Yakari volume 14: Lords of the Plains


By Derib & Job, coloured by Dominique, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-318-5

Children’s magazine Le Crapaud à lunettes was founded in 1964 by Swiss journalist André Jobin who then wrote for it under the pseudonym Job. Three years later he hired fellow French-Swiss artist Claude de Ribaupierre who chose the working name “Derib”. The illustrator had launched his own career as an assistant at Studio Peyo (home of Les Schtroumpfs), working on Smurfs strips for venerable weekly Spirou. Together they created the splendid Adventures of the Owl Pythagore before striking pure comics gold a few years later with their next collaboration.

Debuting in 1969, Yakari detailed the life of a young Oglala Lakota boy on the Great Plains; sometime after the introduction of horses by the Conquistadores but before the coming of the modern White Man. This year the 39th album was released: a testament to the strip’s evergreen vitality and the brilliance of its creators.

Overflowing with gentle whimsy and heady compassion, Yakari enjoys a largely bucolic existence; at one with nature and generally free from strife. For the sake of our delectation, however, the ever-changing seasons are punctuated with the odd crisis, generally resolved without fuss, fame or fanfare by a little lad who is smart, brave… and can converse with all animals…

Derib – equally at home with enticing, comically dynamic “Marcinelle” cartoon style yarns and devastatingly compelling meta-realistic action illustrated action epics – went on to become one of the Continent’s most prolific and revered creators. It’s a crime that such groundbreaking strips as Celui-qui-est-né-deux-fois, Jo (the first comic ever published dealing with AIDS), Pour toi, Sandra and La Grande Saga Indienne) haven’t been translated into English yet, but we still patiently wait in hope and anticipation…

Many of Derib’s stunning works over the decades feature his cherished Western themes; magnificent geographical backdrops and epic landscapes. Yakari is considered by fans and critics to be the strip which first led him to deserved mega-stardom.

Originally released in 1987, Yakari et les seigneurs des plaines was the 13th European album (and Cinebook’s 14th translated tome), but – as always – the content is both stunningly simple and effectively timeless; offering total enjoyment for a minimum of familiarity or foreknowledge…

This tale, however, has a necessarily dark edge as it deals with how the Sioux subsist and how their staple diet feels about it…

Th drama begins with a crucial tradition as the braves hunt buffalo and culminates with doughty Bare Blade killing a beast with a single merciful blow. As the squaws prepare the carcases – utilising every scrap of them – judiciously taken by the men, the aged chief reminds the gathered tribe of the bad old days when their foolish ancestors wastefully slaughtered far more animals than they needed or could use.

Now thanks to their pact with Great Spirit Wacondah, enlightened modern men have learned to respect the buffalo and only take what is needful…

Awed by the history lesson, little Yakari heads for bed and has another of his special dreams. In it he speaks with the gracious spirit of the cow whose skin he sleeps on every night since the day she died and he was born…

Next morning, still gripped by all things to do with the ponderous lords of the plains, Yakari heads his steed Little Thunder into the heart of the endless herd and makes a few new friends. He is astounded to discover the big beasts bear his kind no resentment and accept the role every creature plays in the life of the world…

Happily consorting with the thousands of blockbusting bovines, Yakari learns sage wisdom from the old bulls and wary lookouts, and even frolics with the sprightly calves as they learn to butt heads in the approved manner, before noticing one heavily pregnant cow lagging behind. Herd master Boulder Brow tells the lad that she will soon leave the morass and give birth somewhere quiet and isolated.

Sadly, an old diseased wolf is keenly aware of the fact and hungrily bides his time…

As the afternoon ends, Yakari heads home and sees the new mother and latest addition to the herd. Stopping to pay his respects, he spots an opportunistic predator making his move and instinctively intervenes with a well-aimed rock. Upon realising that mother and child are too weak to catch up with the ever-proceeding herd, the boy resolves to stay with them, lighting a guard fire to keep the still-stalking wolf at bay…

Eventually the hungry canine can wait no longer but his bold dash only leads to a seared tail and a determination to make boy, buffalo and baby pay for his pain and indignation…

As dawn breaks Yakari sees the herd has gone. As he heads home, mother and child follow their vastly extended family, unaware that the lone wolf has found the local pack and, by lying to them, created a vengeful army ready to avenge grievous insults and feast on deserving victims. The deciding argument was that the human cub was planning to wipe out all the wolves…

The sinister scheme might well have worked had not alert Little Thunder spotted the amassed pack and warned Yakari. Instantly understanding what has happened the little boy turns back towards the buffalo stragglers and arrives just in time to set the record straight with the rather reasonable pack and teach the rogue wolf a lesson…

Exotically enticing, entertainingly educational, compellingly dramatic and joyously inventive, this is a tale which allows Derib full rein to display his astounding artistic ability in a glorious graphic tour de force which captures the scale, power and majesty of the hard-headed hairy nomads. This yarn also shows Job’s big-hearted affection for the period and culture: another visually stunning, seductively smart and happily heart-warming saga to delight young and old alike.

Yakari is one of the most unfailingly absorbing all-ages strip every conceived and should be in every home, right beside Tintin, Uncle Scrooge, Asterix and the Moomins.
Original edition © Le Lombard (Dargaud- Lombard S. A.) 2000 Derib + Job. English translation 2016 © Cinebook Ltd.

The Bluecoats volume 7: The Blues in the Mud


By Willy Lambil & Raoul Cauvin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-183-9

Les Tuniques Bleues began at the end of the 1960s, created by Louis “Salvé” Salvérius & Raoul Colvin – who has solo-written every best-selling volume since. The strip was created to replace Western wonder man Lucky Luke when the laconic gunslinger defected from weekly anthology Spirou to comic rival Pilote. His rapidly-rendered replacement swiftly became one of the most popular bande dessinée series on the Continent…

Salvé was a cartoonist of the Gallic big-foot/big-nose humour style, and when he died suddenly in 1972 his replacement, Willy “Lambil” Lambillotte slowly introduced a more edgy and realistic – although still broadly comedic – illustrative manner. Lambil is Belgian-born (in 1936) and – after studying Fine Art in college – joined publishing giant Dupuis as a letterer in 1952.

Born in 1938, scripter Raoul Cauvin is also Belgian and before joining Dupuis’ animation department in 1960 studied Lithography. He soon discovered his true calling as a comedy writer and began a glittering and prolific career at Spirou.

In addition to Bluecoats Cauvin has written dozens of other long-running, award winning series including Cédric, Les Femmes en Blanc and Agent 212: more than 240 separate albums in total. The Bluecoats alone has sold more than 15 million copies.

The sorry protagonists of the show are Sergeant Cornelius Chesterfield and Corporal Blutch: a pair of worthy fools in the manner of Laurel and Hardy; hapless, ill-starred US cavalrymen posted to the wild frontier and various key points of mythic America.

The original format was single-page gags about an Indian-plagued cavalry fort, but with the second volume ‘Du Nord au Sud’ (North and South) the sad-sack soldiers went back East to fight in the American Civil War (this tale was rewritten in the 18th album ‘Blue rétro’ to describe how the chumps were drafted into the military during the war).

