Lobey’s The Wee Boy! – Five Lobey Dosser adventures by Bud Neill

By Bud Neill, compiled by Ranald MacColl (Mainstream Publishing)
ISBN: 1-85158-405-6

Nobody’s ever accused me of being sensitive to the tone of the times, but with all thoughts directed north of the border for so long now, I’ve decided to feature this superbly unique dose of Celtic (more properly Glaswegian) cartoon magic today.

It’s the work of a tragically near-forgotten genius of pen and brush who should rightly be a household name wherever people like to laugh and ponder the absurdity of existence, no matter what flag they fly.

William Neill – forever immortalised as “Bud” – was born in 1911 in Partick just before the family moved to Troon in Ayrshire. He was a typical kid and fell in love with the brash wonder of silent movies – most especially the rambunctious westerns of William S. Hart.

His other great drive was a love of horses, and he could always be found hanging around stables, trading odd jobs for the chance of a few minutes’ riding.

After finishing school the young artistic star won a place at Glasgow School of Art. In the late 1930s Bud briefly emigrated, working in Canada and absorbing the tricks of America’s greatest newspaper cartoonists in their creative heyday.

He served as a gunner during WWII but was invalided out and became a bus driver. These experiences led to his creating a series of pocket cartoons starring the “Caurs & Clippies” of Glasgow’s tramcar system.

By 1944 Bud was drawing for the Glasgow Evening Times: sharp, wry observational pieces starring the city and its inhabitants, characterised by a devastating and instantly enchanting use of the iconic rhythms, vernacular and argot everyone shared.

In January 1949 The Evening News began running the uniquely surreal escapades of his greatest creation. Sheriff Lobey Dosser of Calton Creek was a brilliant inspiration: the adventures of a canny wee lawman in a hauntingly typical western town populated exclusively by Scots (from Glasgow’s Calton district, presumably) living an outrageously domestic, hilariously apt inner city life all whilst tricked out in cowboy hats and six-guns…

Delving deep into the venerable, anarchic and often surreal material of music hall and pantomime, Bud crafted a supremely odd, anachronistically familiar, bizarrely inviting world of solecism masquerading as local events. The series transferred to The Sunday Mail in 1956 where it became so popular that previous, complete strip adventures were collected in instant sell-out, one shilling landscape booklets (all incredibly sought after collectors’ items these days).

Neill died in 1970 but his work steadily continued to garner fans and acquire a mythical status, so by the middle of the decade Glasgow artist and sculptor Ranald MacColl began work on a biography.

That in turn led to a series of graphic collections such as this one and eventually belated recognition for Neill and his most memorable creations.

Bud was subsequently celebrated in exhibitions, galleries and, following Glasgow’s becoming European City of Culture in 1990, two separate bronze statues (Lobey, Rank Bajin and noble steed Elfie in Woodlands Road and, in Homecoming Year 2009, The G.I. Bride and her “Wean” at Partick Station), funded by public donations, Strathclyde Passenger Transport and private sponsors.

Hard to find but so worth the effort, Lobey’s The Wee Boy! gathers the contents of five of those shilling collections in a sensibly narrative chronological – not publication or even creation – order and is packed with informative extras such as MacColl’s fascinating historical and atmospheric Introduction and a hilarious Prologue by Bud himself from 1958, before the astonishing origin of the champion of Calton Creek is revealed in ‘Lobey Dosser: His Life Story’.

On a rare quiet day the grizzled sheriff recounts his early life to a jail full of impressionable young’uns…

Once upon a time in auld Glesca a mother had one bairn too many and the precocious tyke, to spare her further hardship, put his possessions in a hanky on a stick and headed off to make his way in the world.

Although only a few months old, he rejected being fostered out to his mean Auntie Mabel and joined a merchant ship under the tyrannical Captain Blackswite, unaware that the big shouty blackguard was a pirate…

After many exciting years at sea Lobey jumped ship and was befriended by cannibals and their erudite chief Hannibal which led to more exploring, meeting monsters and other strange things before encountering a race of Oxbridge-educated white savages and happily acquiring a rare two-legged horse.

El Fideldo was to become his greatest friend and inseparable companion. Together they made their way to Mexico where the wee wanderer discovered an unsuspected talent for upholding the law and keeping the peace. After cleaning out a nest of vicious banditos the restless pair headed north and soon fetched up in Laredo, Texas where a disastrous love affair with Adoda, formidable daughter of wealthy Whisk E. Glorr, led to a clash with rustlers led by scurrilous Watts Koakin

His heart broken – even though he had cleaned up the range – Dosser and Elfie kept heading west until they reached Arizona and first met future arch-nemesis Rank Bajin selling out the wagon train he was guiding to the local Sioux…

Rescuing the embattled settlers, Lobey decided to stay with the Scots expats as they built a town in the wilderness.  They called it Calton Creek…

Wild, imaginative and with every daily episode loaded with sight gags, striking slapstick, punishing puns, cartoon in-jokes and intoxicating vernacular, each Lobey Dosser tale was a non-stop carnival of graphic mirth and this terrific tome continues in fine fettle with ‘The Mail Robbery’ wherein nefarious Bajin attempts to incite an Indian uprising amongst the Pawnee of Chief Toffy Teeth and leaves the little lawman to die of thirst in the searing deserts. As the scorched sheriff struggles to survive, the naïve citizens are left to adapt to a protective occupation by flash Yankee G.I.s and airmen…

Sardonic and satirically cutting, the yarn also sports one of the best – and daftest – horseback chases in entertainment history…

Romance and mystery abound in ‘The Secret of Hickory Hollow’ as that Bajin scoundrel buys up the mortgage on Vinegar Hill’s farm and tries to kick out the old coot and his substantial niece Honey Perz. The villain has got wind of a mineral resource on the property that would make a man as wealthy as the Maharaja of Baroda, or perhaps even a regional Deputy Superintendent of the Coal Board…

When Lobey organises the cash needed to pay off the outstanding loan, Bajin reluctantly resorts to the last resort and begins romancing sweet, innocent, hulking Honey…

It all looks bleak for justice until the sheriff befriends an astoundingly good-looking and wholesome uranium prospector named Hart O’Gold who quickly tickles Honey’s fickle fancy…

However nobody – including ghostly guardian Rid Skwerr – is prepared for the soviet spies behind the entire affair to jump in take over and it needs the timely intervention of mystic imp Fairy Nuff to save their accumulated hash before the Dosser can finally expose the viper in the nest…

The local natives are always up to mischief and ‘The Indian War’ kicks off when the railroad tries to lay track through Pawnee Territory just as Chief Rubber Lugs of the Blackfeet Tribe revisits an old and outstanding grudge with Chief Toffy Teeth.

The ineffectual Captain Goodenough arrives with a division of cavalry to safeguard the white citizenry but matters soon worsen, painfully exacerbated when the folk of Calton Creek take advantage of Lobey’s absence (he’s trying to negotiate with both bunches of bellicose braves) to run Rank Bajin out of town and the hooded hoodlum starts freely peddling weapons to both sides…

…And then Bajin kills Lobey and takes over the town.

…And then…

The last yarn in this monochrome tome of tall tales is the most incredible of all as ‘The “Reform” of Rank Bajin’ sees the vile villain scooting around Calton Creek doing good deeds and selling off his astounding arsenal of wicked weapons and cunning contraband. Baffled, perplexed, confused and not sure what’s going on, Lobey asks Boot Hill haunter Rid Skwerr to spy on the no-longer reprehensible Rank and even love-struck Fairy Nuff gets in on the act.

The astounding truth finally emerges: Bajin has a boy who is growing up honest, so he is selling up and returning to the family he deserted in Borstal Bluffs, Iowa to sort the shameful lad out. Knowing the tremendous vacuum his absence will leave in Calton’s exciting landscape, however, he has a recommendation for a locum arch-enemy for his arch-enemy…

Can this possibly all be true or is the beastly Bajin executing his most sinister scheme yet?

Cunningly absurdist, socially aware, humorously harnessed insanity in the manner of Spike Milligan, Michael Bentine and the immortal Goon Show, the adventures of Lobey Dosser are a brilliant example of comic strips perfectly tailored to a specific time, place and audience which magically transcend their origins to become a masterpiece of the art form.

It’s also side-splitting, laugh-out-loud, Irn Bru spit-take hilarious and really needs to be recollected for today’s audiences.

And of course that’s what I really want: a complete reprinting of these sublimely perfect spoofs.

And once you read some so will you…
© Ranald MacColl 1992. All rights reserved.

World War 3 Illustrated 1979-2014

By various, edited by Peter Kuper & Seth Tobocman (PM Press)
ISBN: 978-1-60486-958-3

Since the 1980s and proceeding ever more unchecked into the 21st century, nations and human society have been plagued with horrors and disasters exacerbated if not actually caused by a world-wide proliferation of lying, greedy, venal, demented and just plain stupid bosses and governments.

These paragons have finally succeeded in elevating politicians of every stripe to that phylum of generally useless tools and pimples on the butt of humanity once only occupied by ambulance-chasing lawyers, lifestyle coaches and management consultants.

