Valerian and Laureline volume 13: On the Frontiers


By Méziéres & Christin, with colours by Evelyn Tranlé; translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-312-3

Valérian is possibly the most influential science fiction series ever drawn – and yes, I am including both Buck Rogers and Flash Gordon in that undoubtedly contentious statement. Although to a large extent those venerable newspaper strips formed the medium itself, anybody who has seen a Star Wars movie has seen some of Jean-Claude Méziéres & Pierre Christin’s brilliant imaginings which the filmic phenomenon has shamelessly plundered for decades: everything from the look of the Millennium Falcon to Leia’s Slave Girl outfit…

Simply put, more carbon-based lifeforms have experienced and marvelled at the uniquely innovative, grungy, lived-in tech realism and light-hearted swashbuckling of Méziéres & Christin creation than any other cartoon spacer ever imagined. Now with a big budget movie of their own in the imminent offing, that surely unjust situation might finally be addressed and rectified…

Valérian: Spatio-Temporal Agent debuted in weekly Pilote #420 (November 9th 1967) and was an instant smash-hit. The feature was soon retitled Valérian and Laureline as his feisty distaff sidekick rapidly developed into an equal partner and scene-stealing star through a string of fabulously fantastical, winningly sly and light-hearted time-travelling, space-warping romps.

Packed with cunningly satirical humanist action, challenging philosophy and astute political commentary, the mind-bending yarns struck a chord with the public and especially other creators who have been swiping, “homaging” and riffing off the series ever since.

Initially Valerian was an affably capable yet ploddingly by-the-book space cop tasked with protecting the official universal chronology (at least as it affected humankind) by counteracting and correcting paradoxes caused by incautious time-travellers.

When he travelled to 11th century France in debut tale Les Mauvais Rêves (Bad Dreams), he was rescued from doom by a tempestuously formidable young woman named Laureline whom he had no choice but to bring back with him to Galaxity: the 28th century super-citadel and administrative capital of the vast Terran Empire.

The indomitable female firebrand crash-trained as a Galaxity operative and accompanied him on subsequent missions – a beguiling succession of breezy, space-warping, social conscience-building epics. This so-sophisticated series always had room to propound a satirical, liberal ideology and agenda (best summed up as “why can’t we all just get along?”), constantly launching telling fusillades of commentary-by-example to underpin an astounding cascade of visually appealing, visionary space operas.

Sur les frontièrs (or On the Frontiers to us English-speakers) is the 13th Cinebook translation and symbolises a landmark moment in the series’ evolution.

When first conceived every Valérian adventure started life as a serial in Pilote before being collected in album editions, but with this adventure from 1988, the publishing world shifted gears. This subtly harder-edged saga was debuted as an all-new, complete graphic novel with magazine serialisation relegated to minor and secondary function.

The switch in dissemination affected all popular characters in French comics and almost spelled the end of periodical publication on the continent…

One clarifying note: in the canon, “Hypsis” is counted as the twelfth tale, due to the collected albums being numbered from The City of Shifting Waters: the second actual story but the first to be compiled in book form. When Bad Dreams was finally released as a European album in 1983, it was given the number #0.

In the previous storyline the immensity of Galaxity was eradicated from reality and our Spatio-Temporal Agents – along with a few trusted allies – were stranded in time and stuck on contemporary (late 20th century) Earth…

In the depths of space a fantastic and fabulous luxury liner affords the wealthy of many cultures and civilisations the delights of an interstellar Grand Tour. Paramount amongst the guests are two god-like creatures amusing themselves by slumming amongst the lower lifeforms as they perform the ages old, languid and slow-moving mating ritual of their kind…

Sadly the puissant and magnificent Kistna has been utterly deceived by her new acquaintance Jal. He has no interest in her or propagating their species: he simply intends stealing her probability-warping powers…

Jal is actually a disguised Terran and once he has completed his despicable charade he compels the ship’s captain to leave him on the nearest world… a place the natives call Earth…

Stranded on that world since Galaxity vanished, partners-in-peril Valerian and Laureline have used their training and the few futuristic gadgets they had with them to become freelance secret agents.

At this moment they are in Soviet Russia where Valerian has just concluded that the recent catastrophic meltdown of the Chernobyl reactor was deliberately caused by persons unknown…

As the officials on site absorb the news Val is extracted from the radioactive hotspot and ferried by most laborious means across the frozen wastes to Finland and a belated reunion with Laureline and Mr. Albert: once upon a time Galaxity’s volubly jolly, infuriatingly unflappable 20th information gatherer/sleeper agent…

The topic of discussion is tense and baffling: who could possibly profit from sparking Earth’s political tinderbox into atomic conflagration?

And far away in a plush hotel a man with extraordinary luck discusses a certain plan with his awed co-conspirators, unaware that in the Tunisian Sahara near the frontier with Libya, three time-travelling troubleshooters are following his operatives…

That trail leads to a nuclear mine counting down to detonation, but happily Valerian and Laureline are well-versed in tackling primitive weaponry and the close call allows Albert to deduce why Libya and an unknown mastermind are working to instigate nuclear conflict in Africa…

After another near-miss on the US-Mexican border the investigators finally get a break and isolate the enigma behind the multiple manufacture of near-Armageddon moments. However, when Laureline later approaches the super-gambler financing global nuclear terrorism through his bank-breaking casino sprees, she is astounded to realise her target recognises her Galaxity tech…

Moreover, as Valerian hurtles to her rescue he discovers the villain is an old comrade. For what possible reason could a fellow survivor of Galaxity orchestrate the destruction of Earth; the home and foundation of the time-travelling Terran Empire they are all sworn to protect and restore?