All subsequent adventures – despite ranging far beyond the traditional environs of America and taking in a lot of genuine and thoroughly researched history – are set within the timeframe of the Secession conflict.

Blutch is your average whinging little-man-in-the street: work-shy, mouthy, devious and especially critical of the army and its inept commanders. Ducking, diving, feigning death and even deserting whenever he can, he’s you or me – except sometimes he’s quite smart and heroic if no other, easier option is available.

Chesterfield is a big burly man; a career soldier who has passionately bought into all the patriotism and esprit-de-corps of the Military. He is brave, never shirks his duty and wants to be a hero. He also loves his cynical little pal. They quarrel like a married couple, fight like brothers but simply cannot agree on the point and purpose of the horrendous war they are trapped in…

The Blues in the Mud was first seen on the continent in 1978 as 13th album Les Bleus dans la gadoue, and opens here with our surly stalwarts on patrol. Riding through glorious autumn countryside, they stop at a lake to wash off the dust and find another Union soldier already indulging. However, closer scrutiny soon reveals that this young man is actually a woman…

She tearfully shares her shameful secret with them. Dear brother John vanished soon after enlisting and – terrified that he has deserted and besmirched the Cassidy honour – she has secretly taken his place to search for him…

Although Blutch thinks she’s crazy, the tragic tale goes right to Chesterfield’s head and heart. He promises that they will look out for her as she looks out for her brother but, after teaching her a few tricks to avoid getting killed by Confederate gunfire or her own commanders’ idiotic orders, Blutch starts to wonder about their winsome protégé…

As the weather turns foul and torrents of rain turn battlefields into swamps and skirmishes into messy, inconclusive mud-baths, Chesterfield’s overprotective nature starts men and officers talking – particularly about how the grizzly non-com keeps making the new recruit cry…

Platonically besotted, the Sarge doesn’t notice how “Private Cassidy” keeps disappearing, and when Blutch testily points it out, only assumes she’s looking for that missing brother and her nervousness is just fear of being caught…

Alas for all concerned, the little corporal soon determines, any fear of being caught is due to the fact that she’s a spy who has the Sarge wrapped around her little finger…

Finally, however even Chesterfield has to face facts and in his righteous indignation makes Blutch help him ride right into the Confederate camp to arrest her…

After that gallant gesture goes horribly wrong the Bluecoats manage to get back to their own lines only to find that they’ve been charged with desertion and are being fitted up for a firing squad…

Is there anything or anyone that can possibly save them?

Another hugely amusing, savagely anti-war saga targeting young and less cynical audiences, this tale is particularly trenchant on the pointless nature of the conflict, with a large portion of the tale devoted to depicting the grim hilarity of soldiers unable to stand in a constantly-shifting morass doing their utmost to kill their equally enmired opponents, even if they can’t actually tell friend from foe anymore…

Historically authentic, always in good taste despite its uncompromising portrayal of violence, the attitudes expressed by the down-to-earth pair never make battle anything but arrant folly and, like the hilarious yet insanely tragic war-memoirs of Spike Milligan, these are comedic tales whose very humour makes the occasional moments of shocking verity doubly powerful and hard-hitting.

Fun, informative, beautifully realised and eminently readable, Bluecoats is the sort of war-story that appeals to the best, not worst, of the human spirit.
© Dupuis 1978 by Lambil & Cauvin. English translation © 2013 Cinebook Ltd. All rights reserved.

Popeye Classics volume 1


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-61377-557-8                  eISBN: 978-1-62302-264-8

There are few comic characters that have entered communal world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the saga of Ham Gravy and Castor Oyl on January 29th 1929, nobody suspected the giddy heights that walk-on would reach…

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career. It even survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist Bud Sagendorf.

After Segar’s tragic and far too premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip as the animated features brought Popeye to the entire world. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments…

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his supplies – introduced the kid to the master who became his teacher and employer as well as a father-figure. In 1958, Sagendorf took over the strip and all the merchandise design, becoming Popeye’s prime originator…

When Sagendorf took over, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena for 24 years. He died in 1994 after which “Underground” cartoonist Bobby London took over.

Bud had been Segar’s assistant and apprentice, and from 1948 onwards he wrote and drew Popeye’s comicbook adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics.

When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not, a joker who wanted kids to be themselves – but not necessarily “good” – and someone who took no guff from anyone.

Naturally, as his popularity grew Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows but the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in their entirety in this beguiling full-colour hardback (also available in a digital edition) are the first four 52-page quarterly funnybooks produced by the Young Master spanning February/April 1948 to November 1948/January 1949.

The stunning, seemingly stream-of-consciousness stories are preceded by an effusively appreciative Introduction‘Society of Sagendorks’ – by inspired aficionado and historian/publisher Craig Yoe and a fabulous collation of candid photos and letters plus strip proofs, original comicbook art and commissioned paintings, an Activity Book cover and greetings card designs contained in ‘A Bud Sagendorf Scrapbook’.

Popeye’s fantastic first issue launched in February 1948, with no ads and duo-coloured (black and red) single page strips on the inside front and back covers. The initial instant episode finds mighty muscled, irrepressible “infink” Swee’ Pea enquiring ‘Were there ever any pirates around here?’ before doing a bit of digging, after which the full-coloured fun begins with ‘Shame on You! or Gentlemen Do Not Fight! or You’re a Ruffian, Sir!’

The salty swab earns a lucrative living as an occasional prize-fighter and here upcoming contender Kid Kabagge and his cunning manager Mr. Tillbox use a barrage of psychological tricks to put Popeye off his game. The key component is electing Olive Oyl President of the fake Anti-Fisticuff Society to convince her man to stop being a beastly ruffian and abandon violence. That only works until the fiery frail learns she’s been gulled…

Swee’ Pea then stars in ‘Map Back! Or Back Map!’ as sinister unprincipled villain Sam Snagg tattoos an invisible secret diagram onto the baby’s body but falls foul of the boy’s garrulous guardian when trying to reclaim the kid and divine the location of Spinachovia’s hidden treasures…

Wrapping up the full-length action is ‘Spinach Revolt’ as Popeye’s pater Poopdeck Pappy kicks up a fuss about constantly having to eat healthy food.

As the first Superman of comics, Popeye was not a comfortable hero to idolise. A brute who thought with his fists and didn’t respect authority, he was uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him); an aggressive troublemaker, he wasn’t welcome in polite society… and he wouldn’t want to be.

