A Quick & Easy Guide to Sex & Disability


By A. Andrews (Limerance/Oni Press)
ISBN: 978-1-62010-694-5 (PB) eISBN: 978-1-62010-706-5

Comic strips are an incredibly powerful tool for education, rendering the trickiest or most complex topics easily accessible. They also have an overwhelming ability to affect and change behaviour and have been used for centuries by politicians, religions, the military and commercial concerns to modify how we live our lives. Here’s a splendid example of the art form using its great powers for good…

The Quick & Easy Guide series has an admirable record of confronting uncomfortable issues with taste, sensitivity and breezy forthrightness: offering solutions as much as awareness or solidarity. Here, disabled cartoonist A. Andrews (Oh, Hey! It’s Alyssa!) shares experiences and highlights situations too many people would prefer never having to think about…

Before we go any further though, let’s just state something that ought to be obvious. Most human beings want and have sex.

Even amongst the majority, that encompasses a variety of preferences, techniques and practices generally undertaken in a spirit of cooperation and carried out on a sliding scale of satisfaction and success for (at least one of) those taking part. The goal however, surely must be mutual gratification for all involved, right?

Sadly, for a large section of humanity, this fundamental function presents many difficulties. Most have been previously addressed in many learned clinical tracts and therapeutically-themed sources but this welcomingly frank cartoon lecture isn’t one of those. It’s a chat session led by a person who’s lived some of those difficulties and who uses passion, humour, common sense and earnest language to cope. Think here not about achieving sex, but rather making your version of sex better, if not best…

After starting out with some daunting statistics from the Center for Disease Control and World Health Organization to establish the state of play for disabled people (Earth’s largest minority group, accounting for 15% of global adult population), Andrews quickly moves to the meat of the matter in ‘Disability Sexuality’.

Defining different forms of disability – congenital, acquired, intellectual and invisible – and outlining intersecting impacts on individuals as well as tackling the differences between sexuality and gender, naturally leads to an examination of ‘Myths About Disabled Bodies’ before revealing the big secret… ‘Communication’

Following short and pertinent questionnaire ‘Activity Time’, the talk about talking resumes with ‘Instead of … Try This…’ and more sage advice, plus a fascinating ‘Self-Care Plan’ and the value of preparedness and tools, enhancements and toys in ‘Getting Down’, ‘Positioning’ and ‘Aftercare’

Also included is a listing of additional information and resources in print, podcast and web formats.

I hail from a distant era when we believed understanding led to acceptance, so it’s wonderful to see that the quest to destroy intolerance and ignorance still continues. This witty, welcoming comics guide tackles an issue that really should have been done and dusted decades ago, but until disability (and race and gender and sexuality and body size and even bloody hair colour) lose every shade of meaning and connotation except purely descriptive, books like this one will remain a necessity and utterly welcome…
A Quick & Easy Guide to Sex & Disability ™ & © 2020 A. Andrews. All rights reserved.

Attack of the Stuff – “The Life and Times of Bill Waddler”


By Jim Benton (Papercutz)
ISBN: 978-1-54580-498-8(HB) 978-1-54580-499-5(PB)

Jim Benton began his illustration work making up crazy characters in a T-Shirt shop and designing greetings cards. Born in 1960, he’d grown up in Birmingham, Michigan before studying Fine Arts at Western Michigan University.

Tirelessly earning a living exercising his creativity, he started self-promoting those weird funny things he’d dreamed up and soon was raking in the dosh from properties such as Dear Dumb Diary, Dog of Glee, Franny K. Stein, Just Jimmy, Just Plain Mean, Sweetypuss, The Misters, Meany Doodles, Vampy Doodles, Kissy Doodles, jOkObo and It’s Happy Bunny via a variety of magazines and other venues…

His gags, jests and japes can most accessibly be enjoyed on Reddit and are delivered in a huge variety of styles and manners: each perfectly in accord with whatever sick, sweet, clever, sentimental, whimsical or just plain strange content each idea demanded, and his SpyDogs effortlessly made the jump to kids animated TV success.

He seamlessly segued into best-selling cartoon books (those are the best kind) such as Man, I Hate Cursive, Clyde, Catwad and Dog Butts and Love. And Stuff Like That. And Cats) and now joins the glorious pantheon of authors and artists championed by Papercutz with his latest creation…

Based in New York, Papercutz are committed to publishing comics material for younger readers, combining licensed properties such as The Smurfs and Nancy Drew with intriguing and compelling new concepts such as The Wendy Project and this supremely surreal and outrageous outing…

In a primary-coloured anthropomorphic world, Bill Waddler is a distressed duck with a lot on his mind. His nights are plagued with nightmares about farting snakes inundating him whilst his days make him feel out of touch with hectic modern ways. Is it so hard to just sell his hay the way he always has?

Since Bill has a rather unique talent, his waking life is a bit of a misery too. Whether he wants to or not – and he doesn’t – Bill can communicate with stuff. Appliances, electronics and household objects of every sort all talk to him. Or more accurately they all whine and carp and moan at him. No one wants the toilet expressing her dreams and aspirations during those sacrosanct private moments, or to be mocked by the cruet set or told to stop snoring by the alarm clock…

Moreover, nothing he owns or people he knows care about Bill’s lifelong frustrations at never becoming a musician…

Stuck in this depressing rut, Bill’s life changes the day a curmudgeonly bear has a rant and sets the duck thinking about abandoning civilisation to become a hermit in the wilds of nature…

However, as he vanishes into the wilds to commune with snakes, a global crisis kicks off. The Internet gets into a tizzy and completely shuts down. As the entire planet descends into a chaos of non-communication and everything stops working, someone suggests the baffled experts track down that weird guy who could talk to stuff and see if he can help…

Bizarre, tetchy and hilariously off-kilter, Benton’s daft duck deliverer fends off a very modern apocalypse with astoundingly infectious grumpiness in this fabulously inventive fable that combines gently-barbed social commentary (such as when a cop stands on Bill’s neck and is shamed by his own taser!) and delicious swipes at sexism and gender stereotyping with wild laughs and devious subversion in an ultimately upbeat tale about doing the right thing…

Attack of the Stuff is sheer irresistible fun and on-target educational messaging no one should miss.
© 2020 Jim Benton. All rights reserved.