This stunning caper was writer Christin and artist Méziéres’ further deft rationalising of the drowned Earth of 1986 (as seen in 1968’s The City of Shifting Waters) with the contemporary period that they were working in, and had the added benefit of sending Valerian and Laureline into uncharted creative waters.

Thus the agents’ solution to the problem of their deranged, broken and super-powered comrade is both impressively humane and winningly conclusive …

Smart, subtle, complex and frequently hilarious, the antics of Valerian and Laureline added outrageous satire to blistering action, stirring the mix with wry humour to create one of the most thrilling sci fi strips in comics. If you’re not an addict yet, jump aboard now and be ready to impress all your friends with your perspicacity when the film comes out.
© Dargaud Paris, 1988 Christin, Méziéres & Tranlệ. All rights reserved. English translation © 2016 Cinebook Ltd.

The Piper


By J. Aldric Gaudet & Paul Schultz
ISBN: 978-1-329-73359-6

Dark, gritty – usually adult-oriented – re-workings and reinterpretations of traditional fairytales have been a staple of modern popular entertainment for some time now. Perhaps they are an easy way into the consciousness of the audience or maybe it’s just that the best plots are endlessly adaptable…

In this brief – perhaps introductory or pilot – tale of a possible future, humanity is slowly recovering from a global climatic collapse which has destroyed modern technologies and reduced survivors to frantic daily scrabbling for existence.

The fatal trigger was a wandering planet which passed too near Earth, causing super-magnetic storms, monolithic gravity-induced tidal waves and a 40-day flood. In the aftermath pockets of humanity eke out a hard-fought life on isolated island enclaves, serviced by maritime explorers, mail-carriers and traders sailing between them.

‘The Future Past’ – scripted by author and screenwriter J. Aldric Gaudet (5 Fables for the Young at Heart, The Littlest Hobo) and illustrated by Paul Schultz of Jaded Dragon Studios – opens as one of those sailing ships docks at a particularly embattled colony.

Life is hard, trade is crucial and the grain harvest is disappointing. There’s worry that blue spore mould will decimate the specialised quick-growing crop but rather than carry what produce the farmers have, the mariners want to leave the precious sacks behind to salvage a stranded vessel and save pre-disaster books from being lost…

Young Digger and his dad are taking a sensible long view but the landsmen have a valid point too. If the grain is left behind the plague of giant Northland rats infesting the island will get it all and the growers will earn nothing in return…

Eventually a compromise is reached and the partners in peril retire to celebrate. Later when the ship sails, it carries fliers advertising the desperate need for a professional exterminator…

Life goes tenuously on but soon everything changes as a macabre individual arrives in a converted coach pulled by horses. It’s none too soon. The giant rodents are bold enough now to attack humans as they congregate in their meeting halls…

The vermin eradicator is frankly terrifying: employing savage dogs and bizarre bagpipes making an infernal din. He also drives a hard, harsh bargain but eventually a deal is struck.

Then all that’s left is herding the pests into a secure killing-zone where the farmers can safely destroy them but the over-eager growers also shoot the Ratcatcher’s dogs and refuse to recompense him for his loss…

It’s a stupid, venal mistake that will cost hem dearly…

After creating an explosive distraction the stranger steals all the children and babies; heading out and resolved to sell them in the thriving slave markets he frequents. In response the resource-poor community can only spare ten individuals to go after them. Everybody else has to stay to repair the incredible damage the stranger has left in his wake…

Before the children are saved and some sort of order is restored the rescuers will confront death and destruction at close hand and learn some shocking secrets about the rats and the grain everybody depends upon…

Stark, bleak, and relentlessly uncompromising, this suspenseful saga of the struggle for survival also shows the irresistible power of unity and offers a message of hope that will certainly impress all lovers of dystopic fiction.
© 2016 J. Aldric Gaudet. All rights reserved.

Star Trek Classics volume 1 – The Gorn Crisis


By Kevin J. Anderson, Rebecca Moesta & Igor Kordey (IDW)
ISBN: 978-1-61377-129-7

The Star Trek franchise has had many comic book homes. This action-heavy paperback tome (also available digitally) was originally released in the early years of the 21st century by DC/WildStorm and is narratively positioned during the period when Deep Space 9 was first being broadcast on television.

The book therefore tangentially informs and contributes to a seasons-long storyline featuring an intergalactic war between the Federation and its Alpha Quadrant allies on one side and the J’em Haddar warriors of The Dominion on the other. So if you’re a bugbear, completist or unfamiliar with the mileau, you might be left feeling a little bewildered. Nevertheless if you’re of a forgiving mien this adventure is a real ripsnorter…

In case you were wondering, The Gorn were an aggressive civilisation of reptiles who appeared in an episode of the original 1960s Star Trek TV show. The story was in fact an adaptation of a classic SF short story by Fred Brown entitled “Arena”, in which Captain Kirk and his Gorn opposite number were co-opted by a super-advanced race to represent their species in a brutal duel for galactic supremacy. The loser race would be curbed to avoid horrendous, bloody and nigh-eternal space-war.

A century later mankind and its intergalactic partners are losing just such a conflict with the Dominion and desperately seeking fresh allies. Thus Captain Jean-Luc Picard has been dispatched to the embargoed Gorn solar system to renew relations and broker a military alliance, but the USS Enterprise arrives just as the reptile’s own black-crested Warrior Caste – frustrated by a century of enforced peace – stages a bloody coup and subsequently launches an all-out attack on neighbouring worlds.