Since then so many apparently entitled and greedy archetypes like bankers, astrologers, wedding planners, doorstep evangelists, CEOs, celebrity gossip columnists, newspaper editors, the shamelessly privileged and all types of psychics have joined their rarefied ranks, and I’m thinking I probably need to either grow my own provably unadulterated coffee or further refine my critical parameters…

The century before ours wasn’t much better, but it did spawn a global awareness of the sheer symbolic power of art to promote debate, action and change. Politically charged, culturally aware imagery has been used over and over again by the underdogs – and, to be honest, the more savvy oppressors – in countless intellectual clashes as irresistible Weapons of Mass Deliberation…

This is a book that should make you angry and inspired. That is its point and purpose…

Created in response to Ronald Reagan’s presidency – possibly the only thing non-Americans can be thankful to the mad, bible-thumping bastard for – World War 3 Illustrated was founded in 1979 by Pratt Institute art students Peter Kuper and Seth Tobocman in the wake of a rising tide of political conservatism, religious fundamentalism and unchecked capitalist autocracy

The magazine quickly became a beacon and rallying point for artistic activists: a collective collaboration galvanising and powerfully polemical, covering a vast procession of issues the political Powers-That-Be and increasingly law-immune Corporate Hegemonies would prefer were never aired or exposed.

Always championing the ever-diminishing rights of the individual over the juggernaut of rapacious commercial expansion and global monetary domination, the magazine brought – and still brings – together creative freedom-fighters who oppose the insidious wave of creeping everyday injustices through art, information and – most effectively of all – opposing views and dissenting opinions.

Now the smart, informed publishing people of PM Press have released a spectacular and sumptuous hardback retrospective of World War 3 Illustrated; re-presenting some of the graphic gadfly’s greatest moments in a stunning collection no self-aware seditionist could afford to miss at a time when individual freedoms and planetary wellbeing have never been more endangered…

One crucial word of clarification: the Third World War hasn’t been declared and has no recognised Theatre of Operations. It’s an ongoing series of perpetual localised skirmishes intended to replace individuality with homogeneity, freedom with conformity, humanity with faceless consumerism and intellect, spontaneity and self-esteem with a slavish devotion to money and oligarchic, board-sanctioned options from a menu of consumerist choices designed to keep the merchant-machine running…

Stuffed with spot-art and themed chapters fronted by double-page Chapter Icons from Kuper, Scott Cunningham, Sabrina Jones, Tobocman, Susan Willmarth, Kevin C. Pyle, Rebecca Migdal, Sandy Jimenez, Ethan Heitner, Nicole Schulman, Christopher Cardinale and Hilary Allison, this grand bible of creative resistance opens with the rousing and informative ‘Introduction: In Cahoots!’ by veteran activist, educator and reformer Bill Ayers before the parade of artistic action gets underway.

Starting World War 3 reveals the way it all began in the essay ‘Manifesto’, by Tobocman & Kuper, before the early forays are revisited in ‘Old Pals’ by Peter Bagge, whilst “Dr. Froydo Baggins” diagnoses the scatological power structure of modern society in ‘Top Feces’ by Isabella Bannerman & Robert Desmond, and Chuck Sperry’s terrifying collage ‘Bud’ is followed by Tobocman’sstate of disunion revelation in ‘The World is Being Ripped’. The chapter is closed by ‘Dove vs. Technology (back cover #8)’ by Aki Fujiyoshi.

Theocracy unbound is the subject of In God We Trust? opening with ‘Rapture’ – Kuper’s terrifying visualisation of an actual speech by Moral Majority founder Jerry Falwell – after which Erik Drooker moodily relates his ‘First Encounter’ with The Lord and Mike Diana explains how ‘Jesus is Suffering for You’

Ryan Inzana describes his liberating escape from ‘One Nation Under Fear’ before ‘Pope Exposed (back cover #5)’ by David Shannon leads to the pantomimic revelation of ‘Jesus in Hell’ by James Romberger, and Isabelle Dervaux ends things on a blasphemous high note with ‘Walking on Water’.

The war on women is highlighted in Herstories, opening with Isabella Bannerman’s gripping ‘Herstories (cover #16)’ from 1992. This is followed by the evocative ‘Women’s Rights’ by Paula Hewitt Amram and the harrowing ‘Walking Down the Street’ by Sabrina Jones and a truly disturbing glimpse into the pressures on young girls to have sex in ‘K-9’s First Time’ by K-9 & Fly before Jones scores again with ‘Saudi Woman (back cover #14)’ to close the chapter.

Gentrification and the New York Elite’s attempts to forcibly relocate its poor by Fiscal Ethnic Cleansing are spotlighted in Captive City,beginning with the trenchant ‘Ave A’ by Anton Van Dalen and Tobocman’s ‘Why Are Apartments Expensive?’

Drooker then imaginatively shares some cold, harsh facts and statistics in ‘Shelter from the Storm’, whilst Steve Brodner plays Devil’s Advocate in ‘The Pound’ and Mac McGill interprets ‘Memories’ with apocalyptic panache.

Nicole Schulman then reveals why ‘You Can’t Go Home, Again?’ whilst Tobocman declares ‘War in the Neighorhood’ and Jeff Lewis wistfully bemoans how ‘I Was Raised on the Lower East Side’ to suspend the ongoing class war… until next time…

Autobiology focuses on differences of opinion such as the divisive nature of sneakers in ‘Skips’ by Sandy Jimenez, ineffectual relationships in Bannerman’s ‘No Visible Evidence’ and parenting in Scott Cunningham’s ‘Alien Metaphor’, after which Drooker relates a chilling anecdote in ‘The Fall’ and Kuper details how he was called as an expert witness in Mike Diana’s comics obscenity trial in the ‘Sunshine State’

The misrule of Law comes under excoriating scrutiny in Under Arrest, opening with ‘Police State America’ by Tobocman, detailing how a black woman in New York was gunned down by a SWAT Team for incurring rent arrears, whilst Drooker’s ‘Coup d’Etat of the Spirit’ movingly recalls a friend who got on the wrong side of a police action…

‘Yard In!’, by Mumia Abu-Jamal & Gregory Benton, wryly pinpoints one of the many cruel insanities endured by Death Row inmates before Drooker’s ‘Prison Issue (cover #24)’ leads to Kevin C. Pyle’s revelatory expose of the mean-spirited “Diesel Therapy” used to break prisoners’ spirits ‘On the Road’. Benton then returns to offer a shred of comfort in ‘#AM-8335’.

Sperry opens the chilling Biohazard section with a bleak confrontation of ‘My Mother, My Mother’ before Pyle produces the most horrifying piece in this collection with his documentary detailing of the grotesque criminal acts of the United States Public Health Service which began a near-forty year long, generational study of syphilis by deliberately withholding antibiotic treatments from the African American community of Macon County, Alabama in the shocking tale entitled ‘Pink Medicine’

Encroaching environmental catastrophe is the meat of Green House, Blue Planet, beginning with Tobocman’s captivating ‘What You Need to Know’, whilst Rebecca Migdal’s ‘The Food Chain (cover #41)’ precedes ‘Someday in the Future’ by Susan Willmarth, revealing how corporate misuse of the drug Diclofenac led to the near extinction of India’s vulture population and the almost complete destruction of the subcontinent’s food chain.

Drooker’s forbidding illustration ‘Moloch’, then leads to ‘Needle Factory’, a bleak cutting whimsy from Felipe Galindo, after which Sue Coe presents a series of ghastly images created in response to the monstrous Deepwater Horizon disaster in 2006 – ‘Murder in the Gulf’, ‘BP Burns Turtles’ and ‘Sold!’

At least Drooker is there to wrap it up with a hope-filled dream of ‘The Jungle’

We Y New York opens with the ‘9/11 Release Poster’ by Kuper & Sperry, and an autobiographical reverie in ‘9-11-01’ by Fly, before Ward Sutton briefly interjects a sardonic aside with the ‘Fear News Network’ whilst counterculture pioneer and seasoned campaigner Spain Rodriguez tellingly dissects all stripes of ‘Faith-Based Terrorism’ and Mac McGill offers up another evocative expression of architectural Armageddon in ‘IX XI MMI’

A discussion of Global Economy and the New World Empire begins with a strident lesson from Nichole Schulman in ‘Fossil Fuel’, whilst Kuper examines the concepts of war for oil in ‘Bombs Away’ and Tom Tomorrow lampoons government rhetoric and corporate Thinkspeak in ‘Are You a Real American?’ after which Chuck Sperry creates a visual icon for the new century in ‘Bush Hates Me’ and Tom Tomorrow hilariously peeks in on ‘Bush Dreams’.

The fertile soil is further ploughed by Sabrina Jones with the cruelly poetic ‘Chronicle of the New Crusade’, and Art Spiegelman doles out a strong dose of satire in his oil-mainlining Uncle Sam pastiche ‘Roll Up Your Sleeves, America!’, which is followed by Kuper’s infamous and controversial ‘Richie Bush in Hell’s Bells’ parody.

By brilliantly employing Harvey Comics’ Richie Rich character, the artist engendered the disapproval of US Customs who subsequently seized copies of this strip when it was reprinted in Slovenian magazine Stripburger

This chapter closes with ‘Talking Liberties (cover #34)’ by Mirko Ilic and a montage of various works and public events in ‘WW3 Arts in Action’.

