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The Definitive Charley’s War volume 1: Boy Soldier


By Pat Mills & Joe Colquhoun & various (Rebellion)
ISBN: 978-1-78108-619-3 (TPB/Digital edition)

This book includes Discriminatory Content produced during less enlightened times.

On July 27th 1914, Austrian foreign Minister Berchtold had Emperor Franz Joseph sign a Declaration of War in hopes of stealing a march on the empire’s political opponents of the Triple Entente and ensure any peace proposals would be pointless. The Great War officially began the following day…

When Pat Mills & Joe Colquhoun began their tale of an impressionable lad who joins up just in time to fight in the disastrous Somme campaign, I suspect they had, as usual, the best of authorial intentions but no real idea that this time they were creating comics history. The landmark feature was originally published in British war anthology Battle (AKA Battle Picture Weekly, Battle Action, etc.). A surprise hit, the serial proper launched in #200, running from January 1979 until October of 1986.

It recounted, usually in heartrending and harrowing detail and with astounding passion for a Boys’ Periodical, the life of an East-End kid who lies about his age to enlist with the British Army reinforcements setting out to fight the Hun in 1916.

The stunning strip contingent contained within this edition – 86 weekly episodes in all – span January 6th 1979 through 25th October 1980, forming one of the most powerful and influential characterisations of the oh-so-ironic “war to end all wars” ever depicted. Lovingly researched, lavishly limned and staggeringly authentic, the saga touches upon many diverse aspects of the conflict – even the effects on the Home Front – all delivered with a devastating, sardonically understated dry sense of horror and injustice, albeit frequently leavened with gallows humour as trenchant as that legendarily “enjoyed” by the poor trench-bound “Tommies” of the time.

This magnificent (mostly) monochrome mega-compilation opens with a 4-page instalment (for much of the middle run the series came in 3-page episodes) ‘Charley’s War – the Story of a Soldier in World War One’, following 16-year-old London Bus Company worker Charley Bourne as he eagerly enlists and so-quickly graduates to unending, enduring horrors of muddy, blood-soaked battlefields, beginning with The Somme.

Military life was notoriously hard and unremittingly dull – except for brief bursts of manic aggression and strategic stupidity which ended so many lives. Closely following the recorded course of the war, Mills & Colquhoun put young Charley in the Westshire Regiment and show a rapidly changing casualty-shaped cast being constantly whittled away by various modes of combat attrition.

The weekly hellscapes show lesser-known, far-from-glorious aspects of the conflict readers in the 1970s & 1980s had never seen in any other war comic. Each strip was cunningly punctuated and elucidated by the telling narrative device of the simple lad’s letters to his family in “Blighty” whilst also cleverly utilising reproductions of cartoons and postcards from the period.

With Boer War veteran Ole Bill Tozer as his mentor, Charley narrowly survives shelling, mudslides, digging details, gas attacks, the trench cat, snipers, callous stupidity of his own commanding officers – although there are examples of good officers too – and the far-too-frequent insane absurdity of a modern soldier’s life. Slowly but irrevocably the callow, naïve boy becomes a solid, dependable warrior – albeit one with a nose for trouble and a near-divine gift for lucky escapes.

When Tozer leads a party across No-Man’s Land to capture prisoners for interrogation, new pal Ginger sustains a frankly hilarious wound in his nether regions. As a result, however, and despite the sortie establishing the inadvisability of an attack, Allied generals continue their plans for a “Big Push”. Thus, Charlie is confronted with an agonising moral dilemma when he catches a comrade trying to wound himself and get sent home before the balloon goes up. This time, grim fate intervenes before the boy soldier can make his terrible choice…

The unit’s troubles increase exponentially when arrogant, ruthless aristocrat Lieutenant Snell arrives; constantly undermining if not actively sabotaging every effort by sympathetic Lieutenant Thomas to make the riffraff cannon fodder’s lives tolerable. The self-serving toff officer takes an extremely personal dislike to Charley after the lad drops in trench mud a huge picnic hamper belonging to the rich twat…

On July 1st 1916 The Battle of the Somme begins. Like so many other unfortunates, Charley and his comrades are ordered “over the top”: expected to walk steadily into mortars and machine gun fire of entrenched German positions. Thomas, unable to stand the stupidity, cracks and commands them to charge at a run. It saves his squad but lands his men in a fully-manned German dug-out…

After ferocious fighting the lads gain a brief respite, but retreating Huns have left insidious booby-traps to entice and destroy them. Many beloved characters die before Charley, Ginger and poor shell-shocked Lonely are finally captured by “the Boche”.

As they await their fate, the traumatised veteran of 1914 reveals to Ginger and Charley the horrific events of the previous Christmas and why he so wants to die. Moreover, the sole cause of that appalling atrocity is the same Snell now commanding their own unit…

Through Charley’s signature dumb luck they escape, only to blunder into a gas attack and British Cavalry. The mounted men gallop off to meet stiff German resistance (resulting in some of the most baroque and disturbing scenes ever depicted in kids’ comics) whilst Bourne and the lads are miraculously reunited with their lost comrades. The combat carnage has not ceased, however. Awaiting orders to attack, Lt. Thomas and his embattled men are suddenly subjected to a terrific barrage. With horror the officer realises they are being shelled by their own big guns and dispatches a runner to Snell who has a functioning line to Allied HQ.

The role of messenger was the most dangerous in the army but, with no means of communication except written orders and requests, failure to get through was never acceptable. By the time Charley volunteers a dozen men have failed. With British shells still butchering British troops, Bourne resolves to test his luck as the “Thirteenth Runner”…

As previously stated, Charley’s War closely follows the war’s key events, using them as a road map or skeleton to hang specific incidents upon. This was not the strip’s sole innovation. Mills’ detailed research concentrated more on characters than fighting – although there was still plenty of heartrending action – and declared to the readership (which at time of original publication were categorically assumed to be boys between ages 9-13) that “our side” could be as monstrous as the “bad guys”.

Mills also fully exercised his own political/creative agendas in the series and was constantly amazed at what he got away with and what seeming trivialities his editors pulled him up on (more fully expanded upon in the author’s informative and detailed ‘Strip Commentary’ concluding this edition)…

With the Thirteenth Runner storyline, likable everyman Charley Bourne slowly began his descent from fresh-faced innocent to weary, battle-scarred veteran as the war reached beyond cataclysmic opening moves of the Somme Campaign into the conflict’s most bloody events. Frantically making his way to the rear positions, Charley successfully passes twelve fallen runners but only encounters more officer arrogance and Professional Soldier stupidity before the battle ends. Snell refuses to even read the message until he has finished his tea…

Helpless before aristocratic indifference, Charley angrily returns to the Front. Finding everyone apparently dead, he snaps. Reduced to a killing rage he is only dragged back to normal when Ginger, Smith Seventy and the Sarge emerge from a shattered support trench.

The lad’s joy is short-lived. Thomas is arrested for showing cowardice in the face of the enemy, and with him gone Snell commands the unit of despised disposable commoners…

Removed to the Rear to have their wounds treated, Charley and his chums meet Weeper Watkins. The former ventriloquist cries permanently. His eyes are ruined by exposure to poison gas but he is still considered fit for duty. All too soon they fall foul of sadistic military policeman Sergeant Bacon who has earned his nickname as “the Beast” over and again…

With a chance to blow off steam – like a hilarious volunteer Concert Party show – Charley and Weeper are soon in the Beast’s bad books. However, his first attempt to beat and break Bourne goes badly awry when a couple of rowdy Australian soldiers join the fray and utterly humiliate the rogue Red Cap.

Bullies are notoriously patient, however, and Bacon’s turn comes at last when Lt. Thomas is found guilty. Charley and Weeper refuse to be part of the firing squad which executes him and are punished by military tribunal, leaving them at the Beast’s non-existent mercy. Enduring savage battlefield punishments including a uniquely cruel form of crucifixion, their suffering only ends when the base is strafed by German aircraft. With sentence served and Bacon gone, Charley is soon back in the trenches, just in time for the introduction of Tank Warfare to change the world forever. A fascinating aspect of the battle is highlighted here as the strip concentrates heavily upon German reaction to the innovation. The Central Powers considered the tank an atrocity weapon in just the same way modern soldiers do chemical and biological ones.

In the build-up to the Big Push, Charley is singled out by a new replacement. Unctuous Oliver Crawleigh is a cowardly spiv and petty criminal, but he’s also married to Charley’s sister Dolly. The chancer ignobly attaches himself to the young veteran like a leech, offering to pay Charley to either protect him or wound him some minor way which will get “Oiley” safely back to Britain…

The next day the British Empire’s new landships make their terrifying debut with army infantry in close support. The effect on the Germans is astounding. In a ferociously gripping extended sequence, Mills & Colquhoun take readers inside the hellish iron leviathans as outraged Huns devote their manic utmost efforts into eradicating the titanic tin terrors. The carnage is unspeakable but soon Charley, Oiley and Smith Seventy are inside one of the lumbering behemoths, reluctantly replacing the dead crew of clearly deranged tank man Wild Eyes. The modern-day Captain Ahab drags them along for the ride, seeking a madman’s redemption for the loss of his pals, the slaughter of a town and destruction of a church…

In the quiet of the weary aftermath, Oiley deliberately puts his foot under a tank to “get a Blighty” (a wound sufficiently serous to be sent home) and attempts to bribe Charley into silence. The disgusted, exhausted teenager responds in typically cathartic manner. During this lull in the fighting, events on the German side see despised commoner and Eastern Front veteran Colonel Zeiss spurn his aristocratic Junker colleagues’ outdated notions, devising a new kind of Total Warfare to punish the British for their use of mechanised murder machines…

Charley, meanwhile, is wounded and his comrades celebrate the fact that he will soon be home safely. Naturally, things are never that simple and the callous indifference of the British army’s medical contingent – especially notorious “Doctor No” who never lets a man escape his duty – means any soldier still able to pull a trigger is sent back into battle.

Bourne returns just in time to meet the first wave of Zeiss’ merciless “Judgement Troops”, who storm British lines, slaughtering everyone – including German soldiers who get in the way – in a savage, no-holds-barred assault. The “Blitzkrieg tactics” overwhelm everything in their path. Charley and his mates reel from fresh horrors: battlefield executions, flamethrowers, experimental forms of poison gas, strafing by steel javelins and brutal, uncompromising hand-to-hand combat in their own overrun trenches before the bloody battle peters out indecisively…

Zeiss is subsequently cashiered by his own appalled superiors, but knows that one day his concepts of Blitzkrieg and Total War will become the norm…

Exhausted, battle-weary Charley is again injured, losing his identification in the process and returned eventually to England as a shell-shocked amnesiac. His mother undergoes slow torture as she receives telegrams declaring her son, missing, dead, found wounded and lost again…

Mills & Colquhoun now begin a masterful sequence that broke all the rules of war comic fiction; switching emphasis to the Home Front where Charley’s family mourn his apparent death, and work in the war industries. It’s at this time that German Zeppelin raids on British cities begin. Mills’ acerbic social criticism makes powerful use of history as our recovering boy soldier experiences the trials of submarine warfare, when the troop ship carrying him and Bill Tozer back to Blighty is torpedoed…

When their perilous North Sea odyssey at last brings Charley back to Silvertown in London’s West Ham, it is in the wake of a catastrophic disaster in which 50 tons of TNT detonate at a munitions factory, killing more than 70 workers and injuring a further 400. No longer comfortable around civilians and with no stomach for jingoistic nonsense of stay-at-homes or covert criminal endeavours of boastful “war-hero” (and secret looter) Oiley, Charley hangs out in pubs with the Sarge and reconnects with old soak/Crimean War survivor Blind Bob…

London is under constant threat, not just from greedy munitions magnates who care more for profit than safety of their workers or even victory for their homeland, but also increasingly common aerial bombing raids which provoke mindless panic and destruction at the very heart of the British Empire.

Focus here divides as Charley’s days are contrasted with the zealous mission of devoted family man Kapitan Heinrich von Bergmann who leads his Zeppelin squadron in a carefully calculated night sortie against the hated English. When Blind Bill is evicted from his rooms, Charley invites him to stay with the Bournes and the beggar’s incredible hearing (coupled with the area’s quaint air-raid listening devices) provides enough warning to seal Bergmann’s doom, but not before the airman has rained tons of explosive death on the capital…

During the bombing, Charley discovers his mum is still toiling in the local munitions works. The exploitative owner has decided not to sound his air raid evacuation alarm as he has profits and contracts to consider. Charley is not happy and dashes to get her out…

This stunning collection ends with a sharp jab at dubious practices of British recruitment officers (who got bonuses for every volunteer they signed up) as Charley stops his extremely little brother Wilf from making the same mistake he did, and teaches the unscrupulous recruiter a much-deserved lesson…

To Be Continued…

Charley’s War is a highpoint in the narrative examination of the Great War through any artistic medium and exists as shining example of how good “Children’s Comics” can be. It is also one of the most powerful pieces of fiction ever produced for readers of any age.

