Meanwhile… A Biography of Milton Caniff

Meanwhile… A Biography of Milton Caniff

By Robert C Harvey (Fantagraphics Books)
ISBN: 978-1-56097-782-7

It’s nice to see a biography that has something nice rather than something scurrilous or scandalous to say about its subject, and this wonderful, colossal tome (just shy of a thousand pages – if you’re planning to give this as a Christmas gift best use a festive steel woollen stocking and bolt it to the fireplace) is both erudite and recondite in covering the life, times and career of arguably the most influential cartoonist in the history of the medium.

Combining education with sheer charm, the text describes the history and philosophy of making comics. With a broad, deep understanding of the comic business, Harvey traces Caniff’s life and career and uses it to tell the story of the medium in the 20th century, and in many ways of the ‘American Century’ itself.

By way of his childhood fascinations, developing work ethic and early struggles, we see Caniff become the man who produced a daily and Sunday comic strip for fifty-five years. From early successes such as Dickie Dare, through the Depression and War years of Terry and the Pirates, (never neglecting his patriotic pick-me-up Male Call and its immortal star ‘Miss Lace’) through to the post-war icon Steve Canyon who was in many ways his most successful creation – though not without some regret as the character’s abiding integrity grew increasingly out of step with the America of Viet Nam and Watergate. The strip ran from 1947 to Caniff’s death in 1988. Steve Canyon died with him.

As an accomplished cartoonist himself, Harvey is able to clearly explain technique and creative rationale as he critiques the many illustrations throughout the book, both in terms of artistic virtuosity and narrative brilliance, and the chance of seeing, even vicariously, through the eyes of the artform’s greatest journeyman is a great blessing for any serious fan or historian. Harvey worked for twenty-five years on this book, and had unlimited access to not just records but to Milton Caniff himself. The result is a complete feeling of having known the “Rembrandt of the Comics” personally.

If you love comics and can stand the thought of missing someone you’ve never met, you’ll want this wonderful book.

© 2007 Robert C Harvey. All Rights Reserved.

Just the Facts – A Decade of Comic Essays

Just the Facts - A Decade of Comic Essays

By David Collier (Drawn & Quarterly Publications)
ISBN: 1-896597-25-4

Just The Facts is a compilation of strips produced over a number of years by David Collier, compellingly crafted in the manners of Robert Crumb and Harvey Pekar. The subjects range from autobiography through cultural and popular history to just, plain “cool stuff you should know”.

With deceptive wit and subtle skill Collier acts as teacher and philosopher on a hugely diverse range of topics divided into the categories The Military, Music, Comics, Sports, Newspapers, Travel and Nostalgia. Particularly memorable are such epics as ‘Harry Smith and the Precursory Seattle Scene’, ‘Amazing Heroes’, ‘The Critic’, ‘The United Colors of the Impending Apocalypse!’ and ‘The Great Paperback Book Glut!’.

Collier is that type of wonderful creator who would still work, still produce to the best of his ability even if he were the only person left alive. His dedication, ability to engross and willingness to attempt new styles for every tale mark this lost gem as a book well worth pursuing for every grown-up who’s fed-up with mainstream packages.

© 1986, 1989-1991, 1993-1997, 1998 David Collier. All Rights Reserved.

Eagle Classics: Fraser of Africa

Eagle Classics: Frasier of Africa

By George Beardmore & Frank Bellamy (Hawk Books -1990)
ISBN: 0-948248-32-7

Frank Bellamy is one of British Comics’ greatest artists. In the all-too brief years of his career he produced magnificent and unforgettable visuals for Eagle, TV21, Radio Times (Doctor Who) and graduated to the Daily Mirror newspaper strip ‘Garth’ in 1969. He turned that long-running but lacklustre adventure strip into a magnificent masterpiece of fantasy, with eye-popping, mind-blowing black and white art that other artists were proud to boast they swiped from. After only 17 stories he died suddenly in 1976 and it’s absolutely criminal that his work isn’t in galleries, let alone in permanent collected book editions.

He was born in 1917 but didn’t begin comic strip work until 1953 – a strip for Mickey Mouse Weekly. From there he moved on to Hulton Press and drew strips starring Swiss Family Robinson, Robin Hood and King Arthur for Swift the “junior companion” to Eagle. In 1957 he moved on to the star title producing stand-out and innovative work on a variety features beginning with the biography of Winston Churchill.

‘The Happy Warrior’ was quickly followed by ‘Montgomery of Alamein’, ‘The Shepherd King – the story of David’, and ‘The Travels of Marco Polo’, from which he was promptly pulled only a few months in. As Peter Jackson took over the back page historical adventure, Bellamy was on his way to the Front Cover and the Future.