New School


By Dash Shaw (Fantagraphics Books)
ISBN: 978-1-60699-644-7 (HB)

Dash Shaw is a sublimely talented creator with a singular authorial voice and a huge repertoire of styles to call upon. Born in 1983, he is a leading light of a “new wave” (please note no capital letters there) of multi-tasking cartoonists, animators and web content originators whose interests and sensibilities heralded a recent renaissance in graphic narrative.

Like so many, he began young with independently published comics before graduating to paid work. Previous successes include Love Eats Brains, GoddessHead, Garden Head, Mother’s Mouth and the superbly haunting Bottomless Belly Button and Bellyworld.

In 2009 the Independent Film Channel commissioned him to convert his short series The Unclothed Man In the 35th Century A.D. (from comic arts quarterly Mome) into an imaginative and compelling animated series which then translated into an incredibly impressive graphic novel/art book comprising not only the evocative, nightmarish and tenderly bizarre tales but also the storyboards, designs and scripts Shaw constructed to facilitate the transition from paper to screen.

With New School, Shaw’s bold, broad experimentalism found a forward-looking yet chaotically nostalgia-generating fresh mode of communication for the oldest of information-storing, emotion-generating devices…

Here is another unique, achingly visual exploration of family, relationships and even the art of telling stories, at once dauntingly challenging, emotively ambivalent and metaphorically obfuscatory, even as Shaw impossibly pulls an authorial sleight of hand trick which renders this colossal chronicle surprisingly accessible.

Danny is a smart, content, obedient boy who worships his older brother Luke and he is telling us about his life. As our narrator, he only speaks in declarative and pompously declamatory, almost mock-heroic idiom, although his emotional underpinning is oddly off-kilter, like someone high-functioning on the autistic spectrum.

He speaks solely in the present tense even though his story begins with memories of 1990. Moreover, Danny believes he has prophetic dreams such as that one day there will be a movie called Jurassic Park or that the TV actor who plays Captain Picard will one day be the leader of the X-Men in a film…

Their highly-strung father publishes Parkworld – The Quarterly Journal of Amusement Park Industry News and Analysis and is justifiably proud of his sons’ artistic gifts and family fealty, but their solid, stolid lives begin to change in 1994 when Danny takes the credit for a dinosaur drawing Luke created and the devoted boys have a tremendous fight. As a result of the tussle, Danny is temporarily rendered deaf…

Even though his hearing returns, things have changed between the brothers, and soon rebellious Luke is despatched by Dad to the nation of X where an amusement park genius is setting up an incredible new entertainment experience called “Clockworld”.

Ashar Min AKA “Otis Sharpe” is the greatest designer of rides on Earth and – with the backing of X’s government – is turning the entire Asian island-state into a theme park tourist trap. To that end, Sharpe is hiring Americans to teach the X-ians to speak English and learn Western ways – and Dad wants 17-year old Luke there…

Three years younger, dutiful obedient Danny feels betrayed and abandoned, even as he guiltily noses around in his brother’s now-empty room. Two years pass and Luke has not communicated with the family since his departure.

Danny’s future-dreams are troubled. He is apprehensive when Mother and Father inform him he is to visit his brother on X, with the intention of bring their silent first-born home…

However, on arrival at the bustling, strange shore Danny is shocked by how much Luke has changed. Even his speech and dress are lax, debased and commonplace. The once-shining example of probity drinks, swears and fornicates…

Shock follows shock, however, as the newcomer is shown the burgeoning economy and infrastructure growing in the wake of Clockworld’s imminent completion. Moreover, after visiting the New School where Luke teaches, Danny’s joy in reuniting with his beloved sibling is further shaken, when he realises how much he has changed and has no intention of returning to America.

Worse yet, the influence of X and its people also begin to increasingly infect the appalled boy, forcing him to perpetually disgrace himself as his dreams torment him with incredible, impossible visions.

At least he thinks it’s the island making him mean and spiteful or causing him to shamefully stare at the unconsciously libertine, scandalously disporting women…

This book is drenched in the turbulent, reactive, confusing and conflicted feelings of childhood and physically evokes that sense. At 340 pages – all delineated in thick black marker-like lines with hulking faux mis-registered plates of flat colour seemingly whacked willy-nilly on the 279 x216mm pages, this feels like a mega-version of one of those cheap colouring books bought for kids on a seaside holiday in the 1960s. In fact the sheer size of the tome hammers that point home, no matter how grown up your hands now are. The effect even carries over if you opt for the various digital editions…

Strident yet subtle; simplistic whilst psychologically intellectual; viscerally, compellingly bombastically beautiful in a raw, rough unhewn manner, this a graphic tale every dedicated fan of the medium simply must see, and every reader of challenging fiction must read.

It’s big! It’s pretty! It’s different! Buy it!
© 2013 Dash Shaw. This edition © 2013 Fantagraphics Books. All Rights Reserved.

The Period Comic – A Girl’s Easy Guide to Puberty & Periods


By Florence Igboayaka & Martin Okonkwo
ISBN: 979-8-60215-669-0 (PB)

Comics are an incredible resource for dispensing information and – more importantly – changing or reinforcing attitudes. Text and illustration working in union have been used for generations to educate: efficiently and clearly demonstrating practical methodology whilst relating the most difficult theoretical material. They also have the added bonus of being kid-friendly by their very nature…

This particular independent paperback (or digital) treatise is a no-nonsense introduction into the implications and ramifications of female puberty, offering in fictive form explanations, advice and practical solutions to demystify and defuse a distressing and all-too-often traumatic time in every woman’s life.

Aimed at girls aged nine and above, the lesson focuses on schoolmates Anabel, Ada and Misha as a weekend sleepover turns into an impromptu social biology class. Introduced through potted biography pages before our tale opens, the trio are happily primed for their revelatory rite of passage following a Friday afternoon Health lecture in Chapter 1: Growing up & My Body.