I know of no anti-war story that is as gripping, as engaging and as engrossing, no strip that so successfully transcends its mass-market, popular culture roots to become a landmark of fictive brilliance. We can only thank our lucky stars that no Hollywood hack has made it a blockbuster which would inescapably undercut the tangibility of the “heroes” whilst debasing the message. There is nothing quite like it and you are diminished by not reading it.

Included in this volume are a full cover gallery and restored colour sections (reproduced in monochrome for earlier collections but vibrantly hued here to vivid effect) and writer Mills’ wonderfully informative chapter notes and commentary on the episodes. Not just a great war comic, Charley’s War is a highpoint in narrative examination of the Great War through any artistic medium. I won’t belabour plot, script or even the riveting authentic artistic depictions. I won’t praise the wonderful quality. I simply state if you read this you will get it, and if you don’t, you won’t.

Let’s all make ensure that it’s NOT all over by Christmas!
© 1979, 1980, 1981, 1982, 1983, 1984, 1985 & 2018 Rebellion Publishing Ltd. All rights reserved. Charley’s War is ™ & © Rebellion Publishing Ltd. All rights reserved.

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Spirou & Fantasio volume 21: The Prisoner of the Buddha


By André Franquin, Jidéhem & Greg, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-135-4 (Album PB/Digital edition)

This book includes Discriminatory Content produced during less enlightened times.

Spirou (whose name translates as “squirrel”, “mischievous” and “lively kid” in the language of Walloons) was created by French cartoonist François Robert Velter – AKA Rob-Vel – for Belgian publisher Éditions Dupuis. The evergreen youngster in red was a response to the success of Hergé’s Tintin at rival outfit Casterman. In the beginning, the character Spirou was a plucky bellboy/lift operator employed by the Moustique Hotel (an in-joke reference to Dupuis’ premier periodical Le Moustique) whose improbable adventures with pet squirrel Spip evolved into astounding and often surreal comedy dramas.

The other red-headed boy adventurer debuted on April 21st 1938 in an 8-page tabloid magazine that bears his name to this day. Fronting a roster of new and licensed foreign strips – Fernand Dineur’s Les Aventures de Tif (latterly Tif et Tondu) and US newspaper imports Red Ryder, Brick Bradford and Superman – the now-legendary anthology Le Journal de Spirou expanded exponentially: adding Flemish-language edition Robbedoes on October 27th 1938, boosting page counts and adding action, fantasy and comedy features until it was an unassailable, unmissable necessity for continental kids.

Spirou and chums helmed the magazine for most of its life, with many notable creators building on Velter’s work, beginning with his wife Blanche “Davine” Dumoulin. She took over the strip when her husband enlisted in 1939, aided by Belgian artist Luc Lafnet until 1943, when Dupuis purchased all rights to the feature. Thereafter comic strip prodigy Joseph Gillain (“Jijé”) took over, until 1946 when his assistant André Franquin inherited the entire affair. Gradually, the new auteur retired traditional short gag vignettes in favour of longer adventure serials, introducing a wide returning cast. Ultimately, Franquin created his own milestone character. Phenomenally popular animal Marsupilami debuted in 1952’s Spirou et les héritiers and became a scene-stealing regular and eventually one of the most significant stars of European comics.

Jean-Claude Fournier succeeded Franquin: overhauling the feature over nine stirring serial adventures between 1969-1979 by tapping into a rebellious, relevant zeitgeist in tales of drug cartels, environmental concerns, nuclear energy and repressive regimes. By the 1980s, the series seemed stalled: three different creative teams alternated on the serial: Yves Chaland, Raoul Cauvin & Nic Broca and significantly Philippe Vandevelde writing as “Tome” & artist Jean-Richard Geurts – AKA Janry.

These last reverently referenced the revered and beloved Franquin era: reviving the feature’s fortunes over 14 wonderful albums between 1984-1998. On their departure the strip diversified into parallel strands: Spirou’s Childhood/Little Spirou and guest-creator specials A Spirou Story By…

Later teams and guests to tackle the wonder boys include Lewis Trondheim, Jean-Davide Morvan & Jose-Luis Munuera, Fabien Vehlmann & Yoann, Benoît Feroumont, Emile Bravo, Jul & Libon, Makyo, Toldac & Tehem, Guerrive, Abitan & Schwartz, Frank le Gall, Flix and so many more. By my count that brings the album count to approximately 92 if you include specials, spin-offs series and one-shots, official and otherwise. Happily, in recent years, even some of the older vintages have been reprinted in French, but there are still dozens that have not made it into English yet. Quelle sodding horreur!

Cinebook have been publishing Spirou & Fantasio’s exploits since October 2009, initially concentrating on bringing Tome & Janry’s superb pastiche/homages of Franquin before dipping into the original Franquin oeuvre and adding later tales by some of the bunch listed above, but for their 21st manic marvel they reached back all the way to 1959 for a purely Franquin-formulated furore. Originally serialised in LJdS #1048-1082 prior to its release as album Le prisonnier du Bouddha in March 1961, this slick tale of Cold War tensions, silly sci fi and outrageous satire sees the master in collaborative mode with Jidéhem (Jean De Mesmaeker) and Greg (Michel Regnier)…

On January 3rd 1924, Belgian comics superstar André Franquin was born in Etterbeek. Drawing from an early age, he began formal art training at École Saint-Luc in 1943. When the war forced the school’s closure a year later, Franquin found work at Brussels’ Compagnie Belge d’Animation as an animator. There he met future bande dessinée superstars Maurice de Bevere (Lucky Luke-creator “Morris”), Pierre Culliford/Peyo (creator of The Smurfs) and Eddy Paape (Valhardi, Luc Orient).

In 1945 everyone but Culliford signed on with Dupuis, and Franquin began his career as a jobbing cartoonist/illustrator. He produced covers for Le Moustique and scouting magazine Plein Jeu and, throughout those early days, was with Morris trained by Jijé. At that time main illustrator at Le Journal de Spirou, Jijé turned the youngsters and fellow neophyte Willy Maltaite – AKA Will (Tif et Tondu, Isabelle, Le jardin des désirs) – into a creative bullpen known as the La bande des quatre. This “Gang of Four” promptly revolutionised Belgian comics with their engaging “Marcinelle school” style of graphic storytelling.

Jijé handed Franquin all responsibilities for the flagship strip part-way through Spirou et la maison préfabriquée, (LJdS #427, June 20th 1946) and the eager beaver ran with it for two decades, enlarging the scope and horizons until it became purely his own. Almost every episode, fans would meet startling new characters like comrade/rival Fantasio or crackpot inventor The Count of Champignac.

Spirou & Fantasio became globe-trotting troubleshooting journalists, endlessly expanding their exploits in unbroken four-colour glory. They travelled to exotic places, uncovering crimes, capturing the fantastic and clashing with a coterie of extraordinary arch-enemies such as Zorglub and Zantafio. Along the way Franquin premiered one of the first strong female characters in European comics – competitor journalist Seccotine who is renamed Cellophine in current English translations.

In a splendid example of good practise, Franquin mentored his own apprentice cartoonists during the 1950s. These included Jean Roba (La Ribambelle, Boule et Bill), Jidéhem (Sophie, Starter, Gaston Lagaffe) and Greg (Bruno Brazil, Bernard Prince, Zig et Puce, Achille Talon), who all worked with him on Spirou et Fantasio. In 1955, a contractual spat with Dupuis led to Franquin signing up with rivals Casterman on Le Journal de Tintin, where he collaborated with René Goscinny and old pal Peyo whilst also creating raucous gag strip Modeste et Pompon. Franquin quickly patched things up with Dupuis and returned to LJdS, subsequently co-creating Gaston Lagaffe (AKA Gomer Goof) in 1957, but was still obliged to carry on those Casterman commitments too…

From 1959, writer Greg and background artist Jidéhem began regularly assisting Franquin, but by 1969 the master storyteller had reached his Spirou limit. He quit, taking his mystic yellow monkey with him…

His later creations include fantasy series Isabelle, illustration sequence Monsters and bleak adult conceptual series Idées Noires, but his greatest creation – and one he retained all rights to on his departure – was Marsupilami, which – in addition to comics – has become a megastar of screen, plush toy store, console and albums.

Plagued in later life by bouts of depression and cardiac problems, Franquin passed away on January 5th 1997, but his legacy remains: a vast body of work that reshaped the landscape of European comics.

Let’s review happier if undoubtedly scarier days here in a Cold War classic where Spirou and Fantasio revisit rural melting pot Champignac-in-the-Sticks after strangely losing touch with crackpot inventor and Merlin of mushroom mechanics Pacôme Hégésippe Adélard Ladislas de Champignac – the aforementioned Count of Champignac.

The idyllic hamlet is in turmoil with the incipient opening of this year’s Cattle Festival ramping up regular bucolic angst. Its picturesque streets are filled with self-determined cows and short-tempered farmers, meaning the two investigators really have to watch their steps…

Finding the ramshackle chateau turned into a super-secure fortress, the lads and Spip – in truth impatient, impolite Marsupilami – break into the once-familiar estate and discover it has become a wild kingdom of gigantic plants. Eventually rescued by their odd old friend from encroaching green hells, the boys are unaware the Count is concealing another guest – until

after many odd incidents they meet timid nuclear physicist, potential Soviet defector and fellow scientist of conscience Professor Nikolai Nikolayevitch Inovskiev. The hulking gentle giant has invented something that will change the world and doesn’t want its incredible power abused…

He calls his little box of tricks a Gamma Atomic Generator (GAG for short) and it can promote rapid and monstrous plant growth, create severe but localised weather effects and cancel gravity – and it fits into a jacket pocket…

As the boys endure an accidental indoor blizzard, two enemy agents observe from outside before being accidentally but painfully caught in the GAG’s destructive effects. Terrified of the device being misused by the capitalist West, they make plans to steal it back during the cattle show, but Spirou and Fantasio foil the scheme – but only after the GAG makes the farm fest a chaotic, never to be forgotten Fortean event for the entire village…

Thinking job done and world saved, our heroes are horrified to learn from the shellshocked spies that the GAG is not unique. In communist China, Inovskiev’s covert collaborator – American Harold W. Hailmary – is a prisoner of the People’s Republic and surely cannot hold out much longer in delivering them the magic box and all its secrets…

Coincidentally, at that moment in British-controlled Hong Kong, a smuggled message reaches the Chief of Police: an American is imprisoned somewhere in the heart of the Valley of the Seven Buddhas…

When dapper British agents Douglas and Harvey attempt to interview Champignac and the boys, they discover the missing Russian and implore them all to act in a manner Her Majesty’s Government would unofficially look kindly upon even as it turned a blind eye…

Soon, equipped with the GAG, Spirou, Fantasio, Spip and the Marsupilami are sneaking across the Chinese border and heading into one of the most eccentric and spectacular missions of their lives… one replete with deadly peril, fantastic feats, spectacular chases, tank battles and hairsbreadth escapes, all leavened with outrageous surreal slapstick and deviously trenchant satire…

This edgily exuberant yarn is packed with action, thrills and spills and also offers a remarkably even-handed appraisal of Cold War politics messaging and always-timely moral.

Readily accessible to readers of all ages and drawn with all the beguiling style and seductive wholesome élan which makes Asterix, Lucky Luke and Yakari so compelling, this is a truly outstanding – and funny! – tale from a long line of superb exploits, proving our heroes deserve to be English language household names as much as those series – and even that other kid with the white dog…
Original edition © Dupuis, 1960 by Franquin, Jidéhem & Greg. All rights reserved. English translation 2024 © Cinebook Ltd.

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Deadpool Epic Collection volume 2: Mission Improbable (1994-1997)


By Joe Kelly, Ed McGuiness, Larry Hama, Christopher Golden, Jeph Loeb, Adam Pollina, Aaron Lopresti, Bernard Chang, Ben Herrera, Adam Kubert, Fabio Laguna, Kevin Lau, Pete Woods, Shannon Denton & John Fang & various (MARVEL)
ISBN: 978-1-84653-427-0 (TPB/Digital edition)

With a long, LONG awaited cinematic combo clash finally headed our way this summer and in the year a certain Canadian Canucklehead’s turns 50, expect a few cashing-in style commendations and reviews. Here’s a handy starter package to set the ball rolling…

Bloodthirsty and stylish killers and mercenaries have long made for popular protagonists: so much so they even have their own movie subgenre. Deadpool is Wade Wilson (a barely disguised knockoff of Slade Wilson/Deathstroke the Terminator: get over it – DC did): a hired killer and survivor of genetics experiments that has left him a scarred, grotesque bundle of scabs and physical unpleasantries but practically invulnerable and capable of regenerating from any wound.

