2008 – Page 12 – Now Read This!

September 4, 2008August 31, 2008

The Complete Badger, Vol 1

By Mike Baron, Jeff Butler, Bill Reinhold & various (IDW Publishing)
ISBN: 978-1-6001-0129-8

During the huge creative outburst of the early 1980s a number of independent publishers sprang up with an impressive variety of high quality concepts and packages. One of the very best of these was Mike Baron’s captivating psycho-warrior The Badger. Originally part of the superb Capital Comics line (other class acts included Baron and Steve Rude’s Nexus and Steven Grant & Rich Larson’s Whisper) the series – all of them – were snatched up by highly perspicacious First Comics when Capital closed its publishing division to concentrate on distribution.

Norbert Sykes is a Vietnam veteran and expert in many forms of martial arts. On his return to Madison, Wisconsin after his tour of duty he is institutionalised for maiming some frat boys he caught torturing ducks in a park. In the asylum he meets an immortal Celtic wizard named Ham (full name Hammaglystwythkbrngxxaxolotl – and I only typed that to teach my spellchecker a lesson) and case worker Daisy Fields. Norbert has at least seven distinct personalities and can communicate with animals; Ham likes to cause trouble and Daisyâ€¦ Daisy hates being patronised by imbeciles in positions of authorityâ€¦

Recently awoken from a fifteen hundred year coma, Ham engineers his and Norbert’s release, hires Daisy as his assistant and uses his magic to amass real 20th century power – vast wealth. Deep down though the wizard is still the anarchic, amoral druid who plays with weather systems by spilling innocent bloodâ€¦

And thus begins one of the strangest superhero comics ever crafted. Raw, rebellious, rambunctious and never conventional, this is an engaging and unique take on men in tights best described by the series own tag line ‘Put on a costume and fight crime? You’d have to be Crazy!’

This collection assembles the four Capital issues and the next two from pick-up publisher First and although there are few problems with the early colour reproduction, it’s a delight to see Madison’s Finest back on the shelves. Mike Baron has a profound love for Hong Kong cinema with its spectacular fights and impenetrable internal logic, and that â€œgo with the flowâ€ attitude is evident in this glorious, manic riot of comedy, sly commentary, frank character-play and all-out action.

After the necessary introductions of the first issue the narrative rockets along as the new associates set up house in the ugliest mansion in Wisconsin. Norbert resumes his career as a street vigilante, Ham plays nasty games with the eco-system and, from Tibet, agents from the ancient Society to Obliterate Sorcery come a-callingâ€¦

The second issue also featured a couple of vignettes – more shaggy-dog stories than actual adventures – by Baron, Rick Burchett, Charles Truog and Butler, and these provide some fine insights into the cast and characters.

The third issue ‘The Day the Comics Fell’ (pencilled by Burchett and inked by Dennis Wolf) is an action extravaganza that devolves into high satire when the Reverend Leopold Grabbitt hits town determined to save the â€œChillun of Amercuhâ€ from the sinful horrors of comic books. Would that his fate at the hands of Ham could be reproduced in the real worldâ€¦

That issue was topped off by a further delving into the 4th Century origins of the weather wizard by Baron and Butler, and the last Capital issue deals with the repugnant world of dog-fighting in salutary and satisfactory fashion. The creators frequently used the comic as vehicle for satisfying scores – and more power to them!

At the end of the issue Badger was literally banished to Limbo and when First Comics picked up the series months later they first guested Norbert in the already established Nexus (issues #6-7). Unfortunately that tale isn’t reprinted here, but the action does pick up with issue #5. The Badger’s return to Earth coincides with Ham’s battle to save a 1600 year old tree from an energy conglomerate that plans to turn rural Wisconsin into an experimental Uranium refinery.

That battle takes the remaining two issues in this first volume (crafted by the new creative team of Baron, Bill Reinhold and Jeff Dee) and grippingly escalates into one of the strangest environmental campaigns of all time, but the resolution isn’t a comfortable ending and this volume ends on something of a cliffhanger, but that’s only a minor annoyance, isn’t it?