When Hulton were bought by Odhams Press there were soon irreconcilable differences between Frank Hampson and management. The creator of Dan Dare left his super-star creation (see the review for The Road of Courage ISBN: 90-6332-801-X for a fuller run-down of those events) and Bellamy was tapped as his replacement – although both Don Harley and Keith Watson were retained as his assistants.

For a year Bellamy produced Dan Dare, redesigning the entire look of the strip (at management’s request) before joyfully stepping down to fulfill a lifetime’s ambition.

For his entire life Frank Bellamy had been fascinated – almost obsessed – with Africa. When asked if he would like to draw a big game hunter strip he didn’t think twice. ‘Fraser of Africa’ debuted in August 1960, a single page every week in the prestigious full-colour centre section. George Beardmore wrote the three serials ‘Lost Safari’, ‘The Ivory Poachers’ and ‘The Slavers’ and Bellamy again surpassed himself by inventing a colour palette that burned with the dry, yellow heat of the Veldt. The strip became the readers’ favourite, knocking Dare from a position considered unassailable.

Fraser the character is a man out of time. Contrary to modern assumptions, he was a man who loved animals, treated natives as full equals and had a distinctly 21st century ecological bent. For a Britain blithely rife with institutionalized racism, cheerfully promoting blood-sports and still wondering what happened to The Empire, Fraser’s startlingly ‘PC’ antics were a thrilling, exotic and salutary experience for us growing boys.

Notwithstanding the high quality of the stories, Fraser of Africa is a primarily an artistic landmark. The techniques of line and hatching, the sensitive, atmospheric colours, even the staging and layout of the pages, which would lead to the majestic ‘Heros the Spartan’ and eventually the bravura creativity displayed in the Thunderbirds and Captain Scarlet strips for TV21, all were derived from the joyous stories of the Dark Continent.

Yet another one to add to “The Why Is This Not In Print?” Pile…

Fraser of Africa ©1990 Fleetway Publications. Compilation © 1990 Hawk Books.

Flash: The Return of Barry Allen

Flash: The Return of Barry Allen

By Mark Waid, Greg LaRocque, Sal Velluto & Roy Richardson (DC Comics)
ISBN: 1-56389-268-5)

When the Flash died during the Crisis on Infinite Earths in 1985, he was succeeded by his sidekick Wally West, who struggled to fill the boots of his predecessor, both in sheer physical ability and, more tellingly, in confidence. He felt like a fraud, but like a true hero he persevered.

Just as he was becoming comfortable in the role though, the unthinkable happened: (actually in comics not so unthinkable – and that idea is used to telling effect within the text) Barry Allen reappeared, stunned, amnesiac, but undoubtedly alive…

That is the set-up for one of the best superhero tales of the 1990s, a rollercoaster ride of bluff, misdirection and all-out action that was instrumental in shutting up old coots like me who kept whining about how the new stuff just wasn’t as good as the old…

Despite some less than stellar artwork this is a great tale, captivatingly told and should push the buttons of any superhero fan, whether a Flash follower or not. Track it and enjoy.

© 1993 DC Comics. All Rights Reserved.

Flash: The Life Story of the Flash

Flash: The Life Story of the Flash

By ‘Iris Allen’ with Mark Waid, Brian Augustyn, Gil Kane, Joe Staton & Tom Palmer (DC Comics)
ISBN 1-84576-244-4

This is a rather odd, but definitely courageous, attempt to do something a little different with superhero iconography. The Flash has been a successful DC Comics property since 1940 and there have been a number of different versions over the decades.

To Baby-Boomers like myself, the ‘proper’ Flash is Barry Allen, whose introduction in Showcase #4 (1956) ushered in the ‘Silver Age of Comics’ and began the second age of superheroes – which doesn’t seem to have abated yet. This might spoil the ending for you but Barry died during the 1985 Crisis on Infinite Earths event, to be succeeded by his sidekick, Wally West.

This blending of comic art and prose tells Barry Allen’s life-story definitively (sic) in the faux form of a biography that fell through time from the future during the ‘Return of Barry Allen’ storyline (Flash: The Return of Barry Allen ISBN: 1-56389-268-5) and is a charming acknowledgement of the character’s popularity.

Whilst I feel that a better use of the readers money would be to invest in the original tales via one of the various reprint packages such as ‘Showcase Presents…’ or ‘DC Archives’, if you must have the career of the second Flash rationalised, the lavish art of Gil Kane, Joe Staton and Tom Palmer, supplemented by the précis of such knowledgably dedicated scribes as Mark Waid and Brian Augustyn is perhaps the best way to have it.