Promised Land? examines the ongoing Israeli- Palestinian Conflict, beginning with ‘Casting Stones’ by Drooker before Kuper bares his heart and soul recounting his many trips to Israel and how the country devolved to a point and state he could no longer recognise in ‘Promised Land’, after which Sabrina Jones shares her own personal experiences of time in the Holy Land in ‘Fear and Firecrackers’.

‘Art Against the Wall’ is an photo-illustrated essay by Eric Drooker describing the construction, impact upon and creative response to Israel’s “Security Wall” by the Palestinians it imprisons and isolates; a subject then expanded upon in cartoon form in Tobocman’s biting ‘The Serpent of State’

Iniquities affecting the wider world come to the fore in Going Global, beginning with ‘The Quiet Occupation’ by Nicole Schulman, examining through specific, documented case histories, the incredible “Get Out of Jail Free” policy afforded to the American military in South Korea under SOFA (Status of Forces Agreement).

This appalling legislation has, since 1967, afforded absolute immunity to US personnel facing prosecution for crimes against the indigenous population ranging from theft and environmental damage to rape and murder…

The case of a San Salvadoran kid unfairly deported follows in Carlo Quispe’s ‘Pulgarcito de las Americas’, as does Jordan Worley’s provocative ‘Land and Liberty (cover #27)’, before a selection from Kuper’s visual diary of life in Mexico – specifically the brutal suppression of a Teacher’s strike – rounds out the chapter in ‘Oaxaca, Oaxaca’

The horrendous scandal of New Orleans’ Federal abandonment is covered in After the Flood, commencing with an emphatic if subjective impression of ‘Katrina’ by McGill, after which volunteer worker Christopher Cardinale records his thoughts and interactions with hurricane survivors in ‘Coming Together’, whilst McGill records the fate of ‘Mrs. Spencer’s Home’ and Tobocman details the resilience of the people who returned in ‘Post Katrina 2nd Line’

Attempting to end on lighter terms, Modern Times features outrageous and unbelievable exposé ‘On the Tea Party Trail’ by Kuper, then pictorialises the fine, independent folk of ‘Madison Wisconsin’ courtesy of Susan Semensky Bietila, before Tobocman & Jessica Wehrle delve in detail into the early moments of the ‘Occupy the City’ movement capped by another photo feature of ‘WW3 Arts in Action’ and Drooker’s sublime ‘May Day’ poster.

To add context to the collection Time Line then traces the history of World War 3 Illustrated through a short history of the planet since 1970, augmented by a stunning cover gallery of key issues of the magazine…

The most disheartening thing about this magnificent book is the realisation that so many of these issues – such as globalisation, one-percentism, women’s rights to equal pay and control of their own bodies, the maltreatment and exploitation of prison inmates, the disenfranchisement of African Americans and so much more – are still as being as keenly contested today as they ever were… although surely that’s only a reason to fight even harder and more creatively?

This is a book that belongs in every library and on every school bookshelf, and it most certainly needs to be in the hands of every person who dreams of a fairer, better world…

© 2014 World War 3 Illustrated, Inc. All art, photos and text © 2014, to the individual artists. All rights reserved.

The System

By Peter Kuper (PM Press)
ISBN: 978-1-60486-811-1

Artist, storyteller and activist Peter Kuper was born in Summit, New Jersey in 1958, before the family moved to Cleveland when he was six. The youngster met fellow comics fan Seth Tobocman and they progressed through the school system, catching the bug for self-publishing early. They then attended Kent State University together. Graduating, they moved to New York in 1979 and, whilst both studying at the Pratt Institute in Brooklyn, created the political art/comics magazine World War 3 Illustrated.

Both separately and in conjunction, in comics, illustration and through art events, Kuper and Tobocman have championed social causes, highlighted judicial and cultural inequities and spearheaded the use of narrative art as an effective means of political activism.

Many of Kuper’s most impressive works have stemmed from his far-flung travels but at heart he is truly a son of New York, with a huge amount of his work using the city as bit player or star attraction.

He created The New York Times’ first continuing strip – Eye of the Beholder – in 1993, adapted such modern literary classics as Franz Kafka’s Give it Up! (1995) and The Metamorphosis (2003) to strip form, whilst always creating his own canon of intriguing graphic novels and visual memoirs.

Amongst the many strings to his bow – and perhaps the most high-profile – has been his brilliant stewardship of Mad Magazine’s beloved Spy Vs. Spy strip which he inherited from creator Antonio Prohias in 1997.

In 1995 he undertook a bold creative challenge for DC’s Mature Reader imprint by crafting a mute yet fantastically expressive 3-part thriller and swingeing social commentary for Vertigo Verité. The System was released as a softcover graphic album in 1997 and has now been magnificently repackaged in a lavish hardback edition from PM Press.

Following a moving Preface from the author describing the genesis of the project, Senior News Editor at Publisher’s Weekly Carl Reid offers an effusive appreciation in ‘Bright Lights, Scary City’ before the drama begins…

As if telling a beguiling, interlinked portmanteau tale of many lives interweaving and intersecting – and often nastily ending – in the Big City without benefit of word-balloons, captions or sound effects was not challenge enough, Kuper pushed his own storytelling abilities to the limit by constructing his pages and panels from cut stencils, creating the narrative in a form akin to urban street art.

It is astoundingly immediate, evocative and effective…

A stripper is murdered by a maniac. An old, weary detective ruminates on his failures. A boy and girl from different neighbourhoods find love. A derelict and his dog eke out a precarious daily existence and a beat cop does his rounds, collecting payoffs from the crooked dealers and helpless shopkeepers he’s supposed to protect. Religious zealots harass gay men and an Asian cabbie gets grief from the white fares who despise him whilst depending on his services.

The streets rattle with subway trains below and elevated trains above.

Strippers keep dying, children go missing, love keeps going and the airport brings a cruel-faced man with radioactive death in his carry-on luggage…

There are so many million stories in The City and they are all connected through the unceasing urban pulse and incessant, unending forward motion of The System

Clever, compulsive and breathtakingly engrossing, this delicious exercise in dramatic interconnectivity and carefully constructed symbolism is a brilliant example of how smart and powerful comics can be.

© 2014 Peter Kuper. All rights reserved.

Cork High and Bottle Deep

By Virgil Partch, Edited by Jonathan Barli (Fantagraphics Books)
ISBN: 978-1-60699-664-5

Virgil Parch is possibly the greatest of those almost forgotten key men of comedy cartooning: a pervasive creative force who worked away tirelessly for years, making people laugh and slowly, steadily changing the very look and nature of the industry.

Although largely forgotten these days, Virgil Franklin Partch II (1926-2004) is probably one of the most influential and successful of all American cartoonists.

His arch, absurd, rude, sly, subtle, skewed, whacky and astoundingly unique gags, strips, stories and animated shorts were generated with machine gun rapidity from a seemingly inexhaustible well of comedy excess, which could be rendered in a variety of styles which utterly revolutionised the American publishing from the moment in 1941 that the artist switched from a Walt Disney Studio ideas-man to freelance gag-maker.

He is most well regarded for his cavalier abandonment of traditional form and anatomy. Partch is the guy who liberated gag-cartooning from the bonds of slavish attention to body detail: replacing broadly human shape and proportion with a wildly free and frenetic corporeal expressionism – perhaps even symbolism – which captivated legions of fellow artists and generations of fun-starved readers. This is the guy who made 19 fingers on one hand work…

Following 2013’s VIP – The Mad World of Virgil Partch– asuperbly comprehensive art book/biography – comes this themed collection of his most arch, dark and absurd gag panels all devoted to his favourite hobby and avocation: the heroic and determined downing of strong liquor…

This glorious pocket-sized (174 x 174mm) hardback collection gathers – in colour and black-&-white – the vast majority of his hootch-flavoured (and, perhaps, often -inspired) party favours, ranging from the antics of barflies and boozy babes to the aggravated effects of a lifetime of dedicated tippling and how to offset or escape them…

Subtitled “Amidst the stormy seas of booze, with your faithful skipper, the mad Vipper” the first section focuses on the general run of alcohol-induced visions starring blurry, cheery, dreary, maudlin and dumbfounded imbibers of every class and station as well as the long-suffering worldly-wise barkeeps who attend them; an often (literally) staggering precession of invention, surreal acceptance and inevitable regret, ranging from atrocious visual puns to bewilderingly brilliant observations.

The general carousing is followed by a steady stream of themed sections beginning with an astoundingly visually inventive succession of suggestions on The Hangover… and Some Cures, complete with a sneaky subsection of .descriptive diagnoses of particular brain seizures ranging from the ‘Thirsty-Bedouin Hangover’ to the ‘God! Is that Me? or Hallucination Case’

Assuming you survive that, the blinding switch to full painted colour will shock you sober enough for ‘VIP Views The Drink as seen by…’; a savage selection of interested parties including The Bartender, The Wife and The Guy On the Wagon

Digging deeper, the artist then invites you to observe fizzy, happy people at ‘Dr. Freud’s Cocktail Party’ displaying Introversion, Exhibitionism , Wish Fulfilment, Hallucination, Rejection and a host of other “isms”, after another large round of general gags and panels runs into ‘VIP’s Tips: How to Taper Off…’

Virgil Partch possessed an eternally refilling reservoir of comedy imagination and a unique visual perspective which made him a true catalyst of cartoon change, and Fantagraphics Books have once again struck pure gold by reviving, commemorating and celebrating this lost legend of cartooning.