This is another big box of comics delight: frantic, captivating and deliciously habit-forming. If you crave angst-free, full-on fun and excitement The Badger is well worth tracking down.

September 3, 2008August 31, 2008

Bob the Builder: Roley and the Woodland Walk

Illustrated by Craig Cameron (Egmont)
ISBN: 978-1-4052-3750-5

One of the absolute best bits about being a comics fan – or any kind of collecting hobbyist – is the semi-obsessive thrill that comes from chasing a set. We’re all suckers for the thrill of hunting a missing number and that’s all the better if the book in question is a great read and visually memorable.

And it’s never too early to start. Roley and the Woodland Walk is a surprisingly well written book for the very young based on the popular TV series featuring the affable steamroller and all the animals in Sunflower Valley in a delightful comedy of errors, with sensible Bob once again having to come to the rescue.

Designed for small hands, the book is 34 pages plus covers and has 13 lavish, eye-catching full-page illustrations. It is number #5 in the Bob the Builder Story Library, cunningly enumerated on the spine, and has ads for the other titles in the back, just like all the best comics do (eight to collect, so far, kids!).

In our electronic, post-literate culture, kids need every aid and inducement to pick up the reading bug, and these lush little pictorials are a perfect primer for a life of reading comics and books. They’re also superbly well crafted and re-readable if you’re the adult having to narrate them at bedtime.

Gotta Get ’em All!

September 2, 2008January 17, 2009

The Best of Eagle

Edited by Marcus Morris (Mermaid Books)
ISBN: 0-7181-22119 (trade paperback) ISBN:0-7181-1566X (hardback)

A little hard to find but well worth the effort is this upbeat pictorial memoir from the conceptual creator of arguably Britain’s greatest comic. Eagle was the most influential comic of post-war Britain, and launched on April 14th 1950, running until 26th April 1969.

It was the brainchild of a Southport vicar, The Reverend Marcus Morris, who was worried about the detrimental effects of American comic-books on British children, and wanted a good, solid, Christian antidote. Seeking out like-minded creators he jobbed around a dummy to many British publishers for over a year with little success until he found an unlikely home at Hulton Press, a company that produced general interest magazines such as Lilliput and Picture Post.

The result was a huge hit spawning clones Swift, Robin and Girl which targeted other demographic sectors of the children’s market, as well as radio series, books, toys and all other sorts of merchandising.

A huge number of soon-to-be prominent creative figures worked on the weekly, and although Dan Dare is deservedly revered as the star, many other strips were as popular at the time, and many even rivalled the lead in quality and entertainment value.

At its peak Eagle sold close to a million copies a week, but eventually changing tastes and a game of â€œmusical ownersâ€ killed the title. In 1960 Hulton sold out to Odhams, who became Longacre Press. A year later they were bought by The Daily Mirror Group who evolved into IPC. In cost cutting exercises many later issues carried cheap Marvel Comics reprints rather than British originated material. It took time but the Yankee cultural Invaders won out in the endâ€¦

With the April 26th 1969 issue Eagle was merged into Lion, eventually disappearing altogether. Successive generations have revived the title, but never the success.

Here Morris has selected a wonderfully representative sampling of the comic strips that graced those pages of a Golden Age to accompany his recollection of events. Being a much cleverer time, with smarter kids than ours, the Eagle had a large proportion of scientific, historical and sporting articles as well as prose fiction.

Included here are over 30 pages reprinting short text stories, cut-away paintings (including the Eagle spaceship), hobby and event pages, sporting, science and general interest features – and it should be remembered that the company produced six Eagle Novels and various sporting, science and history books as spin-offs between 1956 and 1960. Also on show are many candid photographs of the times and the creators behind the pages.

Of course though, the comic strips are the real gold here. Morris has selected 130 pages from his tenure on Eagle that typify the sheer quality of the enterprise. Alongside the inevitable but always welcome Hampson Dan Dare are selections from his The Great Adventurer and Tommy Walls strips.