© 1997 DC Comics. All Rights Reserved.

Batman: Black and White, Vol 2

Batman: Black and White, Vol 2

By various (DC Comics)
ISBN 1-56389-828-4

This second collection of Dark Knight adventures in monochrome is gathered from the back of the first sixteen issues of the Batman anthology title Gotham Knights, a showcase feature that derived from the success of the original miniseries collected in Volume 1 (ISBN 1-85286-987-9). Also included are five never before printed mini classics.

Kicking off proceedings is the incongruous ‘Case Study’, with Paul Dini’s Joker origin oddly over-rendered by Alex Ross. Much more satisfying is the hilarious ‘Bats, Man’ by Ty Templeton and Marie Severin, one of the most under-rated cartoon humorists of all time, which is followed by the charming and insightful ‘A Matter of Trust’ by Chris Claremont, Steve Rude and Mark Buckingham. The powerful reverie ‘Night After Night’ by Kelley Puckett and Tim Sale is followed by a classic duel of detective wits in ‘Fortunes’ by Steven T. Seagle and Daniel Torres.

Warren Ellis’ cynical procedural ‘To Become the Bat’ is sparsely illustrated by Jim Lee, whilst John Byrne returns to a simpler time in nostalgic ‘Batman with Robin, the Boy Wonder’. ‘Broken Nose’ is a sharp and visceral Paul Pope memory poem, and John Arcudi and Tony Salmons’ ‘Greetings from… Gotham City’ is an engaging caper yarn.

‘Hide and Seek’ is a moody tale with a twist, courtesy of Paul Levitz and Paul Rivoche, and an obvious arch foe comes off second best in Walter Simonson and John Paul Leon’s ‘The Riddle’. Arcudi returns to script the sadly lack-lustre ‘A Game of Bat and Rat’ for John Buscema to draw, but Brian Azzarello and Eduardo Risso are on top form with the dark and sinister ‘Scars’. Howard Chaykin returns Batman to a wartime era for some Bund-busting with Catwoman in the superbly illustrated ‘Blackout’, drawn with glorious dash by Jordi Bernet, and José Luis García-López does the same with Eisenhower’s mythical America in ‘Guardian’, as Alan Brennert scripts the first meeting between the Caped Crusader and Gotham’s first protector, the original Green Lantern.

Bob Kanigher and Kyle Baker unwisely resurrect the Batman Junior concept in ‘Snow Job’, Dave Gibbons graphically recalls simpler times in ‘The Black and White Bandit’ and Harlan Ellison and Gene Ha combine brains with brawn in ‘Funny Money’. Tom Peyer reunites Gene Colan and Tom Palmer for the pocket horror story ‘Stormy Nether’, while the runaway best tales are the utterly brilliant story of a wager between Harley Quinn and Poison Ivy, and the chilling psycho-drama duel of will between Batman and the Scarecrow. ‘The Bat No More’ is by Alan Grant and the astonishing Enrique Breccia, whilst ‘The Bet’ is written by Paul Dini and captivatingly depicted by the hugely under-rated Ronnie Del Carmen.

Batman is a character of seemingly unlimited flexibility and gifted with enough discrete history to provide apparently endless reinterpretation. These short tales, ignoring their gimmick of colour, show what Batman needs more than anything else is a venue for brief, complete tales as well as convoluted, over-long sagas.

© 2000, 2001 DC Comics. All Rights Reserved.

The Real and Fake Monkey

The Real and Fake Monkey

Adapted by Zhang Cheng, art by Zheng Jiasheng (Zhaohua Publishing House, Beijing)
No ISBN

The exploits of the Immortal Monkey-King have long been a main-stay of Chinese popular culture, and the tales of this self-made god have delighted untold billions since first written down in Xiyouji (“The Journey to the West”) by the sixteenth century scholar and novelist Wu Cheng’en.

This particular adventure occurs after The Buddhist Monk Tripitaka has begun his mission to India to obtain sacred scriptures on behalf of the Emperor of the Tang Dynasty. The wilful and arrogant Monkey has been ordered by the Gods to accompany and protect the Monk, in the desperate hope that responsibility will better him. Also travelling are the monk’s disciples Pigsy and Sandy.

When Monkey’s impatience causes Tripitaka to fall into the hands of bandits, he uses unnecessary force whilst rescuing the monk, killing two of them. The furious monk banishes Monkey, but when he leaves a demon duplicates our hero’s appearance, attacking the pilgrims and stealing their supplies.

So perfect is the substitution that not even the Gods themselves can tell the difference or indeed stop the carnage the real and fake Monkey cause by trying to kill each other. It takes the direct intervention of the Tathagata Buddha himself to resolve the crisis.