The wisecracking high-tech “merc with a mouth” was created by Rob Liefeld & Fabian Nicieza, debuting in New Mutants #97, and apparently another product of the US/Canadian Weapon X project that had created Wolverine and so many other mutant and/or cyborg super-doers. He got his first shot at solo stardom with a couple of miniseries in 1993 (see previous volume) but it wasn’t until 1997 that he finally won his own title.

This collection spans cover-dates December 1994 – October 1997, compiling the increasingly funny, furiously fight-filled Deadpool #1-9 (plus issue minus 1) as well as Wolverine #88, X-Force #47 & 56 and combination release Daredevil & Deadpool Annual 1997, with excerpted material from Wolverine Annual ‘95: all-in-all a frenetic blend of light-hearted, surreal, frays, frolics and incisive, poignant relationship drama that is absolutely compulsive reading for dyed-in-the-wool superhero fans who might be feeling just a little jaded with four-colour overload. For the sake of completeness, also included are pertinent snippets from X-Force #46, 71, 73 & 76…

Preceded by an Introduction from Joe Kelly, the cartoon violence kicks off with the First Official MU Meeting of its most stabby stalwarts. ‘It’s D-D-Deadpool, Folks!’ (by Larry Hama, Adam Kubert, Fabio Laguna & Mark Farmer) was December 1994’s Wolverine #88 wherein Wade is hunting his former girlfriend Vanessa AKA Copycat. Sadly, he’s looking in the same apartment severely-wounded X-Man Logan is searching for traces of equally missing cyborg (and Alpha Flight ally) Garrison Kane who was at that time calling himself “Weapon X”. In minted Marvel Manner, the misunderstanding leads to major violence and mass healing factor deployment…

The fractious relationship was renewed in a short from Wolverine Annual ’95 wherein Chris Golden, Ben Herrera &Vince Russell reveal ‘What the Cat Dragged In’ when Wolverine -seeking a cure for dying comrade Maverick (infected with the Legacy Virus) – accidentally liberates Wilson from a bio-lab where evil Dr. Westergaard and Slayback hold him captive. The villains wants to duplicate healing factors and soon pay heavily for their lack of ethics…

A slice of X-Force #46 and full load from #47#s ‘Breakout’ (September & October 1995 by Jeph Loeb, Adam Pollina & Mark Pennington) focuses on Deadpool’s ill-advised relationship with X-teen Siryn (Theresa Maeve Rourke Cassidy) who against her better judgement calls on the smitten merc to free her from an extremely unsafe asylum: The Weissman Institute. That bloody rescue only confirms that it’s not only the lunatics in charge of this nuthatch and in the melee mutant forces clash and Wade takes up involuntary residence…

He’s stuck there for a very long time and only let loose in ‘Crazy for You’ (X-Force #56, July 1996, by Loeb, Pollina, Bud LaRosa & Mark Morales) when mind-wiped Theresa regains lost memories and goes back to get him with teammate Shatterstar in tow. Once the true mastermind is exposed everyone makes for the exits in advance of the next big change…

Preceded by a mini-gallery of Ed McGuinness covers, at last, inevitably Deadpool claimed his own title. A new era began with extra-sized spectacular ‘Hey, It’s Deadpool!’ as Joe Kelly, McGuiness, Nathan Massengill & Norman Lee re-introduced the mouthy maniac, his “office” and “co-workers” at the Hellhouse where he picked up his contracts and also afforded us a glimpse at his private life in San Francisco. Here he has a house and keeps an old, blind lady a permanent hostage. This was never going to be your average superhero title but the creators fully leaned into the outrageous…

The insane action part of the tale comes from the South Pole where the Canadian government has a super-secret gamma weapon project going: guarded by Alpha Flight strongman Sasquatch. Now somebody is paying good money to have it destroyed, but nothing goes quite to plan…

In #2 ‘Operation: Rescue Weasel or That Wacky Doctor’s Game!’ finds the slightly gamma-irradiated hitman still mooning over lost love Siryn (I cannot emphasise this enough: the barely legal mutant hottie from X-Force) when his only friend/tech support guy Weasel goes missing, snatched by ninjas working for super-villain Taskmaster – and just when Deadpool’s healing ability is on the fritz. Deadpool #3’s ‘Stumped! Or This Little Piggie Went… Hey! Where’s the Piggy?!’ ramps up the screwball comedy quotient as Siryn convinces the merciless merc to turn his life around, which he’ll try just as soon as he tortures and slowly kills the doctor who first experimented on him all those years ago…

The turnabout storyline continues in ‘Why Is It, to Save Me, I Must Kill You?’ featuring a hysterically harrowing segment where Wilson must get a blood sample from The Incredible Hulk, before concluding in #5’s ‘The Doctor is Skinned!’ …or The End of Our First Story Arc’, wherein T-Ray – his biggest rival at Hellhouse – moves to become the company “top gun”…

Another extended story arc opens with Deadpool #6 and ‘Man, Check Out the Head on that Chick!’ as the gun (sword, grenade, knife, garrotte, spoon…) for hire accepts a contract to spring a woman from a mental asylum. Of course it’s never cut-and-dried in Wade’s World, and said patient is guarded by distressingly peculiar villainess The Vamp (who old-timers will recall changes into a giant, hairy naked telepathic cave-MAN when provoked …cue poor taste jokes by the dozen…).

The saga is briefly paused for a looming publishing event. Flashback was a company-wide publishing event wherein Marvel Stars shared an untold tale from their past, with each issue that month being numbered # -1. Deadpool’s contribution was a darker than usual tale from Kelly, Aaron Lopresti & Rachel Dodson, focusing on para-dimensional expediter Zoe Culloden. She’s a behind the scenes manipulator who has been tweaking Wilson’s life for years. ‘Paradigm Lost’ looks at formative moments from the hitman’s history and possibly reveals the moment when – if ever – the manic murderer started to become a better man…

Back at the plot (and with extra inking support from Chris Lichtner), it just gets worse in ‘Typhoid… It Ain’t Just Fer Cattle Any More or Head Trips’ as that captive chick turns out to be murderous multiple personality psycho-killer Typhoid Mary. Her seductive mind-tricks ensnare Deadpool, dragging him into conflict against the Man Without Fear in a closing episode mad-housed in Daredevil & Deadpool Annual 1997’s ‘Whomsoever Fights Monsters…’

Sadly, Typhoid isn’t easy to get rid of and Deadpool #8 (Kelly, Pete Woods, McGuiness, Shannon Denton, John Fang, Massengill & Lee) sees her still making things difficult for Wade in ‘We Don’t Need another Hero…’ with the merc forced to confront true madness… or is that True Evil?

It’s a return to lighter, but certainly no less traumatic, fare for final complete entry ‘Ssshhhhhhhhhh! or Heroes Reburned’ (with ancillary pencils by Denton) as Deadpool reclaims his pre-eminent position at Hellhouse just in time to be suckered into a psychological ambush by utterly koo-koo villain Deathtrap – clearly another huge fan of Tex Avery and Chuck Jones’ greatest hits…

Wrapping up the storytelling portion are pertinent moments from X-Force #71, 73 & 76, as crafted by John Francis Moore, Pollina, Andy Smith, Mike S. Miller, Morales, Mark Prudeaux, Rich Perrota, Walden Wong, Scott Hanna & Sean Parsons. Here dangling plot threads are addressed as Wade makes his peace with Siryn (or thinks he does) and fellow merc Domino hires out to insane assassin Arcade… with big trouble brewing for a later date…

Slowing the pace and closing this particular red ledger is a flurry of bonus features beginning with ‘Deadpool Behind the Scenes’ by Matt Idelson & Chris Carroll: outlining the creative process via ‘The Story’, ‘The Cover’, ‘If at First You Don’t Succeed…’

Next are ‘Character Design’, excerpted letters pages ‘Deadlines’; ‘Behind the Scenes: Daredevil/Deadpool ‘97’ and Behind the Scenes: Deadpool #6, 7 & 9’ from concept to finished art, and closing with articles and poster art from promo magazine Marvel Visions #12, plus house ads, trading card art (18 images by 21 different artists), even more posters and covers to earlier collected graphic novels.

Although staying close to the X-franchise that spawned him, Deadpool was always a welcome counterpoint to the constant sturm und drang of his Marvel contemporaries: weird, wise-cracking, and profoundly absurd on a satisfyingly satirical level. Now he’s bigger than God – Graeco-Roman ones at least – this titanic tome could serve as a great reintroduction to comics for fans who thought they had outgrown the fights ‘n’ tights crowd and a must have bible for film fans looking to get their funnybook freak on.
© 2022 MARVEL.

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The Fiery Arrow (Before Blake and Mortimer volume 2)


By Jean Van Hamme, Christian Cailleaux & Etienne Shréder after Edgar P. Jacobs: coloured by Bruno Tatti, translated by Jerome Saincantin (Cinebook)
ISBNs: 978-1-80044-095-1 (album PB/Digital edition)

This book includes some Discriminatory Content included for dramatic effect. If any use of such, slurs, epithets, terms or treatments offend you, you really should not be reading this book – or maybe you need it more than most.

Belgian Edgard Félix Pierre Jacobs (1904-1987) is rightly considered one of the founding fathers of the European comics industry. Although his output is relatively meagre when compared to some of his contemporaries, his iconic works formed the basis and backbone of the art form across post-war Europe and far beyond. As a world rebuilt, his splendidly adroit, roguish and impeccably British adventurers Blake and Mortimer – created for the first issue of Le Journal de Tintin in 1946 – became a staple of Continental kids’ life just as Dan Dare did in Britain starting four years later.

Jacobs was born in Brussels, a precocious child who began feverishly drawing from an early age but was even more obsessed with music and the performing arts – especially opera. He attended a commercial school but – having resolved never to work in an office – pursued art and drama following graduation in 1919. A succession of odd jobs at opera-houses (scene-painting, set decoration, acting, singing as an Extra) supplemented his private performance studies. In 1929, Jacobs won a Government award for classical singing, but his dream career as an opera singer was thwarted by the Great Depression, as the arts funding and performances nosedived following the stock market crash.

Picking up whatever stage work was to be had – including singing and performing – Jacobs finally switched streams to commercial illustration in 1940 and found regular employment at magazine Bravo. While illustrating short stories and novels, he famously took over the Flash Gordon syndicated strip after the German occupation authorities banned Alex Raymond’s All-American Hero, leaving the publishers desperately seeking someone to satisfactorily complete the saga.

Jacob’s Stormer Gordon lasted less than a month before being similarly sanctioned by the Nazis, after which Jacobs created his own epic science-fantasy feature – Le Rayon U: a weekly comics milestone in both Belgian comics and the greater annals of science fiction adventure. The Nazis may have banned the strikingly Aryan Flash Gordon but there was no denying public appetite for his kind of action, so Jacobs dipped deep from that established well of romanticism and fantasy as well as borrowing heavily from US movie serial chapterplays.

The U Ray was a huge hit in 1943 and scored big all over again a generation later when Jacobs reformatted the original and traditional “text-block & picture” material to incorporate speech balloons prior to re-running the entire adventure in Le Journal de Tintin in 1973. It was subsequently released as graphic albums beginning in 1974.

Whilst creating U Ray, one of Jacob’s many other jobs was scene-painting, and during the staging of a theatrical version of Tintin and the Cigars of the Pharaoh Hergé and Jacobs met and became friends. If the comics maestro was unaware of Jacob’s comics output before then, he was certainly made aware of it after.

Jacobs started working on Tintin, colouring originally monochrome strips of The Shooting Star from newspaper Le Soir for a forthcoming album collection. By 1944, he was performing similar service for Tintin in the Congo, Tintin in America, King Ottokar’s Sceptre and The Blue Lotus. He also contributed to the illustration of extended epic The Seven Crystal Balls/Prisoners of the Sun. His love of opera made it into the feature as Hergé (who loathed it), teasingly created bombastic Bianca Castafiore as a comedy foil and basing bit players like Jacobini in The Calculus Affair on his long-suffering assistant.

After war and liberation, publisher Raymond Leblanc convinced Hergé, Jacobs and other creatives to work for his new venture. Launching publishing house Le Lombard, Leblanc also started Le Journal de Tintin: an anthology comic edited by Hergé with editions in Belgium, France and Holland starring the intrepid boy reporter plus a host of newer heroes.