These planets are now, perhaps unwisely, packed with human colonists and Federation/Klingon bases…

Beaming down just in time to be captured amidst the remains of the Administrative caste, Picard, Dr. Beverly Crusher and their Away Team are promptly captured and can only subtly influence the outcome as Commanders Will Riker and amazing android Data battle with brilliance on two very different fronts to stop the marauding Gorn war-lovers…

With no back-up available from hard-pressed Starfleet, the Next Generation stalwarts must act independently and ingeniously to quell the barbarous uprising, restore order and build that elusive alliance with the Gorn. Their efforts won’t just dictate how the humans, Federation and reptiles will co-exist in the future, but might well decide if they exist at all…

Although not to everybody’s taste, and despite an occasional certain rough hesitancy in Igor Kordey’s fully-painted artwork, this tale from Kevin J. Anderson & Rebecca Moesta does rattle along in the approved Star Trek manner, and even casual readers will come away with a sense of expectation fulfilled.

Moreover, augmenting the interstellar excitement is a comprehensive fact-file on the sinister sarurians entitled ‘The Gorn Dossier’, contributed by illustrator Kordey who apparently moonlights as a “Federation Anthropologist”. Here he highlights his root and branch redesign of the alien antagonists with biology, language, symbology, livery and weaponry all updated for discerning modern readers

Fast, fierce fun for lovers of high quality Space Opera so boldly go and give it a look.
Star Trek ® & © 2011 CBS Studios, Inc. All Rights Reserved.

Mac Raboy’s Flash Gordon volume 2


By Don Moore & Mac Raboy (Dark Horse)
ISBN: 978-1-56971-911-X

By almost every metric Flash Gordon is the most influential comic strip in the world. When the hero debuted on Sunday January 7th 1934 (with the superb Jungle Jim running as a supplementary “topper” strip) as an answer to the revolutionary, inspirational, but quirkily clunky Buck Rogers (by Philip Nolan & Dick Calkins and also began on January 7th albeit in 1929) two new elements were added to the wonderment; Classical Lyricism and poetic dynamism. It became a weekly invitation to stunningly exotic glamour and astonishing beauty.

Where Buck Rogers mixed traditional adventure with groundbreaking science concepts, Flash Gordon reinterpreted fairy tales, heroic epics and mythology, spectacularly draping them in the trappings of the contemporary future, with varying “Rays”, “Engines” and “Motors” substituting for trusty swords and lances – although there were also plenty of those – and exotic craft and contraptions standing in for galleons, chariots and magic carpets.

It was a narrative trick which made the far-fetched satisfactorily familiar – and one initially continued by Mac Raboy and Don Moore in their run of Sunday strips. Look closely though and you’ll see cowboys, gangsters and of course, flying saucer fetishes adding contemporary flourish to the fanciful fables in this second superb volume…

Most important of all, the sheer artistic talent of Raymond, his compositional skills, fine line-work, eye for clean, concise detail and just plain genius for drawing beautiful people and things, swiftly made this the strip that all young artists swiped from.

When original material comicbooks began a few years later, literally dozens of talented kids used the clean-lines of Gordon as their model and ticket to future success in the field of adventure strips. Almost all the others went with Milton Caniff’s masterpiece of expressionism Terry and the Pirates (and to see one of his better disciples check out Beyond Mars, illustrated by the wonderful Lee Elias).

Flash Gordon began on present-day Earth (which was 1934, remember?) with a wandering world about to smash into our planet. As global panic ensued, polo player Flash and fellow passenger Dale Arden narrowly escaped disaster when a meteor fragment downed their airliner. They landed on the estate of tormented genius Dr. Hans Zarkov, who imprisoned them in the rocket-ship he had built.

His plan? To fly the ship directly at the astral invader and deflect it from Earth by crashing into it…!

Thus began a decade of sheer escapist magic in a Ruritanian Neverland: a blend of Camelot, Oz and a hundred fantasy realms which promised paradise yet concealed hidden vipers, ogres and demons, all cloaked in a glimmering sheen of sleek futurism. Worthy adversaries such as utterly evil yet magnetic Ming, emperor of the fantastic wandering planet; myriad exotic races and shattering conflicts offered a fantastic alternative to drab and dangerous reality for millions of avid readers around the world.

With Moore doing the bulk of the scripting, Alex Raymond’s ‘On the Planet Mongo’ ran every Sunday until 1944, when the artist joined the Marines. On his return he forsook wild imaginings for sober reality: creating gentleman-detective Rip Kirby so the public’s unmissable weekly appointment with wonderment perforce continued under the artistic auspices of Austin Briggs – who had drawn the daily monochrome instalments since 1940.

In 1948, eight years after beginning his career drawing for the Harry A. Chesler production “shop” comicbook artist Emmanuel “Mac” Raboy took over illustrating the Sunday page. Moore remained as scripter and began co-writing with the new artist.

Raboy’s sleek, fine-line brush style – heavily influenced by his idol Raymond – had made his work on Captain Marvel Jr., Kid Eternity and especially Green Lama a benchmark of artistic quality in the early days of the proliferating superhero genre. His seemingly inevitable assumption of the extraordinary exploits led to a renaissance of the strip and in a rapidly evolving post-war world, Flash Gordon became once more a benchmark of timeless, hyper-real quality escapism which only Hal Foster’s Prince Valiant could touch.