Time changed Popeye and made him tamer, but the shocking sense of unpredictability, danger and anarchy he initially provided was sorely missed, so in 1936 Segar brought it back again…

A memorable and riotous sequence of Dailies introduced ancient, antisocial crusty reprobate Poopdeck Pappy. The elder mariner was a hard-bitten, grumpy lout quite prepared – even happy – to cheat, steal or smack a woman around if she stepped out of line. He was Popeye’s prodigal dad and once that old goat was firmly established Segar set Olive and her Sailor Man the Herculean task of “Civilizing Poppa”. At the time of this tale that’s still very much a work in progress …

Fed up with eating spinach, Pappy hides his meals and steals the wherewithal to secretly subsist on a diet of candy, cakes and sodas. He even inveigles the lad next door into being the mule in his scurrilous scheme but cannot evade the digestive consequences of his acts…

The premiere outing ends with a brace of single pagers detailing how Swee’ Pea deals with persistent salesmen and a day’s fishing before issue #2 commences…

Master moocher Wellington J. Wimpy again has cause to declare ‘Sir! You are a cheapskate!’ before Swee’ Pea and Popeye are swept up in a controversial debate. In ‘That’s What I Yam!” or ‘I Yam! I Yam’ the sailor believes his baby boy tough enough to wander around town unsupervised but has reasons to revise his opinion after the kid vanishes. Moreover, when he does resurface, the tyke is subject to strange transformations and behaviours. It’s as if a class of trainee hypnotists have all been using the kid as a practise subject but forgot to bring him out of his trance afterward…

Pappy stars in ‘Easy Money’, with the greedy reprobate realising how much cash his sterling son earns for each boxing bout. Determined to get on the gravy train too, the oldster shaves off his beard and impersonates Popeye. By the time he catches wise, Pappy has conned Olive and Wimpy into his scheme and set up a punishing bout with a huge purse, so somebody is going to have to fight…

The issue ends with a two-tone short showing the hazards of bathing Swee’ Pea and another full colour back cover gag with a bullying neighbour realising the folly of trying to spank Popeye’s boy…

Popeye #3 leads with an epic 32-page spooky maritime epic as the superstitious sailor reluctantly agrees to transport 250 “ghosk” traps to ghastly, radish – and phantom – infested ‘Ghost Island’: a cunning yarn of mystery and over-zealous imagination starring many cast regulars and preceded by a hilarious map of the route replacing the inside-front cover gag…

Following up is an implausible account of Popeye apparently becoming a violent bully, beating up ordinary citizens in ‘Smash! or You Can Tell She’s My Girl, Because She’s Wearing Two Black Eyes!’ Happily, a doctor at the sailor’s trial is able to diagnose the incredible truth before things go too far, after which Swee’ Pea indulges in too much sugar in the red and black bit and learns the manly way to play with dolls on the colour back cover…

The final inclusion in this outrageous compilation begins with Wimpy up to his old tricks whilst Popeye hunts ducks before another extended odyssey finds the sailor and hangers-on Swee’ Pea, Olive and Wimpy heading West on safari to capture a rare Ipomoea from sagebrush hellhole ‘Dead Valley’

It’s a grim wilderness Popeye has endured before: an arid inferno no sane man would want to revisit unless a scientist hired him to. Sadly, that’s not the opinion of local bandit boss Dead Valley Joe who assigns all his scurvy gang the task of dissuading or despatching the uppity easterners before they uncover the region’s incredible secret…

Back home again, Olive Oyl receives a surprise ‘Gift from Uncle Ben!’ Sadly, the strange flying beast called a Zoop prefers Swee’ Pea’s company and her warm generosity in donating the beast takes a hard knock when a stranger offers a million dollars for it…

One final brace of Swee’ Pea shorts then sees the wily kid orchestrate free baseball views for his pals before indulging in food politics to win over a stray cat and wrap up in amiable style these jolly, captivating cartoon capers.

There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy bloke and mainlining tinned spinach, that’s okay: the animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into Thimble Theatre and wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure…

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. This book is definitely one of the latter and if you love lunacy, laughter and rollicking adventure you must now read this.
Popeye Classics volume 1 © 2013 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2013 King Features Syndicate. ™ Heart Holdings Inc.

Cedric volume 4: Hot and Cold


By Laudec & Cauvin with colours by Leonardo and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-158-7

Raoul Cauvin is one of Europe’s most successful comics scripters. Born in Antoing, Belgium in 1938, by 1960 he was working in the animation department of publishing giant Dupuis after studying the dying – and much-missed – print production technique of Lithography.

Happily, he quickly discovered his true calling was writing funny stories and began a glittering, prolific career at Spirou.

While there he devised (with Salvérius) the astoundingly successful Comedy-Western Bluecoats as well as dozens of other long-running, award-winning series such as Sammy, Les Femmes en Blanc, Boulouloum et GuiliguiliCupidon, Pauvre Lampil and Agent 212: cumulatively shifting more than 240 separate albums.

Bluecoats alone has achieved sales well north of 15 million copies thus far…

His collaborator on the superbly sharp and witty kid-friendly family strip Cédric is Italian born, Belgium-raised Tony de Luca, who studied electro-mechanics and toiled as an industrial draughtsman until he could make his own break into bandes dessinée.

Following a few fanzine efforts in the late 1970s, Laudec landed soap-style series Les Contes de Curé-la-Fl’ûte at Spirou in 1979. He built that into a brace of extended war-time serials (L’an 40 in 1983 and Marché Noir et Bottes à Clous in 1985) whilst working his way around many of the comic’s other regular strips.

In 1987 he united with Cauvin on the first Cédric shorts and from then on it was all child’s play…

We have Dennis the Menace (the Americans have their own too but he’s not the same) whilst the French-speaking world has Cédric: an adorable, lovesick rapscallion with a heart of gold and an irresistible penchant for mischief.

Collected albums (29 so far) of the variable-length strips – ranging from a ½ page to half a dozen – began appearing in 1989 and are always amongst the most popular and best-selling on the Continent, as is the animated TV show spun off from the strip.

Be Warned: this is not a strip afraid to suspend the yoks in favour of a little suspense or near-heartbreak. Cedric is almost-fatally smitten with Chen: a Chinese girl in his class yet so very far out of his league, leading to frequent and painful confrontations and miscommunications.

Whilst the advice given by his lonely widowed grandpa is seldom of any practical use it can pick open scabs from the elder’s long, happy and now ended marriage which might reduce any normal human to tears…

This fourth Cinebook translation – from 2011 and first continentally released in 1993 as Cédric 6: Chaud et Froid – opens with ‘Skateboarding Champ…’ as the scamp finds Chen watching an older boy show off his prowess on wheels and is utterly unable to steer clear of a humiliating confrontation and revoltingly precipitate action…

‘Lightning to Thunder’ sees Grandpa attempting to teach Cedric how to time the interval between the two awesome natural events when Dad interrupts with an unnatural one both painful and impressive, after which Christmas brings ‘Little Presents’ from the lad to his family that causes outrage, terror and – eventually – much mirth…

When Grandpa borrows the boy’s ‘Badges Galore’, his long-suffering daughter is quick to spot his ulterior motives after which, to everyone’s chagrin, Cedric’s spoiled, smug and shamelessly social-climbing ‘Horrible Cousin’ Yeti visits.

She is brought down a peg or ten after trying to cosy up to aristocratic twit The Right Honourable Alphonse Andre Jones-Tarrington-Dupree – with deliciously gratifying results for the eagerly-watching oik in jeans and trainers – before ‘Back in My Day…’ finds a family meal derailed by the boy asking when his parents will make him a little sister. The resultant three-way adult – and hilarious – argument about modern sex education allows Cedric to successfully bury bad news about his grades…

Jealousy again causes a clash between Cedric and long-suffering Chen in ‘Ice Love You’ before Grandpa brilliantly outsmarts his lazy, study-shy grandson with a spot of ‘Blackmail’: threatening to show Chen’s mother the kid suitor’s latest appalling report card and prove the ardent boy is not good enough for her darling daughter…

When Dad impetuously tries out a skateboard, he finds the experience ‘No Bed of Roses’ even as Cedric’s rapscallion inclination to go scrumping is dreadfully scuppered in ‘How About Them Apples?’