Best of all, this is an astoundingly funny collection: a wealth of outrageously funny, deliciously barbed funny drawings and clever ideas as powerfully hilarious now as they ever were, and all brilliantly rendered by a master draughtsman no connoisseur of comedy can afford to miss.


© 2014 Fantagraphics Books. All rights reserved.

The Mythology of S. Clay Wilson volume 1: Pirates in the Heartland

By S. Clay Wilson, edited by Patrick Rosenkranz (Fantagraphics Books)
ISBN: 978-1-60699-747-5

This book is filled with dark, violent sexual imagery and outrageous situations intended to make adults laugh and think.

If the cover and the copy above hasn’t clued you in, please be warned that this book contain nudity, images of extreme violence, sexual intimacy and excess – both hetero- and homo-sexual – and language commonly used in the privacy of the bedroom, drunken street brawls and probably school playgrounds whenever supervising adults aren’t present.

If the mere thought of all that offends you, read no further and don’t buy the book. The rest of us will just have to enjoy some of the most groundbreaking cartoon experiences ever created without you.

Steve Clay Wilson was a pioneering light of America’s transformative Underground Commix movement: an uncompromising, controversial, in-your-face pioneer of the counterculture, constantly challenging attitudes and sensitivities whilst telling the kind of cartoon tales he wanted – or perhaps had – to.

Something of a contradiction to those who knew him, charming, charismatic Wilson lived life to the full and took his art seriously.

And what art! Stark, complex, shocking, incredibly detailed tableaux jumping with modern Rabelaisian content: mesmerising scenes packed with intense multi-layered busyness, crammed with outrageous, iconic characters in constant surging motion – mostly combative and hilariously violent.

The manly hedonistic exuberance of frantic fighters rejoicing in the wild freedom as exemplified by bikers, cowboys, pirates, bull dykes and devils, augmented by other violent ne’er-do-wells, grotesques, human-scaled beasts and things which could be drawn but never described…

His work seethed and abounded with excess: monsters, mutilations, booze and drug-fuelled romps populated with priapic plunderers and ravening beasts, dangerous and disturbed women and always, always unsettling scenes of society’s biggest taboos – sex and personal freedom.

All Americans already worshipped violence; Wilson just pushed the visuals for that sacrament as far as he could into surreal parody…

Everybody who knew Wilson adored him, but around him they were usually a little nervous and stepped lightly…

The modern successor to Peter Bruegel and Hieronymus Bosch moved on to other artistic arenas when the Underground movement foundered but he never toned down his visions. In 2008 he suffered massive brain damage in mysterious circumstances and has been undergoing full-time palliative care ever since.

This intimate and informative oversize (286 x 202mm) hardcover biography and graphic overview is compiled from previous writings and extensive interviews with the people he grew up with and who shared his eventful life.

Moreover each telling anecdote and reminiscence is augmented with photos, paintings, illustrated letters and private or previously unpublished artworks, and each chapter offers a wealth of strips: comprising all of his published comics work from the heady days of America’s counterculture explosion in 1968 to its virtual demise in 1976.

Our history opens with a warm, picture-packed, fact-filled Introduction by college pal and flatmate John Gary Brown before the hagiography of horrors begins with ‘Wilson’s Childhood’.

Described by Robert Crumb as “the strongest, most original artist of my generation” Steven Clay Wilson grew up in down-home Lincoln, Nebraska, thriving on a diet of EC comics (especially Piracy), post-war prosperity and Great Plains sensibilities. His early life was filled with good family, cool pets, cycling, school and drawing.

Lots of drawing (much of it impressively included in the first chapter) takes us out of High School and unto college but before that unfolds there’s a gory welter of early triumphs in the black and white comics section which includes such classics as ‘Shorts in the Bowl’ from Gothic Blimp Works #1, ‘River City Shoot-Out’from the second issue and ‘No Loot for You, Captain Namrooth’ from Gothic Blimp Works #6, all from 1969, followed by a ‘Goodtimes Front Cover’ for May 1st 1970.

The entirety – 26 images – of the mega-successful arts project which became ‘S. Clay Wilson Portfolio Comix’ leads into the strip ‘Afterwards’ from Hydrogen Bomb Funnies, 1970 and the tableaux ‘It’s a Thrill to Kill’ from Thrilling Murder Comics 1971 and ‘The 137th Dream of Lester Gass’ (Illuminations 1971).

A productive strip period begins with ‘Insect Paranoia’ from Insect Fear #1, ‘Insect Angst’ (#2, both 1970) and ‘Insomnia Angst’ (#3, 1972), followed by ‘Boogie Boogie Horror Yarn’ (Laugh in the Dark, 1971) and closes with ‘Whip Tip Tales’ and ‘Soft Core Porn Yarn’from San Francisco Comic Book issues #1 and #3 in 1970.

Wilson’s turbulent brush with art school and academia at the University of Nebraska is detailed in ‘Higher Education’ as is his understandably less than glorious military service and adoption of the drop out life style, all topped off by more manic strips and panels (he called them “Deep Scenes”) beginning with ‘The Hog Ridin’ Fools’ (Zap Comix #2, 1968 and featuring a very early appearance of Wilson’s signature character the Checkered Demon). That issue also provides ‘Just as you said Madge… He’s Shitting’and ‘Head First’, whilst from the third comes ‘Captain Pissgums and His Pervert Pirates’, ‘Gilded Moments’,‘Captain Edwards St. Miguel Tilden Bradshaw and his crew come to Grips with bloodthirsty foe pirates’, ‘Come Fix’and ‘Arnie, my bra ain’t on’.

Wilson drew at a phenomenal rate and Zap Comix #4 1969 unleashed ‘A Ball in the Bung Hole’, an untitled phantasmagorical double-spread, ‘Leather Tits’ and the debut of his occasional lewd lead ‘Star-Eyed Stella’ whilst Zap #5 1970 barely contained ‘Lester Gass the Midnight Misogynist’, ‘Ruby the Dyke Meets Weedman’and ‘Snake Snatch Tale’.

At the end of 1966 Wilson relocated to ‘Lawrence, Kansas’, a burgeoning Midwestern oasis of counterculture thought and self-expression, and a useful place to concentrate his creative energies before his inevitable move to the West Coast. This chapter is abutted by another wave of glorious filth and ferocity comprising non-biblical epic ‘The Felching Vampires Meet the Holy Virgin Mary’ (Felch Cumics 1975), adult fairy tale ‘Puducchio’ from Pork (1974) which also provided a quartet of single frame gags, after which Bent (1971) provides Deep Scene ‘Dwarf Snuffing Station #103’, ‘Pendants’, a return engagement for ‘Star-Eyed Stella’and ‘Nail Tales’.

Declaring “Art is Therapy”, Wilson always saw its creation as a collaborative process: one which demanded a response. On reaching the golden lands of ‘The Barbary Coast’ his artistic jams with the likes of Crumb – who claims the flatlander inspired him to completely release all his artistic inhibitions – and creative compadres like Spain Rodriguez, Rick Griffin, Robert Williams and Victor Moscoso made them royalty in the San Francisco heart of the revolution.

That star-studded, astounding period and how it began to fade makes up the last revelatory chapter in this initial volume and concludes with one last selection of colour and monochrome masterpieces including the eye-popping ‘Deranged doctors perform operational experiments on mutated patients under the antiseptic incandescent gaze of the Big Daddy Devil Doctor’ from Arcade #3, 1975, illustrations for William Burroughs’seminal short story‘Fun City in Badan’ (Arcade #4), ‘The Corpse Gobblin’ Ogre of Columbite Mountain’(Arcade #5), ‘Monster Bride’ (Arcade #6) and ‘Vampire Lust’(Arcade #7, 1976).

Also on show are multi-hued strip ‘Last Foe’ (Apple Pie July 1975), the cover from Zap Comix #3, the front and back covers from S. Clay Wilson Portfolio Comix, Bent and Pork,‘It’s a treat to blast away the flat foot’s feet’ from Tales of Sex and Death #1, (1971), eight-page, in-record minicomic insert ‘The Saga of Yukon Pete’ from the vinyl platter of the same name by Son of Pete and the Muffdivers, wrapping up in fine style with the infernally euphoric ‘Surfsup’ strip from Tales from the Tube #1, 1972.

Scholarly yet surprisingly engaging, this superb collation, contrived and shepherded by Patrick Rosenkranz, offers an amazingly and unforgettable close-up view of one of the most important cartoonists in American history. This is a book no serious lover of the art form or devotee of grown-up comics can afford to miss.

The Mythology of S. Clay Wilson volume one: Pirates in the Heartland © 2014 Fantagraphics Books. All comics and images by S. Clay Wilson © 2014 S. Clay Wilson. All biographical text © 2014 Patrick Rosenkranz. All other material © 2014 its respective creators and owners. All rights reserved.

