 4: How I Conquered a Terrible Plague’. The experiment was dropped for a more traditional anthological format in the sixth (March/April 1947) issue…

Here the madcap merriment opens with ‘The Last Smile’ as Frankie is mistaken for an escaped murderer and placed on death row after which he hunts down ‘The Ghostnapper’ abducting spirits and stealing their big white sheets…

The rising cost of funerals informed the riotous case of ‘One Small Bier’ as the monster tries a new career as a mortician before heading into the country to investigate accursed, self-propagating automobiles going on an uncanny ‘Joyride’

The final issue reprinted here comes from May/June 1947 #7 and opens with ‘Silas Grunch Gets His’ – co-written with Ed Goggin – as a conniving miser tortures kids by building a funfair children can’t get into… until the Big Guy steps in…

The monster plays cupid and brings two bizarre, lonely people together in ‘The Strange Love of Shirley Shmool’ and romance also informs Frankenstein’s laying of ‘The Curse of the Flying Dutchman’ when the giant goof opens a Lonely Hearts Agency and matches the immortal wanderer with the girl of his nightmares…

This leads to a clash with atom-age seductress ‘The Lorelei’ and a hideous trade of jobs and gender roles before politics rears its ugly (multiple) heads as Frankenstein is convinced to run for President of the Magician’s Guild only to endure the voodoo ‘Pins and Needles’ of a frustrated rival…

A truly unmissable treat from a singular and utterly eccentric creative force, Dick Briefer’s Frankenstein is remarkable work by a one-of-a-kind creator. If you love to be scared, love to laugh and love comics, this is a book you must see.
Frankenstein: The Mad Science of Dick Briefer. Dark Horse Books® and logos are registered trademarks of Dark Horse Comics, Inc. All rights reserved.