Encompassing ‘Puberty. What’s that?’, ‘Help! I feel weird’, ‘Do boys change too?’ (to which I can’t help but interject, Yes, but sadly not enough and far too slowly), ‘Fill your plate with colour’ (sensible dietary advice, albeit perhaps owing more to cultural bias than the latest science) and ‘Don’t pop that pimple’, the basic science and biology is covered in easy to assimilate steps. There’s also a wealth of sensible tips on how to cope with the progression of physical changes and why one should adjust clothing requirements accordingly…

More specific information is sensitively delivered in Chapter 2: What Are Periods? beginning with ‘Help! I’m Bleeding’, punctuated with few of the most common methods of countering the cyclical crisis before we graduate to ‘How long will this last?’

Chapter 3: Period Hygiene then asks and answers ‘How can I protect myself?’, revisiting ‘How long will this last?’ before finding time and space to reveal and challenge the iniquities of ‘Period Poverty’

Chapter 4: What to Expect During Periods advocates ‘Be prepared’, and asks ‘Are cramps and PMS normal?’, leading into an aspirational Q&A session to end proceedings.

Speaking as exactly who this book is not aimed at and least likely to benefit from its efforts, I have to say The Period Comic is far from perfect but it’s a great start in normalising the commonplace function which modern society has somehow made both shockingly taboo and simultaneously unworthy of notice.

How we can attach so many appalling and absurd reactions to something so ubiquitous and inevitable has always astounded me (I know for absolute fact of one husband and father who won’t allow his wife and daughter’s period (let’s all stop calling them “sanitary”) products to be stored in the bathroom – or even mentioned in the house!) and we sadly seem a long, long way from any kind of parity in accepting that all humans are as much muck and mire as we are dreams and aspirations.

If this tract helps its target audience avoid unfair stigma and the unjustifiable twaddle of mythology and outright bigotry that’s grown around the process of menstruation, I’m all in favour.

Perhaps, it’s a touch too self-laudatory in places and there’s a tendency to overstress the hygiene aspect whilst underplaying the still too-prevalent negative social stigma. My female associates and intimates also assure me that there’s lots more this primer could and should cover – such as ecologically sustainable alternate methods of coping with the cycle – but all in all, this is a supremely sensible, minimum fuss treatment of a natural occurrence that really shouldn’t be a sensitive issue in any modern egalitarian society. Why not see for yourself and or check it out with your own youngsters?
2019. No © invoked.

Cedric volume 1: High Risk Class


By Laudec & Cauvin with colours by Leonardo and translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-905460-68-7 (Album pb)

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

Happily he quickly discovered his true calling – comedy writing – and began a glittering and prolific career at Le Journal de Spirou where he devised (with Salvérius) the astoundingly successful Bluecoats as well as dozens of other long-running, award winning series such as Sammy, Les Femmes en Blanc, Boulouloum et Guiliguili, Cupidon, Pauvre Lampil and Agent 212: cumulatively shifting more than 240 separate albums. Bluecoats alone has sold more than 15 million copies so far.

His collaborator on kid-friendly family strip Cedric is Italian born, Belgium raised Tony de Luca who studied electro-mechanics and toiled as an industrial draughtsman until he could make the break into comics.

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

In 1987 he united with Cauvin on the first Cédric shorts and the rest is history… and science and geography and PE and…

We have Dennis the Menace and the Americans have one too – but he’s not the same – whilst the French-speaking world has Cédric: a charming little rapscallion with a heart of gold and an irresistible streak of mischief dogging his heels. Collected albums of the short, sharp strips – ranging from a ½ page to half a dozen – began appearing in 1989 (with 31 released so far) and are always amongst the most popular and best-selling on the continent, as is the animated TV show spun off from the strip.

Available in paperback album and digital formats, this first Cinebook translation – from 2008 and originally continentally released as Classe tous risques in 1990 – was the third compilation and hauls straight in to the action as the little lout is surprised by the introduction of ‘The New Girl’ to the class.

Previously, overly-imaginative Cedric had been utterly enamoured of his teacher Miss Nelly but when Chen is introduced his mind and heart go into fantasy overdrive. She’s different, her skin isn’t the same colour as everybody else’s and she talks really funny.

Of course a proper gentleman would have a better and less dangerous way of saying that to a newcomer’s face. Happily, however, Cedric’s gaffe is an opportunity for demure but feisty Chen to properly break the ice…

When the restless lad and his best friend Christian get hold of some stink bombs an awful lot of surprised adults are forced to cry ‘What Stinks?’ but the peewee pranksters eventually go too far and are trapped in their own efforts, whereas when Cedric attempts to cheat in a geography competition involving ‘Balloons’ the repercussions are all on him alone…

His deviltry actually succeeds with no comeback when he sabotages the ‘Olympic Disciplines’ of excessively keen Games Master Mr Oliver but when Cedric tries to obscure his latest bad report card by getting injured and crying for ‘Nurse Mum’ his tactics are sorely mistaken…

There’s more social angst – and unleashed aggression – in store when Christian confuses Chinese Chen with Vietnamese ‘Boat People’ and shares his “expertise” with our gullible star but the boys are soon pals again and summarily run amok with a radio-controlled car in ‘Driving Under the Influence of Laughter’ after which Grandpa lands in the doghouse when Cedric steals his champagne and gets disastrously hammered on his ‘First Sip’

Disclosing he is over Miss Nelly, the love-struck lad goes completely over the top with ‘The Gift’ he has chosen to win Chen, which leads to near disaster when he manfully decides he must let his deserted older woman down gently in ‘One Love Follows Another…’

Typically, Cedric picks the very moment after his teacher has received some extremely upsetting news…

Focus satirically switches to conservative, reactionary Grandpa who takes the news that Cedric is seeing a Chinese girl with an appalling lack of understanding, taste or decorum in ‘The Oil Can’ but it’s the boy who’s soon back in everyone’s bad books when he swaps suntan oil for toothpaste in ‘Bathing Beauties’.