Buddy Buys a Dump: the Complete Buddy Bradley Stories from “Hate” volume III

By Peter Bagge with Joanne Bagge (Fantagraphics Books)
ISBN: 978-1-60699-745-1

Peter Bagge is best regarded these days as a fiery, cauldron-mouthed, superbly acerbic and well-established award-winning cartoonist, animator and musician, responsible for incredibly addictive, sharply satirical strips examining contemporary American life, through a small but memorable cast of sharply defined characters compellingly reflecting his views.

Born in Peekskill, Westchester County, New York in December 1957, he was one of four kids in a ferociously Catholic military family. Like esteemed colleague Robert Crumb a generation earlier, Bagge escaped that emotionally toxic, fight-filled environment as soon as possible, moving to New York City in the mid-1970s to study at the celebrated School of Visual Arts.

He soon dropped out and began working in the vibrant alternative publishing field, producing strips and panels for Punk Magazine, Screw, High Times, East Village Eye, World War Three and others.

Meeting like-minded artists he began self- and co-publishing comics, and when Crumb saw copies of Comical Funnies (produced with new chum John Holstrom in 1981 and the birthplace of the unsavoury star of this collection), Bagge was offered space in and eventually the Editorship of the seminal commix magazine Weirdo in 1983.

He augmented his 3-year tenure there with various paying gigs at Screw, Swank, Video X, Video Games Magazine, The Rocket, Bad News and elsewhere.

In 1984 Bagge relocated to Seattle, Washington State and began his association with alternative/Independent publisher Fantagraphics. The following year his spectacularly idiosyncratic cartoon magazine Neat Stuff launched as a thrice-yearly vehicle of outrageous personal expression and societal observation.

His stark, manic, topically surreal strips, starring old creations like Studs Kirby, Junior, Girly Girl and quintessential ineffectual rebel Buddy Bradley swiftly turned the cartoonist into a darling of the emerging West Coast Grunge scene, and before too long Neat Stuff and its successor Hate made Bagge a household name… at least in more progressive households…

As the 90’s became the next century, Bagge’s quasi-autobiographical Buddy starred in a succession of titles and strips (collected in Buddy Does Seattle and Buddy Does New Jersey); the cartoon character’s excitable existence mirroring typical life in that chaotic lost decade. In 2001 the author began releasing Hate Annuals wherein, amongst other strident graphic treats, middle-aging Buddy was seen having fully transitioned from angry teen slacker to working dad with a family to support…

This deliciously hilarious and painfully uncompromising full-colour collection gathers those traumatic middle years of Harold “Buddy” William Bradley Jr.– originally seen in Hate Annual #1-9, 2001-2011 – and opens with ‘Are You Nuts?’ as the irascible everyman is almost beguiled by crazy friend and occasional co-worker Jay Spano into buying a dilapidated aquabus and going into the guided-tour business in scenic New Jersey.

Naturally, his certifiably crazy wife Lisa has a few opinions on the matter…

A year later ‘A-Rod Goes to the Moon’ featured the catastrophic day when the Bradley women go for a “Ladies weekend” and leave Buddy in charge of not only his own baby boy, but sister Bab’s maladjusted brood. Soon however with half the kids in the neighbourhood tagging along, Buddy realises the depths of his folly and opts for a tried and true solution to his unwanted responsibilities…

‘The Domestication of Lisa Leavenworth-Bradley’ focuses on the little woman’s obsession with homemaking and search for a way to occupy her dull, dire days which translates to Buddy having to look for a better place for them to dwell, whilst in ‘Buddy Bradley gets a “Real” Job’ the old collectibles shop gets so stale that our hero takes gainful employment as a UPS delivery man.

However the shocking scams and appalling attitudes of his fellow honest workers soon drive him back to the relatively honourable profession of trading in junk, nostalgia and dreams…

‘Fuddy Duddy Buddy’ saw a drastic change in the visual aspect of the family man as, after a medical scare, he shaved his head, began sporting an eye-patch and took to wearing a naval captain’s cap. He also made a move to the nastier part of Jersey to fulfil his lifelong dream of running a rubbish dump…

With Lisa and toddler Harold safely if reluctantly ensconced in the big house attached to the tip, ‘Skeletons in the Closet’ then focuses on Buddy and Jay’s shift into the surprisingly lucrative scrap metal business, and the resurfacing of the most unsavoury of Buddy’s siblings and their childhood hoodlum friends. It seems folks are asking unwelcome questions about old Stinky Brown (a pal of Buddy’s who disappeared years ago), prompting gun-nut brother Butch Bradley and his cronies to move the body… but only finding that someone had already taken it…

‘The Future’s in Scrap!’ surprisingly finds Buddy and Jay prosperous if shabby partners in an exponentially expanding business, whilst ‘Lisa Leavenworth-Bradley Discovers her Creative Outlet’ details how the bored mother seeks out a fresh hobby and new friends only to finds herself embarrassingly embroiled in an all-girl band with strip club ambitions…

With things looking pretty sweet and stable in ‘Heaven’, the abrasive, raucous comedy takes a darkly observational turn in ‘Hell’ when Lisa drags the family back to Seattle to meet her ferociously religious mom and obnoxious dad.

It transpires that the parents she despises are both in dire health and legal straits and, after meeting her creepy fundamentalist foster brother and sex offender cousin, Buddy realises why his wife became the neurotic mess she is.

When Buddy and Harold return to the East Coast Lisa isn’t with them…

Everything wraps up without really ending in ‘Fuck it’ as, whilst Lisa struggles to cope with her folks’ decline in Seattle, back in the Garden State the man and his boy make big dramatic and definitely felonious changes to their lives…

Just like the eponymous star character, the hopefully still unfolding story of Buddy Bradley has slowly matured from razor-edged, broadly baroque, comedically clamorous observations and youthful rants into sublimely evocatively enticing treatises on getting by and getting older, although the deliciously fluid drawings and captivating cartoon storytelling remains as fresh and innovative as ever.

Bagge has always been about skewering stupidity, spotlighting pomposity and generally exposing the day-to-day aggravations and institutionalized insanities of modern life, but the strips in Buddy Buys a Dump also offer a beguiling view of passion becoming, if not wisdom, certainly shrewd appreciation of the unchanging verities of life: a treat no cartoon-coveting, laughter-loving rebel should miss…
© 2013 Peter Bagge. This edition © 2013 Fantagraphics Books. All rights reserved.

Trans-Dimensional Zombie Bummers volumes 1 & 2

By Maree & J.A.H.N.
ISBNs: 978-1-4947-1244-0 & 978-1-4947-2240-1

In Britain we have a glorious tradition of Gentlemanly Amateur Excellence. In the Good Old Days we decried crass commercial professionalism in favour of gifted tryers: Scientists, Inventors, Sportsmen – even colonialists and missionaries – all those who in their time eschewed tawdry lucre, hefty development budgets and “Practicing Beforehand” (“…which ruins the fun”) in favour of just getting on with it and pluckily “Having-a-Bash”.

And a surprising number of those local heroes soared, like Charles Darwin, Robert Boyle or Henry Fox Talbot, and the tradition continues to this day like Trevor Baylis (inventor of the clockwork radio) and has spread to other areas of endeavour such as Eddie “The Eagle” Edwards or our many self-publishing stars like Eddie Campbell or John Maybury.

With such antecedents it especially generates a manly pang of pride in me when that “Can-Do Spirit” results in good comics…

So despite both creative participants here having non-resident status I’m doing them the honour of according them Notional Nationality status for the duration of this review – or as long as they can handle it…

Candidly drawing on Britain’s the venerable tradition of appalling bad-taste, surreal zaniness and shameless, protracted double entendres, Trans-Dimensional Zombie Bummers takes the topical taste for Zombie Apocalypse fiction and convincingly tweaks, twists and tortures (not to mention folds, spindles and mutilates) the genre and zeitgeist with wit, remorseless, sarcastic invention and cynical, surreal socio-political shots to the ‘nads.

The physical editions (the tomes are as available as Kindle editions and in other formats) are big black-&-white paperback tomes (280 x 207mm) stuffed with sly, wry innuendo and, whilst artist J.A.H.N. might have benefited from better reference material and more drawing time in places, author Maree’s trenchant pacing and remorseless parody riffs carry the tale along with frantic, furious, madcap pace…

The end of everything begins in volume 1: The Thin Goo Line where, in a faraway dimension, the world has collapsed into disaster. On this parallel Earth, vain and foolish geneticists meddled with male mating urges and accidentally spawned a virus which turned men into unthinking, out-of-control anally-fixated undead rapists. Of course, it killed them first…

In the wink of an eye civilisation fell, but one scientist built a trans-dimensional portal, intending to escape, only to fall foul of the rectal Armageddon at the very last minute and on landing transformed in another London as a fully-fledged trousers-down crusty carrier…

In the essentially Third World London Borough of Sutton, the brain-dead and preternaturally horny Apocalypse-beast arrives and immediately assaults an unwary Irishman outside a local hostelry.