This second 260-page paperback volume, produced in landscape format and printed in stark black-&-white (although one or two strips appear to have been scanned from printed colour copies) covers May 17th 1953 to February 23rd 1958 and opens with a scholarly Introduction on ‘Comic Strip Godfathers’ from Bruce Jones before the previous volume’s cliffhanger is addressed…

With a new spaceship, far-flung travellers Flash, Dale and Zarkov set off for Earth but are forced to land on the Moon where a secret human base had been established. For unknown reasons Dr. Stella and her thuggish aide Marc detain and delay them, but when an increasing number of close shaves and mysterious accidents occur, a little digging by our heroes reveals that they are the unwitting guests of ruthless space pirates…

After expediently dealing with the planetary privateers our heroes head for Earth, only to be promptly seconded to spearhead an urgent exploratory expedition to a newly discovered satellite body. Suitably dutiful, they hurtle off into the void again…

‘(Life on) Titan’ ran from 14th June to September 20th 1953 and details how the little world is populated by giants. However, after capturing one of the hulking inhabitants Zarkov is forced to conclude that the truth is far stranger than the Earthmen could have imagined…

The tireless boffin then builds a single-seater spaceship and required Flash to take a test run out to Jupiter’s moon ‘Callisto’ (27th September 1953 to 17th January 1954). A sudden illness causes the dauntless pilot to crash and Flash awakens in the care of elderly hermit Phylo, who cunningly embroils the troubleshooter in his own struggle against invisible psychic dictator The Mind

After overthrowing the hidden tyrant the indomitable Earthman heads home and actually enjoys a little rest before an ancient mystery unfolds in ‘Flash Gordon and the Thanatos’ (17th January-2nd May).

After archaeologist Dr. Sark finds incontrovertible evidence of an atomic blast in the Libyan desert in prehistoric times, our ever-inquisitive action man uncovers an alien in a bottle but is too late to save Dale from being abducted by the mind-bending survivor of an antediluvian starship crash…

Dashing in pursuit as his beguiled beloved heads off-world, Flash is drawn into the parallel dimension or Cortinus where god-like beings dwell. They welcome the intruders from fondly-remembered Earth but are sadly unaware that one of the visitors carries the malevolent spirit of their outcast brother Loki

Once freed the villain proudly boasts how he influenced and dominated many bellicose humans such as Alexander, Julius Caesar and Genghis Khan and now intends ruling two realms for his own benefit. Sadly for him, nigh-omnipotent Loki vastly underestimates the ingenuity and resolve of his mortal opponents…

With a ship donated by head deity Zustra, Flash and Dale re-cross the dimensional divide and arrive in deep space to encounter a scene of horrific barbarity at an Observatory Station. When the ‘Outlaw of the Asteroids’ (9th May-25th July) stole the outpost’s oxygen the crew almost died in hibernation. After pausing to revive the deep-frozen scientists the adventurers set off after the ruthless bandit and discover the reason for his heinous theft was both noble and desperate. The bandit perishes for his sins, but not before leaving young space orphan Pebbles with the only humans he can trust…

By the time Flash, Dale and Pebbles reach Earth the next exploit is already well underway as ‘The Star Tree’ (1st August-17th October) seed survives a meteor crash in the Amazon and immediately propagates itself in fertile soil. By the time our valiant wanderers accidentally land in the region, it has been transformed into an arctic wilderness where a gigantic plant is voraciously consuming every living thing its grasping branches can seize…

The vegetable invasion is no accident and as Flash leads the frozen rain forest’s native inhabitants in spirited resistance, cold-blooded aliens appear. They lived on Earth when it was a giant ice ball and after eons on Pluto want their original world back…

They would have succeeded too, had not one of the invaders found his heart warming to the plight of the disputed world’s current tenants…

With that threat ended normality returns but soon after packing Pebbles off to boarding school Flash, Zarkov and many other unsuspecting Earth folk are shanghaied by eerie metal globes and transported to ‘The Lonely Planet!’ (24th October 1954 to 9th January 1955)…

Here Herculean extraterrestrial barbarians and wily midgets conspire and compete to find fresh fodder for gladiatorial contests, but with the aid of a usurped king, Flash quickly upsets the unlikely alliance and overthrows the twisted regime. However, just as the liberated Earthlings enter home orbit, their always-embattled birthworld is attacked by the insectoid Antomni who require a fresh colony to exploit. The bug beings expect little resistance as they posses the power of Time Migration…

The invaders travel millions of years ‘Into the Past’ (16th January-27th March) to prevent the evolution of humanity but accidentally catch Flash and Zarkov in their temporal backwash, allowing our heroes to inspire a band of dawn men to exterminate the insectoids before returning to their proper time and place…

Always restless, Zarkov then organises an exploratory expedition to ‘Venus’ (3rd April – 19th June) where Flash and Dale find a feudal civilisation in turmoil beneath the planet’s impenetrable cloud layers. Before long they are assisting scientific prodigy Viko and his fellow exiled “Mistiks” in overturning the oppressive, superstition-ruled authorities and introducing rational enlightenment to the Second Planet from the Sun…

Soon after, Africa is beset by a strange sleeping plague and investigations reveal the source is escaped gasses from an unsuspected ‘City Within the Earth’ (26th June – 28th August). The accident also allows toxic oxygen to contaminate the subterranean metropolis of Centra and when its bravest warriors surface to investigate, a concatenation of misfortunes compel them to take Flash captive. Imprisoned and soon to become the treasured possession of flamboyant Princess Amara, Gordon is rescued by the indomitable Dale who braves the depths and deadly air to save her man and seal off the underworld forever…

‘The Dark Planet’ (4th September – 6th November) has lurked undetected at the edge of the solar system for all of humanity’s history but that occlusion ends when murderers Stragg, Rust and Tula are exiled from their advanced culture on the distant world of Ur and dumped on the frigid world.

