Krazy & Ignatz 1929-1930: A Brick, A Mice, A Lovely Night


By George Herriman, edited by Bill Blackbeard (Fantagraphics Books)
ISBN: 978-1-56097-529-8

Krazy Kat is quite possibly the pinnacle of graphic narrative innovation; an immensely influential body of work which shaped the early days of the comics industry and became an undisputed treasure of world literature.

Krazy & Ignatz (as it is in these fabulous commemorative tomes from Fantagraphics) is a creation which can only be appreciated on its own terms. Over delicious decades of abstracted amazement the series developed a unique language – both visual and verbal – whilst abstrusely exploring the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding… and without ever offending anybody except a few local newspaper editors…

Sadly, however, it certainly baffled far more than a few…

Krazy Kat was never a strip for unimaginative people who won’t or can’t appreciate complex multi-layered verbal and/or pictorial whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy that narrative art has ever produced.

Herriman was already a thriving cartoonist and journalist in 1913 when a cat and mouse who had been cropping up in his whacky domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature. Krazy Kat officially debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913 and – largely by dint of the publishing magnate’s overpowering direct intervention and interference – gradually spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (notably – but not exclusively – e.e. Cummings, Frank Capra, John Alden Carpenter, Gilbert Seldes, Willem de Kooning, H.L. Mencken and others) all adored the strip, many regional editors did not; taking every potentially career-ending opportunity to drop it from the comics section.

Eventually the feature found a home and sanctuary in the Arts and Drama sections of Hearst’s papers. Protected there by the publisher’s heavy-handed patronage, the Kat flourished unharmed by editorial interference and fashion, running generally unmolested until Herriman’s death in April 1944.

The basic premise is evergreen and deceptively simple: Krazy is a rather effeminate – not to say gender-indeterminate – dreamily sensitive and romantic feline hopelessly in love with rude, crude, brutal, mendacious and thoroughly scurrilous Ignatz Mouse. It’s the old story of opposites attracting but here the oodles of affection are unreciprocated and the love is certainly only going one way…

Ignatz is a true unreconstructed male; drinking, stealing, fighting, conniving, constantly neglecting his wife and children and always responding to Krazy’s genteel advances by clobbering the Kat with a well-aimed brick (obtained singly or in bulk from noted local brick-maker Kolin Kelly) which our smitten kitten invariably and inexplicably misidentifies as tokens of equally recondite affection.

The third crucial element completing an anthropomorphic eternal triangle is lawman Offissa Bull Pupp, who is completely besotted with Krazy, professionally cognizant of the Mouse’s true nature, yet hamstrung by his own amorous timidity and sense of honour from removing his diabolical and irredeemable rival for the foolish feline’s affections.

Krazy is, of course, blithely oblivious to Pupp’s dilemma…

Collaboratively co-populating the ever-mutable stage are a stunning supporting cast of inspired bit players such as dreaded deliverer of unplanned, and generally unwanted, babies Joe Stork; wandering hobo Bum Bill Bee, unsavoury conman and trickster Don Kiyoti, busybody Pauline Parrot, self-aggrandizing Walter Cephus Austridge, inscrutable – often unintelligible – Chinese mallard Mock Duck, dozy Joe Turtil and a host of other audacious characters, all equally capable of stealing the limelight and even supporting their own features.

The exotic, quixotic episodes occur in and around the Painted Desert environs of Kokonino (based on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, wildly expressionistic and strongly referencing Navajo art forms whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language: alliterative, phonetically and even onomatopoeically joyous with a compelling musical force (“Soff, soff brizz”, “l’il dahlink” or “Ignatz, ware four is thou at Ignatz??”).

Yet for all that, the adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerie, idiosyncratic, astonishingly hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick. Oft times Herriman even eschewed his mystical meandering mumblings and arcane argots for the simply sublime grace of a silent gag in the manner of his beloved Keystone Cops…

There have been numerous Krazy Kat collections since the late 1970s when the strip was rediscovered and reclaimed by a better-educated, open-minded and far more accepting audience.

This captivating chronicle – covering 1929-1930 in a comfortably hefty (231 x 15 x 305 mm) monochrome softcover tome – as always offers added value as context, background and other cartoon treats. Here Ben Schwartz critically appraises the exalted eccentric content of the material in ‘The Court Jester: Hearst, Herriman, and the Death of Nonsense’ whilst the much-missed Bill Blackbeard delves deeper into the feature’s background in his Introduction essay ‘The Man Behind the Pupp Behind the Mouse Behind the Kat: George Herriman, 1880-1944’; paying particular attention to the sublime scribbler’s relationship with other cartoonists of the era such as Jimmy Swinnerton, Tad Dorgan and a young upstart named Elzie Segar…

On to the strips then: within this strange brew of eccentric emotional overload, the perpetual play unfolds as always but with one major evolution as Herriman begins to indulge in extended storylines and continuing continuity…

The emphasis is strongly on bricks and how to get them in the early episodes with the law mostly having the upper paw. The mouse regularly ends up banged up in the county hoosegow as Krazy pines for passionately propelled portions of brick-shaped symbolism even whilst further pursuing that dream of a singing career.

Ignatz, as ever, hunts for the perfect projectile – heavy, accurate and of negligible cost – but hasn’t learned that nothing comes for free as he regularly falls prey to mountebanks, charlatans and fortune tellers…

Brickmaker Kolin Kelly gets into a shooting war with the region’s other baker – bread pundit Kikkero Kooki – and their search for ammunition leads to much more projectile peril.

Bull Pupp is wiser to the Mouse’s modus operandi these days, prompting Ignatz to take to the skies in a variety of unlikely aircraft and as always there are strictly visual pun sessions to play well against the numerous slapstick antics, as Ignatz devises ever-more complex schemes to bounce his earthen wares off the Kat’s bean whilst the weird landscapes and eccentric elemental conditions as ever add to the humorous inspiration with apocryphal wind witches and snow squaws constantly making their invisible presences felt…

Joe Stork continues to divide his time between the delivery of babies and other, less legal packages and there’s a many a jest regarding the total illegality of easily obtained hooches and fire-waters…

As 1930 dawns change is in the air and – after a series of wintery japes and a surprise eruption of local volcano Agathla – strange yet comfortably unchanging Kokonino get its biggest shake-up of all when amorous predator Monsieur Kiskidee Kuku hits town and make a determined play for the sentiment-starved Kat…

Having made allies of Ignatz and Offisa Pupp, the rascally gallic rogue turns the heads of many of the female inhabitants incurring the ire of many males, but the bounder is also an expert fencer so reprisals are grudging and muted…

Before long one of those troublesome continental ménage-triangle deals is in play and fireworks start brewing before the affairs of dishonour are all settled…

…And always irresistible mischief truly rules, whenever Herriman pictorially plays hob with the laws of physics, just to see what will happen…

Wrapping up the cartoon gold is another erudite and instructional ‘Ignatz Mouse Debaffler Page’ (providing pertinent facts, snippets of contextual history and necessary notes for the young and potentially perplexed) plus a foray of final fillip offering an example how certain papers played with the layout of the strip to enhance its popularity and a genuine historical find: the sheet music to 1911’s Krazy Kat Rag

Herriman’s masterpiece is a phenomenal achievement: in all the arenas of Art and Literature there has never been anything like these strips. If, however, you are one of Them and not Us, or if you haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon thrown together by George Herriman from the dawn of the 20th century until the dog days of World War II, this companionable compendium is a most accessible way to do so. Heck, it’s even available as an eBook now so don’t waste the opportunity…
© 2003, 2008 Fantagraphics Books. All rights reserved.