Although often at odds with the Western narrative convention the exhilaration and low comedy of the Monkey King and, of course, the fantastic, glorious battles are always a delight to see and the light touch of an illustrative master like Zheng Jiasheng imparts an thrilling exoticism to the mix.

Brilliant stuff, and in a refreshingly different manner.

© 1983 Shanghai People’s Fine Arts Publishing House.

The Art of Yasushi Suzuki

The Art of Yasushi Suzuki

By Yasushi Suzuki (DrMaster Publications)
ISBN 13: 978-1-59796-069-4

Powerfully impressive picture making from one of the design world’s most respected young illustrators. This collection is launched on the eve of the release of the artist’s first foray into the field of graphic narrative. If you don’t play computer games (I’m sure I can’t be the only one) he might not be that familiar a name, but fans of ‘Ikaruga’, ‘Sin & Punishment’ and ‘Radiant Silver Gun’, not to mention his many book jackets, can attest to his sublime skill with colour and line. And now so can I.

With the impending release of Purgatory Kabuki, one of the most eagerly anticipated debuts in manga history, publisher DrMaster have produced this glorious commemorative artbook, utilising the most modern of print techniques and processes to highlight Suzuki’s personal favourite works from the last decade, as well as ten new pieces and a lot of informational extras such as sketches, a checklist, and interviews.

This is lovely work from a major artistic talent, and a good omen for his entry into the world of graphic narrative.

© 2007 Yasushi Suzuki. © 2007 DGN Production Inc.

The Rime of the Ancient Mariner

The Rime of the Ancient Mariner

By Samuel Taylor Coleridge & Hunt Emerson (Knockabout)
ISBN 0-86166-065-X

Hunt Emerson’s tactic of using Literature’s (please note the Big ‘L’) most despised form – the comic strip – to popularise some of literature’s greatest works once again scores a palpable hit in his manic and surreal adaptation of the 18th century poem penned by that imaginative old lotus-eater and opium addict Samuel Taylor Coleridge.

Like Gilbert Shelton recounts in his informative introduction, I too had to study the poem in school, and although some of the thing seemed pretty cool a lot of it slid past the nascent proto-punk rocker that was I, but the verve and glee, the mind-bending terror, and of course, the side-splitting visual gags that Emerson customises the text with make his adaptation an absolute joy to read and reread.

Now in its fifth edition this joyous delight which informs without undermining the text is an absolute necessity for fans and desperate English teachers alike. I hope that there are some brave and wise enough to use it.

© 1989, 2007 Knockabout Comics. All Rights Reserved.

Superman in Action Comics, Vol 2

Complete Covers of the Second 25 Years

Superman in Action Comics, Vol 2

by Mark Waid (Author) and various (Abbeville Press Inc.1994)
ISBN: 1-5585-9609-7

This second quarter century of alluring covers from Action Comics (featuring #301, June 1963 to #600, May 1988) is a microcosmic representation of the comic industry itself, as the changing mores of society and the rise of fan culture take hold. From a cheap mass-market entertainment medium for kids, comic-books gradually became a relatively high-cost niche industry pandering to and dictated by the ever more vocal desires of a core fan-base.

The charm, humour and whimsy that sat side by side with wonderment, adventure, mystery and conflict slowly disappeared from the stories as well as the covers in favour of threat and even covert sexuality, and innocent thrills became a minor consideration. This was not necessarily a bad thing, just a sad thing and a practical thing. Adults read comics too and even kids weren’t as innocent as they apparently used to be.

So it’s no small relief to see that at least the quality of art and design of those shiny attention grabbers never diminished or altered. For that we can thank Editors like Mort Weisinger and Julius Schwartz and of course the artists.

Curt Swan, Jack Abel, Neal Adams, Murphy Anderson, Ross Andru, Eduardo Barreto, Howard Bender, Brian Bolland, Wayne Boring, Pat Broderick, Rich Buckler, John Byrne, Nick Cardy, Ernie Chua, Denys Cowan, Mike DeCarlo, Mike Esposito, John Forte, José Luis García-López, Frank Giacoia, Keith Giffen, Dick Giordano, Mike Grell, Ed Hannigan, Carmine Infantino, Klaus Janson, Gil Kane, Karl Kesel, George Klein, Mike Mignola, Sheldon Moldoff, Jim Mooney, Bob Oksner, Jerry Ordway, George Pérez, Marshall Rogers, Alex Saviuk and Kurt Schaffenberger were – and are – indelibly imprinted on my life and probably yours too.

This little book is true childhood dream and a gloriously guilty pleasure.

© 1994 DC Comics. All Rights Reserved.