Instantly infected, the traumatised Son of Erin is comforted by Basil, Rupert and Mandingo (an out-&-proud Gay Black Police Detective); passing homosexual partygoers who take pity on the stunned and shell-shocked (and dying/mutating) Kerryman. Feeling very out of sorts he goes with them for a medicinal drink or ten at their favourite night-spot…

The taint he carries works with terrifying rapidity and within hours the first victim has himself infected hundreds of eager and willing fun-seekers at the wild and woolly club…

Meanwhile his trans-dimensional transgressor has continued its own mindless rampage, only to be arrested by unbelieving coppers who catch him/it having his way with a doubled-over store mannequin. The green and mouldy incoherent invader is thrown into a cell and largely forgotten as reports rapidly come in concerning a rash of unwholesome acts in the streets…

At Sutton police station “old school copper” (for which read brutal, bigoted, bullying undiagnosed psychopath) Inspector Jake hears of the plague of Sodomy and sends his boys out to crush it, but his Manor is not a happy, rich, fashionable borough like utopian paradisiacal neighbour Croydon and he expects terrific resistance from the surly, unruly multi-cultural hoi-polloi who dwell there…

People like class-traitor Julie, a blue-blooded lass and latter-day chav, married to staunch socialist-liberal ex-aristocrat Dale, wine critic for the Workers Revolution newspaper.

She has unspecified connections to the highest in the land but prefers to slum it with her commie-pinko chums, or ultra-extreme Politically Correct roving reporter Bunting Bell of the BBC.

Jake almost prefers the deranged, greedy fundamentalist cant of Pox News journo P. Chariti, eagerly spreading panic around the globe by perpetually broadcasting scenes of what she is sure is the biblical End of Days.

Julie’s first clash with the Priapic perambulators forces her to reveal her deadly proficiency in ninja fighting arts and, barely escaping the shamblers, she dashes home to save her man from another clutch of zombies even as Inspector Jake’s attempts to reclaim his streets goes very badly wrong and his diminished force of rozzers retreats back behind the firmly clenched doors of the police station.…

With the crisis growing and an exponentially growing wave of bumbies roaming the streets, Mayor Hussein broadcasts a call for all uninfected residents – whatever their gender, race or orientation – to take refuge at the huge and sturdy Grand Mosque on Winnie Street and Jake and his men make a desperate dash to comply.

A couple of social classes away at 10 Downing Street, Prime Minister David Cameroon, Chancellor Assbourn and Homely Secretary Terry Pays are aroused from their posh-boy (and girl) games and appraised of the growing disaster somewhere in one of the poor bits of town…

As the situation worsens the triumvirate of Toffs endure a bollocking in Parliament, and wishy-washy Cameroon decides that they need to be seen doing something. However their publicity-junket to the front lines goes horrifically wrong when their helicopter goes down in hostile territory.

Trapped in Sutton and surrounded by insatiable undead rear-enders, Pays is beginning to regret her obsessive purge of police numbers when the political poltroons are surprisingly saved by turban-wearing, sword-wielding worshippers from the Mosque.

Temporarily secure behind its stout walls, they are soon joined by infamous police-hating lawyers Micky Manksfield and Inman Khant who have rushed to Sutton to make sure the rampaging monsters are not brutalised and framed by the cops…

With the country’s governors lost, Parliament is in uproar and ripe for takeover. The blow comes when Britain’s real masters brutally emerge from their shadows and cow the pewling Parliamentarians at the point of their guns.

The scraggy, reanimated remains of Dorris Stokes, Mary Whitehouse, Claire Rayner and Fanny Craddock are scary enough, but when their squad leader exposes herself as the terrifying Maggie T, the Mother of all Parliaments rocks with horror, shock and – from the simpering mummies-boys of the Tory back-benches – fawning adoration and relief…

At the Winnie Street Mosque, the deflated, unsuspectingly ousted government’s very worst enemy has just fought his way through the anarchy-riven borough to join the unsullied survivors, but Radical Scots Islamist Georgy Goaway and his Unregulated Mini Scab Taliban are not there to save their scalps: quite the opposite in fact…

And back in Proper London, Maggie is back to steer the country through its greatest crisis, but as dawn breaks over Sutton nobody is aware that the Ironed Lady is herself in the clutches of a far darker mistress…

The lewd lunacy escalates into even crazier political capital and horrific hoots in the concluding volume – Trans-Dimensional Zombie Bummers 2: In Sutton, No-One Can Hear You Cream with Jake deploying the nauseating Police Community Support Officers whilst Maggie activates the Metropolitan Police’s long-hidden, obscenely secret doomsday weapon (the last working member of the notorious Special Patrol Group, or Bob as likes to be called) before, in the dead zone, Julie reveals her own clandestine links to Britain’s real rulers and the zombie bottom-feeders try to break out of Sutton and spread their atrocious acts into Croydon and other, lesser realms…

Appallingly bad-taste, brutally non-PC, simultaneously fancifully macabre and punishingly politically astute, this extremely funny story takes on a far more powerful significance if you actually live in or around London.

Although drenched in local colour gone wild and geographical in-jokery of a highly refined kind, this is a tale totally unfettered by the strictures of good taste: sardonically blessed with chapter headings such as ‘Play Fisty For Me’, ‘The Evil Head’ and ‘The Porking Dead’ (apparently some of these are under revision so I’ve spitefully chosen not to share them you: get your own copies) whilst always carefully balancing political pokes with blisteringly vulgar sallies at the insanity of modern life.

Shamefully, laugh-out-loud, spit-take, blasting-coffee-from-your-nose funny and happily reminiscent of Robert Rankin’s wonderful Brentford Triangle novels (but with pictures and many, many more bottoms) and as addictively addled as Whoops Apocalypse (Andrew Marshall & David Renwick’s sublime satirical TV show, not the bowdlerised movie adaptation), Trans-Dimensional Zombie Bummers is the kind of story only certain people will want – or be able – to read, so I hope you’re one of us and not one of them…

It doesn’t say so but I’m going to assume © 2013 Maree & J.A.H.N. or maybe © 2013 Trans-Dimensional Zombie Bummers. All rights reserved in either case.

Fight the Power – a Visual History of Protest Among the English Speaking Peoples

By Seán Michael Wilson, Benjamin Dickson, Hunt Emerson, John Spelling, Adam Pasion with additional cartoon by Polyp (New Internationalist)
ISBN: 978-1-78026-122-5

Politics is composed of and utilised equally by firebrands and coldly calculating grandees, and that’s probably the only guiding maxim you can trust. Most normal people don’t give a toss about all that until it affects them in the pocket or impacts their kids and, no matter to what end of the political spectrum one belongs, the greatest enemy of the impassioned ideologue is apathy. This simple fact forces activists and visionaries to ever-more devious and imaginative stunts and tactics…

However, all entrenched Powers-That-Be are ultimately hopeless before one thing: collective unified resistance by the very masses they’re holding down through force of arms, artificial boundaries of class or race, capitalist dogmas, various forms of mind control like bread, circuses and religion, divisive propagandas or just the insurmountable ennui of grudging acceptance to a status quo and orchestrated fear that unknown change might make things worse.

From its earliest inception cartooning has been used to sell: initially ideas or values but eventually actual products too. In newspapers, magazines and especially comicbooks the sheer power of narrative with its ability to create emotional affinities has been linked to the creation of unforgettable images and characters. When those stories affect the lives of generations of readers, the force that they can apply in a commercial, social or especially political arena is almost irresistible…

The compelling power of graphic narrative to efficiently, potently and evocatively disseminate vast amounts of information and seductively advocate complex issues with great conviction through layered levels has always been most effectively used in works with a political or social component. That’s never been more evident than in this stunning and scholarly new graphic anthology detailing some of the most infamous and effective instances of popular protest.

In Britain the cartoonist has always occupied a perilously precarious position of power: with deftly designed bombastic broadsides or savagely surgical satirical slices instantly capable of ridiculing, exposing and always deflating the powerfully elevated and apparently untouchable with a simple shaped charge of scandalous wit and crushingly clear, universally understandable visual metaphor …or sometimes just the plain and simple facts of the matter…

For this universal and welcomingly basic method of concept transmission, levels of literacy or lack of education are no barrier. As the Catholic Church proved millennia ago with the Stations of the Cross, stained glass windows and a pantheon of idealised, sanitised saints, a picture is absolutely worth a thousand words, and as William the Conqueror saw with the triumphalist Bayeux Tapestry, picture narratives are worth a few million more…

Following a thought-provoking Introduction by author, journalist and filmmaker Tariq Ali, this procession through the history of dissent compiled and scripted by Seán Michael Wilson and Benjamin Dickson begins with an agenda-setting ‘Prologue’ – illustrated by Adam Pasion – which can best be described without giving the game away as “Uncle Sam, John Bull and the Statue of Liberty (AKA ‘Liberty Enlightening the World’) walk into a bar…”

Their heated discussion on the value and need of people using their right to dissent is then captivatingly illustrated through a series of erudite, fascinating, shocking and even funny tutorial episodes beginning with a compelling account of ‘The Luddites and the Swing Riots, 1811-1832’ written by Wilson and rendered both palatable and mesmerising by comics legend Hunt Emerson.