Krazy and Ignatz 1927-1928: Love Letters in Ancient Brick


By George Herriman, edited by Bill Blackbeard (Fantagraphics Books)
ISBN: 978-1-56097-507-6

The cartoon strip starring Krazy Kat is quite possibly the pinnacle of graphic narrative innovation; a hugely influential body of work which shaped the early days of the comics industry and became an undisputed treasure of world literature.

Krazy and Ignatz (as it is dubbed in these fabulous commemorative tomes from Fantagraphics) is a creation which can only be appreciated on its own terms. Over its many years of abstracted amazement the series gradually developed a unique language – at once both visual and verbal – whilst abstrusely exploring the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding and without ever offending anybody… except a few local newspaper editors…

Sadly, however, it certainly baffled far more than a few…

Krazy Kat was never a strip for dull, slow or unimaginative people who simply won’t or can’t appreciate the complex multilayered verbal and pictorial whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy that narrative art has ever produced.

Herriman was already a successful cartoonist and journalist in 1913 when a cat and mouse who had been cropping up in his outrageous domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature. Krazy Kat debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913 and – largely by dint of the publishing magnate’s overpowering direct influence and interference – gradually spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (notably – but not exclusively – e.e. Cummings, Frank Capra, John Alden Carpenter, Gilbert Seldes, Willem de Kooning, H.L. Mencken and others) all adored the strip, many regional editors did not; taking every potentially career-ending opportunity to drop it from the comics section.

Eventually the feature found a home and safe haven in the Arts and Drama section of Hearst’s papers. Protected there by the publisher’s heavy-handed patronage, the Kat flourished unharmed by editorial interference and fashion, running generally unmolested until Herriman’s death in April 1944.

The basic premise is evergreen and deceptively simple: Krazy is an effeminate, dreamy, sensitive and romantic feline of indeterminate gender hopelessly in love with rude, crude, brutal, mendacious and thoroughly scurrilous Ignatz Mouse. It’s the old story of opposites attracting but here the oodles of affection are unreciprocated and the love is certainly only going one way…

Ignatz is a true unreconstructed male; drinking, stealing, fighting, conniving, constantly neglecting his wife and children and always responding to Krazy’s genteel advances by clobbering the Kat with a well-aimed brick (obtained singly or in bulk from noted local brick-maker Kolin Kelly) which the smitten kitten invariably and inexplicably misidentifies as tokens of equally recondite affection.

The third crucial element completing an anthropomorphic eternal triangle is lawman Offissa Bull Pupp, who is completely besotted with Krazy, professionally aware of the Mouse’s true nature, yet hamstrung – by his own amorous timidity and sense of honour – from removing his diabolical and un-reconstructable rival for the foolish feline’s affections.

Krazy is, of course, blithely oblivious to Pupp’s dilemma…

Collaboratively co-populating the ever-mutable stage are a stunning supporting cast of inspired bit players such as dreaded deliverer of unplanned, and generally unwanted, babies Joe Stork; wandering hobo Bum Bill Bee, unsavoury conman and trickster Don Kiyoti, busybody Pauline Parrot, self-aggrandizing Walter Cephus Austridge, inscrutable – often unintelligible – Chinese mallard Mock Duck, dozy Joe Turtil and a host of other audacious characters, all equally capable of stealing the limelight and even supporting their own features.

The exotic, quixotic episodes occur in and around the Painted Desert environs of Kokonino (based on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, wildly expressionistic and strongly referencing Navajo art forms whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language: alliterative, phonetically and even onomatopoeically joyous with a compelling musical force (“Soff, soff brizz”, “l’il dahlink” or “Ignatz, ware four is thou at Ignatz??”).

Yet for all that, the adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerie, idiosyncratic, astonishingly hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick. Oft times Herriman even eschewed his mystical meandering mumblings and arcane argots for the simply sublime grace of a silent gag in the manner of his beloved Keystone Cops…

There have been numerous Krazy Kat collections since the late 1970s when the strip was rediscovered and reclaimed by a better-educated, open-minded and far more accepting audience.

This tantalising tome – covering 1927-1928 in a comfortably hefty (231 x 15 x 305 mm) monochrome softcover edition as always offers added value as context, background and other cartoon treats are delivered by the much-missed Bill Blackbeard in his puckish Introduction essay of short informational snippets ‘Pilfering Mrs. Kwak-Wak’s Good Old Goods and Goodies Bag’

Here press clippings of a near-death experience for Herriman and fellow strip man Jimmy Swinnerton are re-presented beside early gag pages such as Embarrassing Moments and excepts from Hearst Joke Book editions of The Dingbats. Also included are a wealth of strips by Herriman’s contemporaries, rivals and plagiarists…

On to the strips then: within this compelling chronicle of undying amours utterly unhorsed by smirking Fate, the perpetual play unfolds as always but with some of those intriguing supplementary characters increasing coming to the fore.

We open with the change of years bringing weeks’ worth of seasonal disorders and sartorial shenanigans as Krazy further pursues that dream of a singing career. Ignatz, meanwhile, hunts for the perfect projectile which over and again draws him into the clutches of mountebanks, charlatan and magicians…

That search for ammunition leads to many more brick-based broadsides but these days Bull Pupp is far wiser to the Mouse’s modus operandi…

An occasional strictly visual pun session plays well against the numerous slapstick antics, even as Ignatz devises ever-more convoluted ways to bounce his bricks off the Kat’s bean whilst the weird landscapes and eccentric elemental conditions increasingly add to the humorous inspiration with apocryphal wind witches and snow squaws making their invisible presences felt…

Recurring cousins Krazy Katfish and Krazy Katbird pop up to muddy the romantic waters, whilst Kat and Mouse frequently indulge in the growing freedom of the skies and waterways via balloon and other aeronautical apparatus or maritime machine.

Joe Stork continues to divide his time between the delivery of (generally unwanted) babies and other, less legal packages and there’s a many a jest regarding the total illegality of easily obtained hooches and fire-waters…

As the years progress Ignatz spends ever-longer periods in jail yet seldom fails to find a way to deliver the punishing skull blows Krazy yearns for…

Many cast members become obsessed with being struck by lightning and other electrical intercessions, but the biggest surprise is undoubtedly a time-warping origin sequence which carries us back to the obscure infancies of Krazy, Ignatz and Bull…

There are more wandering wonderments as certain elephantine geological features again take up unescorted perambulation and the county even catches a touch of meteor fever as the landscape is beset by falling stars and fiery flotsam from space.

The year again concludes with uncharacteristic chills and spills as Kokonino is subjected to squalls of snow but worst of all is a plague of politicians, prophets and preachers all proselytising on the path to peace, forcing the residents make their feelings acrimoniously clear…

…And always plain mischief rules, whenever Herriman pictorially plays hob with the laws of physics, just to see what will happen…

Wrapping up the cartoon gold is a peek at one of the earliest and rarest of merchandising items – a 1920s wooden Ignatz doll – as well as another erudite and instructional ‘Ignatz Mouse Debaffler Page’ (providing pertinent facts, snippets of contextual history and necessary notes for the young and potentially perplexed). One final fillip is a selection of out-of-sequence replacement pages plus a sequence of pertinent daily strips which tie into the regular run of Sundays collected here…

Herriman’s epochal classic is a phenomenal achievement: in all the arenas of Art and Literature there has never been anything like these comic strips which have shaped our industry and creators, inspiring auteurs in fields as disparate as prose fiction, film, dance, animation and music, whilst delivering delight and delectation to generations of wonder-starved fans.

If, however, you are one of Them and not Us, or if you haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon thrown together by George Herriman from the dawn of the 20th century until the dog days of World War II, this companiable compendium is a most accessible way to do so. Heck, it’s even available as an eBook now so don’t waste the opportunity…
© 2002, 2008 Fantagraphics Books. All rights reserved.