At least his classmates still respect him, especially Freddy who needs all the escape tips he can get after delivering ‘The Report’ of his latest scholastic disgraces to his own furious father whilst Cedric’s family are subjected to cruel and unusual punishment when neighbours ‘Crazy for Television’ invite themselves over…

The introductory antics hilariously conclude as Cedric decides to use a school ‘Picnic’ to tell Chen of his feelings, despite the sustained mockery of his mates. Of course his courage is no substitute for discretion or tact and when he goes too far again, at least the boys are there to console and medicate him…

Rapid-paced, warm and witty, the adventures of this painfully keen, young romantic scallywag are a charming example of how all 8-year-old boys are just the same and infinitely unique. This is a solid family-oriented comics book no one trying to introduce youngsters to the medium should be without.
© Dupuis 1990 by Cauvin & Laudec. All rights reserved. English translation © 2008 Cinebook Ltd.

Spidey volume 2: After-School Special


By Robbie Thompson, André Lima Araújo, Nathan Stockman & various (Marvel)
ISBN: 978-0-7851-9676-1 (TPB)

Since its earliest days the publishing company now known as media monolith Marvel always courted the youngest of comicbook consumers. Whether through animated tie-ins and licensed properties such as Terrytoons Comics, Mighty Mouse, Duckula, assorted Hanna-Barbera and Disney licenses and a myriad of others, or original characters such as Millie the Model, Homer the Happy Ghost and Calvin, the House of Ideas always understood the necessity of cultivating the next generation of readers.

These days, however, kids’ interest titles are a tricky balancing act and, with the Marvel Universe’s characters all over screens large and small, the company usually prefers to create child-friendly versions of its own proprietary pantheon in their own playground, making that eventual hoped-for transition to more mature comics and other venues as painless as possible.

In the 1980s-1990s Marvel published an entire line of kiddie titles through its Star Comics line and, in 2003, the company created a Marvel Age line to update and retell classic original tales by Stan Lee, Jack Kirby & Steve Ditko, mixing it in with the remnants of its manga-inspired Tsunami imprint: again, all intended for a younger readership.

The experiment was tweaked in 2005, becoming the Marvel Adventures line, with titles reflecting the most popular characters and whatever was on TV screens at the time. In 2012 these were superseded by specific comicbook titles tied to Disney XD TV shows designated as “Marvel Universe cartoons”.

Today’s featured item – Spidey: After-School Special – is a horse of a different colour: similar but different…

Rather than simply crafting a wallcrawler for younger sensibilities, this iteration – presumably sparked by the teenaged, light-adventure version seen in the Spider-Man: Homecoming movie – innovates and modernizes by once again looking back and superbly succeeds in recapturing a sense of the madcap gaiety that counterbalanced the action and pathos of the earliest Lee/Ditko stories. This series is all about thrills and fun…

Scripted throughout by Robbie Thompson and re-presenting Spidey#7-12 (originally released from August 2016 to January 2017), the non-stop, youngster-appropriate mayhem recommences with a cracking catch-up origin-page illustrated by Nick Bradshaw and colourist Jim Campbell.

Firmly set in The Now, our hero is still and once again a callow schoolboy, fighting crime and making enemies between High School classes. In his off-hours he’s also a crimefighting sensation of the internet and social media whenever he puts on his blue-&-red duds. As ever, news magnate J. Jonah Jameson is there to vilify the webslinger at every opportunity…

Sadly, thanks to the kid’s double life, Peter Parker’s grades – except for science and maths – are tanking now, and the secret superhero is forced to accept Popular Girl Gwen Stacy as a much-needed history tutor. Not only is she the hottest girl in school, but she also decks Flash Thompson with one punch after the jocks starts bullying “Puny” Parker again…

That tricky triangle develops in captivating manner over the next half dozen arachnid escapades, starting with an untitled team-up co-starring African monarch T’Challa the Black Panther and illustrated by André Lima Araújo. Here, the tutoring of classmates is counterbalanced by a spectacular teaching moment as the schoolboy hero stumbles into a subterranean smuggling operation masterminded by the diabolical and unhuman Klaw, Master of Sound…

Peter Parker’s dream “maybe date” with Gwen takes an even-more terrifying turn in ‘Blackout!’ (art by Nathan Stockman) as voltaic villain Electro assaults the city in a deadly but foredoomed attempt to kill Spider-Man. His spectacular trouncing is only slightly mitigated when he is sprung from custody by a band of fellow murderous Arachnophobes…

Peter’s desperate schemes to earn enough cash for Aunt May’s birthday present lead to confrontations with occasional-employer Jameson and all-out war with psycho-stalker Kraven the Hunter in ‘To Catch a Spider’ after which the wallcrawler’s media-created ‘Bad Reputation’ is temporarily redeemed after a dynamic team-up with Captain America against AIM and their lethal leader M.O.D.O.K.

The year-long story arcs detailing the tricky triangle of Gwen, Flash and Peter and the gradual coalition of a new Sinister Six coalesce in ‘Missing Out’ as the kids take their dreaded exams and Spidey attempts to join in a mass battle against Galactus, only to stopped at every stage by a far more important and immediate crisis – such as an unrelenting attack by brainwashed villain Scorpion – before the drama magnificently concludes in the boy hero’s best day ever. Unless, of course, Doctor Octopus, Mysterio, Sandman, Kraven, Electro and the Vulture succeed with their plan in ‘Spidey No More!’

Supplemented with a wealth of behind-the-scenes artwork and illustration secrets from Lima Araújo and Stockman, this is a sublime slice of fun and action, referencing the intoxicating days of Stan Lee & Steve Ditko whilst offering an enthrallingly refreshing reinterpretation of an evergreen heroic icon. Here is an intriguing and more culturally accessible means of introducing character and concepts to kids born two and three generations or more away from those far-distant 1960s originating events. These Spidey super-stories are outrageously enjoyable yarns, and well worth seeking out.
© 2016 Marvel Characters, Inc. All rights reserved.