A little later when slow-witted Manu gets hold of a disposable camera (ask your dad), Cedric goes to superhuman extremes to be in a perfect picture with his unobtainable inamorata despite the constant invocations to ‘Say Cheese!’ seemingly inspiring the universe to play its most mean tricks on the little Lothario…

Another devilish demonstration of devious designs occurs after Cedric demands of his family ‘Wanna See My School Report?’ but they’re probably all too preoccupied anticipating the result and cost of ‘Grandpa’s Cooking’: the aftermath of which is a life-threatening bout of depression for the fragile old geezer which can only be cured by the youngster saying something truly stupid in ‘Some Days Are Like That…’

Late night viewing of unsuitable movies and a change in Cedric’s behaviour leads Mum to make her own ‘French Connection’ before we learn that little boys’ egos – and trousers – are fragile things. However, if the unimaginable does happen in front of your intended true love, as long as your mates are around one can always depend on a ‘Conga Line’ to get you home with a minimum of blushes…

More elderly health concerns manifest in ‘A Bit Tired…’ but once again the boy knows just the wrong thing to say to banish Grandpa’s doldrums before this sparkling friends-&-family saga pause with ‘Makes You Deaf’ as Cedric devises a wild Walkman (ask your granddad) based scheme to get Chen to marry him one day…

Rocket-paced, warmly witty and not afraid to explore sentiment or loss, the exploits of this painfully keen, beguilingly besotted young rascal are a charming example of how all little boys are just the same and infinitely unique. Cedric is a superb family strip perfect for youngsters and old folk alike…
© Dupuis 1993 by Cauvin & Laudec. All rights reserved. English translation © 2013 Cinebook Ltd.

Lucky Luke


By Morris & Goscinny, translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-49-6

It’s hard to think of one of Europe’s most beloved and evergreen comics characters being in any way controversial, but when changing times caught up with the fastest gun in the West (“so fast he can outdraw his own shadow”) and the planet’s most laconic cowboy moved with them, the news made headlines all over the world.

Lucky Luke is a rangy, good-natured, lightning-fast cowboy who roams the fabulously mythic Old West, having light-hearted adventures with his sarcastic horse Jolly Jumper and interacting with a host of historical and legendary figures. His continued exploits over nearly seventy years have made him one of the best-selling comic characters in Europe (68 individual adventures totalling more than 300 million albums in 30 languages thus far), with the usual spin-off toys, computer games, animated cartoons and a plethora of TV shows and live-action movies.

He was created in 1946 by Belgian animator, illustrator and cartoonist Maurice de Bévère (“Morris”) and first seen the 1947 Annual (L’Almanach Spirou 1947) of Le Journal de Spirou, before launching into his first weekly adventure ‘Arizona 1880’ on December 7th 1946.

Working solo until 1955, Morris produced nine albums worth of affectionate sagebrush spoofery before teaming with old pal and fellow trans-American tourist Rene Goscinny, who became the regular wordsmith as Luke attained the dizzying heights of superstardom, commencing with ‘Des rails sur la Prairie’ (Rails on the Prairie), which began in Spirou on August 25th 1955.

In 1967, the six-gun straight-shooter switched sides, transferring to Goscinny’s own magazine Pilote with ‘La Diligence’ (The Stagecoach). Goscinny co-created 45 albums with Morris before his untimely death, from whence Morris soldiered on both singly and with fresh collaborators.

Morris himself died in 2001 having drawn fully 70 adventures, plus some spin-off sagas crafted with Achdé, Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and others, all taking a crack at the venerable franchise…

Moreover, apart from that very first adventure, Lucky (to appropriate a quote applied to the thematically simpatico TV classic Alias Smith and Jones) “in all that time… never shot or killed anyone…”

Lucky Luke was first spotted in the UK syndicated to weekly anthology Film Fun during the late 1950s and again in 1967 in Giggle, where he was renamed Buck Bingo.

In all these venues – as well as the numerous attempts to follow the English-language successes of Tintin and Asterix albums – Luke sported a trademark cigarette hanging insouciantly from his lip. However, in 1983 Morris – no doubt amidst both pained howls and muted mutterings of “political correctness gone mad” – deftly substituted a piece of straw for the much-travelled dog-end, which garnered him an official tip of the hat from the World Health Organization.

The most recent and successful attempt to bring Lucky Luke to our shores and shelves comes from Cinebook (who have rightly restored the foul weed to his lips on the interior pages, if not the covers…), and it’s clearly no big deal for today’s readership as we’re well past sixty translated books and still going strong.

Tortillas for the Daltons was the tenth of their 63 albums, now available both on paper and as e-books. As Tortillas pour les Daltons it was first published in Europe 1967: the charming cowboy’s 31st sagebrush foray and Goscinny’s 22nd collaboration with Morris, offering a beguilingly exotic and action-packed visit across the fabled Rio Grande in search of justice and good times…

It all begins in jail as vile owlhoots Averell, Jack, William and their slyly psychotic, overly-bossy shorter brother Joe Dalton are roused from their cosy comfort zone with the shocking news that they’re all being moved to a less crowded penitentiary – one situated near the Mexican border…

The infamous Dalton Gang are incorrigible criminals and no effort is spared to make sure they arrive at their destination. The warden even assigns faithful prison hound Rin Tin Can to the large escort but has apparently forgotten that the vain, friendly and exceedingly dim pooch is utterly loyal to absolutely everybody and no use at all in any kind of crisis…

Parking up for the night by the mighty border, the soldiers and security are sadly unaware that a gang of banditos are eyeing up the iron-studded coach and wondering just what manner of gringo valuables it might contain…

Despite striking with typical dash, verve and flamboyance, the gaudy thieves are ultimately quite disappointed with their haul, but in America the public breathes a huge communal sigh of relief that the Daltons are no longer a menace to their property. Sadly, the Mexican government kicks up such a fuss at the unwelcome additions to their population that the US authorities summon Lucky Luke to Washington DC and beg him to retrieve the contentious criminal tourists…

Not that the Daltons have actually broken any laws yet. They’ve been spending all their time trying to convince bandit supremo Emilio Espuelas that they are as good at being bad as any Mexican.

Whilst he may not accept that, the sinister sombrero-wearer is pretty certain that the odd quartet will be an unnecessary and costly burden. It takes all Joe’s efforts to convince him not to kill them outright. Eventually however, the burly brigand agrees to accept them as apprentice thieves. That tenuous situation almost ends when the assembled scoundrels scout the sleepy village of Xochitecotzingo and Joe a has a fit. The little loon has seen Lucky Luke riding into town with dumb mutt Rin Tin Can in tow.