The artist then turns his talents to recreating the horrific events and aftermath of ‘The Battle of Peterloo, 1819’ from Dickson’s script before, with Wilson, cataloguing a wave of ‘Colonial Rebellions, 1836-1865’ which the British Empire dealt with in its traditional even-handed, temperate manner (and in case you were wondering, that’s called “sarcasm”…)

Wilson & Pasion then detail the global impact of the ‘Irish Rebellions, 1791-1922’ whilst Dickson & Emerson’s account of ‘The Suffragettes, 1903-1918’ actually follows the story of Votes for Women right up to the present. The practically forgotten and brutally savage sagas of ‘The Australian General Strike, 1917’ (by Wilson & Pasion) and the equally appalling landmark events of ‘The Boston Police Strike, 1919’ – as told by Dickson & John Spelling – reveal the pattern of modern labour conflicts with working folk ranged against intransigent and greedy commercial interests.

The age-old struggle escalated during the ‘UK General Strike and the Battle of George Square, 1918-1926’ (Wilson & Spelling) and reached an intolerable strike-busting peak in Ohio during ‘The Battle of Toledo, 1934’ (Wilson & Spelling): a struggle which cemented management and labour into the intractable ideologically opposed positions they still inhabit today…

The championing of Human Rights is commemorated by Dickson & Pasion in ‘Rosa Parks and the Bus Boycott, 1955-1956’ and a deeply moving account of ‘The Trial of Nelson Mandela, 1964’ whilst the modern American soldier’s method of combating unwelcome or insane orders is reviewed in the brilliantly trenchant ‘Fragging’ by Wilson & Emerson…

Back home and still etched in many peoples memories, ‘The Poll Tax Riots, 1989-1991’ offers a surprisingly even-handed account of Margaret Thatcher’s greatest political blunder by Dickson & Spelling, before hitting today’s headlines with the origins and outcomes – to date – of ‘Occupy, 2011-’

Returning to that bar and Lady Liberty, Dickson, Wilson & Pasion then draw a few telling Conclusions to close the cartoon course in mass resistance, after which the writers discuss their process in Authors Notes: Why This Book? before then listing the truly phenomenal rewards of all those campaigns and protests with a long list of Rights Won (ranging from Women’s Suffrage to the universal formal acknowledgement of the Human Right to Protest).

Understanding the value of a strategically targeted chuckle, this fabulous monochrome chronicle concludes with one last strip as Dickson & Emerson hilariously reveal ‘The Four Stages of Protest’ courtesy of Mohandas “Mahatma” Gandhi…

More so than work, sport, religion, fighting or even sex, politics has always been the very grist that feeds the pictorial gadfly’s mill. Of course cartooning can only accomplish so much and whilst Fight the Power! recounts a number of instances where physical and intellectual action were necessary to achieve or maintain justice, at least our art form can galvanise the unconvinced into action and help in the useful dissemination of knowledge about protest: the Who, Where, When, and How.

If you don’t understand What or Why then you’re probably already on the other side of the barricades…
© 2013 Seán Michael Wilson and Benjamin Dickson. Illustrations © 2013 Hunt Emerson, John Spelling and Adam Pasion. Cartoons © 2013 Polyp. All rights reserved.

This book was reviewed and scheduled before the announcement of the death of Nelson Mandela. After briefly considering postponing the posting I’ve decided to go ahead. If you can’t understand why perhaps you should think really hard about what he stood for and what Fight the Power! is about.
Win – proudly wearing his little red rebel’s hat…

VIP – the Mad World of Virgil Partch

Edited by Jonathan Barli (Fantagraphics Books)
ISBN: 978-1-60699-664-5

Win’s Christmas Gift Recommendation: impossibly inventive – an all-year-round treat… 9/10

Virgil Parch is another of those almost forgotten key men of comedy cartooning: a pervasive creative force working away for years, making people laugh and slowly, steadily changing the very look and nature of the industry.

Although largely unremarked upon and unremembered these days, Virgil Franklin Partch II (1926-2004) is probably one of the most influential – and most successful – American cartoonists in history.

His arch, absurd, rude, sly, subtle, skewed, whacky and astoundingly unique gags, strips, stories and animated shorts were generated with machine gun rapidity from a seemingly inexhaustible well of comedy excess, which could be rendered in a variety of styles which completely revolutionised the American publishing from the moment in 1941 that the artist switched from Walt Disney Studio ideas man to freelance gag-maker.

He is most well regarded for his cavalier abandonment of traditional form and anatomy. Partch is the guy who liberated gag-cartooning from the bonds of slavish attention to body detail: replacing broadly human shape and proportion with a wildly free and frenetic corporeal expressionism – perhaps even symbolism – which captivated legions of fellow artists and generations of fun-starved readers. He’s the guy who made 19 fingers on one hand work…

This superbly comprehensive and lavishly huge (260x315mm) landscape hardback art book/biography (in monochrome & full-colour) covers his life and career in scrupulous detail through a wealth of his best cartoons – many shot from original art – and includes oodles of roughs, sketches, layouts and doodles, all accompanying the bright and breezy life-history by James Barli, and all augmented with loads of intimate photos.

The joyous journey begins after a heartfelt Introduction by stylistic and thematic heir Peter Bagge with ‘Partch ad absurdam’: broken down into easily digested chapters beginning with ‘Prologue: Under the Volcano’ which introduces the man’s remarkable forebears whilst ‘The Call of the Wild’ and ‘Of Mice and Men’ details his early life and the eclectic education which led to his joining the fabled Walt Disney Studio in its golden, pre-strike prime.

‘Brave New World’ and ‘The Divine Comedy’ reveal how the assembled animators’ habit of pranking each other with gag cartoons led friend Dick Shaw to dispatch many of Partch’s drawings to magazines such as Collier’s and The New Yorker in 1941, whilst ‘A Farewell to Arms’ covers the new family man’s stint in the Army where his gift was exploited by Forrest J. Ackerman, beginning his own stellar career as editor of Army newspaper Bulletin

On demobilisation Partch’s path was assured and he became the most prolific gag-seller in America: it was almost impossible to find a magazine or periodical that didn’t carry one of his cartoons, and when Playboy debuted in 1953 there was one of his women sharing cover-space with Marilyn Monroe…

As seen in ‘Point of No Return’ and ‘The Genius’, whilst working as an animator (for Walter Lantz on Woody Woodpecker) and as a cartoonist for leftwing New York newspaper PM, Partch started a constant stream of book collections in the fifties which captured and reflected the risqué, hard-drinking sophistication of the era as well as simultaneous lives as an ad man and writer for other draughtsmen, and worked with futurist economist William J. Baxter on a series of prognosticative books which warned of such nebulous dangers as out-of-control capitalism, the Military-Industrial Complex, “1 Per-Centers” and even Global Warming…

His passion for sports – especially sailing – is covered in ‘Three Men in a Boat’ whilst in

‘As a Man Grows Older’ changing times and the urgings of old pal Hank (Dennis the Menace) Ketchum provoked the restless creator to launch his comicstrip Big George! whilst increasingly becoming a cultural ambassador for his craft and art form. He also upped his range of commercial and design projects and invented the grittier strip The Captain’s Gig.

The rise and rise of Virgil Partch is covered in ‘The Old Man and the Sea’ whilst ‘Epilogue: the Death of Virgil’, like a bad punch line, recounts the truly stupid and meaningless end of a legend when both the artist and his wife perished in a car crash on August 10th 1984…

The Unknown Quantity then focuses on his astounding output through ‘A Partch Picture Gallery’ subdivided into ‘Cartoons from PM, ‘War in Pieces’ (military madness), surreal and absurd ‘Reality Bites’ and the boozy world of ‘Cork High and Bottle Deep’.

His laid back view of sex is recapitulated in ‘The Eternal Chase’ and ‘Battle of the Sexes’ whilst ‘The Sporting Life’ and ‘Partched’ focus on his other overweening interests…

His graphic expertise and design triumphs are celebrated in ‘Covered’ and ‘(m)Ad Man’, his skewed view of the world’s leaders in ‘Political Partch’, after which a selection of his articles and stories kicks off with ‘The Private War of Corporal Partch’, before ‘The Vipper Comes to Town’, ‘Bourbon and Watercolors’, ‘Vacation for Vipper’ and ‘Inland Cruise of the “Lazy B”’ bring this glorious tribute to times past and an incredible artist to a close.

Virgil Partch was blessed with a perpetually percolating imagination and a unique visual point of reference which made him a true catalyst of cartoon change, and Fantagraphics Books have once again struck pure gold by commemorating and celebrating this lost legend of graphic narrative arts.

Most importantly this is an astoundingly funny collection: the vast accumulation of funny drawings and clever stories still as powerfully hilarious as they ever were, and all brilliantly rendered by a master craftsman no connoisseur of comedy can afford to miss.
© 2013 Fantagraphics Books. All text © 2013 Jonathan Barli. All images © their respective copyright holders. Introduction © 2013 Peter Bagge. All rights reserved.

The Complete Crumb Comics volume 8: The Death of Fritz the Cat – New Edition

By R. Crumb & guests (Fantagraphics Books)
ISBN: 978-0-56097-076-7

This book contains really clever and outrageously dirty pictures, rude words, non-condemnatory drug references and allusions, apparent racism, definite sexism, godless questioning of authority and brilliantly illustrated, highly moving personal accounts and opinions. It also painfully displays a genius grappling with his inner demons in a most excruciatingly honest and uncomfortable manner.