Will You Still Love Me If I Wet the Bed? – A Comic by Liz Prince


By Liz Prince (Top Shelf Productions)
ISBN: 978-1-89183-072-3

There’s an irrepressible rumour going about that Love makes the world go round. My grasp of physics isn’t strong enough to confirm or deny that hypothesis but I have read enough comics in my time to spot a magical and unmissable celebration of the all-consuming emotion when I see one.

Liz Prince originally hailed from Sante Fe, New Mexico before heading across county in an Eastward direction to attend the School of the Museum of Fine Arts in Boston (Massachusetts, not Lincolnshire).

She is a cartoonist – one of many – who thankfully opted to create a visual journal of her life and saw that one subject kept monopolising her attention. She is also an inspired raconteur who knows how to spin a graphic yarn in adroitly truncated form. Thus this slim collection which gathers a whole bunch of sublimely intimate, hilariously real moments spent with and apart from her equally fascinating man Kevin and the awesome force which is their cat Science.

Contained in this marvellous monochrome paperback posy are vignettes exploring the giddy silliness of fresh physicality, quirkily adorable breaking of bathroom taboos, the agony and relief of momentary solitude, incidents of intimate accommodation and lots of lovely eternal challenges that test every couple… especially the often bloody traumas of explaining to the incumbent household pet that they are not necessarily “Number One” any more…

Fronted by a suitably droll but downbeat pictorial Introduction ‘On Liz Prince’ by legendary lovelorn doodler Jeffrey Brown, Will You Still Love Me If I Wet the Bed? is thankfully still available – and instantly so if you opt for one of the downloadable versions (Kindle, Comixology etc.), or preferably direct from Top Shelf Productions – so if you want to share some romantic fellow feeling or just need to see that there’s still hope for all the lonely hearts, this a graphic gem you should promptly treat yourself to.
© & ™ Liz Prince 2005. All rights reserved.

Fresh Romance volume 1


By Kate Leth & Arielle Jovellanos, Sarah Vaughn & Sarah Winifred Searle, Sarah Kuhn & Sally Jane Thompson, Marguerite Bennett & Trungles, Keiron Gillen & Christine Norrie & various (Rosy Press/Oni Press)
ISBN: 978-1-62010-346-3                  eISBN: 978-1-62010-347-0 (Kickstarter exclusive)

Once upon a time romance comics were the backbone of the comicbook industry, selling in the millions and capturing the crucial yet elusive and fickle women’s market where war, westerns and superhero titles just couldn’t get a foothold.

Times passed, fashions changed and the genre all but vanished in comics form, to occasionally resurface in rare re-emergences filled with quality writing and art but still unable to justify the expense of a regular print slot.

Thankfully the internet changed all that, with devotees able to create, disseminate and consume articles of visual amour free of draconian and tawdry business pressures. One such enterprise was anthological enterprise Fresh Romance from Rosy Press which offers startlingly uncompromising modern love stories in a broad variety of styles and themes and tones from simple person-meets-person encounters to classical pastiches to rom-com rollercoaster rides.

So well-received were these tales that in partnership with Oni Press the stories have made the retrograde jump back into physical form such as this initial collection…

Supplemented throughout with round-robin discussions and commentaries from the creators involved the wide-eyed wonderment opens with a no-holds-barred, ferociously contemporary spin on the coming-of-age ritual known as Prom Night…

‘School Spirit’ by scripter Kate Leth, illustrator Arielle Jovellanos, colourist Amanda Scurti and letterer Taylor Esposito details the build up to that very special occasion, focussing on unwitting chick-magnet Miles, haughty queen-bee Justine, moody Corrine and eager-beaver over-achiever Malie.

None of their peers are privy to their true natures, though. Miles’ reputation is largely bogus, allowing him to act as a beard for two of the girls whilst the lass he really likes has a secret she joyously shares with him alone: she’s a witch with fantastic powers she’s just desperate to exercise even though her dads forbid her getting intimate with mortals…

Pressure mounts as the Prom approaches and all four are reaching emotional crisis points: all they want to do is be themselves and be done with secrets…

But when the subterfuge falls apart just before the big event all the quartet can do is make it a night everybody will remember…

In stark contrast ‘Ruined volume 1’ by Sarah Vaughn & Sarah Winifred Searle (lettered by Ryan Ferrier) serves up a heaping helping of stolid and claustrophobic Regency romance in the manner of Jane Austen as young Catherine dolorously acquiesces to parental pressure and marries a man she does not know. As her parents constantly remind her, it’s the best she can hope now that her reputation has been so utterly despoiled by her recent indiscretion…

Her marriage into the prestigious but impoverished Davener family was never going to be a famous love match but after being packed off to his decrepit and distant estate Catherine’s slow acceptance of her taciturn, inscrutable husband is constantly impeded by one inescapable quandary. If no decent man would want her in her present state, why has Andrew Davener made her his bride?

Does he want her? Is he, in fact, a decent man?

A beguiling and compelling take on the traditional gothic novel – complete with troubled sister-in-law and antagonistic elder dowager in residence – Ruined does not conclude in this volume and leaves the reader hungry for a resolution…

From staid conformity to wild abandon as ‘The Ruby Equation’ by Sarah Kuhn & Sally Jane Thompson (coloured by Savanna Ganucheau and lettered by Steve Wands) pursues wild whimsy in a little coffee shop which serves as a dating drop-in centre run by extra-dimensional super-entities masquerading as baristas and waitresses.

These wondrous creatures are intent on helping their unwitting human clients find true happiness, but impatient young operative Ruby can’t wait to finish this dumb assignment and progress to missions of truly cosmic importance.

Sadly for her, Ruby can’t close the deal with prospective happy couple Josh and Megan, and she’s the only one who can’t see that they are not perfect soul-mates. Not when one of them is actually the only being Ruby could ever love…

A dark reinterpretation of a very familiar fairytale, ‘Beauties’ by Marguerite Bennett & Trungles – lettered by Rachel Deering – sees a beautiful beast captured and enslaved by a callous prince and his cruel daughters, only to win over one of his tormentors and trigger an uncanny transformation. With love triumphing over every adversity the liberated lovers must then seek escape or death together whatever the ultimate cost…

As icing on the cake this collection closes with a delightful bonus vignette by Keiron Gillen & Christine Norrie. ‘First, Last and Always’ slyly reveals the cautious, cunning politics that underlie that initial brushing of lips that presages the start of everything…

Powerful, charming, engaging and endearing, these yarns of yearning and fulfilment are superb examples of how varied comics can be. Why not let a little romance into your heart today?
Fresh Romance volume One © 2016 Rosy Press. All individual stories are the property of and © their respective creators. All rights reserved.

Krazy & Ignatz volume 4 – 1925-1926: “There is a Heppy Lend, Fur, Fur Awa-a-ay”


By George Herriman, edited by Bill Blackbeard (Fantagraphics Books)
ISBN: 978-1-56097-386-7

The cartoon strip starring Krazy Kat is quite possibly the pinnacle of graphic narrative innovation; a hugely influential body of work which shaped the early days of the comics industry and became an undisputed treasure of world literature.

Krazy and Ignatz, as it is dubbed in these glorious commemorative collected tomes from Fantagraphics, is a creation which can only be appreciated on its own terms. It developed a unique language – at once both visual and verbal – and dealt with the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding without ever offending anybody.

Sadly, however, it baffled far more than a few…

It was never a strip for dull, slow or unimaginative people who simply won’t or can’t appreciate the complex multilayered verbal and pictorial whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy that narrative art has ever produced.