Beside Hergé, Jacobs and writer Jacques van Melkebeke, the weekly featured Paul Cuvelier’s Corentin and Jacques Laudy’s The Legend of the Four Aymon Brothers. Laudy had been friends of Jacobs’ since working together on Bravo and was model for some of his characters.

Le secret de l’Espadon (which eventually ran from LJdT #1, 26th September 1946 to 8th September 1949) cemented Jacobs’ status as a star in his own right: offering peril, action and suspense in stunning thrillers blending science fiction, detective mysteries and supernatural mysteries in the universally engaging Ligne Claire style which had done so much to make intrepid boy reporter Tintin a global sensation.

In 1950, with the first 18 pages slightly redrawn, Le secret de l’espladon V1 (The Secret of the Swordfish) became Le Lombard’s first album release, with a concluding volume published three years later. These were reprinted nine more times between 1955 and 1982, with an additional single complete deluxe edition released in 1964. The epic romp featured a distinguished duo of Scientific Adventurers: a bluff, gruff Scots/British scientist and English Military Intelligence officer (closely modelled on his comics colleague Laudy): Professor Philip Mortimer and Captain Francis Blake. They and archfoe Olrik (based on Jacobs himself) were a thematic evolution of characters created for The U Ray…

After decades of old farts like me whining, the lost gem was finally released in English translation in 2023 and followed up at years end by sequel La Flèche Ardente. This latter came courtesy of Jean Van Hamme (Thorgal, XIII, Largo Winch, Blake & Mortimer) & Christian Cailleaux (Tchaï Masala, Gramercy Park, Le troisième thé, Blake & Mortimer), bolstered by colourist Étienne Shréder – and it was worth all that waiting…

Previously in another place and time, the nations of Norlandia and Austradia were at war. The former’s chief scientist Professor Marduk had devised an ultimate weapon capable of ending the conflict but lacked a fuel source to power his “U ray”. He believed mystery element “Uradium” could be found on an unexplored lost continent and headed an expedition to locate and secure samples of the miracle ore.

His prototypical party included assistant Sylvia Hollis, heroic Major Walton and Lord John Calder, Captain Dagon, Sergeant MacDuff and “Asiatic” manservant Adji, spearheading a sturdy crew of true-blue stalwarts. However, their desperate mission to the Black Isles Archipelago was doomed from the start thanks to a spy planted in their ranks…

After many fraught moments and sabotage attempts, the expedition broached the forbidding jungles of a lost world teeming with uncanny primal beasts and savage humanoids, but misfortune, deadly natural hazards and an Austradian assault force reaped a heavy harvest of tragedy as the explorers trekked inland to where Marduk’s researches indicated uradium would be found. Thankfully, Walton was a steadfast counter to danger of every description…

After heartbreaking effort the survivors found a lost civilisation, befriending Prince Nazca and Princess Ica of The Underground City. These highly evolved beneficiaries allowed them samples of magic mineral but then refused to let their “guests” leave… until Walton, the lost world’s overwhelming threats, dire circumstance and the hidden traitor jointly triggered a spectacular reversal of fortune, a lucky escape and ultimate triumph for Norlandia…

Eight decades later the saga resumes with the triumphant survivors and refugee Princess Ica recuperating in their embattled but still free homeland. As Calder romances Sylvia, and learns how her geologist father Kellart Hollis was lost discovering uradium, her boss Marduk finally unlocks its secrets.

In the enemy camp, vile tyrant Emperor Babylos moves to end the current impasse by conquering the lost continent. He is resolved to prevent Norlandia exploiting uradium, even if he has no idea what the element actually does. Despicable Captain Dagon renews his own efforts to destroy the enemies of Austradia after being rescued from a nightmare of primaeval peril by brutal General Robioff when Austradian forces occupy the Black Isles.

Their ultra-modern military ruthlessly ravages the primordial preserve, with monster-animals, beast-men and primitive humans alike falling to lethal ordnance indiscriminately applied. The callous blitzkrieg even precipitates the fall of the hidden city and merciless torture of Prince Nazca for information on the U-force…

The devout ruler and his people worship supreme deity Puncha Taloc and regard “The Stone of Life and Death” as his sacred gift, and Nazca valiantly resists every cruel effort to extract information. All around him his people and world are dying and his strength cannot long resist more torture…

In Norlandia, Adji also warns against exploiting uradium, crying sacrilege and worse, blithely unaware of the terrible fate of the Black Isles. When Marduk reveals a weapon to harness the incredible energies of uradium, the devastating energy of his “ultraphonic” ray rifle horrifies and outrages all who see it demonstrated. Tragically, the secret of his “Fiery Arrow” is already compromised as another traitor seeks to pass it on to Dagon…

Thankfully, Walton and MacDuff are on hand to foil the handover if not capture their slippery foe, and soon after Princess Ica begins playing a role in the heroes’ counterattack…

In the subjugated Underground City, Nazca is saved by a cloaked figure from the past, just as the Black Isles explode in a furious detonation even the civilised, rationalist citizens of Norlandia wonder might be the outraged retribution of Puncha Taloc…

In the aftermath, Austradian dreams are shattered. The story of an earlier mighty race and culture emerges, and the miraculous survival of friends thought lost forever sweetens the victory of the heroes and fall of Emperor Babylos: especially for Sylvia and the man she has secretly loved but never thought she could ever have…

Replete with Old World fun and thrills that cannot be denied or ignored, this album also offers tantalising teasers for the original auteur’s brand and classics: specifically The Time Trap, Professor Sato’s Three Formulae and S.O.S. Meteors plus a bibliography & publishing timeline,  should further inducements be needed to catch your eye.

Deceptively simplistic, effortlessly engaging and cunningly customised to merge retro futurist tastes with modern sensibilities, The Fiery Arrow is pure escapist joy to behold, and a book no serious fantasy nostalgic can afford to miss.
Original edition © Editions Blake & Mortimer/Studio Jacobs (Dargaud-Lombard S.A.) 2023. All rights reserved. English translation © 2023 Cinebook Ltd.

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Jamie Smart’s Max & Chaffy: Hunt for the Pirate’s Gold!


By Jamie Smart, coloured by Emily Kimbell (David Fickling Books)
ISBN: 978-1-78845-310-3 (PB)

Laced with cheerful welcoming charm by cartoonist, comics artist and novelist Jamie Smart, Max & Chaffy books for younger readers (four when this one comes out) hark back to more traditional times and fare. Initially introduced in Welcome to Animal Island, little Max moved to a new home in a lighthouse and soon made some amazing friends: Orlando, Crumbs, Moose, Pedalo and a strange little creature called Chaffy.

The little fluffball has  mismatched ears and is easily confused: constantly getting lost and needing Max and the reader’s help to be where it belongs. The reason for getting misplaced so much is a desire to locate other Chaffys (as seen in follow-up fables The Great Cupcake Mystery! and Search for the Ice Chaffy!):  a desire magnified once the soon-to-be inseparable pair joined the Official Chaffy Finding Club…

Unlike Smart’s multi award-winning comics offerings (Bunny vs. Monkey, Looshkin – the Adventures of the Maddest Cat in the World!!, Fish Head Steve!, Corporate Skull, Space Raoul, and many brilliant strips for The Beano, Dandy and others) or his illustrated kids novels like the Flember quartet, Max & Chaffy adventures are crafted for early readers, offering strong directed stories laced with interactive pages, with participation an integral part of the storytelling. The most engaging of these page games are regularly recurring Search & Find tableaux – just like Where’s Wally? – cunningly combined with grouping/collecting moments (as they search for new specimens of Chaffy), offering flavours of Pokémon and echoes of Mr. Men whenever they find and befriend them.

Joyous, inclusive and accepting, this fourth outing sees our tiny tot stars seeking new Chaffys – all with a list of identifying characteristics – before teaming up with grumpy sea captain Foghorn. He takes them on a tour of Animal Island’s wilder shores and ultimately under the sea, where one quest is soon satisfied by the discovery of a timid, rapidly-inflating Puffa-Chaffy before they are all distracted and diverted by unearthing a pirate treasure map in a bottle…

When they discover it was drawn by Foghorn’s ancestor – and World’s Greatest Pirate – Captain Boombox Foghorn, they just have to go find it, aided by the restless spirit of Boombox himself. An extended undersea excursion sees them all experiencing fabulous creatures and places, discovering a unique new Chaffy to add to Max’s growing list and learning that there’s much more than one kind of treasure…

That’s reiterated by a bonus feature requiring a second read as Boombox urges a review of the buoyant bouncy pages and a search for his lost valuables in the recesses of the pages and panels.

Exuberant, enticing, rewarding and eminently re-readable, this is another must-have pearl of great wisdom no kid of any age could possibly resist.

Text and illustrations © Fumboo Ltd. 2024. All rights reserved.
Max & Chaffy: Hunt for the Pirate’s Gold! will be released on August 1st 2024 and is available for pre-order now.

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Deadpool Corps volumes 1 & 2: Pool-Pocalypse Now and You Say You Want a Revolution


By Victor Gischler, Rob Liefeld, Marat Mychaels, Adelso Corona, Jaime Mendoza, Cory Hamscher, Matt Yackey & various (MARVEL)
ISBN: 978-0-7851-4825-8 (v1 TPB/Digital edition): 978-0-7851-4827-2 (v2 TPB/Digital edition)

These books include Discriminatory Content included for dramatic effect.

Stylish killers and mercenaries craving more than money have long been popular fictional protagonists, and light-hearted, exuberant bloodbath comics always find an appreciative audience so in anticipation of a certain movie mash up let’s look again at what those tendencies can lead to…

Deadpool is Wade Wilson : an inveterate, unrepentant hired killer who survived cancer and rogue experiments that left him a grotesque bundle of scabs, scars and physical abnormalities as well as practically immortal, invulnerable and capable of regenerating from any wound.

He is also a certifiable loon…

The wisecracking high-tech “Merc with a Mouth” was created by Rob Liefeld & Fabian Nicieza, for New Mutants #97: another product of the Weapon X project which created Wolverine, Garrison Kane and many more mutant/cyborg super-doers. Wade got his first shot at solo stardom with a brace of miniseries in 1993 (Deadpool: the Circle Chase & Sins of the Past) but it wasn’t until 1997 that he finally won his own title, which increasingly blended fourth-wall-busting absurdist humour (a la Ambush Bug and Warner Brothers cartoons) into the mix and secured his place in Marvel’s top rank.

Since then he has become one of Marvel’s iconic, nigh-inescapable characters, perennially undergoing radical rethinks, identity changes, reboots and more before always – inevitably – reverting and resetting to irascible, irreverent, intoxicating type in the end…

Here, following events too ludicrous to mention, Wilson has linked up with a quartet of alternate Deadpools from very different alternate Earths and formed the strangest team in Marvel’s history (and yes, that includes The Pet Avengers).

Collecting Deadpool Corps #1-6 (June-November 2010) manic mayhem begins in 6-part saga Pool-Pocalyse as ‘Disrespect Your Elders’ by Victor Gischler, penciller Liefeld and inker Adelso Corona sees new comrades Wilson, strikingly buxom Lady Deadpool, errant pre-teen killer bad boy Kidpool, floating masked cranium from Marvel’s Zombiverse Headpool and a costumed mutt answering to Dogpool (or sometimes “Cujo”) hired by an Elder of the Universe. Disturbingly, The Contemplator needs them to expunge a horrific threat to creation…

From a universe preceding our Big Bang one, an unstoppable force that absorbs intelligence has manifested. Thousands if not millions of planets have succumbed to the power of The Awareness, all their sentience and independence subsumed into a slavish nullity. Protected as they are by innate, intrinsic imbecility, Contemplator tells these Deadpools to go kill it…

In a bit of a dudgeon over their selection is another Elder. The Champion is the mightiest physical specimen in existence and feels the honour of saving universal intellect should be his, but although he’s no big brain either, he just isn’t in the Wilson squad’s league…

Whizzing across the cosmos in the super ship Bea Arthur with plenty of pit-stops in the skeeviest bars, cantinas and dives for information and violent recreation, the team soon confront and readily outwit their brawny rival…

Forced to take a different tack, Champion teams up with fellow Elder The Gardener to remove his insufferable rivals, but is utterly astounded by their response. Somehow elected their leader, “Championpool” readies himself for glorious combat before again finding himself humiliatingly outsmarted by the Terran morons and stranded on a dead-end world whilst they fly off to reap all the glory…

Tracking the threat involves going undercover, drinking, beating up lots of aliens, shopping and even colluding and cohabiting with legendary star smuggler The Broken Blade, but eventually they near the end of their quest…

More a superb succession of sharp gags than a plot, the adventure follows the Crazy Corps as they bumble and smart-mouth their way across the universe until finally confronting The Awareness and despite – or rather because of – their uniquely skewed mentalities, triumph in the strangest way possible…

Rewarded with wishing rings by the exultant Contemplator, the Silly Squad stay in space where this initial compilation concludes with the bombastic ballad of ‘The Blue Buccaneer’ (illustrated by Marat Mychaels & Jaime Mendoza).