After his introduction in 1962’s Sur la piste des Dalton, (On the Daltons’ Trail) Rantanplan – “dumbest dog in the West” and a wicked parody of cinema canine Rin-Tin-Tin – became an irregular feature in Luke’s adventures before eventually landing his own spin-off series title. The moronic mutt is in top form here, spreading confusion and mirth far and wide especially after meeting his cross-border counterpart – a clever chihuahua named Rodriguez

Joe Dalton’s devious mind goes into inventive overdrive after spotting his laconic nemesis: determined that Emilio must not learn of the hero’s presence, else he sell the brother back to the emissary of America for a tidy profit…

As Luke avails himself of the local hospitality and acquaints himself with the friendly foreigners’ funny customs, Joe leads the multinational miscreants in a good old US bank raid but has failed to take into account the hamlet’s lack of a proper venue to store money…

As international relations go into a steep decline, the extremely suspicious Espuelas is ready to cut his losses. In town, Lucky is experiencing similar difficulties lost in translation. The local law enforcers have a long tradition of keeping the peace by not asking for trouble by chasing outlaws…

Eventually, however, the canny cowboy drums up a little support, just as Joe convinces Emilio to rob the lavish ranchero of the region’s richest man. Sadly for them, that’s exactly where Lucky and Rin Tin Can are staying…

When noble Don Doroteo announces a grand party, the villains are tempted beyond their ability to resist. Emilio even finds a way for the Daltons to be useful at last. Disguised as a Mariachi band, the gringos can move about the event in preparation for a classic Mexican raid – but only if nobody asks them to play or sing…

Sensibly devolving into total farce and a ferocious gunfight, Tortillas for the Daltons is a wild and woolly comedy romp, offering fast-paced, seductive slapstick and wry cynical humour in another delicious yarn in the tradition of Destry Rides Again and Evil Roy Slade, superbly executed by master storytellers and providing a wonderful introduction to a unique genre for today’s kids who might well have missed the romantic allure of an all-pervasive Wild West that never was…
© Dargaud Editeur Paris 1971 by Goscinny & Morris. © Lucky Comics. English translation: © 2008 Cinebook Ltd.

Billy and Buddy volume 4: It’s a Dog’s Life


By Jean Roba & various translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-84918-171-6

Known as Boule et Bill on the Continent (at least in the French speaking bits, that is; the Dutch and Flemish call them Bollie en Billie), this evergreen, immensely popular cartoon saga of a dog and his boy debuted in the Christmas 1959 edition of Spirou.

The perennial fan-favourite resulted from Belgian writer-artist Jean Roba (Spirou et Fantasio, La Ribambelle) putting his head together with Maurice Rosy – the magazine’s Artistic Director and Ideas Man who had also ghosted art and/or scripts on Jerry Spring, Tif et Tondu, Bobo and Attila during a decades-long, astoundingly productive career at the legendary periodical.

Intended as a European answer to Charles Schulz’s Peanuts, Boule et Bill quickly went its own way and developed a unique style and personality, becoming Rosa’s main occupation for the next 45 years.

He crafted more than a thousand pages of gag-strips in a beguiling, idealised domestic comedy setting, all about a little lad and his exceedingly smart Cocker Spaniel before eventually surrendering the art-chores to his long-term assistant Laurent Verron in 2003.

The successor subsequently took over the scripting too, after Roba’s death in 2006.

Jean Roba was born in Schaerbeek, Belgium on July 28th 1930 and grew up reading a lot of American newspaper strip translations and reprints. He was particularly fond of Rudolph Dirks and Harold H. Knerr’s Katzenjammer Kids and after the War began working as a jobbing illustrator before adopting the loose, free-wheeling cartooning style known as the “Marcinelle School” and joining the Spirou crew.

He followed Uderzo on Sa majesté mon mari and perfected his craft under Franquin on Spirou et Fantasio before launching Boule et Bill as a mini-récit (a 32-page, half-sized freebie insert) in the December 24th 1959 Spirou.

Like Dennis the Menace in The Beano, the strip was a big hit from the start and for 25 years held the coveted and prestigious back-cover spot. Older British fans might also recognise the art as early episodes – (coincidentally) retitled It’s a Dog’s Life – ran in Fleetway’s legendary anthology weekly Valiant from 1961 to 1965…

A cornerstone of European life, the strip has generated a live-action movie, animated TV series, computer games, permanent art exhibitions, sculptures and even postage stamps. Like some select immortal Belgian comics stars, Bollie en Billie have been awarded a commemorative plaque and have a street named after them in Brussels….

Large format album editions began immediately, totalling 21 volumes throughout the 1960s and 1970s. These were completely redesigned and re-released in the 1980s, supplemented by a range of early-reader books for toddlers. Collections are available in 14 languages, selling in excess of 25 million copies of the 32 albums to date.

As Billy and Buddy, the strip returned to British eyes in enticing Cinebook compilations from 2009 onwards: introducing to 21st century readers an endearingly bucolic late 20th century, sitcom-styled nuclear family set-up consisting of one bemused, long-suffering and short-tempered dad, a warmly compassionate but painfully flighty mum, a smart, mischievous son and a genius dog who has a penchant for finding bones, puddles and trouble…

Originally released in 1974, Une vie de chien was the 9th European collection, and here simply serves to further explore the timeless and evergreen relationship of a dog and his boy (and tortoise) for our delight and delectation. This time however, we’re left in no doubt as to who is running the show…

Delivered as a series of stand-alone rapid-fire gags, quips and jests, the progress and behaviour of seven-year old Billy is measured by carefree romps with four-footed friend Buddy: indulging in spats with pals, dodging baths, hunting and hoarding bones, outwitting butchers, putting cats and school friends in their place, misunderstanding adults, causing accidents and costing money; with both kid and mutt equally adept at all of the above.

Buddy is the perfect pet for an imaginative and playful boy, although the Machiavellian mutt is overly fond of purloined food and ferociously protective of boy and bones and his ball. The pesky pooch also cannot understand why everyone wants to constantly plunge him into foul-tasting soapy water, but it’s just a sacrifice he’s prepared to make to be with Billy…

Buddy also has a fondly platonic relationship with tortoise Caroline (although this autumnal and winter-themed compilation finds her again largely absent through hibernation pressures) and a suspicious knack for clearing off whenever Dad has one of his explosive emotional meltdowns over the cost of canine treats, repair bills or the Boss’ latest impositions.

Taking pride of place in this tome are numerous close escapes from kids intent on involving the dog in their crazy games of cowboys, hunting encounters, pranks and practical jokes, strange romantic encounters (with cats and other lower life forms) …

Unwise intrusions onto film sets abound this time and there are more brushes with belligerent birds, adoring girls, impertinent mannequins and voracious fleas (or at least so the humans think), as well as hitchhiking hilarity and an embarrassing almost-accident involving ancient automobiles and crusty dowagers.

The onset of snow season brings fresh confrontations with the neighbour’s cat Corporal and, humiliating ice-capades, skid patches and sliding competitions, snowball wars, indoor blizzards and the unique experience of romantically-inclined sleepwalking tortoises as well as Buddy’s debut as a soccer referee for schoolboy games and more displays of the dog’s social pulling power and food-procuring acumen.