Herriman was already a successful cartoonist and journalist in 1913 when a cat and mouse who had been cropping up in his outrageous domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature. Krazy Kat debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913 and – largely by dint of the publishing magnate’s overpowering direct influence and interference – gradually spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (notably – but not exclusively – e.e. Cummings, Frank Capra, John Alden Carpenter, Gilbert Seldes, Willem de Kooning, H.L. Mencken and – later – Jack Kerouac) all adored the strip, many local and regional editors did not; taking every potentially career-ending opportunity to drop it from the comics section.

Eventually the feature found a home and safe haven in the Arts and Drama section of Hearst’s papers. Protected there by the publisher’s heavy-handed patronage, the Kat flourished unharmed by editorial interference and fashion, running generally unmolested until Herriman’s death in April 1944.

The basic premise is simple: Krazy is an effeminate, dreamy, sensitive and romantic feline of indeterminate gender hopelessly in love with Ignatz Mouse: rude crude, brutal, mendacious and thoroughly scurrilous.

Ignatz is a true unreconstructed male; drinking, stealing, fighting, conniving, constantly neglecting his wife and children and always responding to Krazy’s genteel advances by clobbering the Kat with a well-aimed brick (obtained singly or in bulk from noted local brick-maker Kolin Kelly) which the smitten kitten invariably misidentifies as tokens of equally recondite affection.

The third crucial element completing an anthropomorphic eternal triangle is lawman Offissa Bull Pupp, who is completely besotted with Krazy, professionally aware of the Mouse’s true nature, yet hamstrung – by his own amorous timidity and sense of honour – from removing his devilish rival for the foolish feline’s affections.

Krazy is, of course, blithely oblivious to Pupp’s dilemma…

Also populating the ever-mutable stage are a stunning supporting cast of inspired bit players such as dreaded deliverer of unplanned, and generally unwanted, babies Joe Stork; hobo Bum Bill Bee, unsavoury conman and trickster Don Kiyoti, busybody Pauline Parrot, self-aggrandizing Walter Cephus Austridge, inscrutable – often unintelligible – Chinese mallard Mock Duck, dozy Joe Turtil and a host of other audacious characters all equally capable of stealing the limelight and even supporting their own features.

The exotic, quixotic episodes occur in and around the Painted Desert environs of Coconino (based on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, wildly expressionistic and strongly referencing Navajo art forms whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language: alliterative, phonetically and even onomatopoeically joyous with a compelling musical force (“Soff, soff brizz”, “l’il dahlink” or “Ignatz, ware four is thou at Ignatz??”).

Yet for all that, the adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerie, idiosyncratic, astonishingly hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick. Sometimes Herriman even eschewed his mystical mumblings and arcane argots for the simply sublime grace of a silent gag in the manner of his beloved Keystone Cops…

There have been numerous Krazy Kat collections since the late 1970s when the strip was rediscovered by a better-educated, open-minded and far more accepting audience. This fabulous forth tome – covering 1925-1926 in a comfortably hefty (231 x 15 x 305 mm) softcover edition returns the strip to its monochrome roots and offers added value as context, background and possible explanations are delivered by the much-missed Bill Blackbeard in his effusive essay ‘By George, It’s Krazy’ before a second text “found-feature” exploits Herriman’s journalistic gifts with contemporary movie reviews delivered by “Thet Ket” in ‘“The Gold Rush” as Seen by Krazy Kat’ and ‘Krazy Kat Sees Miss Davies in “Janice Meredith”’ as both prose and cartoon critiques…

On to the strips then: within this compelling compendium of incessant passions thwarted in another land and time the unending drama plays out as usual, but with some of those intriguing supplementary characters increasing coming to the fore.

We open with the change of years bringing a few weeks’ worth of weird ruminations on the nature of time before Ignatz’s continual search for his ammunition of choice leads to many brick-based gags and his occasional fleecing by Coconino’s copious coterie of confidence tricksters.

Of course the mouse is a man who enjoys revenge served hot, cold or late…

As well as increased roles for the Kat’s cousins Krazy Katfish and Krazy Katbird there is more involvement for Joe Stork, who expands out of the exclusive delivery of (generally unwanted) babies into the hooch-dissemination business during those heady days of Prohibition, as well the introduction of tail-less Manx Cat and a Krazy cow.

As expected there is a solid dependence on the strange landscapes and eccentric flora for humorous inspiration. Moreover in the Jazz Age of Technological Marvels the mouse frequently takes to the skies to deliver his brain-busting bon mots…

The dangerous delights of Piñatas are introduced to American readers and there’s a healthy dose of surrealism after certain elephantine geological features come to life, whilst Krazy’s Kool is at last lost once Ignatz begins baking his own bricks and cutting Kolin Kelly out of the mounting fiscal equation. Once rubber trees start popping up all over the landscape, nobody is truly safe from the consequences of escalating slapstick silliness…

The year then concludes with uncharacteristic chills and spills when Coconino is subjected to sudden squalls of snow which lead inevitably to too much water as 1926 opens cold and crisp and sodden…

Herriman incorporated his love of cinema here by introducing an itinerant film crew to the cast and began playing even more with his audience and the Fourth Wall after one of the cartoon regulars swiped all the black ink leaving the rest of the cast in a deeply diminished state of embellishment.

The infinitely inventive scribbler also created a bigger role for Mock Duck who temporarily quit the laundry business to set up as a psychic prognosticator and surly seer whilst poor Pupp began to slowly gain the upper paw in the turbulent triangular relationship…

Krazy, meanwhile, discovered a previously unsuspected – and apparently genetically predisposed – affinity for lighting and electricity which the rest of the cast were able to share but not enjoy…

Also always on offer are wry cartoon commentaries on the increasingly technological advancement of the nation, seasonal landmarks and the evergreen fodder of unwanted kids and illegal drinking as well as more pomposity punctured and penny-pinching money-making schemes from the town’s great and good always coming to nothing…

…And sometimes plain mischief rules, such as when Herriman pictorially plays hob with the laws of physics just to see what will happen…

Wrapping up the cartoon gold is another erudite and instructional ‘Ignatz Mouse Debaffler Page’, providing pertinent facts, snippets of contextual history and necessary notes for the young and potentially perplexed.

Herriman’s epochal classic is a phenomenal achievement: in all the arenas of Art and Literature there has never been anything like these comic strips which have shaped our industry and creators, and inspired auteurs in fields as disparate as prose fiction, film, dance, animation and music, whilst delivering delight and delectation to generations of wonder-starved fans.

If, however, you are one of Them and not Us, or if you actually haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon carefully thrown together by George Herriman from the dawn of the 20th century until the dog days of World War II, this glorious compendium is a most accessible way to do so. Heck, it’s even available as an eBook now so don’t waste the opportunity…
© 2002 Fantagraphics Books. All rights reserved.

If You Loved Me, You’d Think This Was Cute – Uncomfortably True Cartoons About You


By Nick Galifianakis (Andrews McMeel)
ISBN: 978-0-7407-9947-1

Win’s Christmas Gift Recommendation: Exposing the Tinsel and Glitter of Romance… 9/10

Delivering biting wit, a groundbreaking revelation or an excoriating assault with an unforgettable drawing and a few well-chosen words is one of the greatest gifts humans can possess. Even those stuck-up holdouts who pointedly claim to have “never read a comic” certainly enjoy strips or panels: a golden bounty of brief amusement demanding no commitment other than a moment’s close attention.

Truth be told, it’s probably in our genes…

According to the text preface by Carolyn Hax in this astoundingly funny collection, the cartoons gathered here by immensely gifted illustrator Nick Galifianakis were originally intended as little pictorial add-ons to accompany and supplement her nationally syndicated Advice Column (cited by Time magazine as America’s best…).