When Flash, Dale and Zarkov’s planetary mapping mission brings them to the bleak outpost they are ambushed by the killers who then steal their ship. The aliens have never encountered human sneakiness though, and are soon back where they started and engaged in a lethal duel for control of the ship and their liberty…

Human trafficking underpins the saga of ‘Station Crossroads’ (13th November 1955 – 15th January 1956) as our heroes stumble upon a scheme to kidnap and sell human technicians to scientifically backward aliens. The vile human mastermind behind the plot operates out of Earth’s most popular orbital rest-stop but before the slavers are finally crushed Flash discovers a close friend is deeply involved in the abductions…

When Gordon discovers a hidden base at Earth’s North Pole is being used by aquatic aliens he becomes embroiled in an ‘Arctic adventure’ (22nd January-March 25th) where unscrupulous Earthmen use the freezing waters as a cost-free fish-farm to grow giant monsters for mysterious offworlders to consume…

After a far-distant world experiences an atomic accident the aftermath produces a voracious ‘Radioactive Man’ (1st April – 3rd June) who can only exist by absorbing deadly fallout. The authorities’ solution is to blast the mutant into the void where, after years of lonely travel, atomic exile Djonn Toth lands on the planet Rota just as Flash and Dale arrive for a visit.

Before long the humans’ vast troubleshooting experience is employed in defeating Toth’s efforts to enslave the population and consume all their radium…

When the fantastic planet’s eccentric orbit again intersects with Earth, Flash, Dale and Zarkov ‘Return to Mongo’ (10th June 1956 – 13th January 1957) for the first time in six years. However their proposed sightseeing trip inevitably involves them in an icily arctic cold war between Wolf Men and Walrus Men, a battle of wills with would-be supreme tyrant Gant, and clashes with leather-winged Dactyl Men.

This leads to capture by the arrogant cloud dwellers of Paxora where an outbreak of robot duplicates intent on conquest ends Mongo’s most secretive sub-culture. Upsetting the artificial men’s plan eliminates all but one of the inimical automatons, but ‘Rok’ (13th January – 10th March) is like no android the Earthlings have ever encountered before: both patronising protector and unstable enemy in one.

Although safeguarding the humans through the wildest regions of Mongo, the mechanoid’s ultimate aims are always unclear and his manner of demise most unexpected…

Brought to the edge of civilisation Flash, Dale and Zarkov enter a spaceship race, intent on winning a craft able to take them home to Earth, but the ‘Suicide Run’ (17th March-19th May) almost proves their undoing as most of the other competitors indulge in sabotage and subterfuge of every sort to secure the glittering prize…

Eventually victorious, our heroes ‘Escape from Mongo’ only to be lured into ‘The Space Tomb’ (26th May – 14th July) of nebula-dwelling desperado the Gatherer who wants to imprison them beside a legion of other valiant explorers in his vast Sargasso of Space. After outwitting the deranged collector the humans resume their homeward flight but are again diverted, this time by ‘The Space Genie’ (21st July-1st September): a fearsome yet affable, lethally literal-minded being who brings them to planetary paradise Superba.

The inhabitants are not pleased: they only just survived the Genie’s last visit and used all their ingenuity and wish-making ability to get rid of the interstellar pest…

Flash’s argosy home is then interrupted by a string of short interconnected adventures (‘Space Voyage/Strange World/The Wheel Men’: spanning 8th September to 24th November) detailing clashes with space moths, elastic primitives and woman-stealing whirling dervishes engaged in all-out war with sky-residing Gyromen. After brokering a lasting peace between the eccentric extraterrestrials, the humans finally reach Earth in a borrowed Flying Saucer only to fall prey to ‘The Mystery of the Lonely Crowds!’ (1st December 1957 through January 12th 1958). A telepathic plague of depression and rapidly-spreading isolation has an otherworldly cause but is not intended to be a menace. It still culminates in tragedy, however…

This second non-stop rollercoaster ride concludes with the merest start of ‘Missiles from Neptune’ (19th January 1958 to the cliffhanging last page of February 23rd) as the Tyrant of Neptune decides to impress the captive populace by testing his latest Weapons of Interplanetary Destruction against the Earth, prompting Flash and Co to go and discourage him…

Every week that he toiled on the strip Mac Raboy produced ever-more expansive artwork filled with distressed damsels, deadly monsters and all sorts of outrageous adventure that continued until the illustrator’s untimely death in 1967. Perhaps that was a kindness…

Raboy was the last of the great Golden Age romanticist pencillers; his lushly lavish, freely flowing adoration of the perfect human form was beginning to stale in popular taste (for example the Daily feature had already switched to the solid, chunky, He-Manly burly, realism of Dan Barry and Frank Frazetta) but here at least the last outpost of ethereally beautiful heroism and pretty perils prevailed, and thanks to Dark Horse you can visit as easily and often as Flash and Dale popped between planets, just by tracking down this book and the ones which followed…
© 2003 King Features Syndicate Inc. ™ Hearst Holdings, Inc. All Rights Reserved.

Evil Emperor Penguin Strikes Back!


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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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.

Growing Up in the New World Order – a Storybook for Grown-Ups


By Tom Hoover & Michael Lee (Saga Flight Entertainment)
ISBN: 978-1-53753-101-4

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 daily lives of generations of readers, the force they can apply in a commercial or social arena is almost irresistible…

It has long been a truism of the creative arts that the most effective, efficient and economical method of instruction and training has been the comic strip. Advertising mavens have, for over a century, exploited the easy impact of words wedded to evocative pictures, and public information materials frequently use sequential narrative to get hard messages over quickly and simply.