Gently-paced and filled with wry wit and potent sentiment, these captivating funny pages run the gamut from heart-warming to hilarious, silly to surreal and slapstick to satire: a charming tribute to and lasting argument for a child for every pet and vice versa.

This is another splendidly enticing and engaging family-oriented compendium of cool and clever comics no one keen on introducing youngsters to the medium should be without.
Original edition © Studio Boule & Bill 2010 by Roba. English translation © 2013 Cinebook Ltd.

Evil Emperor Penguin Strikes Back!


By Laura Ellen Anderson (David Fickling Books)
ISBN: 978-1-910989-87-6

In January 2012 Oxford-based family publisher David Fickling Books launched an “old school” weekly comics anthology (for girls and boys aged 6-12) which aimed to revive the good old days of British picture-story entertainment intent whilst embracing the full force of modernity in its style and content.

In the years since its premiere, The Phoenix has gone from strength to strength, winning praise from the Great and the Good, child literacy experts and the only people who really count – the totally enthralled kids and parents who avidly read it…

The magazine’s pantheon of superbly engaging strips inevitably led to an equally addictive line of graphic novel compilations, the latest of which is a riotous return romp starring a fabulously fearsome feathered arch-fiend and master of scientific wickedness…

Conceived and created by children’s book illustrator and author Laura Ellen Anderson (Kittens, Snow Babies, My Brother is a Superhero {with David Solomons}), Evil Emperor Penguin lurks in a colossal fortress beneath the Antarctic, where he strives tirelessly towards his stated goal of absolute global domination.

His only assistance – if you can call it that – comes in the form of an army of hench-minions: most notably stylish, erudite administrative lackey Number 8 and cute, fuzzy, loyal, diminutive, utterly inventive abominable snowman clone Eugene.

Evil Emperor Penguin had originally whipped up a batch of 250, but none of the others are anything like Eugene…

EEP then appointed the fluffy, bizarrely inventive tyke his Top Minion but somehow never managed to instil within him the proper degree of ruthless evilness. The hairy halfwit is, however, a dab-hand with engineering, building stuff and cooking spaghetti hoops, so it’s not a total loss…

Following a crucial contents and catch-up page stuck to the bad bird’s Fridge of Evil the nefarious nonsense recommences with two-part thriller-chiller ‘I Will Crèche You’ in which EEP’s incredible De-Agefying Youth Juice causes havoc after Evil Cat (insidious rival in the Word Domination stakes) breaks into the citadel and everybody gets a rejuvenating soaking…

Undaunted, the Penguin of Peril then attempts to increase his own stature with a growth ray but doesn’t consider that his top menial might wander in and accidentally become ‘Hugene’

It’s back to suspenseful two-parters next, as the Barmy Bird decides to digitise and upload himself into the global data net via his Super Computer of Evil. Believing supreme power to be in his feathered grasp once he becomes ultimate virus ‘X-Tremevil’, EEP is instead ambushed in virtual reality by digital demon virus Trojan the Hunk. Luckily Eugene is a dab paw with computer games and comes to his master’s rescue… sort of…

Back in the physical world again EEP is next subjected to a terrifying surreal assault by feathered scavengers and finds himself ‘Pigeon Holed’ before ‘Pop Goes the Easel’ finds him planning an attack on world leaders through the medium of art. Sadly, turning his victims into paintings proves to be a double-edged sword with unexpected repercussions, especially after Eugene tries to help…

Everybody loves cute kittens, which is what Evil Cat’s cousin Debra is counting on when she uses soppy Eugene to infiltrate the fortress and steal all the Spaghetti Hoops in ‘What’s New Pussy Cat’. With the team – and even Evil Cat – helplessly trapped, they must surrender all pride and dignity and call on jolly unicorn Keith to save them in ‘Rainbows to the Rescue’

Without their favourite food, Christmas seems drab and dreary for the entire ice-bound army but when Eugene finds ‘The One Hoop’ it unleashes a torrent of unexpected emotion to tide the Evil Emperor over even though it ultimately leads to deprivation mania in ‘A New Hoop’ Part 1…

Deranged and desperate, EEP is only saved after Eugene and Number 8 track down Debra and steal back the vast cache of spaghetti tins in ‘A New Hoop’ Part 2. Good thing too, as she wasn’t planning on eating them but needed them to power her machine for destroying the world…

‘Eugene’s Day Off’ is an unremitting stream of great experiences for the faithful servitor, but, for the Penguin Potentate – having to make do with substandard substitute Neill – a string of catastrophic and painful disasters, so it’s no surprise and a total tragedy when EEP’s top flunky is lost on a melting ‘berg after watching a pretty sunset ‘On Thin Ice’

Part 2 then sees the unthinkable occur as the cape-clad malcontent megalomaniac teams up with scintillating Keith the Unicorn to save Eugene from dire deep sea doom…

This gag-filled grimoire of perfidious Penguin plans concludes in high style as a sinister scheme to flood the world with scented candles of distilled Ultimate Evil is thwarted after ‘Essence of Eugene’ is added to the wax mix, resulting in a global outpouring of warm, fuzzy euphoria…

Rocket-paced, hilariously inventive, wickedly arch and utterly determined to be silly when it most counts, Evil Emperor Penguin Strikes Back! is a captivating cascade of smart, witty funny adventure, to delight readers of all ages.
Text and illustrations © Laura Ellen Anderson 2017. All rights reserved.

Evil Emperor Penguin Strikes Back! will be released on March 2nd 2017 and is available for pre-order now.

The Bluecoats volume 6: Bronco Benny


By Willy Lambil & Raoul Cauvin, translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-84918-146-4

The glamour of the American Experience has fascinated Europeans virtually since the actual days of owlhoots and gunfighters. Hergé was an absolute devotee, and the spectrum of memorable comics ranges from Italy’s Tex Willer to such Franco-Belgian classics as Blueberry and Lucky Luke, and even to colonial dramas such as Pioneers of the New World or Milo Manara & Hugo Pratt’s Indian Summer.

Les Tuniques Bleues began at the end of the 1960s, created by Louis “Salvé” Salvérius & Raoul Colvin – who has solo-written every best-selling volume since. The strip was created to replace Lucky Luke when the laconic gunslinger defected from weekly anthology Spirou to rival comic Pilote, and his rapidly-rendered replacement swiftly became one of the most popular bande dessinée series on the Continent.

Salvé was a cartoonist of the Gallic big-foot/big-nose humour style, and when he died suddenly in 1972 his replacement, Willy “Lambil” Lambillotte slowly introduced a more realistic – although still broadly comedic – illustrative manner. Lambil is Belgian-born (in 1936) and – after studying Fine Art in college – joined publishing giant Dupuis as a letterer in 1952.

Born in 1938, scripter Raoul Cauvin is also Belgian and before joining Dupuis’ animation department in 1960 studied Lithography. He soon discovered his true calling as a comedy writer and began a glittering and prolific career at Spirou.

In addition to Bluecoats he has written dozens of other long-running, award winning series including Cédric, Les Femmes en Blanc and Agent 212: more than 240 separate albums. The Bluecoats alone has sold more than 15 million copies.