Apparently, Nick kept making them so funny that the pictures became an intrinsic and unmissable companion and in 2010 a whole bunch of the very best of them turned into this book.

Also included are an outrageous Foreword by his cousin Zach – yes, that movie comedian guy – sharing the kind of intimate incident insights and past humiliations only a close family member can; as well as a vast Acknowledgments section and insider information on the way Nick works in his Introduction. There are also concrete clues that his one true love is his dog ZuZu

All that aside, what’s on offer here is a spellbinding examination of human relationships as seen from a natural raconteur’s perspective: devastatingly penetrating, sharp to the point of cruelty, warmly sympathetic, ultimately understanding and forgiving and, most importantly, laugh-out-loud, Horlicks-jetting-out-of-your-nose funny.

Or whatever your shared evening tipple of choice might be. I’m not saying that his gags make your body mysteriously manufacture Horlicks. That would be weird…

In this delicious monochrome paperback (or eBook: you choose; it’s a free world and you’re most likely some sort of consenting adult) you will find all the perilous wonders and tribulations of human relationships and the search for love reduced to simple, forthright categories stuffed with beautifully rendered line drawings exemplifying the rights and wrongs of finding and keeping – or satisfactorily jettisoning – a partner.

It kicks off with the male perspective as seen through female eyes in ‘The Bastard Files’ before naturally offering the opposing viewpoint in ‘The Unfair Sex’

The eternal hunt is deconstructed in ‘Finding the Ones(s)’ and expanded in ‘So This Was The One’ before negotiating deadly traps and bile-filled traumas of ‘The Bridal Industrial Complex’.

Weddings survived, everybody’s all reconciled to being one great big joyous clan, as proved here in the acerbically astute ‘Putting the Eff in Family’, but Love’s all about the children really, isn’t it? Thus a close-up-and-personal dissection of procreation in ‘Just Kidding’ which leads to the conclusion that some sons and daughters don’t ever grow up in ‘When We’re Five We’re All Artists’

When confused or in trouble, the natural thing to do is depend on your closest comrades in the Battle of the Sexes, but ‘With Friends Like These’ clarity and understanding are early casualties. Still, if we’re being truly honest we can only trust our ‘Lusting Impressions’ before settling for ‘A Little Something on the Side’ to avoid getting ‘Ego-Tripped’.

At least our animal companions still offer us unconditional love. don’t they? Perhaps not, if the bestial examples in ‘Ark Types’ are to be believed, if you ‘Catch My Riff’

When all’s said and done then, perhaps it’s best to play safe and just try the ‘Flair of the Dog’ when looking for a truly lasting love…

With recurring themes including Frogs and Princesses, malevolent Cupids, uncomprehending Adams and Eves, weary Saint Peter at the Pearly Gates and the absolutely crucial role of Lawyers and Counsellors in all relationship matters, this compendium of situational quandaries and unromantic entanglements is a superbly cathartic look at love and one every new home and generational estate should have in pride on place on the mantelpiece – near the heavy candlesticks, poker, poisons and stun guns…
© 2010 by Nick Galifianakis. All rights reserved.

Archie’s Pal Kevin Keller


By Dan Parent, Rich Koslowski, Jack Morelli & Digikore Studios (Archie Comics)
ISBN: 978-1-87979-493-1 (HC)

Following the debut of Superman, MLJ were one of many publishers to jump on the “mystery-man” bandwagon, concocting their own small but inspired pantheon of gaudily clad crusaders. In November 1939 they launched Blue Ribbon Comics, promptly following up with Top-Notch and Pep Comics. The content was the standard mix of masked champions, two-fisted adventurers, prose pieces and gags.

Not long after, Maurice Coyne, Louis Silberkleit and John Goldwater (hence MLJ) saw a gap in the blossoming yet crowded market and in December 1941 the Fights ‘n’ Tights, He-Man crowd were gently nudged aside by a far less imposing hero; an ordinary teenager having ordinary adventures just like the readership, but with the laughs, good times, romance and slapstick emphasised.

Goldwater developed the youthful everyman protagonist concept and tasked writer Vic Bloom & artist Bob Montana with making it work. Inspired by and referencing the popular Andy Hardy movies starring Mickey Rooney, their new notion premiered in Pep Comics #22. The unlikely star was a gap-toothed, freckle-faced red-headed kid obsessed with impressing the pretty blonde next door.

A 6-page untitled tale introduced hapless boob Archie Andrews and wholesomely fetching Betty Cooper. The boy’s unconventional best friend and confidante Jughead Jones also debuted in that vignette, as did idyllic small-town utopia Riverdale. It was a huge hit and by the winter of 1942 the kid had won his own title.

Archie Comics #1 was MLJ’s first non-anthology magazine and with it began an inexorable transformation of the entire company. With the introduction of ultra-rich, raven-haired Veronica Lodge, all the pieces were in play for the industry’s second Genuine Phenomenon…

By 1946 the kids were in charge, and MLJ officially became Archie Comics, retiring most of its costumed characters years before the end of the Golden Age and becoming, to all intents and purposes, a publisher of family-friendly comedies. The hometown settings and perpetually fruitful premise of an Eternal Romantic Triangle – with girl-hating Jughead to assist or deter and scurrilous love-rat rival Reggie Mantle to test, duel and vex our boy in their own unique ways – the scenario was one that not only resonated with fans but was infinitely fresh…

Archie’s success, like Superman’s, forced a change in content at every other publisher (except Gilberton’s Classics Illustrated) and created a culture-shifting multi-media brand which encompassed TV, movies, newspaper strips, toys and merchandise, a chain of restaurants and, in the swinging sixties, a pop music sensation when Sugar, Sugar – from the animated TV cartoon – became a global summer smash hit.

Clean and decent garage band “The Archies” has been a fixture of the comics ever since…

The perennial eternal triangle has generated thousands of charming, raucous, gentle, frenetic, chiding and even heart-rending humorous dramas ranging from surreal wit to frantic slapstick, with the kids and a constantly expanding cast of friends (boy genius Dilton Doily, genial giant jock Big Moose and occasional guest Sabrina the Teenage Witch amongst many others), growing into an American institution and part of the American cultural landscape.

The feature has thrived by constantly refreshing its core archetypes; boldly and seamlessly adapting to the changing world outside its bright and cheerful pages, shamelessly co-opting youth, pop culture, fashion trends and even topical events into its infallible mix of slapstick and young romance.

Each and every social revolution has been painlessly assimilated into the mix and over the decades the company has confronted most social issues affecting youngsters in a manner both even-handed and tasteful.

Constant addition of new characters such as African-American Chuck and his girlfriend Nancy, fashion-diva Ginger, Hispanic couple Frankie and Maria and spoiled home-wrecker-in-waiting Cheryl Blossom all contributed to a wide and refreshingly broad-minded scenario, and in 2010 Archie jumped the final hurdle when openly gay student Kevin Keller became an admirable advocate capably tackling and dismantling the last major taboo in mainstream comics.

Created by writer/artist Dan Parent and inker Rich Koslowski (lettered by Jack Morelli and coloured by Digikore Studios), Kevin debuted in Veronica #202 (September 2010). It was the first comicbook in the company’s long history to go into a second printing…

Also collected in this landmark debut compendium is the sequel tale from Veronica #205 and the 4-issue Kevin Keller miniseries which cemented the new star’s popularity.

It begins with context-establishing essay ‘Get to Know Kevin Keller’ before comic introductions are made in ‘Isn’t it Bro-Mantic’ as Veronica encounters a charming, good-looking and exceeding together lad who utterly bowls her over.