Moreover, from World War II until the birth of YouTube, carefully crafted strips have been constantly used as training materials in every aspect of adult life from school careers advice to various branches of military service – utilising the talents of comics giants as varied as Milton Caniff, Will Eisner (who spent decades producing reams of comic manuals for the US army and other government departments), Kurt Schaffenberger and Neil Adams.

These days the educational value and merit of comics is a given. Larry Gonick in particular has been using the strip medium to stuff learning and entertainment in equal amounts into the weary brains of jaded students with such tomes as The Cartoon History of the Universe, The Cartoon History of the United States and The Cartoon Guide to… series (Genetics, Sex, Computers, Non-Communication, Physics, Statistics, the Environment and more).

Japan uses a huge number of manga text books in its schools and universities and has even released government reports and business prospectuses as comic books to get around the public’s apathy towards reading large dreary screeds of public information.

So do we, and so do the Americans. I’ve even produced one or two myself, back in my freelancing years…

In this instance the medium is used with measured economy and devastating effect by writer Tom Hoover and illustrator Michael Lee to craft a fictionalised fable with a very real and dangerously recondite message carrying crucial real-world implications…

Delivered as an inviting science fiction parable, Growing Up in the New World Order details in beguilingly simple manner how artistically gifted youngster Chance discovers his ability to see the hidden and predatory embedded subliminal messages concealed in all the world’s mass-media entertainment systems.

This gift enables him to consciously perceive the constant barrage of subtle suggestions and behaviour-modifying nudges designed to mould the opinions and guide the actions of the entire population…

After all, how else could the world have gotten into such a sorry state where greed trumps survival and manufactured violence as entertainment anesthetises a population intended to keep quiet and consume?

Informed from his earliest years by the non-conformist views and opinions of his grandfather, Chance grows into the kind of gifted peon the hidden manipulators need: able to craft the images and messages neceassry to keep the consumers pacified and compliant, but all the while he is working to his own agenda and timetable, preparing for the moment when his cleverly-concealed secret counter messages and “embeds” will go live and free that mesmerised collective consciousness…

Designed as a trigger for much-needed societal debate on globalism, consumerism and covert cultural/commercial imperialism, Growing Up in the New World Order is a smart and enticing little tale with big ambitions and a book that needs to be seen by everyone – especially the older teens who are going to inherit the mess we’ve all made…
© 2016 Saga Flight Entertainment. All rights reserved.

Captain Midnight Archives volume 2: Captain Midnight Saves the World!


By William Woolfolk, Leonard Frank, Dan Barry & various (Dark Horse Comics)
ISBN: 978-1-61655-243-5                  eISBN: 978-1-62115-921-6

Created by broadcast scripters Wilfred G. Moore and Robert M. Burtt, Captain Midnight began as a star of radio serials in the days when troubleshooting All-American aviators were the acme of adventure genre heroes. The Captain Midnight Program soldiered on from 1938 to 1940 until the Wander Company acquired the sponsorship rights to promote their top product: Ovaltine. From there on, national radio syndication led to a newspaper comic strip (by Erwin L. Hess, running from June 29th 1942 until the end of the decade); a movie serial (1942) and – later – two TV serials (1953 and 1954-1956) before being overdubbed, retitled and syndicated as “Jet Jackson, Flying Commando” well into the 1960s). There was also a mountain of now-legendary merchandise such as the infamous Captain Midnight Secret Decoder Ring

And there was a comicbook franchise… one recently reinvigorated for 21st century audiences.

The hero’s basic origin related how after the Great War ended, pilot and inventor Captain Jim Albright returned home having earned the sobriquet “Captain Midnight” following a particularly harrowing mission that concluded successfully at the witching hour.

He then formed a paramilitary “Secret Squadron” of like-minded pilots to continue making the world a better place – often at the covert behest of the President – using guts and gadgets to foil spies, catch crooks and defend the helpless.

Captain Midnight truly hit his stride after Japan’s sneak attack on Pearl Harbor, becoming an early Home Front media sensation throughout the war years. However, his already fluid backstory and appearance underwent a radical makeover when he switched comicbook horses in midstream.

This stunningly engaging full-colour paperback collection (also available as an eBook) gathers a slew of science fiction-themed tales taken from the latter end of the Fawcett Comics run. Captain Midnight #48, 50, 52-56, 58, 60, 62, 64 and 66 spanned February 1947 – August 1948 and with times and tastes changing the venerable title folded with the next issue…

Following a fervent Introduction from Batton Lash discussing the career of the much-travelled, constantly evolving “Monarch of the Airways” and the telling differences between the radio, screen and comicbook iterations, the contents explosively unfold with a tragic dearth of credit and attributions. Much comic material from this era is criminally unattributed but regular writers known to be active on Midnight at this juncture included Bill Woolfolk and Otto Binder whilst artists included the unflagging Leonard Frank and young legends-to-be Leonard Starr and Dan Barry.

From issue #48 ‘Captain Midnight Visits the Golden Asteroid’ sees Albright and his mechanic Ichabod Mudd piloting their newly invented rocket-ship to investigate a new stellar body only to find that the astronomer who discovered it has an ulterior and nefarious motive for getting to the stellar wanderer.

Illustrated by Frank and from #50, ‘Captain Midnight Spikes the Sun Gun’ pitted the modern Edison against devilish Dr. Pyrrho who had found a way to inflict destructive heat on the already sweltering citizens of the American Southwest after which a return prospecting trip to our nearest neighbour uncovered ‘The Moon Creatures’ (Woolfolk) who aggressively resisted all attempts to colonise Luna…

With the solar system now a regular destination for exploration, Albright began an occasional series of sorties to the planets and picked up some new recurring foes. The first was a plundering barbarian from Pluto who raided Earth for its Uranium reserves in #52’s ‘Captain Midnight versus the Space Raider!’ (Binder & Frank).