The sorry protagonists of the series are Sergeant Cornelius Chesterfield and Corporal Blutch: a pair of worthy fools in the manner of Laurel and Hardy, hapless, ill-starred US cavalrymen posted to the wild frontier and various key points of mythic America.

The original format was single-page gags about an Indian-plagued Wild West fort, but with the second volume ‘Du Nord au Sud’ (North and South) the sad-sack soldiers went back East to fight in the American Civil War (this tale was rewritten in the 18th album ‘Blue rétro’ to describe how the chumps were drafted into the military during the war). All subsequent adventures, despite ranging far beyond the traditional environs of America and taking in a lot of genuine and thoroughly researched history, are set within the timeframe of the Secession conflict.

Blutch is your average whinging little-man-in-the street: work-shy, mouthy, devious and especially critical of the army and its inept commanders. Ducking, diving, even deserting whenever he can, he’s you or me – except sometimes he’s quite smart and heroic if no other easier option is available.

Chesterfield is a big burly man; a career soldier who has passionately bought into all the patriotism and esprit-de-corps of the Military. He is brave, never shirks his duty and wants to be a hero. He also loves his cynical little pal. They quarrel like a married couple, fight like brothers but simply cannot agree on the point and purpose of the horrendous war they are trapped in…

Bronco Benny is the sixth translated Cinebook album (chronologically the 16th French volume) and opens with our surly stalwarts waiting at a rail depot for much-needed fresh materiel…

As usual the war has stalled due to lack of crucial resources. This time the dearth is horses to ride, but when the train carrying the replacement mounts unloads, what Chesterfield and Blutch find is a shambles which makes them want to laugh and cry…

The smugly-isolated General Staff quickly retire to their comfortable residence and are soon back in high-level conference. Callously obnoxious Young Turk Captain Stillman posits a most practical – if appallingly unethical – solution to the equine stalemate: don’t pay the soldiers until after the forthcoming battle and use the money to purchase mounts from horse traders beyond the western mountains. To make sure the sale and transport goes according to plan the Captain intends sending the smallest military detail possible, but they will be accompanied by Bronco Benny, the greatest horse-breaker in the world…

Next day, luckless Blutch and Chesterfield set out on the suicide mission they have been volunteered for with strong, silent Benny in attendance. They are astounded by how easily they pass through Confederate pickets and defences. They also have no idea that the enemy is well aware of the plan and is allowing them expedited passage…

Travelling the arid rocky region to the traders’ ranch our heroes are surprised when a band of Indians attack. The Bluecoats only escape through sheer dumb luck and after rendezvousing with the mustang-hunters discover the natives are in uproar because the horsemen have captured a magnificent white stallion the Indians revere as a god…

It’s love at first sight for Benny. He is utterly smitten with the mustang dubbed “Traveller” and the next few days fade to a bruised blur as he strives to break the mighty wonder horse. Sadly, after he does, the true nature of the horse-traders is exposed and Blutch and Chesterfield realise they’ve been suckered yet again…

However, even after being deprived of cash, horses and dignity and left to die at the hands of the furious Indians, Sarge has a plan to fix things and, whilst it doesn’t exactly work as expected, it does get him and his pals back to Union lines in time to witness one more horrific, pointlessly stupid battle and subsequent slaughter with no apparent winner…

This is another hugely amusing savagely anti-war saga targeting young and less cynical audiences. Historically authentic, always in good taste despite its uncompromising portrayal of violence, the attitudes expressed by the down-to-earth pair never make battle anything but arrant folly and, like the hilarious yet insanely tragic war-memoirs of Spike Milligan, these are comedic tales whose very humour makes the occasional moments of shocking verity doubly powerful and hard-hitting.

Fun, informative, beautifully realised and eminently readable, Bluecoats is the sort of war-story that appeals to the best, not worst, of the human spirit.
© Dupuis 1980 by Lambil & Cauvin. English translation © 2012 Cinebook Ltd. All rights reserved.

Walt Disney’s Uncle Scrooge volume 1: Pure Viewing Satisfaction


By Rodolfo Cimino, Alberto Savini, Jan Kruse, Bas Heymans, Frank Jonker, Paul Hoogma, Romano Scarpa, Andrea Freccero, Luca Boschi, Maximino Tortajada Aguilar, Tony Strobl & various (Disney Comics/IDW)
ISBN: 978-1-63140-388-0

Scrooge McDuck premiered in the Donald Duck tale ‘Christmas on Bear Mountain’ (Four Colour Comics #178 December 1947): a mere disposable comedy foil to move along a simple tale of Seasonal woe and joy.

The old miser was crusty, energetic, menacing, money-mad and yet oddly lovable – and thus far too potentially valuable to be misspent or thrown away. Undoubtedly, the greatest cartoon creation of the legendary and magnificent story showman Carl Barks, the Downy Dodecadillionaire returned often and eventually expanded to fill all available space in the tales from scenic metropolis Duckburg.

The comicbook stories and newspaper strips of the Disney studios quickly travelled around the world and were particularly loved and venerated in Europe where Italy, Germany, The Low Countries (that’s the Benelux region of Belgium, Luxembourg and the Netherlands), Britain and especially the Scandinavian countries all made them their own, with supplemental new adventures and frolics that often surpassed the efforts of all but Carl Barks himself.

During the latter part of the 20th century Disney US downsized their own comics output, and eventually Barks and latter-day American giants like Don Rosa graduated to producing new material for the monumental continental Disney Comics publishing machines such as the Gutenberghus Group and Disney Italia.

In recent years the best of that Continental canon has been seen stateside in comicbooks and collected albums such as this one celebrating the pecuniary parsimony and eccentric antics of the Richest Duck in the World… and about time too!

Bold, brash, lightning-paced, visually spectacular and hilariously funny, this compilation – reprinting the American IDW comicbooks Uncle Scrooge #1-3 (lettered throughout by Tom B. Long) – commences with the epic saga of ‘Gigabeagle: King of the Robot Robbers’ – translated and polished by Jonathan H. Gray from an original Italian epic written by Rodolfo Cimino, limned by Romano Scarpa & Giorgio Cavazzano with colours by Digikore Studios.

The monstrous nightmare begins with Scrooge wracked with worry. The nefarious Beagle Boys have escaped jail again and the tension of waiting for their inevitable raid on his mammoth Money Bin is moving the miserly mallard to distraction. Determined to calm the old coot down, Donald and his nephews Huey, Dewey and Louie take him camping.

…And that’s where sleep-deprived Donald first encounters the gigantic robotic bandit the Beagles have built to empty Scrooge’s vault…

The Brobdingnagian brute is clearly unstoppable, but the bandits have foolishly built their ponderous puppet too well and before long the ducks are triumphant once again…

Longer yarns are counter-pointed with short, smart strips such as the eponymous ‘Pure Viewing Satisfaction’ (Alberto Savini & Andrea Freccero with translation and colours from David Gerstein over the original Disney Italia hues) which offers a unique interpretation of television luxury before ‘Stinker, Tailor, Scrooge and Sly’ – by Scarpa, Luca Boschi, Sandro Del Conte, Disney Italia, Digikore, Gerstein & Joe Torcivia – finds Scrooge hunting a shabby vagabond who keeps stealing the Fantabubillionnaire’s favourite coat.