Popeye Classics volume 5

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By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-63140-175-6(HB) eISBN: 978-1-62302-720-9

How many cartoon classics can you think of still going after a century? Here’s one…

There are a few fictional personages to enter communal world consciousness – and fewer still from comics – but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894. His father was a general handyman, and the boy’s early life was filled with the kinds of solid, dependable blue-collar jobs that typified his generation of cartoonists. He worked as a decorator, house-painter and also played drums; accompanying vaudeville acts at the local theatre.

When the town got a movie-house, he played for the silent films, absorbing all the staging, timing and narrative tricks from keen observation of the screen. Those lessons would become his greatest assets as a cartoonist. It was while working as the film projectionist, at age 18, that he decided to become a cartoonist and tell his own stories.

Like so many others in those hard times, he studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio, before gravitating to Chicago where he was “discovered” by Richard F. Outcault – regarded by most in the know today as the inventor of modern newspaper comic strips with The Yellow Kid and Buster Brown.

The celebrated pioneer introduced Segar around at the prestigious Chicago Herald. Still wet behind the ears, the kid’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

In 1918, Segar married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop, but Managing Editor William Curley saw a big future for Segar and packed the newlyweds off to New York, HQ of the mighty King Features Syndicate.

Within a year Segar was producing Thimble Theatre, which launched December 19th 1919 in the New York Journal. It was a smart pastiche of cinema and knock-off of movie-inspired features like Hairbreadth Harry and Midget Movies, with a repertory of stock players to act out comedies, melodramas, comedies, crime-stories, chases and especially comedies for vast daily audiences. It didn’t stay that way for long…

The core cartoon cast included parental pillars Nana and Cole Oyl; their lanky, highly-strung daughter Olive, diminutive-but-pushy son Castor and the homely ingenue’s plain and (very) simple occasional boyfriend Horace Hamgravy (latterly, just Ham Gravy).

Segar had been successfully, steadily producing Thimble Theatre for a decade when he introduced a brusque, vulgar “sailor man” into the everyday ongoing saga of hapless halfwits on January 29th 1929. Nobody suspected the giddy heights that stubborn cantankerous walk-on would reach…

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

After Segar’s far-too-premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip, even as the Fleischer Studio’s animated features brought Popeye to the entire world, albeit a slightly different vision of the old salt of the funny pages. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments. But then, finally, Bud arrived…

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

When Sagendorf became the main man, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. Bud wrote and drew Popeye in every graphic arena for 24 years and when he died in 1994, he was succeeded by controversial “Underground” cartoonist Bobby London.

Young Bud had been Segar’s assistant and apprentice, and from 1948 onwards was exclusive writer and illustrator of Popeye’s comicbook adventures. These launched in February of that year in a regular monthly title published by America’s unassailable king of periodical licensing, Dell Comics.

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

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

Collected in their entirety in this beguiling full-colour hardback (also available in digital editions) are issues #20-24 of Popeye’s comic book series, produced by the irrepressible Sagendorf and collectively spanning April-June 1952 to April-June 1953.

The stunning, almost stream-of-consciousness slapstick stories are preceded as ever by an effusively appreciative Foreword‘Society of Sagendorks’– by inspired aficionado, historian and publisher Craig Yoe, offering a mirthful mission statement.

Every volume includes a collation or ephemera and merchandise courtesy of the ‘Bud Sagendorf Scrapbook’. Included here are newspaper clippings, ads and assorted trivia such as packaging for candy, toys, stationery, fridge magnets, plates, Dutch newspaper strips & comics covers plus a selection of images from a colouring book.

We rejoin the ceaseless parade of laughs, surreal imagination and thrills with #20 which opens and closes with a prose yarn adorning both inside front and back covers. ‘Big House Bill in “House for Rent”’ reveals how a churlish sea snail is inveigled to join the other molluscs’ games…

Sagendorf was a smart guy who kept abreast of trends and fashions as well as understanding how kids’ minds worked and these tales are timeless in approach and delivery. In the era of rapid television expansion, cowboys were King, with westerns dominating both large and small screens as well as plenty of comics. Thus, many sagas featured Popeye as a horse-riding sagebrush wanderer who ran a desert railroad when he wasn’t prospecting…

The comics kick off with ‘Here Comes the Bride!!’ detailing how the saddle-sore Sailor-Man upsets a lost tribe of Indians and can only end his sea of trouble by marrying the chief’s beautiful daughter. Of course, that assuming his ferociously possessive – and possibly psychic – sweetie-pie Olive doesn’t find him first…

‘Little Kids Should Have Ice Cream! or Swee’ Pea Gets It!’ then pictures the precocious kid pushing the limits of everyone’s patience to score a cold treat, after which back-up feature Sherman sees another bright spark youngster become an inadvertent counterfeiter – and getaway driver – in ‘Rolling Along!’ The issue concludes with a salutary back cover Popeye gag as Swee’ Pea digs a backyard well with catastrophic results…

Issue #21 of the quarterly delight covered July-September 1952 and again offered a Sagendorf illustrated prose yarn on the interior covers: this one detailing how ‘Harry the People Horse’ attempts to assimilate with humanity by wearing clothes…

The comics commence with ‘Interplanetary Battle’ which taps into the era’s other mass obsession: a growing fascination with UFOs. On Earth prize fighter Popeye cannot find an opponent brave enough to face him, so Wimpy innocently seeks to aid his old pal by broadcasting a message to the universe. Sadly, what answers the clarion call is a bizarre, shapeshifting swab with sneaky magic powers…

An engaging Micawber-like coward, cad and conman, the insatiably ravenous J. Wellington Wimpy debuted in the newspaper strip on May 3rd 1931 as an unnamed and decidedly partisan referee in one of Popeye’s pugilistic bouts. The scurrilous yet scrupulously polite oaf struck a chord and Segar gradually made him a fixture. Always hungry, keen to solicit bribes and a cunning coiner of many immortal catchphrases – such as “I would gladly pay you Tuesday for a hamburger today” and “Let’s you and him fight” – Wimpy is the perfect foil for a simple action hero who increasingly stole the entire show… and anything else unless it was extremely well nailed down…

After an unseemly moment of jealousy, Popeye is compelled to take over the redecoration of Olive’s house in ‘Paper and Paste’, but his lack of experience and Wimpy’s assistance soon combine to create the usual chaos after which the back-up feature – now redubbed Sherm – finds the kid in dire straits after leaving his wiener dog Winky alone in the ‘Dog House!’