Trading on their intergalactic reputation as badasses-for-hire, the Deadpool Corps accept a commission to wipe out a pirate band wrecking interstellar commerce, necessitating Lady Deadpool going undercover in the most shocking – to her at least – of disguises, uncovering the most unexpected of old acquaintances leading the perilous privateers…

Surreal, wickedly irreverent and excessively violent in the grand Bugs Bunny/Road Runner tradition, Deadpool Corps is frat boy foolish and frequently laugh-out-loud spit-take funny: a wonderfully antidote to cosmic angst and emotional Sturm und Drang of most contemporary Fights ‘n’ Tights comics.

The saga continues in sequel volume You Say You Want a Revolution with Wade still working in unison with four Deadpools from very different parallel Earths. The bizarre concatenation of circumstances resulting in Deadpool & Co saving creation from the sentience-sucking Awareness led to them scoring a starship and set of one-use only wishing rings. Now they’re having so much fun and don’t want to go home, but as card-carrying mercenaries these unlikely champions realise you can never have enough spending money either…

Collecting Deadpool Corps #7-12 (December 2010-May 2011 by Gischler, pencillers Liefeld & Mychaels with inkers Adelso Corona & Cory Hamscher) the mayhem continues with a wickedly cruel and potently justified spoof of blockbuster movie Avatar. Framed through insanely clever fiddling with the narrative technique of flashbacks, the story sees the carnival of killer fools accepting a huge commission from the vast and unscrupulous Omega Confederation.

Paradise planet Kagan 7 is a beautiful wonderland of flora and fauna inhabited – or possibly safeguarded – by deeply spiritual, jungle-dwelling, blue-skinned warrior-race the Krook. Sadly, to cost-effectively access the planet’s mineral wealth, the Confederation had to enslave the Krook and make them miners. Now the ungrateful sods are rebelling and demanding their planet back so the Omega Board would like somebody to go and quietly remove all the ringleaders so the peons can get back to digging up all that lovely platinum…

Taking out an alien legion of mercs hired by the rebels is no problem, but the natives themselves – especially the extremely hot daughter of their bombastic king – proves too much for the Crazy Corps. Soon they are desperately bargaining for their own lives…

Said deal boils down to the Deadpools switching sides and running the revolution against the Confederation. The murderers from a multiplicity of Earths have no qualms about turning turncoat: the problems only occur after Wade starts boinking mercilessly manipulative Princess Teela, who also convinces her highly sceptical dad that to survive as an independent free world, their unspoiled Arcadian Eden needs to modernise and commercialise…

Wade’s thinking something reserved and classy, properly in tune with the environment: Hospitals, swish eateries, a complex of skyscraper hotels, spa resorts and golf courses: y’know, kind of like Las Vegas in space…

As Deadpool commences a crass telethon campaign to raise galactic awareness of the Krooks’ plight, from across the universe a tsunami of tree-huggers converge on the endangered paradise to support the latest cause celébre. Elsewhere, the Omega Confederation board decide something nasty needs to be done to the contractors who took their cash and failed to deliver. On Kagan 7, so many donations come in that the Imperial Senate recognises the new world: inducting it into the Galactic Economic Community. The first part of that procedure is to set up a Central Bank of Krook and advance several thousand tons of gold so the latest member of the club can suitably set up a proper trading profile…

Wade is so stunned with loot-shock he doesn’t even notice when Omega death-squads start shooting. Luckily, old girlfriend/legendary arms-smuggler The Broken Blade arrives to save they day whilst stocking the newborn world’s defences with her latest super-ordinance.

She’s a little less than ecstatic when she learns Wade’s been making time with a plush and primitive princess…

The social evolution of the Krook isn’t going smoothly either. Whilst Teela ruthlessly embraces everything flashy, sparkly, new and civilised, dear old dad just wants his world back the way it was before all the outworlders came. Soon father and daughter are spearheading two separate armies in a savage civil war – beamed live into quintillions of homes all over known space – and the Deadpool Corps have picked opposing sides to help keep the slaughter quotient high.

All poor Wade can think about, however, is several thousand tons of gold just waiting to be salvaged and taken back to Earth… And in the background the Omega Confederation are still looking at ways to take back their mining operation and kill everybody who defied them…

Displaying with extreme clarity how the cure can be worse than the disease, the last hurrah of the Deadpool Corps blends a minimum of plot with an overabundance of edgy gags, snappy one-liners, shtick, shlock and slapstick as the trans-dimensional terrorisers bumble, fumble stumble and smart-mouth their way across the galaxy and over a mountain of oddly-shaped corpses until finally they at last go their separate ways…

Surreal, wickedly irreverent and excessively is perfect counterattack to po-faced heroic tales and holds the secret of keeping you amused until the next movie milestone comes on line.
© 2010, 2011 Marvel Characters, Inc. All rights reserved.

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Sidney Smith’s The Gumps


By Sidney Smith, edited and compiled by Herb Galewitz (Charles Scribner’s Sons)
ISBN: 978-0-68413-997-5 (HB)

This book includes Discriminatory Content produced during less enlightened times.

There are so many milestones of the art of comics that new or casual readers can’t enjoy these days. The literary pioneer celebrated in this book is probably the most important of all 20th century US cartoonists, but other than this rare-as-hen’s-teeth tome and a single Library of American Comics Essentials collection (The Saga of Mary Gold) there’s precious little to be seen of his greatest invention – in English at least. Chances are you’ve never heard of him, but Robert Sidney Smith (February 13th 1877 – October 20th 1935) is arguably the most influential creator in the history of popular entertainment. A pretty big claim, I admit, but true nonetheless.

Smith was a pioneer of narrative continuity and the most successful early cartoonist to move the medium on from situational, gag-a-day variations on a character (a style dominant again today) to build with his avid audience an ongoing relationship based on character development and story progress. The Gumps grew from a notion expressed by influential comic strip Svengali Joseph Medill Patterson – Editor and Publisher of the Chicago Tribune – who shaped the development of such iconic institutions as Little Orphan Annie, Gasoline Alley, Dick Tracy, Terry and the Pirates and so many more. He handed his idea to Smith to make magic with…

The ongoing saga of a middle class American family began in 1917 and ran for 42 years, inviting readers to share the largely comedic tribulations of chinless wonder Andy Gump, his formidable wife Minerva, son Chester, cat Hope, dog Buck and fearsome Tilda, the family’s aging cook, housemaid, gadfly and critic

Andy was a regular guy: a blowhard with lots of schemes to make his fortune, Min was shrewish and nagging, the boys were troublesome and Tilda was a nosy tartar and the already infinite plot well of their domestic set-up sporadically drifted into thrilling adventure and flights of fancy whenever eccentric, two-fisted globetrotting millionaire Uncle Bim paid a visit…

It sounds hackneyed now, but that’s because The Gumps literally wrote the book on what daily story narratives should be: a lot of laughs, plenty of vicarious judgement, an occasional tragedy, oodles of long-drawn out tension and archetypal characters every reader recognised if not actually identified with…

Having enticed and beguiled a nation, The Gumps was one of the earliest strips to make the jump to celluloid. More than four dozen Universal Pictures 2-reel comedies were released between 1923 and 1928 starring Joe Murphy as the gormless patriarch. These followed 50 or more animated cartoons first seen between in 1920 and 1921, produced and directed by Wallace A. Carlson with scripts credited to Smith.

The Gumps was an early sensation of radio (1931-1937), paving the way for all later family soap operas which mimicked its irresistible format. Most importantly, as the strip progressed, its rocketing popularity became a key driver in the rise of comics syndication. Eventually Sidney Smith’s baby was seen across America and the world and he became one of the most highly-paid artists in the history of the medium. His salary was enormous and kept rising, as the grateful Patterson constantly rewarded him with some new extravagance to show his gratitude. The legend goes that racing-mad speed-freak Smith was driving his latest luxury Rolls Royce when he died in a smash-up in 1935…

After his shocking death, Patterson parachuted in sports cartoonist Gus Edson: a creditable replacement but ultimately unable to recapture the indefinable pizzazz of the originator. Whether it was something unique to Smith or simply that times and tastes were changing will never be known. Readership declined steadily but it took decades before the feature finally folded on October 17th 1959, by which time less than 20 papers carried it.

There will probably never be a comprehensive or complete Gumps archival collection. The spiky but compelling art is still manically wonderful and most of the gags remain well-conceived and effective, but the real problem is the pacing and verbosity of the text in the panels. Smith was writing and drawing a whole new way to tell stories and had to be sure the majority of his audience were with him. For most modern readers – blessed with a 100+ years of progress – much of the material might seem interminably slow. Not so back then: many of Smith’s boldest innovations caused uproar and shock on a periodic basis…

This sterling and scholarly monochrome landscape tome from 1974 still pops up now and again, offering the best of all possible worlds; extracting salient snippets, events and extracts from key storylines whilst providing fascinating commentary and context where necessary.

On Thursday February 8th 1917 Sidney Smith’s funny animal strip Old Doc Yak ended with the sagacious ruminant moving out of their house and wondering who the next tenants might be. The following Monday – February 12th – the doors opened on the Gump clan. The magic started strong and just kept on going…

Packed with photos and plenty of astonishing facts, Herb Galewitz’s ‘Introduction’ offers the run-down on the strip and its creator whilst also providing a glimpse at the star in the making through ‘Sidney Smith’s Sports Cartoons’. Also revealed are ‘The Last Old Doc Yak’ strip and a handy pictorial introduction to the incoming cast before ‘The Early Years: 1917-20’ sees the stories begin to unfold…

Scenes of wedded bliss and domestic contention abound as Andy & Min contend with household chores, wayward furnaces, gardening, child-rearing and each other. As ticked off as they ever got, the happy marrieds seldom let adversarial moments linger or fester…

‘Andy On Vacation – 1922’ shows our hero’s take on bucolic pastimes like fishing, hiking and cooking after he and Min take separate holidays. Andy finds himself at a lakeside cabin with the least welcoming couple in history. Mr. Gump doesn’t mind: it takes all sorts and he’s willing to be accommodating…

The satire cup overflows when the pontificating prawn then enters politics. ‘Andy Runs for Congress – 1922’ proffers plenty of scope for character assassination, skulduggery and corrupt shenanigans before all the votes are finally cast and counted…

The Gumps truly hit its peak after moving wholeheartedly into melodrama, as with ‘The Vindication of Tom Carr – 1929’, wherein romantic regular Mary Gold’s one true love was wrongfully convicted of robbery. Smith sagely portrayed the trial through daily bulletins which built tension and sympathy in equal amounts. When the travesty of justice saw the real culprit rapaciously move in on Mary, the aroused assembled readership was aghast and astoundingly vocal in their protests…

They went absolutely crazy when the vile predator’s machinations led shockingly to ‘The Death of Mary Gold – 1929’. The story even moved from the comics section to Front Page as readers registered their disapproval. Circulation of papers carrying The Gumps skyrocketed…

Uncle Bim was an exotic semi-regular whose appearances always caused sparks. His lonely years of prospecting and wealth-gathering looked likely to end when he met Millie De Stross but her social-climbing mother had other ideas. These brought her to near-ruin after the gullible old lady encountered unscrupulous embezzler/conman Townsend Zander who masqueraded as royalty in ‘The Count Bessford Affair – 1933’…

With Mama firmly in the crook’s pocket, the scoundrel demanded marriage to Millie as part of his pay-off. When that went wrong he resorted to kidnap and blackmail. Audiences were breathless and terrified. Their favourite funny page feature had a track record of letting good guys suffer and killing off heroines…

When ‘The Disappearance of Uncle Bim – 1933’ was finally resolved, the distraught millionaire rushed his intended to the altar, but Zander had one last card to play, resulting in ‘A Foiled Wedding! – 1934’…

The villain’s outrageous claim to have already wed Millie led to courtroom drama and ‘A Legal Hassle! – 1934’, allowing reprehensible, haughty Mama De Stross to sue Bim for his fortune, so Andy took the beleaguered suitor to his old holiday haunt for ‘An Interlude at Shady Rest – 1934’…

Batteries fully recharged, the irrepressible Gumps returned to the fray to finally outwit Mrs. De Stross and defeat Zander, resulting in a long-delayed happy ending (of sorts) with ‘Bim and Millie, United at Last – 1934’. Of course that meant the newlyweds had to cope with ‘Mama De Stross, Mother In Law – 1934’…

These too-brief tastes of Smith’s amazing graphic narrative achievements are supplemented by a selection of shorter vignettes such as a glimpse at the unique service of housemaid ‘Tilda’ and the wiles of child prodigy ‘Chester Gump’ as well as a peek at the efforts of his successor in ‘Gus Edson’s The Gumps’. Also included is an appreciation of Smith’s gag-panel, uncomfortably displaying the “oriental wisdom” of ‘Ching Chow’. Although disquieting to modern eyes, this philosophy-spouting comedy “Chinaman” first appeared on January 27th 1927 and also carried on after Smith’s death, initially rendered by Stanley Link. Regarded as an irreplaceable cartoon “fortune cookie” by countless editors, the panel was crafted by a succession of creators and ran until June 4th 1990 (!!), outliving The Gumps by almost 40 years…

The examples seen here are counterbalanced by a ‘Comparison of Chester Gump and Stanley Link’s Tiny Tim’ and followed by a photo-feature ‘Miscellany’ displaying a wide range of Gumps books and merchandise to end this cartoon celebration…

Studious and genuinely enticing for students of comics and anybody interested in the evolution of soap operas and sitcoms, this book provides insight and a fascinating visual tour of a phenomenon and world we’ve mostly outgrown, but one still worth celebrating and commemorating.
© 1974 The Chicago Tribune/N.Y. News Syndicate Inc. All rights reserved.