The resultant chase and recovery took our hero to Mars and first contact with an unsuspected race also under threat of merciless assault by the murderous Jagga

After driving the fiend off and recovering his ill-gotten gains, Midnight next encountered the ruthless Plutonian inflicting ‘Peril on Venus’ in #53. By sending him packing once again, the inventor consequently aided the long-lost last survivors of Atlantis in getting their failing colony onto an even keel in a world overrun by dinosaurs…

In #54 Midnight and Icky encountered yet another embattled civilisation on Ceres: a literally golden kingdom fending off Jagga’s bacterial onslaught and meteoroid bombardments. With the Air Aces’ assistance, the monster was finally driven off in ‘The Asteroid Battle’

There’s a double dose of super-scientific spectacle in #55, beginning with Albright’s perhaps unwise invention of a monumental dirigible intended as ‘The Sky Airport’. When common thugs steal the mobile monolith and use it as a base for air raids on banks, the heartbroken genius is forced into desperate action to clear his conscience…

This is followed by another interplanetary incident when ‘Captain Midnight Finds the Lunar Lair’ and finally brings Jagga to justice in the form of a trial in Earth’s courts. Unequivocally guilty, the beast is sentenced to death by electrocution in #56’s ‘The Last Rites of Jagga’ (Frank art) but said execution proves to be a major mistake and Midnight is called upon to deliver the sentence in his own infallible scientific manner…

A new alien threat emerges in #58 ‘On the Planet of Peril’ when an unknown race reanimates Earth’s greatest villains and monsters…

A month later ‘Captain Midnight Battles the Ice Age’ found our interplanetary explorers on Neptune: changing that world’ climate to give its humanoid inhabitants a big step up the ladder to civilisation, whilst issue #60 saw the return of earthly arch-enemy Dr. Osmosis who terrified and tormented humanity with his explosive ‘Flying Saucers of Death’

Captain Midnight #62 detailed the inventor’s efforts to save America’s ‘Farmers on the Moon’ from sabotage as Earth agricultural entrepreneur Jim Klaw sought to maintain his produce monopoly at all costs…

A new extraterrestrial enemy debuted in #64 as ‘Beyond the Sun’ (Frank) introduced shapeshifting tyrant Xog: a gaseous monster from Saturn who boarded America’s newest spaceships as step one in his plans for interplanetary domination. When Captain Midnight thwarted the scheme and rescued the hostage Terrans, the vile king swore vengeance…

It came in the final tale in this superbly retro rollercoaster of rocket-powered fun – from #66 with art by Frank – as Xog transforms Captain Midnight into sentient gas before invading Earth. Happily, even ‘Without a Body’ Albright was too much for the malign marauder and once more saved the day and the world…

With a stunning gallery of covers by Frank, Charles Tomsey, Dan Barry and Mac Raboy plus cool mini-features such as ‘Captain Midnight’s Air Lingo’, ‘US Army Aviation Badge Insignia’ and ‘Famous Planes’, this fabulous feast of fantasy is guaranteed to satisfy the nostalgic yearnings of every starry-eyed space cadet, whatever their age.
Captain Midnight Archives volume 2: Captain Midnight Saves the World! ® and ©Dark Horse Comics 2014. All rights reserved.

Lightrunner


By Lamar Waldron & Rod Whigham with Susan Barrows (Dover Comics & Graphic novels)
ISBN: 978-0-486-80841-3

During the 1980s a burgeoning science fiction and fantasy book market, bolstered by cinematic and television blockbusters, fed into the new creative boom in the comicbook market, giving “graphic novels” their first tentative push into the real, bigger world outside established fandom as part of a greater zeitgeist.

There was also a very real entrepreneurial creative buzz which led to many European and Japanese works finally breaking into the US market, and most importantly, a lot of attention was actually paid to new, home-grown material…

Among the important early players was The Donning Company Publishers; a Virginia-based outfit established in the 1970s who briefly blazed a pioneering trail with their Starblaze Graphics imprint.

Presumably inspired by the innovative breakthrough work of Byron Preiss (Starfawn, Empire, The Swords of Heaven, The Flowers of Hell) Donning invested in lavish, visually impressive volumes targeting a broad crossover market. They began with a volume collecting the first chapters of Wendy & Richard Pini’s independent comics sensation Elfquest, and went on to produced strip adaptations of popular prose properties such as Robert Asprin’s MythAdventures and the co-operative shared-universe fantasy series Thieves’ World.

Along the way they also brought Colleen Doran’s first iteration of A Distant Soil and Phil Foglio’s Buck Godot to a relatively small but crucially mainstream public.

The company’s output was small but highly effective and although the venture ended badly – in court, as many creators sued to regain control of their works – those beautiful, high-quality works proved that bold, (relatively) expensive, high-quality material was the future for an industry and art form that had always cut every corner, paid poorly and worked on miniscule margins…

Lightrunner was very much a product of its time, a riotous intergalactic rollercoaster rocket-ride which began life as a serial in the semi-pro fanzine Visions, and still packs a punch for any fan of brash, flashy space opera.

Now, thanks to the sagacious perspicacity of Dover Books and their continued unearthing of lost graphic gems there’s a fresh edition of a compelling modern classic of the Good Old Bad Old Days to enjoy.

Re-presented in an excitingly oversized (278 x 210 mm) full-colour softcover edition – complete with Chris Claremont’s original effusive Introduction – here is a fabulous futuristic adventure to astound and enthral all lovers of epic bravado and boisterous star-faring fun…

In our far-distant tomorrows, capitalism runs the universe in the form of planetary Corprostates held together by a web of trade undertaken by tachyon-driven solar sailing ships plying the perilous routes of the “Star Stream”.