Other gems include The Adventures of PC. 49 by Alan Stranks and John Worsley, Jeff Arnold in Riders of the Range, by Charles Chilton & Frank Humphris, Chicko by Norman Thelwell, Professor Brittain Explainsâ€¦, Harris Tweed and Captain Pugwash by John Ryan, Cortez, Conqueror of Mexico by William Stobbs, Luck of the Legion by Geoffrey Bond & Martin Aitchison, Storm Nelson by Edward Trice & E. Jennings and Mark Question (The Boy with a Future – But No Past!) by Stranks & Harry Lindfield.

There are selections from some of the other glorious gravure strips that graced the title: Jack o’Lantern by George Beardmore & Robert Ayton, Lincoln of America by Alan Jason & Norman Williams, The Travels of Marco Polo by Chad Varah & Frank Bellamy, The Great Charlemagne and Alfred the Great (both by Varah & Williams).

Extracts from Bellamy & Clifford Makin’s legendary Happy Warrior and the less well known The Shepherd King (King David), run beside The Great Sailor (Nelson) by Christopher Keyes, as well as The Baden Powell story (Jason & Williams) and even David Livingstone, the Great Explorer (Varah & Peter Jackson), and the monochrome They Showed the Way: The Conquest of Everest by Peter Simpson & Pat Williams makes an appearance.

The book is peppered with nostalgic memorabilia and such joys as George Cansdale’s beautiful nature pages plus a host of cartoon shorts including the wonderful Professor Puff and his Dog Wuff by prolific Punch cartoonist David Langdon. Also included is The Editor’s Christmas Nightmare by Hampson, a full colour strip featuring every Eagle character in a seasonal adventure that is fondly remembered by all who ever saw itâ€¦

These may not all resonate with modern audiences but the sheer variety of the material should sound a warning note to contemporary publishers about the fearfully limited range of comics output they’re responsible for. But for us, it’s enough to see and wish that this book, like so many others, was back in print again.

September 1, 2008August 31, 2008

Back For More

By Berni Wrightson (Archival Press)
ISBN: 0-93158-22-30-X

I was reviewing the first Un-Men collection (Get Your Freak On! – ISBN: 978-1-84576-748-8) when I decided to simultaneously – and gratuitously – revisit the classic 1970s Swamp Thing, which led me to The Mutants (ISBN: 0-937848-00-X) â€¦and that led me here.

Towards the end of the turbulent 1960s a lot of fresh talent was trying to break into the comics industry at a time when a number of publishers were experimenting with cheaper black and white magazines rather than four-colour comic books. Companies like Warren, Skywald and a small host of imitators were hiring kids who then honed their craft in public.

A respectable number of those neophytes, such as Bruce Jones, Mike Kaluta and Jeff Jones, Al Weiss, as well as Wrightson, grew into major talents after drawing pastiches of the EC Comics they had loved as kids â€“ and they paved the way when the comics market again turned to shock, mystery and black comedy to sell funny-books.

The seven tales collected here are garnered from such varied sources: horror, fantasy and Sci Fi tales, showing Wrightson’s absolute mastery of black and white line and tones, and mostly, as far as I know, self-penned.

The post-apocalyptic the Last Hunters has echoes of Vaughn BodÃ©’s darker works, whilst Feed It! (scripted by a young Mike Friedrich) is pure Graham Ingels, via Edgar Allan Poe. Wrightson’s Revolting Rhymes: Peter, Peter, Pumpkin Eater and Jack Spratt display to wonderful effect the artist’s broad yet sardonic sense of humour and are followed by a straight EC Weird Science-Fiction pastiche entitled Breathless (written by Marv Wolfman).

Visually King of the Mountain, Man! is vintage Wrightson, but again his devilishly wicked sense of humour is the real star. Ain’t she Sweet? and Uncle Bill’s Barrel, which close this volume, are indistinguishable from his professional horror work at DC, which surely shows that he was ready for the big time by this stage – even it wasn’t necessarily ready for himâ€¦

As a chronology of the development of one of the industry’s finest talents this is an indispensable package, but this book can stand on its own as a vastly entertaining fantasy anthology. Someone, somewhere please take note and republish this book (and The Mutants, too)!