If you – or those legally responsible for you – have a problem with that, please skip this review and don’t buy the book.


I mean it…

Robert Crumb is a truly unique creative force in comics and cartooning, with as many detractors as devotees. From the first moments of the rise of America’s counterculture, his uncompromising, forensically neurotic introspections, pictorial rants and invectives unceasingly picked away at societal scabs, measuring his own feelings and motives whilst ferociously ripping way civilisation’s concealing curtains for his own benefit. However, he always happily shared his unwholesome discoveries with anybody who would take the time to look…

In 1987 Fantagraphics Books began the Herculean task of collating, collecting and publishing the chronological totality of the artist’s vast output, and those critically important volumes are being currently reissued for another, more liberated generation.

The son of a career soldier, Robert Dennis Crumb was born in Philadelphia in 1943 into a dysfunctional, broken family. He was one of five kids who all found different ways to escape their parents’ highly volatile problems, and comic strips were paramount among them.

Like his older brother Charles, Robert immersed himself in the comics and cartoons of the day; not just reading but creating his own. Harvey Kurtzman, Carl Barks and John Stanley were particularly influential, but also comic strip legends such as E.C. Segar, Gene Ahern, Rube Goldberg, Bud (Mutt and Jeff) Fisher, Billy (Barney Google) De Beck, George (Sad Sack) Baker and Sidney (The Gumps) Smith, as well as classical illustrators like C.E. Brock and the wildly imaginative and surreal 1930’s Looney Tunes and Merrie Melodies animated shorts.

Defensive, introspective, frustrated, increasingly horny and always compulsively driven, young Robert pursued art and self-control through religion with equal desperation. His early spiritual repression and flagrant, hubristic celibacy warred with his body’s growing needs. …

To escape his stormy early life, he married young and began working in-house at the American Greeting Cards Company. He discovered like minds in the growing counterculture movement and discovered LSD. By 1967 Crumb had moved to California and became an early star of Underground Commix. As such he found plenty of willing hippie chicks to assuage his fevered mind and hormonal body whilst reinventing the very nature of cartooning with such creations as Mr. Natural, Fritz the Cat, Devil Girl and a host of others. He worked on in what was essentially a creative utopia throughout the early 1970’s but the alternative lifestyle of the Underground was already dying. Soon it would disappear: dissipated, disillusioned, dropped back “in” or demised.

A few dedicated publishers and artists stayed the course, evolving on a far more businesslike footing as Crumb carried on creating, splitting his time between personal material and commercial art projects whilst incessantly probing deeper into his turbulent inner world.

This eighth volume mostly covers – in chronological order – material created and published in 1971 (with the merest tantalising smidgen of stuff from 1972), when the perpetually self-tormented artist first began to experience creative dissatisfaction with his newfound status as alternative cultural icon: a period when the no-longer insular or isolated artist was at his most flamboyantly creative, generating a constant stream of new characters, gags, commercial art jobs, short strips and with longer material popping up seemingly everywhere.

It was also the moment when he began to realise the parasitic, exploitative nature of many of the hangers-on exploiting his work for profits which he never saw himself – particularly filmmaker Ralph Bakshi, whose phenomenally successful movie of Fritz the Cat prompted Crumb to kill the cunning kitty character off…

That and more are all faithfully reproduced in this compilation – which makes for another rather dry listing here, I’m afraid – but (as always) the pictorial material itself is both engrossing and astoundingly rewarding. But please don’t take my word for it: buy the book and see for yourselves…

After a passionate if meandering photo-packed Introduction from wife and collaborator Aline Kominsky-Crumb – whom he first met in 1971 – the stream of cartoon consciousness and literary freewheeling begins with the salutary tale of ‘Stinko the Clown in Stinko’s New Car’ from Hytone, rapidly followed by the strange romance of ‘Maryjane’ originally seen in Home Grown Funnies, which also provided the (now) racially controversial and unpalatable ‘Angelfood McDevilsfood in Backwater Blues’ – with that horrific homunculus The Snoid – and twisted “love” story of ‘Whiteman Meets Big Foot’

The underground Commix scene was awash with artistic collaborations and a selection of jam sessions kicks off here with ‘Let’s Be Realistic’ from Hungry Chuck Biscuits wherein Crumb, Jay Lynch, Jay Kinney & Bruce Walthers surreally free-associated, whilst in Mom’s Homemade Comics Denis Kitchen, Don Glassford, Dale Kuipers, Jim Mitchell, Pete Poplaski, Wendel Pugh, Jay Lynch, Dave Dozier, Bruce Walthers & Dennis Brul joined forces with the bespectacled outsider to make some ‘Kumquat Jam’

From ProJunior, ‘Perdido Part One’ and ‘ProJunior in Perdido Part Two’ saw the Dagwood-esque everyman experience the growth in social violence courtesy of Crumb and fellow legend S. Clay Wilson.

All on his own again Crumb captured the appalling nature of ‘Jumpin’ Jack Flash!’ (from Thrilling Murder) and crafted a lovely ‘Nostalgic Books catalog cover’ for their Summer/Fall 1971 issue, after which a tranche of material from Big Ass #2 (August 1971) starts with a paranoiac perusal of ‘The Truth!’, before another obnoxious jerk resurfaces to dominate sexy bird creatures in ‘Eggs Ackley in Eggs Escapes’ even as the intimately contemplative domestic explorations of  ‘A Gurl’ dissolve into the raucous, earthy humour of ‘Anal Antics’ to end the first black and white section of this challenging chronicle.

A vividly vivacious Color Section celebrates a wealth of covers, opening with ‘The Last Supplement to the Whole Earth Catalog’(March 1971), followed by ‘Home Grown Funnies’ and its angsty back cover strip ‘The Desperate Character Writhes Again!’. Moving on, ‘Big Ass #2’, ‘Mr. Natural #2’ – front and back covers – leads to ‘Bijou Funnies #6’ and the rainbows end on the sublimely subversive front for ‘The People’s Comics’.

A return to monochrome provides two more strips from Big Ass #2 beginning with the savagely ironic ‘A Word to you Feminist Women’ and the cruelly hilarious ‘Sally Blubberbutt’ after which the contents of Mr. Natural #2 (October 1971) unfold with ‘Mr. Natural “Does the Dishes”’, before ruminating and sharing more timeless wisdom with resident curious “Straight” Flakey Foont in ‘A Gurl in Hotpants’.

This leads to ‘Sittin’ Around the Kitchen Table’ and meeting ‘The Girlfriend’, after which two untitled Mr. Natural graphic perambulations result in a cult war with the adherents of the aforementioned Snoid and everything ends with the sage and his buddy The Big Baby being released from jail to go ‘On the Bum Again’

From Bijou Funnies #6 comes another taste of ‘ProJunior’ as the poor shmuck seeks employment to keep his girlfriend quiet, whilst the jam feature ‘Hef’s Pad’ (by Crumb, Lynch & Skip Williamson) exposes the darker side of selling out for cash and fame…

A strip from Surfer Magazine vol. 12, #6 trenchantly heralds the advent of work from 1972 when ‘Salty Dog Sam “Goes Surfin’!”’, whilst the cover of Zap 7 (Spring issue) and the Nostalgia Press Book Service Catalog cover neatly segues into three superb landmark strips from The People’s Comics beginning with a deeply disturbing glimpse inside the befuddled head of the “Great Man” in ‘The Confessions of R. Crumb’.

That poignantly outrageous graphic outburst leads to a cruelly sardonic polemic in ‘The R. Crumb $uck$e$$ Story’ which merely serves as a sound narrative investment for the shockingly self-satisfied, liberating cartoon catharsis achieved by killing off his now-unwelcome signature character in ‘Fritz the Cat “Superstar”’

If Crumb had been able to suppress his creative questing, he could easily have settled for a lucrative career in any one of a number of graphic disciplines from illustrator to animator to jobbing comic book hack, but as this pivotal collection readily proves, the artist was haunted by the dream of something else – he just didn’t yet know what that was…

Crumb’s subtle mastery of his art-form and obsessive need to reveal his every hidden depth and perceived defect – in himself and the world around him – has always resulted in an unquenchable fire of challenging comedy and untamed self-analysis, and this terrific tome shows him at last mastering – or at least usefully channelling – that creative energy for the benefit of us all.

This superb series charting the perplexing pen-and-ink pilgrim’s progress is the perfect vehicle to introduce any (over 18) newcomers to the world of grown up comics. And if you need a way in yourself, seek out this book and the other sixteen as soon as conceivably possible…

Let’s Be Realistic © 1971, 1992, 1997, 2013 Crumb, Jay Lynch, Jay Kinney, Bruce Walthers & R. Crumb. Kumquat Jam © 1971, 1992, 1997, 2013 Denis Kitchen, Don Glassford, Dale Kuipers, Jim Mitchell, Pete Poplaski, Wendel Pugh, Jay Lynch, Dave Dozier, Bruce Walthers, Dennis Brul & R. Crumb. All other material © 1971, 1972, 1992, 1997, 2013 Robert Crumb. All contributory art material and content © the respective creators/copyright holders. All rights reserved.