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Showcase Presents Batman volume 5


By Frank Robbins, Dennis O’Neil, Mike Friedrich, Irv Novick, Bob Brown, Neal Adams, Carmine Infantino, Joe Giella, Dick Giordano, Frank Giacoia & various (DC Comics)
ISBN: 978-1-4012-3236-8 (TPB)

This book includes some Discriminatory Content produced during less enlightened times.

After three seasons (perhaps two and a half would be closer) the overwhelmingly successful Batman TV show ended in March, 1968. It had clocked up 120 episodes and a movie since the US premiere on January 12, 1966 and triggered a global furore of “Batmania” – and indeed hysteria for all things zany and mystery-mannish. As the series foundered and crashed the global fascination with “camp” superheroes (and yes, the term had everything to do with lifestyle choices but absolutely nothing to do with sexual orientation, no matter what you and Mel Brooks might think about Men in Tights) burst as quickly as it had boomed, and the Caped Crusader was left with a hard core of dedicated fans and followers who now wanted their hero back.

For DC editor Julius Schwartz – who had tried to keep the most ludicrous excesses of the show out whilst still cashing in on his global popularity – the reasoning seemed simple: strip out the tired gimmicks and gaudy paraphernalia and get him back to solving mysteries and facing genuine perils as soon and as thrillingly as possible.

This also meant slowly phasing out the boy sidekick…

Many readers were now acknowledged as discerning, independent teens and the kid was no longer relevant to them or the changing times. Although the soon-to-be college-bound freshman Teen Wonder would still pop back for the occasional guest-shot yarn, this fifth astoundingly economical monochrome monument to comics ingenuity and narrative brilliance would see him finally spread his wings and fly the nest for an alternating back-up slot in Detective, shared with relative newcomer Batgirl in stirring hip and mod solo sallies.

Collecting the newly independent Batman’s cases from September 1969 to February 1971 (#216-228 of his own title as well as the front halves of Detective Comics #391-407), the 30 stories gathered here – some of the Batman issues were giant reprint editions so only the covers are reproduced on these pages – were written and illustrated by an evolving team of fresh-thinking creators as editor Schwartz lost many of his elite stable to age, attrition and corporate pressure.

However, the “new blood” was fresh only to the Gotham Guardian, not the industry, and their sterling efforts swiftly moulded the character into a hero capable of actually working within the new “big things” in comics: suspense, horror and the supernatural…

During this pivotal period the long slow road to today’s scarily crazed Dark Knight gradually revealed a harder-edged, grimly serious caped crusader, even whilst carefully expanding the milieu and scope of Batman’s universe… especially his fearsome foes, who slowly ceased to be harmless buffoons and inexorably metamorphosed into the macabre Grand Guignol murder fiends of the early 1940s.

The transformational process continues here with Frank Robbins-scripted Detective #391 as ‘The Gal Most Likely to Be – Batman’s Widow!’ (illustrated by Bob Brown & Joe Giella) sees the fleeting return of abortive modern love interest Ginny Jenkins who had inadvertently become the passing fancy of mobbed-up publisher and extortionist Arnie Arnold. By crushing the crooked editor’s scam to fleece Gotham’s society eateries, Batman paved the way for Ginny to settle down with the true man of her dreams…

Robbins (creator of newspaper strip Johnny Hazard) always had a deft grip on both light adventure and darker crime capers as seen in issue #392’s ‘I Died… A Thousand Deaths!’ as the Gotham Gangbuster’s plan to take down mobster Scap Scarpel goes dangerously awry after trusting a less than honest “confidential informant” whilst in Batman #216 (November), Robbins gifted faithful butler Alfred a surname (after 30 years of anonymous service) by introducing the retainer’s niece Daphne Pennyworth in ‘Angel – or Devil?’ (limned by Irv Novick & Dick Giordano).

The aspiring actress had become ensnared in the coils of a band of very crooked travelling players and was very nearly their patsy for murder…

In an era where teen angst and the counterculture played an increasingly strident part in the public consciousness, Robin’s role as spokesperson for a generation became increasingly important, with disputes and splits from his senior partner constantly recurring. A long overdue separation came in Detective #393’s ‘The Combo Caper!’ (Robbins, Brown & Giella) wherein Bruce Wayne and Dick Grayson take a young delinquent with them on their last vacation together, embroiling Batman & Robin in a sinister string of high-end gem heists.

The partnership formally sundered in Batman #217’s ‘One Bullet Too Many!’ (Robbins, Novick & Giordano) as Dick ships out for Hudson University and Batman begins a radical rethink of his mission and goals.

Dapper Gentleman’s Gentleman Alfred became a far more hands-on emotionally involved part of the mythos – like Margery Allingham’s Magersfontein Lugg in her Albert Campion mysteries or ex-Sergeant/valet Mervyn Bunter in Dorothy L. Sayer’s Lord Peter Wimsey tales – from this point on: shutting up the stately Manor and moving the Batcave into the basement of the Wayne Foundation building in the heart of the city where most of the crime and injustice actually happened…

The first case – a superbly crafted classic whodunit of the streamlined setup – involved the unsolved murder of a paediatrician, but the real innovation was the creation of a new Wayne Foundation outreach project: the Victims Incorporated Program which saw philanthropy and superheroics combine to provide justice for those who couldn’t afford to buy it. The worthy scheme immediately hit a deadly snag in Detective #394’s ‘A Victim’s Victim!’ (Robbins, Brown & Giella) when a crippled racing car driver came seeking vengeance, claiming Wayne had personally sabotaged his career. It took all of the Dark Detective’s skills to uncover the deadly truth…

Batman #218 was an all-reprint Giant Annual represented here only by its glorious Murphy Anderson cover, whereas the next tale marked a landmark step forward in the history of the Caped Crusader.

Neal Adams had been producing a stunning succession of mesmerising covers on both Batman and Detective Comics, as well as illustrating a phenomenal run of team-up tales in World’s Finest Comics and The Brave and the Bold, so his inevitable bump up to the premier league was hotly anticipated. However Dennis O’Neil’s script for Detective Comics #395’s ‘The Secret of the Waiting Graves’ (January 1970, inked by Giordano) also instituted a far more mature and sinister – almost gothic – take on the hero as he confronted psychotic nigh-immortal lovers named Muerto whose passion for each other was fuelled by deadly drugs and sustained by a century of murder…

Adams’ captivating dynamic hyperrealism was just the final cog in the reconstruction of the epic Batman edifice, but it was also an irresistibly attractive one, especially as the growing public taste for supernatural stories overtook costumed crimebusting….

Nevertheless, Batman #219 led with a cracking political thriller in Robbins, Novick & Giordano’s ‘Death Casts the Deciding Vote’, wherein Bruce brings his V.I.P. scheme to Washington DC and stumbles into a plot to assassinate an anti-crime Senator, before astounding Christmas vignette ‘The Silent Night of the Batman’ (Mike Friedrich, Adams & Giordano) completely steals the show – and became a revered classic – with its eerily gentle, moving modern take on the Season of Miracles…

Adams couldn’t do it all and he didn’t have to. Detective #396 saw artists Brown & Giella up their game in Robbins’ clever contemporary yarn ‘The Brain-Pickers!’ as teen finance wizard Rory Bell corners the stock market from the back of his freewheeling motorbike, only to be kidnapped by a gang with an eye to a big killing – corporate and otherwise – until the Caped Crimebuster gets on their trail. Novick & Giordano similarly adapted their styles for Batman #220 with ‘This Murder has been… Pre-Recorded!’ (scripted by Robbins) finding Bruce finally meeting journalist Marla Manning (whose writing inspired the V.I.P. initiative) when an exposé of corrupt practises makes her the target of a murder-for-hire veteran.

O’Neil, Adams & Giordano reunited in Detective #397 for another otherworldly mystery when obsessive millionaire art collector Orson Payne resorts to theft and worse in his quest for an unobtainable love in ‘Paint a Picture of Peril!’, whilst #398 sees Robbins, Brown & Giella pose ‘The Poison Pen Puzzle!’ after muckraking gossip columnist Maxine Melanie’s latest book inspires her murder with an overabundance of perpetrators queuing up to take the credit…

Robbins, Novick & Giordano’s ‘A Bat-Death for Batman!’ leads in #221 as the Dark Knight heads for Germany in search of Nazi war criminals and their bio-agent which turns domestic animals and livestock into rabid killers, whilst the Friedrich-scripted ‘A Hot Time in Gotham Town Tonight!’ sees the Masked Manhunter eradicate the threat of a mystic idol capable of turning the city into smouldering ashes. Then Detective #399 (O’Neil, Brown & Giella) debuts anti-Batman campaigner/political opportunist Arthur Reeves and reveals how ‘Death Comes to a Small, Locked Room!’: a clever mystery centred on the apparent assassination of a martial arts teacher, after which Batman #222 offers two tales illustrated by Novick & Giordano.

Robbins’ ‘Dead… Till Proven Alive!’ features a guest shot from Robin as British band The Oliver Twists hit Gotham, reviving speculation that one of that Fabulous Foursome had been killed and secretly replaced (a contemporary conspiracy theory had it that Beatle Paul McCartney had been similarly dealt with), after which Friedrich contributed another superb human interest yarn as an exhausted hero pushes himself beyond his limits to help a deaf mugging victim in ‘The Case of No Consequence!’ Then anniversary Detective Comics #400 introduces a dark counterpoint to the Gotham Gangbuster as driven scientist Kirk Langstrom pays a heavy price for devising a serum making him superior to Batman in ‘Challenge of the Man-Bat!’ (Robbins, Adams & Giordano).

Batman #223 was another Annual, this time sporting a captivating Curt Swan/Murphy Anderson cover, before Detective #401 spotlights Robbins, Brown & Giella’s ‘Target for Tonight!’ as insane playboy hunter Carleton Yager stalks Gotham’s most dangerous game, armed only with his wits, weapons and knowledge of the Dark Knight’s true identity…

Batman #224 opens an era of eerie psychodramas and manic murder as our hero travels to New Orleans to solve the mysterious demise of a Jazz legend and battles monstrous Moloch in ‘Carnival of the Cursed’ (O’Neil, Novick & Giordano), after which Detective #402 sees the Dark Knight capture the out-of-control thing that was Kirk Langstrom and ponder if he had the right to kill or cure the beast in Robbins, Adams & Giordano’s ‘Man or Bat?’.