She is totally smitten with him even though he can out-eat human dustbin Jughead and loves sports. Although he inexplicably loves hanging out with the ghastly Jones boy she is determined to make him exclusively hers. Jughead is truly cool with his new pal, and he soon sees a way to pay Ronnie back for many of the mean things she has said and done over the years…

When Kevin finally explains to Veronica why she is wasting her time, she takes it well and soon they are hanging out as best buds. After all they have so much in common: chatting, stylish clothes, shopping, boys…

Immensely popular from the outset, Kevin struck a chord with the readership and returned a few months later in ‘The Buddy System’, with Veronica’s bombastic dad giving the perfect new student the all-clear to monopolise his daughter’s time. The following fun-filled days do have one major downside however, as poor Betty is increasingly neglected.

You’d think Archie would be jealous too, but he’s just glad that someone safe is keeping other guys away from his Ronnie. It seems the perfect scenario for everyone but Betty, but then man-hunting rich and entitled princess Cheryl Blossom hits town and puts everything back into perspective…

The guest shots rapidly evolved into a miniseries, expanding Kevin’s role whilst answering many questions about his past. It started with ‘Meet Kevin Keller’ where we learned he was an army brat, born in Britain but raised all over the world, and now lived in Riverdale with his dad (retired and invalided army colonel) Thomas, mum Kathy and feisty sisters Denise and Patty.

It also revealed he loved practical jokes as much as food and sports…

Whilst sharing these facts with Betty and Ronnie he also let slip some less impressive details: how he was a nerdy, braces-wearing late developer who was frequently the target of bullies…

‘The Write Stuff’ is set during the build-up to his father’s surprise birthday party and discloses how Kevin plans to serve in the army before becoming a journalist, whilst also showing the gentle hero’s darker side after he is compelled to intervene and stop the persecution of a young Riverdale student by bullies…

In ‘Let’s Get it Started’ the newcomer is ambushed and pressganged by his new friends into participating in a scholastic TV quiz show where his nerves almost get the better of him. Happily, Ronnie inadvertently breaks his paralysing stage-fright with a humiliating gaffe, but that’s just a palate cleanser for a potent object lesson in the concluding chapter…

As Kevin steps in to shelter and help one of the kids who used to torment him long ago, ‘Taking the Lead!’ also finds him reluctantly running for Class President at the insistent urging of Ronnie and the gang.

It’s not that he wants the position particularly, but when bigoted jock and star quarterback David Perkins starts a campaign based on intolerance, innuendo and intimidation, Kevin feels someone has to confront the smugly-macho, “real man” most popular boy in school…

And despite a smear campaign and dirty tactics any Presidential candidate would be proud of, truth, justice and decency win out…

This breezy and engaging collection concludes with ‘An Interview with Kevin Keller’ offering further background direct from the horse’s mouth and also includes a host of covers, variants and remastered classic Archie images retrofitted to suit our 21st century star.

Archie’s Pal Kevin Keller is a superb, hilarious and magically inclusive collection for you, your kids and grandparents to enjoy over and over again.
© 2012 Archie Comics Publications, Inc. All rights reserved.

Jinx


By J. Torres, Rick Burchett & Terry Austin (Archie Comics)
ISBN: 978-1-93697-500-6 (HC)        : 978-1-87979-491-7 (PB)

Despite tremendous advances in the last decade or so, for most people, when we say comicbooks, thoughts either turn to outrageously buff men and women in garish tights or leather hitting each other and lobbing cars about, or stark, nihilistic crime, horror or science fiction sagas aimed at an extremely mature and sophisticated readership of already-confirmed fans.

For American comics these days that is indeed the norm. Over the years though (and throughout the rest of the world still), other forms and genres have continued to wax and wane.

One US company which has steadfastly held its ground against the tide over the decades – supported by a thriving spin-off TV and movie franchise – is a teen-comedy powerhouse which created a genre through the exploits of carrot-topped Archie Andrews and the two girls he could never choose between – Betty Cooper and Veronica Lodge.

For far too many years, other companies largely ignored the fact that girls read comics too and, in their frantic, slavish pursuit of the spandex dollar, lost half their potential audience. Girls simply found other ways to amuse themselves until, in the 1990s, the rise of manga painfully proved to comics publishers what Archie Comics had always known.

Ever since that pivotal moment Editors have attempted to recapture that vast missing market: creating worthy titles and imprints dedicated to material for the teen/young adult audience (since not all boys thrive on a steady diet of cosmic punch-ups and vengeful vigilantes) which had embraced European classics like Tintin and Asterix, manga material, momentous comics epics like Maus and Persepolis or the abundant and prolific prose serials which produced such pop phenomena as Twilight, The Hunger Games and Harry Potter.

Archie thrived by never abandoning its female readership and by constant reinvention of its core characters, seamlessly adapting to the changing world outside its bright, flimsy pages: shamelessly co-opting pop music, youth culture and fashion trends into its infallible mix of slapstick and romance.

Each and every social revolution has been painlessly assimilated into the mix (the company has managed to confront a number of major issues affecting the young in a manner both even-handed and tasteful over the years), and the constant addition of timely characters such as African-American Chuck and his girlfriend Nancy, fashion-diva Ginger, Hispanic couple Frankie and Maria and a host of others – such as spoiled home-wrecker-in-waiting Cheryl Blossom – all contributed to a broad and refreshingly broad-minded scenario.

There are non-sensationalised interracial romances, and in 2010 Archie jumped the final hurdle for a family-entertainment medium with the rapturously well-received introduction of Kevin Keller; an openly gay and proud young man who was a clear-headed advocate capably tackling and dismantling the last major taboo in mainstream kids’ comics.

Where once cheap, prolific and ubiquitous, comics magazines in the 21st century are extremely cost-intensive and manufactured for a highly specific – and dwindling – niche market. Moreover the improbably beguiling and bombastic genres that originally fed and nurtured comicbooks are increasingly being supplanted by TV, movies and assorted interactive games media.

Happily, old-school prose publishers and the graphic novel industry have a different business model and far more sustainable long-term goals, so the magazine makers’ surrender has been turned into a burgeoning victory, as solid and reassuringly sturdy Comics-as-Books increasingly buck the slowly perishing pamphlet/papers trend.

Publishers like Archie…

Jinx was another barely-noticed landmark which saw one of the company’s venerable and long-lived child-stars given a stunning makeover and refit courtesy of a multi award-winning creative team.

Writer J. Torres (Teen Titans Go!, Degrassi: the Next Generation, Alison Dare, Days Like This, Lola – a Ghost Story and others) in conjunction with celebrated artists Rick Burchett (Batman Adventures, American Flagg!, Blackhawk, Black Hood) & Terry Austin (X-Men, Superman, Batman, Cloak and Dagger) are responsible for turning adorable six-year old tomboy Li’l Jinx into a genuine icon of, if not role-model for, modern teenaged girls in a style and manner at once astonishingly accessible and classically captivating.

If you qualify as an Ancient One like me, you might be familiar with precocious, feisty Li’l Jinx who debuted in Pep Comics #62 (cover-dated July 1947). Created by Joe Edwards, she debuted as the publisher began dropping superheroes such as the Shield and Black Hood to specialise in kid-friendly humour features. Over the coming decades she appeared in her own title, as well as Li’l Jinx Giant Laugh-Out and assorted anthologies such as Pep and Archie Giant Series Magazine.

Like Edwards’ own son, her birthday was on Halloween and the writer/artist put much of himself into the strip. A boisterous, basically decent, sports-loving, mischievous tyke (in the manner of our Minnie the Minx), when not romping, cavorting and tussling with other kid pals Gigi, Greg, Charley Hawse, Russ, Roz and Mort the Worry Wart, Jinx almost exclusively interacted with her long-suffering dad Hap Holliday.