It transpires that many years ago the mystery man hid a map to ancient Aztec artefacts in the lining and once the duck is appraised of the situation, a frantic race begins…

Crafted by Jan Kruse, Bas Heymans & Sanoma, ‘Shiver Me Timbers’ then finds three generations of Duck on a fishing trip and catapulted into a treasure hunt where three accursed ghost-pirates bedevil them whilst attempting to save themselves from damnation…

Single-page laundry lampoon ‘Yo!’ (Savini, Freccero Gerstein & Disney Italia) segues neatly into another fanatical financial feud with wealthy rival Flintheart Glomgold as the old enemies vie for possession of a fallen star in ‘Meteor Rights’ (by Frank Jonker, Paul Hoogma, Maximino Tortajada Aguilar, Comicup Studio, Sonoma, Long, Gerstein & Torcivia).

Scarpa & Cimino – with Disney Italia, Digikore, Gerstein & Torcivia – then detail Scrooge’s attempts to scupper the monetary reformation of three spendthrifts in ‘The Duckburg 100’

After Scrooge’s own bank gives $100 each to Donald, would-be wheeler-dealer Jubal Pomp and Beagle Boy 231-132 as a promotional stunt to encourage investment, the ancient miser moves heaven and earth to scupper their get-rich-quick schemes and get back “his” cash. Sadly, however, the fates are against him and their unlikely, if temporary, success near bankrupts the old fool…

These comic cavortings conclude with ‘Donald’s Gabby Guest’ by the legendary Tony Strobl – aided and abetted by Digikore and translator Thad Komorowski – as Scrooge’s latest plot to bend Donald to his grasping monetary philosophies goes sadly awry after the nephews cunningly reprogram the gift-parrot he had previously indoctrinated to constantly spout sound financial advice…

Graced with a superb art-gallery by Cavazzano, Gray & Jake Myler, Marco Rota, Disney Italia & Shelley Pleger, Andrew Pepoy, James Silvani, Derek Charm featuring nine-scintillating covers, this is an exciting, exotic and eye-popping riot of raucous romps in the wholesome yet compelling blockbusting Barks manner: blending wit, history, madcap invention, plucky bravado and sheer wide-eyed wonder into a rollicking rollercoaster ride for readers of every age and vintage.

Whatever your opinions on the corporate mega-colossus that is today’s Disney, the sheer quality of the material derived from and generated by “The House that Walt Built” is undeniable, and no fan of comics and old-fashioned fun should avoid any opportunity to revel in the magic – preferably over and over again…
© 2015 Disney Enterprises, Inc. All rights reserved.

Mouse Guard volume 1: Fall 1152


By David Petersen (Archaia Studios Press/Boom Entertainment)
ISBN: 978-1-932386-74-5

Mouse Guard was first seen in 2005: a superb anthropomorphic fantasy tale which quickly garnered acclaim and many favourable comparisons to literary classics such as Lord of the Rings and the Chronicles of Narnia, although a fairer, more accurate – not to say obvious – comparison would be Robert C. O’Brien’s wonderful novel Mrs. Brisby and the Rats of Nimh.

It’s still magnificent and has expanded into a series of superb collected tales, games and other mass-entertainment media.

A world rich in tantalising back-history and fascinating tradition, the setting is a feudal society of mice, maintaining a precarious nation beset on all sides by predators. Within the borders of the Territories, independent city states prosper through trade, protected by the vigilant peacekeeping force known as the Mouse Guard. They keep the roads clear of danger, patrol the borders and provide intelligence on everything from weather patterns to new inventions to animal migrations.

In a world that generally views mice as vermin, victims and lunch, cooperation is vital and accurate Intelligence is fundamental to the survival of their society. The Guard was formed as a force of warriors: Border Guards, scouts, policemen, guides and messengers. They are the glue that binds together the scattered cities, enclaves and outposts of mouse civilisation.

In the year 1152 ‘The Belly of the Beast’ introduces Lieam, Saxon and Kenzie; tried and trusty members of the fabled Guard who go in search of an overdue and presumed missing merchant. After valiantly despatching the monstrous invader which killed him, they then stumble onto a devious, almost-fully-accomplished plot which threatens the existence of their home city and Guard Citadel Lockhaven… and perhaps all mice everywhere. Worse still, there is clearly a traitor hidden deep within their own sacrosanct ranks behind the appalling scheme…

The plot thickens in ‘Shadows Within’ as Mouse Guard Commander Gwendolyn sends key operative Sadie to the far-flung shoreline where her agent Conrad has gone missing. After extreme travails she locates him, but nearly too late and must battle for her life against an horrific army of monsters…

Saxon, Lieam and Kenzie have meanwhile backtracked the merchant’s trail to the city of Barkstone, resolved to tell no one of the imminent danger until they have ferreted out the traitor. Their search exposes a sinister secret army led by a masked mouse who has co-opted and pirated the reputation of a legendary Guard Hero.

The ‘Rise of the Axe’ is his scheme to draw disaffected members of the militia to his cause: overthrowing Gwendolyn and turning the Territories into a united kingdom…

As Lieam infiltrates the Axe army, Saxon and Kenzie are captured and almost killed by the insurgents. Left for dead, they are saved by the abrasive hermit Celanawe.

‘The Dark Ghost’ harbours an incredible secret, one the vile traitor and his co-conspirators could not possibly have anticipated. Ancient and venerated Mouse Guard champion The Black Axe never died… he simply faded away for a while…

Cresting a wave of bravado, the traitor escalates his plans and commits his entire army to capturing Lockstone: hoping to eradicate Gwendolyn and her faithful retinue in ‘Midnight’s Dawn’ but he has utterly underestimated the valour of the defenders, the cunning of Lieam, Kenzie and Saxon and the sheer determination of a true hero intent on bringing ‘A Return to Honor’ to his once-hallowed name…

With the natural order restored, a fulsome ‘Epilogue’ then details the rapid repairs to Lockstone as its weary inhabitants make frantic efforts to restore their depleted resources before the crippling deadly winter begins…

To Be Continued…

A classic adventure of heroes and villains, full of valiant deeds, glorious battles and spellbinding spectacle, this is a charming and brilliantly paced fantasy yarn, illustrated in achingly beautiful painted panels with clear, forthright storytelling. It will captivate children and adults alike.

Also included are beguiling extras such as a comprehensive and lovely ‘Map of the Mouse Territories’ circa 1150, an evocative prose and picture ‘Guide to Barkstone’ plus a similar plan and rundown of its rival in ‘Guide to Lockhaven’. Cultural cues are examined in a fabulous examination of ‘Mouse Trades’ – including Stone Mason, Carpenter, Potter (complete with examples of mouse pottery), Miller and Baker – with the entire affair capped by a ‘Pinup Gallery’: six superb images lovingly crafted by Guy Davis, Rick Cortes & anjindesign.com, Mark Smylie and Jeremy Bastian.

Surely destined to become a classic, Mouse Guard is a comic which – like Usagi Yojimbo and Bone – has grown far beyond its periodical origins to become a phenomenon all story lovers will adore.
Mouse Guard ™ & © 2005, 2009 David Petersen. All Rights Reserved.