Batman #225 (O’Neil, Novick & Giordano) details the murder of divisive talk show host Jonah Jory with witnesses swearing the city’s great hero is the killer in ‘Wanted for Murder-One, the Batman’ and Detective #403 delivers gothic thriller ‘You Die by Mourning!’ (Robbins, Brown & Frank Giacoia, with a splash page by Carmine Infantino), in which the V.I.P. project turns up grieving widow Angie Randall who needs justice for her murdered husband. This cunning conundrum revolves around the fact that dear dead Laird wasn’t dead yet – but will be tomorrow; and is followed by Detective Comics #404’s offering by O’Neil, Adams & Giordano’s utterly exceptional and magnificent ‘Ghost of the Killer Skies!’ As the Masked Manhunter seek to solve a series of impossible murders on the set of a film about German WWI fighter ace Hans von Hammer, all evidence seeming to prove the slayer can only be a vengeful phantom…

Batman #226 skews science to introduce a new mad menace in ‘The Man with Ten Eyes!’ by Robbins, Novick & Giordano. A cruel misunderstanding during a robbery pits security guard Reardon against Batman just as the real thieves detonate a huge explosion. Traumatised, shell-shocked and blinded, Reardon is subjected to an experimental procedure which allows him to see through his fingertips but the Vietnam vet blames the Caped Crimebuster for his freakish fate and resolves to extract his vengeance in kind…

Detective #405 was an inauspicious start to a fresh world of intrigue and adventure as ‘The First of the Assassins!’ (O’Neil, Brown & Frank Giacoia) finds the Gotham Guardian seconded to Interpol to solve the killing of 15 shipping magnates. Whilst struggling to keep the 16th healthy against a fusillade of esoteric threats from oriental fiend Tejja, the hero first learns of a vast global League of killers…

Another groundbreaking narrative strand debuted in Batman #227 in O’Neil, Novick & Giordano’s ‘The Demon of Gothos Mansion’ as Daphne Pennyworth encores, begging help to escape her latest employment as a governess. Batman investigates the remote household and uncovers a cult of madmen, demonic possession and what less-rational men might consider a captive ghost…

The epic, slow-boiling battle against the League of Assassins expands in Detective Comics #406 as Your Servant of Death – Dr. Darrk!’ (by O’Neil, Brown & Giacoia) another tycoon almost dies and Batman at last clashes with the deadly mastermind behind a global campaign of terror. Or does he?

This staggering compendium of wonderment concludes with Detective #407: final chapter in a triptych introducing tragic Kirk Langstrom. In ‘Marriage: Impossible!’ (Robbins, Adams & Giordano), the ambitious scientist’s fall from grace is completed when he infects his fiancée Francine Lee with his mutational curse and forces the Dark Knight into an horrific decision.

One last treat here is the cover to Giant Batman #228: another spectacular visual feast from Swan & Anderson closing this marvellous meander down memory lane in classic style. With the game-changing gems in this volume, Batman finally shed his alien-bashing Boy Scout silliness and was restored to his original defining concept as a grim relentless avenger of injustice. The next few years would see the hero rise to unparalleled heights of quality so stay tuned: the very best is just around the corner… that dark, dark corner…
© 1969, 1970, 1971, 2011 DC Comics. All rights reserved.

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TinTin’s Moon Adventure/Tintin on the Moon/Adventures of Tintin: Destination Moon & Explorers on the Moon



By Hergé, Bob De Moors and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK/Farshore)
ISBN: 978-1-40520-815-4 (HB Destination) 978-1-40520-627-3 (TPB Destination)
ISBN: 978-1-40520-816-1 (HB Explorers) 978-1-40520-628-0 (TPB Explorers) Tintin’s Moon Adventure (Magnet/Methuen) ISBN: 978-0-41696-710-4 (TPB)
Tintin on the Moon (Egmont) ISBN: 978-1405295901 (HB)

This book includes Discriminatory Content produced during less enlightened times.

Georges Prosper Remi, known all over the world as Hergé, created a true masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates. Initially singly and later with stellar assistants including Edgar P. Jacobs, Bob de Moor and the Hergé Studio, Remi completed 23 splendid volumes (originally produced as episodic instalments for numerous periodicals) which have grown beyond their popular culture roots and attained the status of High Art.

Like Dickens with The Mystery of Edwin Drood, Hergé died working, so final outing Tintin and Alph-Art remains a tale without an official conclusion, but is still a fascinating examination and a pictorial memorial of how the artist worked. It’s only fair though, to ascribe a substantial proportion of credit to the many translators whose diligent contributions have enabled the series to be understood and beloved in more than 70 languages. The subtle, canny, witty and slyly funny English versions are the work of Leslie Lonsdale-Cooper & Michael Turner.

On leaving school in 1925, Remi worked for Catholic newspaper Le XXe Siècle where he apparently fell under the influence of its Svengali-like editor Abbot Norbert Wallez. The following year, the young artist (himself a dedicated boy scout) produced his first strip series – The Adventures of Totor – for monthly Boy Scouts of Belgium magazine. By 1928, he was in charge of producing the contents of Le XXe Siècle’s children’s weekly supplement Le Petit Vingtiéme. Remi was unhappily illustrating The Adventures of Flup, Nènesse and Poussette and Cochonette (written by a staff sports reporter) when Wallez urged the auteur to create an entirely new adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues? Perhaps he might also highlight and expose some of the Faith’s greatest enemies and threats?

Having recently discovered word balloons in imported newspaper strips, Remi opted to incorporate this simple yet effective innovation into his own work, and produced a strip that was both modern and action-packed. Beginning on January 10th 1929, Tintin au pays des Soviets AKA Tintin in the Land of the Soviets changed the comics world. Happy 95th Anniversary, Young Man!

The strip appeared in weekly instalments in Le Petit Vingtiéme, running until May 8th 1930: meaning Tintin remains one of the very first globally successful strip characters, barely preceded by Tarzan and Buck Rogers (both January 7th 1929) and pipping Popeye who only shambled into view on January 17th of that year…

The boy-hero – a combination of Ideal Good Scout and Remi’s own brother Paul (a soldier in the Belgian Army) – would be accompanied by his dog Milou (Snowy to us English speakers) and report back all the inequities from the “Godless Russias”. The strip’s prime conceit was that Tintin was an actual foreign correspondent for Le Petit Vingtiéme and opens with the pair arriving in Russia. The dog and his boy were constantly subject to attacks and tricks by “the Soviets” to prevent the truth of their failed economic progress, specious popular support and wicked global aspirations being revealed to the Free World.

Some of the history beyond that first epic trek is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siècle was closed down and Hergé was compelled to transfer the strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis). Remi diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and being a Nazi sympathiser.

It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by resolutely vouching for the cartoonist and providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed.

The anthology swiftly achieved a weekly circulation in the hundreds of thousands and enabled the artist and his team to remaster past tales: excising material dictated by and added to ideologically shade war time adventures, as well as generally improving and updating great tales that were about to become a global phenomenon. With WWII over and his reputation restored, Hergé entered the most successful period of his career. He had mastered his storytelling craft, commanded a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure.

In 1949 he returned to unfinished yarn Tintin au pays de l’or noir – abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siècle, running from 28th September 1939 until 8th May 1940 when the paper was shut down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs tampering with Middle East oil supplies. Before being convinced to update and complete the tale as Land of Black Gold, Hergé briefly toyed with taking his cast into space…

Collected albums Objectif Lune and On a marché sur la Lune were colossal hits after initial serialisation in LJdT  from 30th March 1950 – 7th September 1950  and – after what must have been an intolerable wait for readers – from 29th October 1952 – 29th December 1953.

The tale was produced after discussions between Hergé and his friends Bernard Heuvelmans (scientist, author and father of pseudo-science Cryptozoology) and Jacques Van Melkebeke (AKA George Jacquet: strip scripter, painter, journalist and frequent if unacknowledged contributor to Tintin’s canon). The sci fi epic which became a 2-volume masterpiece first made the leap to English in 1959.

On a personal note: I first read Destination Moon in 1964, in a huge hardcover album edition (as they all were in the 1960s) and was blown completely away. I’m happy to say that except for the smaller pages – and there’s never a substitute for “pictorial Big-ness” – this taut thriller and its magnificent, mind-boggling sequel are still in a class of their own in the annals of science fiction comic strips. During the 1980s the entire tale was (repeatedly) released in a combined tome as Tintin’s Moon Adventure: an utterly inescapable piece of publishing common sense. It’s just a shame that it – and all the other the Tintin books – are still not available in digital editions…

Our tale opens with the indomitable boy reporter and Captain Haddock returning to ancestral pile Marlinspike Hall only to discover brilliant but “difficult” savant Professor Cuthbert Calculus has disappeared. When an enigmatic telegram arrives, the puzzled pair are off once again to Syldavia (as seen in King Ottokar’s Sceptre) and a rendezvous with the missing boffin…

Although suspicious, Tintin soon finds the secrecy is for sound reasons. In Syldavia, Calculus and an international team of researchers, engineers and technologists are completing a grand project to put a man on the Moon! In a turbulent race against time and amidst a huge and all-encompassing security clampdown, the scheme nears completion, but Tintin and Haddock’s arrival coincides with a worrying increase in espionage activity.

Some enemy nation or agency is determined to steal the secrets of Calculus’s groundbreaking atomic motor at any cost, and it takes all Tintin’s ingenuity to keep ahead of the villains. The arrival of detectives Thompson and Thomson adds nothing to the aura of anxiety but their bumbling investigations and Calculus’ brief bout of concussion-induced amnesia provide some of the funniest moments in comics history…

As devious incidents and occurrences of sabotage increase in intensity and frequency it becomes clear that there is a traitor inside the project, but at last the moment arrives and Tintin, Haddock, Calculus, technologist Dr. Frank Wolff (and Snowy) blast off for space!

Cold, clinical and superbly underplayed, Destination Moon is completely unlike the flash-and-dazzle razzamatazz of British or American tales from that period – or since. It is as if the burgeoning Cold War mentality of the era infected even Tintin’s bright clean world. Moreover, as before, pressure of work and Hergé’s troubled private life resulted in a breakdown and forced hiatus in the serial, but this time some of that darkness transferred to the material – although it only seems to have added to the overall effect of claustrophobia and paranoia. Even comedy set-pieces are more manic and explosive: despite its fantastic premise, in many ways this is the most mature of all Tintin’s exploits…

Presumably to offset the pressures, the master founded Studio Hergé, beginning on 6th April 1950: a public company to produce The Adventures of Tintin as well other features, with Bob De Moor enthroned as chief apprentice. He became a vital component of Tintin’s gradual domination of the book market: frequently despatched on visual fact-finding missions. De Moor revised the backgrounds of The Black Island for a British edition, repeating the task for a definitive 1971 release of Land of Black Gold. An invaluable and permanent addition to the production team, De Moor supervised and administrated while filling in backgrounds and, most notably, rendering those unforgettably eerie, magnificent Lunar landscapes of the sequel volume.

If the first book is an exercise in tension and suspense, Explorers on the Moon is sheer bravura spectacle. En route to Luna the explorers discover the idiot detectives have stowed away by accident. In conjunction with Captain Haddock’s illicit whisky imbibing and the effects of freefall, Thompson & Thomson provide brilliant comedy routines to balance the pervasive isolation and dramatic dangers of the journey.

Against all odds the lunanauts land safely and make astounding scientific discoveries. We Boomers knew decades ago that there was water on the moon because Tintin and Snowy went skating there! However, the explorations are cut short due to the imminent threat of suffocation after the discovery of another extra passengers on the rocket. Moreover, lurking in the shadows is the very real threat of a murderous traitor to be dealt with…

This so-modern yarn is a high point in the entire Tintin canon, blending heroism and drama with genuine moments of irresistible emotion… and side-splitting comedy. The absolute best of the bunch in my humble opinion, and still one of the most realistic and accurately depicted space comics ever produced. If you only ever read one Hergé saga it simply must be the translunar Adventure of Tintin.
Destination Moon: artwork © 1953, 1959, 1981 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved. Explorers on the Moon: artwork © 1954, 1959, 1982 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved.

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Sub-Mariner & The Original Human Torch


By Roy Thomas, Dann Thomas, Rich Buckler with Bob McLeod, Richardson & Company, Mike Gustovich, Danny Bulanadi, Alfredo Alcala, Romeo Tanghal & various (Marvel)
ISBN: 978-0-7851-9048-6 (TPB)

Prince Namor, the Sub-Mariner is the hybrid offspring of a sub-sea Atlantean princess and an American polar explorer; a being of immense strength, highly resistant to physical harm, able to fly and thrive above and below the waves. Created by young Bill Everett, Namor technically predates Marvel/Atlas/Timely Comics.

He first caught the public’s attention as part of an elementally electrifying “Fire vs. Water” headlining team-up clash in Marvel Comics #1 (October 1939 and soon to become Marvel Mystery Comics) alongside The Human Torch, but had originally been seen in truncated form via monochrome Motion Picture Funnies: a weekly promotional giveaway handed out to moviegoers earlier in the year.

Rapidly becoming one of the new company’s biggest draws, Namor gained his own title at the end of 1940 (cover-date Spring 1941) and was one of the last super-characters to go at the end of the first heroic age. In 1954, when Atlas (as the company then was) briefly revived its “Big Three” (the Torch and Captain America being the other two), Sub-Mariner resurfaced with Everett returning for an extended run of superb fantasy tales. Even so, the time wasn’t right and the title sank again.

When Stan Lee & Jack Kirby began reinventing comic-books in 1961 with Fantastic Four, they revived and rebooted the near-forgotten amphibian as a troubled, semi-amnesiac, yet decidedly more regal and grandiose anti-hero. He was understandably embittered at the loss of his undersea kingdom, which had seemingly been destroyed by American atomic testing.