In that tempestuous time and economic climate the Empyrean Alliance is a tenuous association of Free States; restive, politically insecure and greatly dependent on the trustworthy valour of the apolitical Empyrforce: a US Navy-style peacekeeping force and police militia.

Our tale begins with young Burne Garrett, son of a legendary Empyrforce hero, who failed to make the grade and scrubbed out of his military training. Garrett is a pathetic disappointment to himself and everybody else. Now a lowly PR hack, he is filming the initial tests of a radical new type of faster-than-light starship – The Stream Breaker

When the new super-vessel suddenly comes to eerie life and takes off with him aboard – subsequently vanishing into the unknown – the unwitting fool is suddenly Public Enemy #1…

Framed, lost and desperate, Garrett is soon plunged deep into the seedy underbelly of civilisation; becoming a pawn of pirates and raiders until he is adopted by spoiled, rich wild-child Lanie of Abul Sara (think Paris Hilton in lace-up high heel thigh-boots and a ray-gun… and now stop thinking of that because that’s not how she looks, but what she’s like…).

The fugitive Garrett reluctantly joins the tense and turbulent crew of her beloved star-craft “Lightrunner”… and somewhere along the way he also picks up a pet monkey that might be the mightiest telepath in the galaxy…

Garrett seeks to clear his name, even while simultaneously being hunted by his own deeply disillusioned galactic-hero father and the true culprits of all his woes, who still want the Stream Breaker prototype he has so providentially hidden. Before long, the lad uncovers a clandestine plot of cosmic proportions that might just mean the end of the entire Alliance…

Although the plot and set-up is no longer new or fresh – especially in films and recent shows or in the burgeoning TV SF market – this brash, breezy, spectacle-packed romp still reads incredibly well and looks great.

Fans of this particular form of chase-based science fic-Action will be well rewarded for taking a trip with Garrett & Co courtesy of the fabulous Lightrunner
© 1983 Lamar Waldron and Rod Whigham. All Rights Reserved. This edition © 2017.

Lightrunner is scheduled for a February November 24th 2017 release and is available for pre-order now. Check out Dover Publications, your internet retailer or local comics-store or bookshop.

Blue


By Pat Grant (Pat Grant/Top Shelf)
ISBN: 978-1-60309-153-4

As far as the global mass-market is concerned, Australia doesn’t do comics. There’s no home-grown Oz equivalent to Beano or Spirou or 2000 AD, no Akira or Batman to enthral the entire nation.

You don’t hear about their industry bashes such as OzComic-Con and nobody applauds if you say you’ve been nominated for a Stanley Award…

Yet Australia harbours an incredibly potent and dedicated cartooning community, quietly turning out a broad and utterly beguiling range of strips and features from kiddie-comics to strictly adult fare that we seldom get to enjoy in the Northern climes (just check out UK ex-pat Eddie Campbell’s work or Neomad: Space Junk or the precious few titles from Gestalt Publishing that have made it to Britain to see what I mean…).

One of the most enticing and rewarding releases in decades recently came courtesy of cartoonist and passionate surfer Pat Grant. In 2012 his debut graphic novel Blue set tongues wagging not just down under but all over: a superbly realised amalgam of graphic autobiography, socially-relevant historical treatise and fantasy-tinged cautionary tale…

Like so much Australian graphic narrative, Blue owes more to the underground and alternative comics movements than to mainstream. The art is rendered in a muted, limited-colours palette in a style vaguely reminiscent of Peter Bagge, but the storytelling is all original; mixing memories of growing up in small remote company-town with themes of alienation as filtered through a lens of constant, unwelcome change, incipient onrushing maturity and impending humdrum crushing responsibility.

Blue is seductive, familiar, scary and also punishingly funny where it’s most inappropriate…

Bolton is a town by the sea, built a generation ago by the company to house its work force. Years passed and the town stopped being shiny and new. The workers had kids and the kids grew bored. They had school and surfing and no prospects. And then the aliens started turning up. Unwelcome, unwanted, probably illegal and so clearly unwilling to mix. Soon they were everywhere, spoiling everything…

Christian never made it out. He’s a burn-out these days, sucking down bevies when not coasting a dead-end painting gig – and boozing on the job too if no one’s watching – so he’s got time to tell you about those days when he was a kid and lived for surfing…

The day he remembers most vividly is when him and Verne and Muck skipped school to chase a truly massive wave and decided to go see the body of a bloke who died on the railway tracks the night before…

Graphically imaginative, boldly experimental and gratefully expressing his debt of inspiration to the film Stand By Me, Grant has woven here an intoxicating web of intrigue and memory which resonates with the mythic image we all have of life in Oz and the knowledge of what kids ought to be like.

However, the most powerful sense is one of constant motion, bolstered by stunning, nigh-abstract seascapes and wave fronts, as his actors move raucously, rowdily and rapidly through their scenes propelled by bad instincts and inexpressible desire for something different…

Although you may not share Grant’s personal background, readers cannot help but be swept away by the author’s utterly convincing immersion in the minutiae of nostalgia and poignant bewilderment in how we all got to here and now…

With an introduction by Dylan Horrocks and text feature ‘Genealogy of the Boofhead: Images Memory and Australia’s Surf Comics’ – an erudite and fascinating extended essay by Grant detailing the history of the nation’s board bound phenomenon – this enchanting hardback tome is a total treat for comics connoisseurs indoors or outside.
© 2012 Pat Grant. All rights reserved.