August 31, 2008August 25, 2008

Walt Kelly’s Our Gang, Vol 3

By Walt Kelly (Fantagraphics Books)
ISBN: 978-1-56097-920-3

Our Gang (also known as the Li’l Rascals) movie shorts were one of the most popular series in American Film history. From 1922 onwards they featured the fun and folksy humour of a bunch of â€œtypical kidsâ€ (atypically though, there was full racial equality and mingling – but the little girls were still always smarter than the boys) having wholesome adventures in times safer and more simple.

The rotating kid cast and slapstick shenanigans were the brainchild of film genius Hal Roach (who worked with Harold Lloyd, Charley Chase and Laurel and Hardy amongst others) and these brief cinematic paeans to a Golden Age of childhood entered the â€œhousehold nameâ€ category of Americana in amazingly swift order.

From 1942 Dell released an Our Gang comic book written and drawn by the legendary Walt Kelly, who, consummate craftsman that he was, resorted to wit, verve and charm to concoct a progression of stories that elevated an American childhood of the War Years to the mythical levels of Baum and Twain.

This third collection, re-presenting the tales from issues #16 to #23, take the eternal scamps from the dog-ends of World War II to the shaky beginnings of a new world (April 1945 – June 1946), but the themes and schemes are as comfortingly familiar as ever, with Froggy, Buckwheat (eventually plain Bucky), Janet, Red and Baxter (not to mention Julep the Goat) foiling crooks, raising cash, lazing around and rushing about in a pictorial utopia of childhood aspiration and unsullied joy.

As always the tales are lovingly reproduced in a gloriously luxurious collection, this time sporting a Jeff Smith cover and an informative introduction by Walt Kelly historian Steve Thompson.

This idyllic paean to long-lost days of games and dares, excursions, adventures, get-rich-quick-schemes, battles with rivals and especially plucky victories is a fabulous window into a better universe. If the eternal struggle palls, here is a beautiful tonic from a master of comics that has truly universal appeal.

August 30, 2008August 24, 2008

Venom: Carnage Unleashed

By Larry Hama, Andrew Wildman, Art Nichols & Joe Rubinstein (Marvel)
ISBN: 978-0-7851-0199-4

There was a period in the mid 1990s where, to all intents and purposes, the corporate behemoth known as Marvel Comics had completely lost the plot. An awful lot of stories from that period will probably never be reprinted, but some of them weren’t completely beyond redemption.

Spider-Man spawned an enemy called Venom: a deranged and disgraced reporter named Eddie Brock who bonded with an alien parasite called the symbiote, to become a savage, shape-changing dark-side version of the Amazing Arachnid. Eventually the spidery foes reached a kind of dÃ©tente, and Venom became a â€œLethal Protectorâ€, dispensing a highly individualistic brand of justice everywhere but The Big Apple.

At one stage the symbiote went into breeding mode, creating a junior version of itself that merged with Cletus Kasady, a totally amoral and completely deranged psycho-killer. Calling him/itself Carnage, it tore a bloody swathe through New York before an army of superheroes caught him and his equally noisome â€œfamilyâ€.

There is no love lost between Venom and Carnage.

This collected four-issue miniseries (perhaps the best of a truly lackluster series of self-contained Venom stories released by Marvel) sees the Lethal Protector return to New York just as Kasady, who has sold the rights to his life to an online gaming company, uses a complimentary computer terminal to escape from the Ultra-High Security Ravencroft Hospital for the criminally insane.

That’s about it for plot. Larry Hama is an absolute master of hell-for-leather, gung-ho action, with a dry black wit and sharp ears for a good line, and the art is competent and frenetic, with inker Rubinstein mercifully blunting the worst excesses of the artists, who were fully immersed in the infernally annoying scratchy-line â€œImage styleâ€ penciling of the time.

Shallow and with no discernible lasting merit, this is nevertheless and full-on hoot of superheroic excess and could just be the solution to a dull, wet afternoon.