Her mother was seldom seen. The kid’s Christian name is lost to history: apparently so screamingly embarrassing that to utter it was to invite battered ear drums and mangled limbs…

Li’l Jinx faded away gradually during the 1980s as fashionista-teenagers and Mutant Turtles supplanted the pesky kid characters in Archie’s increasingly “young adult” oriented stable.

Jinx Holliday was revived and given a thorough 21st century upgrade for a new serial in Life With Archie (#7-11, March-June 2011); a growing girl just starting big school. The former tomboy hadn’t lost all her rough edges though…

This volume collects the serialised story of her beginning the inescapable if deplorable process of becoming responsible – with all the scary changes that entails…

After a handy ‘Cast of Jinx’ page, the dramatic comedy (available in both paperback and hardcover editions) opens with 4-part tale ‘Little Jinx Grows up’ – as serialised in Life With Archie – with the nervous Californian 14-year old starting at Rose Valley High School where she immediately falls foul of draconian martinet Principal Mr. Vernon.

At least many of her oldest friends are starting too, but they all seem so changed and grown up since summer vacation…

As they settle in, Jinx is oblivious to the fact that more than one of the boys she used to wrestle and play football with now treat her differently…

She’s just starting to hate the place and its stupid rules when Greg points out the final straw: Freshman Baseball – in fact all her favourite sports – are for boys only. Former child model Gigi is typically smug about it, hinting again that it’s time Jinx began acting like a girl, but that only provokes the incensed tomboy to break another rule…

Everybody is talking about Jinx after she extremely publicly signs up for Football Tryouts, and neither a barracking from Mr. Vernon or some heavy-handed bullying of Greg by the senior Football squad can change her mind.

The Principal thinks he has the final word after making Jinx take a permission slip home to her dad, but after Hap Holliday absolutely refuses to let his little girl get crippled by teenaged Neanderthals, Jinx simple forges his signature…

The tryouts are a disaster, but at least Greg is honestly trying to help her. Surly Charley, however, delivers a tackle that results in her being stretchered off, and when dad is called to school all hell breaks loose…

While she’s grounded and recovering, BFF Roz starts dropping hints about Greg and romance, promptly going into snoopy overdrive when a mystery caller leaves a large bouquet of flowers…

For the first time Jinx realises High School is just one big stew of frustrated hormones which only adds to her worries. So preoccupied is she that, when Greg timidly asks her to a dance, she doesn’t realise what he’s saying and shoots him down without even noticing. The mystery flower-sender – covertly watching – does, however, and seethes…

Flustered, confused and determined to end the turmoil in her head, Jinx then ambushes and pre-emptively kisses Greg, but the result is something neither of them nor their secret stalker expected…

The grand gesture completely destabilises Jinx who goes into a spiral of angry depression and tetchy acting-up. Baffled Hap is hopeless to cope, and, with Halloween approaching, throws himself into organising her birthday costume party: a tradition they’ve enjoyed since she was a toddler. He has no idea how much his little girl has changed and that the prospect of a party sounds like torture to her…

And thus the scene is set for a showdown nobody will ever forget…

All dramatic foreboding aside, this clever, warm tale ends well and promises much more for the future. Smart, witty and intoxicatingly engaging, Jinx is a superb example of what can be accomplished in comics if you’re prepared to portray modern kids on their terms and address their issues and concerns.

Without ever resorting to overblown soap melodrama or angst-ridden teen clichés, Torres has delivered a believable cast of young friends who aren’t stupid or selfish, but simply trying to find their own tentative ways to maturity. The art by Burchett and Austin is semi-realistic and mesmerisingly effective.

This terrific turbulent tome includes many bonus features such as a ‘Football Pinup’, J. Torres’ thoughts and commentary on the story as described in ‘The Voice of Jinx’ and a fascinating, picture-packed peek behind the scenes in ‘The Concept Art of Jinx’.

More production secrets are revealed by Editor Suzannah Rowntree, describing how the project was conceived and created in ‘The Story of Teen Jinx’ and there’s even a smart selection of one-page Short Comics treats to wrap up the fun.

‘Fitting In’, ‘It’s Complicated’, ‘Frenemy of the State’, ‘The Dating Game’ and ‘Chat Fight’ all combine to prove that although they might be growing up, the cast are still kids at heart…

Compellingly funny, gently heart-warming and totally absorbingly, this book will resonate with kids and parents, offering genuine human interactions rather than repetitively manufactured atom-powered fistfights to hold your attention. It especially gives women a solid reason to give comics another try.

Sheer exuberant fun; perfectly crafted and utterly irresistible…
© 2012 Archie Comics Publications, Inc. All rights reserved.

Sand Chronicles volume 1 – the Shojo Beat Manga Edition


By Hinako Ashihara, adapted and translated by John Werry & Kinami Watabe (Viz Media)
ISBN: 978-1-4215-1477-2

It’s never too late to take another look at first love and this subtly potent and marvellously engaging traditional romance proves once and for that all humans are basically the same when the lightning bolts hit…

Crafted by Hinako Ashihara, nostalgic, introspective love story Sunadokei (“Hourglass”) was serialised in Japan’s Betsucomi from 2003-2005; a beguiling and forthright exploration of how kids actually grow up…

It appeared in translation in 2007’s Shojo Beat magazine #26-29 before being gathered up in ten collected digest-sized manga volumes. The tale also spawned a TV series and a movie.

The story starts at ‘Age 12, Winter: Making a Wish’ as self-conscious big-city kid Ann Uekusa angrily packs a few of her most precious belongings before leaving for a scary – and probably deadly dull – existence with her mother for the country. The child is still ashamed and reeling from her parents’ divorce and blames her mother. Miwako Uekusa seems to have been dealt a mortal blow by her dream life’s ending…

One odd knickknack which somehow ends up in Ann’s bag is a little hourglass her mum got at the Sand Museum years ago when she was her daughter’s age. The memories it shakes up are powerful and painful and indicate that – in terms of love and marriage – this family seems destined to repeat its mistakes…

Her grandmother in rural, bucolic snow-stifled Shimane is a harsh-tongued woman keen to share her feelings of deep disappointment. Ann feels even more alone after meeting all the weird-talking yokel kids but eventually starts to adapt to the new situation. For one brief second the icy wastes warm for her as she almost befriends a cute bunny, but the moment ends when a boy – just as cute but in a different way – galumphs into view through the snow. He helps her catch the rabbit but then tells her it will be tonight’s dinner…

Daigo Kitamura will remember that meeting for years. Even after he became part of the school judo team years later, nobody ever left him as bruised and battered as the crazy town girl…

Seeking an escape from Grandmother Misayo’s harsh carping, Ann delivers a gift from the old lady to the wealthy Tsukishima household and subsequently sees how a proper family acts. The annoying lummox Daigo goes with her and somehow takes most of her attention…

Shika Tsukishima is Ann’s age and rather nice and her parents are wonderfully warm and welcoming. The nervous townie barely notices Shika’s quiet, studious older brother Fuji… but he notices her…

They join the family for a sumptuous meal but the repast is ruined when hasty word comes that Miwako has collapsed. Her mother’s problems are both physical and psychological. The matron has strived incessantly to provide for her child, to the permanent detriment of her health, but the shame of abandonment and divorce has broken her spirit…

To help, Ann takes a menial job with the Tsukishimas and is soon beavering away, blithely unaware of the shy attention Fuji is paying her…

Increasingly depressed, ailing Miwako takes Ann to the shrine she attended years previously and tries to get her reluctant daughter to make a votive wish for the future. It only reminds the troubled divorcee how badly her own heartfelt prayer failed to come true…

The episode tragically, horrifically ends the only way it can and in the awful aftermath Ann is stuck living alone with her mean but deeply chastened grandmother…

Following light-hearted and informative featurette ‘About the World’s Biggest One-Year Hourglass’, the drama resumes two years later.