Proceedings again conclude with a back-cover gag involving Swee’ Pea and eggs…

Another prose ‘Horse Tale’ brackets the interiors of #22 (October-December 1952), detailing a desert steed’s gold prospecting woes before the Old Salt suffers a tragic reversal of fortune during a shortage of his favourite vegetable. Sadly, starting a ‘Spinach Farm’ and making a go of it prove distressingly difficult once Wimpy starts helping…

‘Swee’ Pea’s Vacation!’ then sees the valiant nipper take an eventful voyage to Spinachovia, that shatters the island’s economy and devastates their armed forces, before Sherm takes ‘The Long Way Home!’ in a wry episode incorporating a host of puzzles and mazes to keep reader interest honed and the back cover Popeye gag sees Swee’ Pea become a dirt magnet…

Popeye #23 (January-March 1953) opens and closes with prose tale ‘The Rocket Horse’ detailing a non-consensual trip to Mars, whilst lead strip ‘Boom! Boom! or Pirates is Rodents!’ returns the Sailor-Man to his nautical roots to eradicate scurvy corsairs besmirching his beloved seven seas. His only miscalculation is bringing Olive and Wimpy with him…

His sweety takes centre stage in ‘Ship Shape!’ as she tries to make Popeye and his dad Poopdeck Pappy clean up their scruffy sea-going vessel, whist Sherm indulges in winter sports and a spot of detecting when Pa goes missing in ‘Snow-Father!’, and the issue closes with Popeye and Swee’ Pea disastrously disputing ownership of a dingy in the traditional back-cover vignette.

Closing this vivid and varied volume is #24 (April-June), which begins and ends with text triumph ‘Apple House’ – highlighting a housing crisis for cute maggot Vernon Greentop – before cartoon chaos ensues with ‘Popeye an’ Pappy in Golden Street!’ as the seasoned mariners become western prospectors and the incorrigible elderly reprobate finds gold in the most likely place imaginable, leaving Popeye to fix the mess as usual…

Fantasy reigns supreme in ‘Hole in the Mountain!’ as Popeye & Swee’ Pea discover a fantastic unknown kingdom on a desert island ruled by a perilously familiar tyrant before more puzzles and mazes bedevil automobile-mad Sherm and the readership in ‘The Race!’ The last word again goes to a short sharp back-page gag starring innocent demon Swee’ Pea to wrap up another treasure trove of timeless entertainment…

Outrageous and side-splitting, these all-ages yarns are evergreen examples of surreal narrative cartooning at its most inspirational. Over the last nine decades Thimble Theatre and its most successful son have unfailingly delighted readers and viewers around the world. This book – available in sturdy hardback or accessible eBook formats – is simply one of many but definitely top-tier entertainment for all those who love lunacy, laughter, frantic fantasy and rollicking adventure. If that’s you, add this compendium of wonder to your collection.
Popeye Classics volume 5 © 2014 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2014 King Features Syndicate. ™ Heart Holdings Inc.

Alone volume 2: The Master of Knives


By Gazzotti & Vehlmann, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-206-5 (PB Album)

Fabien Vehlmann was only born in 1972, yet his prodigious canon of work (from 1998 to the present) has earned him the soubriquet of “the Goscinny of the 21st Century”. He entered the world in Mont-de-Marsan and grew up in Savoie, studying business management before taking a job with a theatre group.

In 1996, after entering a writing contest in Le Journal de Spirou, Vehlmann caught the comics bug and two years later published – with illustrative collaborator Denis Bodart – a mordantly quirky and sophisticated portmanteau period crime comedy entitled Green Manor. From there on, his triumphs grew to include – many amongst others – Célestin Speculoos for Circus, Nicotine Goudron for l’Écho des Savanes and a stint on major-league property Spirou and Fantasio

Bruno Gazzotti is Belgian, born in 1970 and a former student of Institut Saint Luc in Liège. Another artist addicted to comics from his earliest years, he started getting paid to draw them in 1988, after being hired by Spirou editor Patrick Pinchart on the strength of his portfolio alone. Before long he was illustrating Le Petit Spirou with Tome & Janry.

In 1989, he and Tome created New York Cop Soda, which kept Gazzotti busy until 2005, when he resigned to co-create award-winning feature Seuls

Originally released in January 2006, Seuls – La disparition began a superb example of how to craft a thriller suitable for kids: evoking the eerie atmosphere of TV series Lost and the most disturbing elements of Philip Wylie’s The Disappearance and William Golding’s Lord of the Flies. In a post-virus, Lockdown-besieged world, it also has eerie echoes of how humans deal with enforced isolation…

Debut volume The Vanishing showed us how an ordinary bustling town, with simple folk going about their business overnight became an empty mausoleum, with a small cross-section of kids left behind to survive or die.

The scant remainers comprise Ivan, an imaginative child of wealth who wants for nothing but never saw his dad and Leila, a born engineer, inventor and tinkerer. Her poor but honest dad always found time to play and critique her latest gadget…

Studious Camille was over-focussed on exams and achievement whilst Terry is pretty much still a baby: refusing to obey orders and throwing tantrums if he doesn’t get his way.