August 29, 2008August 24, 2008

The Mutants

By Berni Wrightson & various (Mother of Pearl)
ISBN: 0-937848-00-X

I was reviewing the first Un-Men collection (Get Your Freak On!- ISBN: 978-1-84576-748-8) when I decided to simultaneously – and gratuitously – revisit the classic Swamp Thing: it’s odd how your day will take you because I then thought about the rarer stuff that Wrightson did when he was just breaking into the businessâ€¦

Towards the end of the turbulent 1960s a lot of fresh talent was trying to break into the comics industry in America. Moreover at that time a number of publishers were experimenting with cheaper black and white magazines rather than four-colour comic books. Companies like Warren, Skywald and a small host of imitators were hiring kids who then honed their craft in public.

Some of those neophytes, Bruce Jones, Mike Kaluta and Jeff Jones, as well as Wrightson, all got a chance to grow, and more importantly, by actually drawing pastiches of the EC Comics they had revelled in as youngsters â€“ a market that the comics mainstream scorned. At least at that moment in timeâ€¦

Culled from various sources this book reprints a number of those fledgling horror, Sci Fi and fantasy tales, showing the sheer skill and virtuosity of the artist. With occasional scripts from Terry Bisson, Dick Kenson, Virgil North and David Izzo, these are primarily self-penned as well as illustrated novelettes. Mother Toad, The Task, the assorted adventures of Limstrel, The Game That Plays You, A Case of Conscience, The Legend of Sleepy Hollow, Stake Out, The Reaper of Love, Out on a Limb, Conjure Woman, Maudlin Love Comix, Nosferatu, Ghastly Horror Comix, and a delightful untitled pantomimic horror spoof all conclusively display the astounding talent of the young Wrightson, and most importantly his devilishly wicked sense of humour.

Also included is an incredible 17 page portfolio section which even has a selection from his seminal Frankenstein adaptation. Simply as a casual read this would be a fine book to own, but as a chronology of the development of one of the industry’s finest talents it is indispensable. Someone, somewhere take note and republish this book!

August 28, 2008August 25, 2008

Star Wars Omnibus: Tales of the Jedi vol 2

By various (Dark Horse Books)
ISBN: 978-1-84576-472-2

Dark Horse Comics have held the comics producing section of the Star Wars franchise since 1993, generating thousands of pages of material, much of it excellent, and some not quite. But as I’ve said before, die-hard fans simply aren’t that quality conscious when it comes to their personal obsession, whether it’s comics, the latest batch of action figures, or another film fiasco.

The company’s Omnibus line is a wonderful, economical way to keep the older material in print for such fans by bundling old publications into classy digests (they’re slightly smaller than US comic-books but larger than the standard manga volume, running about 400 full colour pages per book). Tales of the Jedi chronologically collects the various extrapolations set prior to the first film Star Wars IV: A New Hope.

‘The Freedon Nadd Uprising’ is by Tom Veitch, with art by Tony Akins and Dennis Rodier, coloured by Suzanne Bourdages and lettered by Willie Schubert, It’s set about 4000 years prior to the rise of Darth Vader and first appeared as a two-part comic miniseries of the same name in 1994. Set once again set on the Beast World of Onderon (as there’s such close continuity I strongly recommend first reading volume 1 – ISBN: 978-1-84576-471-5 – of this Omnibus series). There’s a resurgence of Sith sorcery on the newly liberated world, and the dispatch of Nomi Sunrider and a small Jedi team to ferret out the contagion leads to the resurrection of a hideous undying evil…

This is followed by ‘Dark Lords of the Sith’ by Veitch, Kevin J. Anderson, Chris Gossett, Mike Barreiro and Jordi Ensign, Pamela Rambo and Schubert. Set one year later this (originally) six issue tale follows the fortunes of the Sith-tainted royal siblings Aleema and Satal Keto as they first steal the throne of the Empress Teta system and then attempt to extend their rule to the rest of the Republic. Initially opposing them, only to fall prey to the Dark Side is the haughty young Jedi Exar Kun. As the war escalates the fallen Ulic Qel-Droma and Kun fall deeper under the sway of the ghost of Sith Lord Freedon Naddâ€¦

As the Republic totters of the brink of darkness and disaster ‘The Sith War’ (by Anderson, Dario Carrasco Jr., Jordi Ensign, Mark Heike, Bill Black and David Jacob Beckett, Rachelle Menase, Rambo and Schubert) opens with all-out galactic war raging. Another six-part epic, this intense thriller concludes the dramas of all the major players in stirring fashion, paving the way for an excellent and much-needed change of pace.