He also became a dangerous bad-boy romantic interest: besotted with the FF’s golden-haired Sue Storm…

Namor knocked around the budding Marvel Universe for a few years, squabbling with assorted heroes like Daredevil, The Avengers and X-Men – and villains like The Incredible Hulk and Doctor Doom – before securing his own series as part of “split-book” Tales to Astonish with the aforementioned fellow antisocial antihero…

In 1988, as part of Marvel’s 50th Anniversary celebrations, that phenomenal half-century of comic book history was abridged, amended, updated and generally précised by avowed fan and self-appointed keeper of chronology Roy Thomas and writing partner Dann Thomas who collaboratively commemorated the Avenging Son’s contribution in 12-part Limited Series miniseries The Saga of the Sub-Mariner: rapturously drawn by Golden Age groupie Rich Buckler.

Roy & Rich did the same with The Saga of the Original Human Torch – a 4-part series running April to July 1990 – and both sides of the tempestuous coin are triumphantly tossed together in this splendidly all-encompassing, no-nonsense textbook of historic Fights ‘n’ Tights mythology ideal for celebrating and commemorating the elemental odd couple’s 85th Anniversary…

It all begins thousands of years ago with ‘A Legend a-Borning’ from The Saga of the Sub-Mariner #1 (November 1988) with Buckler inked by Bob McLeod. A short history of the sinking of antediluvian Atlantis and its eventual reoccupation by nomadic tribes of Homo Mermanus follows. The water-breathing wanderers flourish deep in the icy waters, and their story leads to a certain US research vessel sailing into icy waters in 1920…

Its depth-charging and icebreaking has horrendous consequences for the citizens of the deep and in response Emperor Thakorr organises a possibly punitive expedition. Instead, his daughter Princess Fen uses experimental air-breathing serums to infiltrate the ship and forms a brief liaison with Captain Leonard McKenzie. They even marry, but neither is aware the voyage has been arranged by unscrupulous telepath Paul Destine who is drawn to the area by an uncanny device of ancient power and origins…

Whilst Destine is being buried under a catastrophic avalanche trying to excavate the artefact, a raiding party from Atlantis boards the ship and drags Fen back home. She believes her husband has been killed in the attack. Months later a strange, pink-skinned baby is born beneath the deep blue sea…

The story resumes years later with teenaged Namor experiencing prejudice firsthand whilst playing with his blue-skinned chums and royal cousin Prince Byrrah. The passing of his callow years are interspersed with his grandfather’s disdain, his mother’s tales of the fabled “Americans” and the annoying girl Dorma who is always hanging around…

Every day seems to point out another way in which he differs from his people, such as his ever-increasing strength, ability to live unaided on the surface and the wings on his ankles which grant him the power of flight through the air.

Life changes forever when the youngster scavenges a sunken ship and shockingly encounters a brace of clunky mechanical men from the surface world doing the same. Panicked, he attacks, severing control cables connected to a ship far above before proudly hauling them to Atlantis as his prize. For once grandfather is delighted, especially when the face plates are pried open and he sees dead surface-men within.

The Emperor is ever more gleeful when Byrrah suggests Namor should go beard the Surfacers in their own realm to pay them back for the past destruction of Atlantis. Young, feisty and gullible, Namor sets off, ready to live up to his name which means ‘Avenging Son’…

‘A Prince in New York’ spectacularly depicts the fantastic reign of terror and destruction Sub-Mariner wrought upon the city, until distracted and becalmed by plucky blonde policewoman Betty Dean. It then reveals how he learns to despise Nazi Germany’s maritime depredations before ‘A Fire on the Water’ details how New York Special Policeman The (Original) Human Torch is deputised to stop the fish-man at all costs…

He never quite succeeds, but their ongoing clash resulted in some of the most astonishing scraps in comics history. With the city almost wrecked by their battles Betty Dean again steps in to calm the boiling waters and the next chapter – inked by Richardson & Company – introduced the ‘Invaders!’ as Hitler incomprehensibly decides to eradicate Atlantis with depth charges and U-boats. This rash act of wanton hatred merely secures Sub-Mariner’s fanatical aid for the Allied Powers.

With Thakorr wounded, the people elect Namor Emperor by popular acclaim before watching him swim off to crush the Axis and their super-powered servants. The young regent fights with and beside the Torch, Captain America, Bucky, Spitfire and Union Jack. By the time the war is won and Namor returns to his realm, Byrrah and his crony Commander Krang have turned recuperating Thakorr against his interim substitute and Sub-Mariner finds himself banished. Only Lady Dorma’s impassioned intervention prevents the homecoming becoming a bloodbath…

With nowhere else to go Namor rejoins his surface superhero friends to create the post-war All-Winners Squad, before eventually being summoned home by his cousin Namora. Atlantis has been ravaged by air-breathing gangsters…

Seeking vengeance, they team up with Betty for a short-lived crusade against criminals, madmen and monsters until again recalled to the rebuilt underwater kingdom. Namor’s years away had gradually diminished his mighty hybrid abilities, but now-recovered Thakorr orders Atlantis’ greatest scientists to restore them so the Sub-Mariner can renew the Realm’s war against all surface-men…

Instead, Namor attempts diplomacy, but his State Visit to the United Nations results in violent protests and the death of a bystander. He returns to his grandfather a bitter man, but still argues against war, no matter how hard General Krang and Byrrah urge it…

When Atlantis is wracked by seaquakes, Namor leads a patrol to the polar cap above and discovers freshly-exhumed Paul Destine is responsible. The psychic had found a fantastic Helmet of Power which magnified his gifts exponentially, and decided to test his expanded abilities on the closest population centre…

Enraged, Namor’s physical might is useless against the tele-potent madman and Destine wipes his fishy foe’s memories, sending him to live as an amnesiac amongst the dregs of New York, blindly awaiting his future ‘Dark Destiny’ (McLeod inks).

The epic history lesson reaches the dawn of the Marvel Age decades later as ‘Rage and Remembrance’ recaps the epochal events after new Human Torch Johnny Storm restores the memory of a weary derelict and unleashes the rage of the Sub-Mariner once again. With his mind and most of his memories back, Namor instantly heads home to find Atlantis razed and his people gone. Blaming humans, he launches a series of blistering attacks on the Fantastic Four whilst attempting to win the heart of the clearly conflicted Invisible Girl…

As months pass he discovers his people had relocated to rebuild Atlantis. Namor is re-elected Emperor over the protests of Byrrah and betrothed to Lady Dorma, unknowingly earning the eternal enmity of Warlord Krang who has always wanted her…

His war against the surface continues, escalating into a brief invasion of New York, a turbulent alliance with The Hulk and clash with ‘Avengers!’ (Mike Gustovich inks) resulting in the revival of his now-forgotten Invaders comrade Captain America…

Sub-Mariner’s pointless sorties against mankind continue as he forcefully adds The X-Men and Magneto onto his roster of enemies whilst still trying to take Sue Storm away from Reed Richards.

After repelling an invasion by sub-sea barbarian Attuma he softens and again seeks official human recognition for Atlantis. Whilst making this embassage, Krang seizes control of Atlantis and after battling Daredevil, Namor returns to his kingdom, deals with the usurper and more-or-less dials back his campaign against the surface. Sadly, this peace is interrupted as Destine again strikes, inviting the new ruler to a ‘Rendezvous with Destiny!’ (McLeod inks).

Time and events telescope from now on as ‘Losses in Battle’ traces Namor’s showdown with the mental maniac, alliance with the Inhuman Triton and battles Plantman, Dr. Dorcas, Tiger Shark, The Thing and a host of others, as well as enjoying a reunion with Betty Prentiss (nee Dean) and facing the rise of the sinister antediluvian Serpent Cult of Lemuria, which first devised the formidable Helmet of Power in eons past. Also revealed is how Namor’s marriage to Dorma is thwarted by murderous Lemurian Llyra and his subsequent agonising first and last meetings with his long-lost father…

‘Blood Ties’ then details his meeting with and adoption of Namora’s teenaged daughter Namorita, clashes with Doctor Doom and M.O.D.O.K., an alliance of Byrrah and Llyra and origins of The Defenders before ‘Triumphs… and Tragedy!’ (inked by McLeod & Co) brings us to a cameo-packed conclusion, relating Namor’s enforced alliance with Doom, admission into the Mighty Avengers and loss of two of his greatest loves…

Although appearing a tad rushed, the writing is strong and compelling: offering fresh insights for those familiar with the original material whilst presenting these chronicles in an engaging and appetising manner for those coming to the stories for the first time. Moreover, Buckler’s solidly dependable illustration capably handles a wide, wild and capacious cast with great style and verve.

Balancing the watery wonderment is the later and far shorter comics chronology of Sub-Mariner’s arch ally and favourite frenemy, as first seen in The Saga of the Original Human Torch. It starts with ‘The Lighted Torch’ by Thomas, Buckler & Danny Bulanadi, showing how the Flaming Fury first burst into life as a malfunctioning humanoid devised by troubled and acquisitive Professor Phineas Horton. Instantly igniting into an uncontrollable fireball whenever exposed to air, the artificial innocent was consigned to entombment in concrete but escaped to accidentally imperil the metropolis until it/he fell into the hands of a malign mobster named Sardo.

When the crook’s attempts to use the android as a terror weapon dramatically backfired, the hapless newborn was left a misunderstood fugitive – like a modern-day Frankenstein’s monster. Even his creator only saw the fiery Prometheus as a means of making money.

Gradually gaining control of his flammability, the angry, perpetually rejected android decides to make his own way in the world. Instinctively honest, the creature saw crime and wickedness everywhere and resolved to do something about it. Indistinguishable from human when not afire, he joined the police as Jim Hammond: tackling ordinary thugs even as his volcanic alter ego battled such outlandish bandits as Asbestos Lady. The Torch met Betty Dean when New York City Chief of Police John C. Wilson asked him to stop the savage Sub-Mariner destroying everything. The battles are spectacular but inconclusive, only ending when Betty intervenes and brokers a tenuous ceasefire.

Later, a brusque reunion with Horton sets the Torch on the trail of his creator’s former assistant Fred Raymond. Hammond is too late to stop Asbestos Lady murdering the Raymonds in a train wreck, but adopts their little boy Toro, who gains the power to become a human torch as soon as he meets the artificial avenger. The partners in peril become a team who set ‘The World on Fire!’: battling beside Namor in The Invaders for WWII’s duration.

They even play a major role in ending the conflict in 1945, storming a Berlin bunker and incinerating Hitler, before rising ‘Out of the Ashes…’ (Alfredo Alcala inks) to battle Homefront hostiles, exposing Machiavellian android mastermind Adam-II who, with knowledge of the future, attempts to assassinate a group of strangers who would all eventually be Presidents of the USA. The Fiery Furies formed the backbone of the All-Winners Squad, battling maniacs and conquerors from tomorrow, continuing their campaign against crime long after their comrades retired…

When a family crisis benches Toro, the Torch soldiers on with new sidekick Sun Girl until he returns. The reunion is destined to be short and far from sweet…

The hot history lesson concludes in ‘The Flaming Fifties!’ (inked by Romeo Tanghal) as Jim Hammond bursts from a desert grave following a nuclear test explosion: revived from a chemically-induced coma mimicking death. His last memory was of being ambushed by gangsters and sprayed with a chemical inhibiting his flame and knocking him out. Blazing back to the ambush site he attacks his assailants only to discover four years have passed…

When they employ the same solution as before, the compound no longer works on his atomically-charged form and when G-Men burst in the awful truth comes out. The Torch & Toro vanished in 1949 and when pressed, the crooks admit to having got their chemical cosh from the Russians. More chillingly, they paid for it by handing Toro over to the Reds…

After spectacularly rescuing and deprogramming the Soviets’ incendiary secret weapon, the Torch brings Toro home and they continue their anti-crime campaign against weird villains, Commie menaces and an assortment of crooks and gangsters. However, before long tragedy again strikes as the atomic infusion finally reaches critical mass in Jim’s android body.

Realising he is about to flame out in a colossal nova, The Human Torch soars into the desert skies and detonates like a supernova…

The pre-Marvel Age exploits of the Torch end here, but devotees already know how Hammond was resurrected a number of times in the convoluted continuity that underpins the modern House of Ideas…

This substantial primer into the prehistory of the groundbreaking Marvel Universe also includes a quartet of original art covers plus a brace of full-colour, textless cover reproductions. Fast, furious and fabulously action-packed, this is a lovely slice of authentic Marvel mastery to delight all lovers of Costumed dramas.
© 1988, 1989, 1990, 2014 Marvel Characters, Inc. All rights reserved.