Typically, even in an ideal environment, not all children lived comfortable lives. Dodzi was in the protective services system. His early life made him tough and resilient but couldn’t stop the other young inmates handing him a beating on this ominous, odd-feeling night before everything changed…

When it happened, the kids wandered a terrifyingly quiet and forbidding city until finding each other. All the adults were gone, and all their child pals. The internet was down, with only static from TVs and radios. Above, fearsome storm clouds hung low and ominous. As they went wild with freedom and panicked from anxiety, eventually Dodzi brutally enforced calm and lead them away to find a succession of temporary – albeit palatial – refuges to regroup and think… After an uncanny series of encounters with escaped circus animals, the little band settle in the towering Majestic Hotel and Master of Knives (originally released as Seuls: Le Maître des couteaux) opens with Dodzi scouting the empty metropolis and helping Leila consolidate supplies for a long stay in the lap of luxury. His nervousness remains high as there are still close calls with the liberated beasts in the streets, but the younger kids seem to have adapted well. It certainly helps that they are hoarding every toy and treat they can find in abandoned shops and houses…

Ivan has a plan to occupy him too: systematically calling every phone number in the phone book. No luck yet, though…

Things start to go south swiftly after he finds his father’s pistol and tempts Leila into a spot of target practice on the roof. As Dodzi furiously confiscates the lethal toy, he has no idea that he has become the chosen prey of a mysterious stalker. As the cloaked pursuer slowly enacts a chilling campaign of terror, the stressed leader agonisingly discovers he is not the only obsession of the terrifying, nebulous figure clad in cloaks and draped in blades and daggers…

As the other kids obliviously fritter away the day, Dodzi is remorselessly hunted over the rooftops by the manic killer. When he briefly eludes the hunter, the Master simply doubles back to menace the children in the hotel. A shocking confrontation then ensues, which sees the tables turned but only at the cost of Dodzi’s closely withheld secrets being exposed to all…

In the painful aftermath, the days of innocence are discarded and the little orphan family prepare to hit the open road to find out if other cities have been emptied too…

To Be Continued…

This spooky, powerful and often shocking tale of mystery and imagination sees bereft children facing increasingly daunting physical hazards and an escalating series of events which can have no logical or rational explanation, and the tension simply amplifies with every instalment. Alone became one of the biggest critical and commercial comics hits of the decade and if you love eerie enigmas and powerful tale-telling, you’ll buy this and successive releases to see why…
© Dupuis 2007 by Gazzotti & Vehlmann. All rights reserved. English translation © 2014 Cinebook Ltd.

Philosophy – A Discovery in Comics


By Margreet de Heer with Yiri T. Kohl (NBM)
ISBN: 978-1-56163-698-3 (HB)

I’m feeling the urge to big up the transformative and informational aspect of comics, so expect a few educational reviews – the books, not my blather about them – over the forthcoming days. Here’s an old favourite to start you off…

It has long been a truism of the creative arts that the most effective, efficient and economical method of instruction and informational training is the comic strip.

For well more than a century, advertising mavens have 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 – unless you’re a graph designer for the British government.

Since World War II, 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. The magnificent 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 his webcomic Raw Materials and such seasoned 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 volumes of public information.

So do we and so do the Americans. I’ve even produced the occasional tract myself. The medium has also been used to sublimely and elegantly tackle the greatest and most all-consuming preoccupation and creation of the mind of Man…

In 1972, Margreet de Heer was born into a family of theologians and despite some rebellious teen forays to the wild side of life – fascinatingly covered in the ‘Know My Self’ section of this fabulous graphic primer – studied Theology for 9 years at the University of Amsterdam. After graduating in 1999, she decided to become a cartoonist – and did – but also worked at the wonderful comics and cool stuff emporium/cultural icon Lambiek in Amsterdam.

Whilst there – and before becoming a full-time professional in 2005 – she collaborated with industry expert Kees Kousemaker on a history of Dutch comics. In 2007, with commissions in publications as broad and varied as Yes, Zij aan Zij, Viva Mama, Flo’, Jippo, Farfelu and NRC.Next, she began a series of cartoon philosophical reports for the newspaper Trouw. These prompted a perspicacious publisher to commission a complete book on this most ancient of topics. Filosofie in Beeld was first released in 2010 and translated into English by NBM two years later as Philosophy – a Discovery in Comics.

This gloriously accessible tome – available in hardback and digital editions – is crafted by a gifted writer with a master’s grasp of her subject, and opens with the core concept ‘What is Thinking?’, examining the processes of mind through a number of elegantly crafted examples before moving onto ‘Who Do We Think We Are?’

Those paradigms of ‘Self-Awareness’, ‘Logical Thinking’, ‘Language’, ‘Symbols’, ‘Abstract Thinking’ and ‘Humor’ are captivatingly and comprehensively covered before the history and cognitive high points of civilisation are disclosed with ‘The Foundation of Western Philosophy’.

This potted history of ‘Dualism’ relates the life stories, conceptual legacies and achievements of ‘Socrates’ and the ‘Socratic Discourse’; his star pupil ‘Plato’ and the universal man ‘Aristotle’: all winningly counterpointed by a balancing sidebar autobiography in ‘Know My Self’ plus some cogent observations and a few comparisons with the Eastern philosophy of ‘Unity’

‘Medieval Philosophy’ then deals with the influence of the Christian Church on ‘Augustine’ and ‘Thomas Aquinas’; the “Great Thinkers” of early Europe by examining the warring concepts of ‘Free Will’ and ‘Predestination’ and explores the lives of ‘Erasmus’ and ‘Humanism’; ‘Descartes’ and his maxim ‘Cogito Ergo Sum’ and ‘Spinoza’, whose consummate faith-based dictum was ‘Know Thyself’

The charming, beguiling foundation course continues with ‘What is Reality?’ bringing us up to the modern age with ‘And Now’ comprising another brilliantly clever diversion as de Heer includes the ‘Personal Philosophies’ of families and friends.

Her husband – and this book’s colourist – Yiri bases his outlook on the incredible life of outrageous comedian ‘George Carlin’; her aged friend Gerrit looks to ‘Nietzsche’, mother-in-law Yolanda modelled herself on Cambridge lecturer and intellectual ‘George Steiner’ whilst De Heer’s little brother Maarten prefers to shop around, picking up what he needs from thinkers as varied as ‘Aldous Huxley’ to cartoonist ‘Marten Toonder’. The author bravely puts her money where her mouth is and reveals her own thoughts on Life, the Universe and Everything before asking again ‘What Do You Think?’