‘Age 14, Summer: Thunder, Get Over It’ Ann and Daigo are much closer: genuine friends who enjoy being together. The little town girl has blossomed and integrated, attending the junior high school with her hulking first friend, who has turned into a human monolith and star of the judo team.

One unexpected consequence of their friendship is that female judoka Ayuma Narasaki has inexplicably become a pervasive pest: taking every opportunity to have a go at Ann, from snarky comments all the way to physical assaults. Ann can’t understand why…

The semester is ending and the entire school is buzzing with talk of the forthcoming summer camp. Feeling pressurised from all sides, Ann can’t decide whether to go or not. Grandmother is no help. She keeps going on about pointless cost and worrying about her granddaughter’s periods. The girl had just started before Miwako died, but there’s been nothing since. It’s like she’s going backwards as a woman…

In the end it’s easier to attend the gathering than stay behind and, apart from Ayuma’s constant veiled attacks, Ann actually has fun. She even takes Shika into her confidence over her problems – social, physical and especially emotional – but as the kids all boisterously let their hair down she again begins to feel the crushing pressure of her mother’s mistakes.

Dejected, Ann wanders off to be alone, straying too near a dangerous precipice which seems to call to her – just as had happened to her mother. She’s shaken out of her bleak reverie by Fuji Tsukishima who guides her back to the others.

A major storm is forecast and the supervising adults hurriedly gather the kids under shelter and bed them down for the night. Fuji however is restless. He pensively recalls the stormy night as a little boy when he caught his mother in bed with a man not his father… and what followed…

Wandering the vast cabins he meets Ann again. She too is overwrought, now obsessively thinking about Daigo. To calm her Fuji takes the agitated girl to a place of startling natural wonder and she briefly forgets her beloved lummox and everything else….

And then the worst thunderstorm in living memory suddenly erupts around her…

One of the activities planned for the campers was a huge scavenger hunt and now jealous Ayuma takes advantage of it: stealing Ann’s precious hourglass and sending her out in the storm, chasing clues to retrieve it…

By the time furious Fuji and Daigo find her, Ann is clinging to her life by a thread, but she only notices her wonderful lummox…

To Be Continued…

Fun, tense and suspenseful it also includes witty asides by the author and a full ‘Glossary’ providing cultural background and perspective.

Sharp, beguiling and strikingly illustrated, this charming tale about humanity’s most common shared experiences manages to be mature yet charming, fresh yet potently foreboding.

This book is printed in ‘read-from-back-to-front’ manga format.
© 2003 Hinako Ashihara/Shogakukan Inc. All rights reserved.

Queen Margot volume 1: The Age of Innocence


By Olivier Cadic, François Gheysens & Juliette Derenne, coloured by Sophie Barroux and translated by Luke Spears (Cinebook)
ISBN: 978-1-90546-010-6

Although not so well known in Britain as his other novels, on the Continent Alexandre Dumas père’s historical romance La Reine Margot is an extremely popular and well-regarded fictionalisation of the life of Marguerite de Valois.

This unlucky historical figure was the daughter of Henry VII of France and infamously diabolical arch-plotter Catherine de Medici and spent most of her early life as a bargaining chip in assorted convoluted dynastic power-games.

We don’t see a lot of proper historical romance in English-language comics; which is a shame as the stylish intrigue, earthy humour, elegant violence and brooding suspense (just think Game of Thrones without the excessive sex and violence… or dragons) of this one would certainly attract legions of fans in other sectors of artistic endeavour.

This substantial yet enchanting treatment of the events and uncorroborated legends of the girl who eventually became the wife of Henri IV, Queen Consort of France twice-over and the most powerful, influential and infamous woman in Europe is well worth a look-see, especially as most of what we know about her comes first-hand.

Queen Margot related the events of the times and her life – in exquisite, penetrating detail – through an infamous series of memoirs published posthumously in 1628…

Co-scripted by publisher, politician, computer entrepreneur, historian and statesman Olivier Cadic and François Gheysens, illustrated with intensely evocative passion and potently authentic lyricism by Juliette Derenne (Les Oubliés, Le 22e jour de la Lune) and enlightened through the graceful colours of Sophie Barroux; the first chapter appeared in 2006 as La Reine Margot: Le Duc de Guise and opens here with a spiffy gate-fold cover offering a potted history and run-down of the major players before the intrigue unfolds…

In August 1569, sixteen year old Margot and her Lady-in-waiting/governess Madame Mirandole arrive at castle of Plessis-lez-Tours. In the ongoing wars between Papists and Huguenots, Margot’s ailing brother Charles might be King of Catholic France, but her other brother Henri, Duke of Anjou is the darling of the court: a veritable Adonis and glorious war-hero smiting the Protestant foe. Anjou is also a sibling she adores and worships like a schoolgirl…

What little brotherly love there was stood no chance against a sea of popular feeling and cruel, envious unstable, hypochondriac Charles is determined to see it end and all Henri’s growing power and inherent glamour with it. Naturally, his dynastically-obsessed mother has plans to fix everything, but they never extend to showing her practically worthless daughter the slightest hint of kindness or approval.

Although young, Margot (who prefers the familiar name “Marguerite”) knows well that she’s nothing more than a disposable piece in a grand game, but briefly forgets her inevitable fate as Henri bedazzles the Court with his tales of martial triumph. Later he shares his own ambitions and misgivings with her. He dreads jealous, inept Charles taking the role of military commander for his own, and does not want to be married off to the Arch-Duchess of Austria…

Marguerite has problems of her own: Henri’s most trusted lieutenant; the appalling Lord Du Guast, tries to force himself upon her whilst making the most disgusting suggestions and veiled accusations before she can escape…

Worst of all, her mother – steeped in five generations of Machiavellian Medici manipulation and inspired by the bizarre prognostications of her personal seer Ruggieri – has begun setting her plans for the potentially invaluable, royally connected daughter.

Margot can do nothing against her mother’s wishes but, with the aid of drugged wine, she repays Du Guast’s affront with a public humiliation she will come to regret…

Everything changes when charismatic Henri, Duke of Guise and hero of the Siege of Poitiers arrives. He and Marguerite were childhood friends and now that they are both grown, their mutual attraction is clear to all. Instantly, his family sense a chance to advance themselves through a love match and quick marriage…

The kids themselves are only dimly aware of alliances. They want each other and even an entire gossiping, constantly watching Court is not enough to deter them…

As the war progresses into slow and depressing attrition, Anjou doggedly pursues victory and awaits his inevitable ousting, whilst Du Guast lays his plans to destroy and possess Marguerite.

News of her dalliance with Guise is of great worth to him and even though Catherine has organised a tentative betrothal to the Catholic king of Portugal, the vile seducer has ways and means of spoiling the proposed match. He’s even inadvertently aided by Marguerite herself, who tries many stratagems to disrupt the regal deal…

The constant in-fighting and subterfuge turns Anjou against his sister and when “proof” of her affair with Guise reaches Catherine the old queen moves swiftly.

Marguerite is compelled to capitulate to save Guise from Charles’ insane wrath and grimly faces the prospect of never seeing him again: cushioned in despised luxury and once more the pliable prize and powerless pawn in a game she cannot escape, avoid or win…

To Be Continued…

Colourful, intoxicating and powerfully compelling, The Age of Innocence is a beguiling view of eternal passions and human intrigue to delight the hardest of hearts and the most finicky of comics aficionados.
Original edition © 2006 Cinebook Ltd/Cadic – Gheysens. All rights reserved. English translation 2006 © Cinebook Ltd.