This is a truly sharp and witty book – the first of a trilogy also examining Religion and Science – which adroitly reduces centuries of contentious pondering, violent discussion and high-altitude academic acrimony to an enthralling, utterly enthralling experience any smart kid or keen elder would be happy to experience.

Clear, concise, appropriately challenging and informatively funny Philosophy – A Discovery in Comics is a wonder of unpretentious, exuberant graphic craft and a timeless book we can all enjoy, comics fans or not.
© @2010 Uitgeverij Meinema, Zoetermeer, TheNetherlands. English translation © 2012 Margreet de Heer & Yiri T. Kohl.

Daredevil Marvel Masterworks volume 5


By Stan Lee, Roy Thomas, Gene Colan, Barry Windsor-Smith & various (Marvel)
ISBN: 978-0-7851-3042-0 (HB)

Matt Murdock is a blind lawyer whose remaining – radioactively enhanced – senses hyper-compensate, make him an astonishing acrobat, formidable fighter and living lie-detector. Very much a second-string hero for his early years, Daredevil was nonetheless a striking and popular one, due in large part to the roster of brilliant artists who illustrated the series. He only really came into his own, however, after artist Gene Colan signed up for the long haul and wunderkind scripter Roy Thomas added an edge of darkness to the swashbuckling derring-do…

Covering July 1968 to June 1969, this tumultuous collection (in both hefty hardback and ephemeral eBook formats) reprints Daredevil #42-53 (plus a surprise comedy bonus), capturing the significant moments and radical shifts in treatment and content as Lee surrendered the scripter’s role to Thomas. Following a fascinating Introduction from Gene Colan, an aura of barely-contained, ever-escalating madness increasingly permeates the soap opera narrative beats, peerlessly pictured by his own astounding illustration – as well as a powerful interlude by a promising British fill-in artist named Barry Smith….

Having killed off his fictitious alter ego twin brother Mike Murdock, Matt briefly considered hanging up his scarlet long-johns but eventually retained his secret other-life by “revealing” to his girlfriend Karen Page and closest friend Franklin “Foggy” Nelson that Mike was only one of a number of Men without Fear in the first part of a prolonged battle with a new nemesis…

‘Nobody Laughs at The Jester!’ (by Lee, Colan and inker Dan Adkins) shows how that Malevolent Mountebank only wants to be more successful as a criminal than he had been as a bit-playing actor, but his motivation changes when crooked mayoral candidate Richard Raleigh hires him to spoil incorruptible Foggys campaign for the position of District Attorney.

The role grew and the mission crept, precipitating a protracted saga which kicks off with a temporarily befuddled DD ‘In Combat with Captain America!’ (inked by Vince Colletta), before Hornhead is framed for killing the Jester’s alter ego Jonathan Powers in #44’s ‘I, Murderer!’

Soundly defeated in combat by the Jester, our hero experiences ‘The Dismal Dregs of Defeat!’ and becomes a wanted fugitive. Following a frenetic police manhunt, DD is finally arrested before snatching victory in the thoroughly enthralling conclusion ‘The Final Jest!’

With this episode, inker extraordinary George Klein began his long and impressive association with the series.

With the Vietnam War raging, a story involving the conflict was inevitable but – thanks in great part to Colan’s personal input – #47’s ‘Brother, Take My Hand!’ was so much more than a quick cash-in or even well-meaning examination of contemporary controversy. Here, Marvel found another strong and admirable African American character (one of far too few in those blinkered times) to add to their growing stable…

Newly-blinded veteran Willie Lincoln turns to Matt Murdock and Daredevil for help on his return home. A disgraced cop framed by gang-boss Biggie Benson before joining the army, Lincoln is now back in America and determined to clear his name at all costs. This gripping, life-affirming crime thriller not only triumphs in Daredevil’s natural milieu of moody urban menace but also sets up a long-running plot that would ultimately change the Man without Fear forever…

The return of Stilt-Man poses little more than a distraction in ‘Farewell to Foggy’, as Matt’s oldest friend wins the race for DA but acrimoniously turns his back on Murdock, seemingly forever….

Lee’s final script on the sightless crusader, ‘Daredevil Drops Out’ (#49), was illustrated by Colan & Klein, depicting Murdock as the target of a robotic assassin built by Mad-Scientist-for-Hire Starr Saxon. This tense, action-packed thriller grew into something very special with second chapter ‘If in Battle I Fall…!’ as neophyte penciller Barry Smith stepped in, ably augmented by veteran inker Johnny Craig. Colan had been shifted to the role of artist on prestigious title The Avengers, but he would soon return…

Lee then left comics-scripting protégé Roy Thomas to finish up for him in ‘Run, Murdock, Run!’ (Daredevil #51, April 1969 with art by Smith & Klein): a wickedly engaging, frantically escalating psychedelic thriller which sees Saxon uncover the hero’s greatest secret after the Man Without Fear succumbs to toxins in his bloodstream and goes berserk.

The saga climaxes in stunning style on ‘The Night of the Panther!’ (Smith & Craig) as African Avenger Black Panther joins the hunt for an out-of-control Daredevil before subsequently helping thwart, if not defeat, the dastardly Saxon.

The radically unsettling ending blew away all the conventions of traditional Fights ‘n’ Tights melodrama and still shocks me today…

Colan & Klein reunited for #53’s ‘As it Was in the Beginning…’ wherein Thomas reprised, revised and expanded Lee & Bill Everett’s origin script from Daredevil #1, allowing the troubled hero to reach a bold decision, which would be executed in #54 – or the next volume to us…

Adding extra value to the proceedings and ending on a comedic note, this enticing tome includes a pertinent parody by Lee & Colan from Marvel’s spoof title Not Brand Echh (#4, November 1967) as Splat Murdock – AKA Scaredevil – endures moments of hilarious existential angst and an identity crisis whilst being ‘Defeated by the Evil Electrico!’, concluding and complimenting a bonanza of bombastic battles tales that are pure Fights ‘n’ Tights magic in the grand Marvel Manner: comic epics no fan of stunning super-heroics can afford to ignore.
© 1968, 1969, 2016 Marvel Characters, Inc. All rights reserved.