‘Redemption’ (originally a five part miniseries by Anderson, Gossett, Andrew Pepoy, Dave Nestelle and Schubert) is set ten years later, as Vima, daughter of the great Nomi Sunrider hits her rebellious teen years. Ignored by Jedi masters overburdened by the task of rebuilding civilisation, she runs away in search of somebody, anybody, willing to teach her the secrets of The Force.

Hidden on the dangerous Moon of Yavin she finds the fallen Jedi Ulic Qel-Dromaâ€¦

Rich in their own complex mythology these swashbuckling fantasy tales can be a little hard to follow, but the sheer bravura exuberance is quite intoxicating and makes this book a thoroughly engrossing reading experience. These are comics stories that act as a solid gold entrance into the world of graphic narrative and one we should all exploit to get more people into comics.

August 27, 2008August 25, 2008

How to Draw Kung Fu Comics

By Cheung, Man Wai (DrMaster Publications)
ISBN13: 978-1-59796-069-4

I’ve seen a lot of â€œHow Toâ€¦â€ books in my time and this new edition of a tract first published by ComicsOne Corp. in 2004 is definitely one of the best; although I have to say right from the outset that this is not about the specific creation of Japanese style Manga.

This book reveals the creative philosophy and secrets of comics produced for the Hong Kong market, and, superficial resemblances notwithstanding, there’s a world of difference. Almost exclusively a martial arts themed industry, the Hong Kong drawing style concentrates on a (relatively) representational interpretation of the perfected human form, more akin to the superhero anatomy of Burne Hogarth, Gil Kane and John Romita Senior, than the expressionistic abstractions and formulations of Manga or the edgy East/West amalgam that typifies the Manhwa of South Korea. Western superhero artists could learn a lot from this book.

The book itself covers all the accepted basics, Conceptualisation, Drawing and particular effects, Character Design, Illustrating Scenarios, (you and I would call it drawing the script), Scriptwriting for Kung Fu comics, and even proper speech-balloon placement.

Their chapter on Perspective is one of the clearest that I’ve ever seen, and does the reader the decency of baldly revealing that getting it right is actually damned hard work, and that it really does matter: something a lot of books – and tutors – are pretty reluctant to admit.

Superbly, copiously and relevantly illustrated throughout, the book also contains a tutorial section and an extensive gallery-come-swipe-file. In fact my only quibble (and there’s always one) is that the entire interior is in economical black-and-white, whereas the crowning glory of the comics themselves is lush and lavish multi-media colour. It’s a shame a glossy insert wasn’t in the budget.

August 26, 2008August 24, 2008

Footrot Flats Book 2

ISBN: 978-1-85286-366-1

Footrot Flats was one of the most successful comic strips of modern times, but it seems to have passed from sight with staggering rapidity. Created by Murray Ball from his New Zealand farm, it ran from 1975 to 1994 in newspapers on four continents. Thereafter new material was released in book form until 2000, resulting in 27 daily strip collections, 8 volumes of Sunday pages, and 5 pocket books, plus ancillary publications. There was a stage musical, a theme park and a truly superb animated film Footrot Flats: The Dog’s Tail Tale.

My previous review contains more background if you want it (and I’m sure that search engine thingy could fill in any blanks for fact-fans), but as I’ve just found a few books I’ve been missing online, I thought I’d remind you what a wonderful resource it is if you need further doses of farm-fresh, dryly ironic and sheepishly sentimental comedy from a master draughtsman and born cartoonist.

Wallace Footrot Cadwallader is a big, bluff, regular bloke: likes his food; loves Sport. He owns a small sheep farm (the eponymous Footrot Flats) best described as â€œ400 acres of swamp between Ureweras and the Seaâ€. With his farm hand Cooch Windgrass, and a sheepdog who calls himself â€œDogâ€ he makes a fair go of it.

Dog is still the star, but by book 2 other unique characters have begun to make their mark. Especial favourites include Major the Pig Dog (I won’t explain: he has to seen to be believed) and Horse, the rough-hewn stone god of self-reliant farm-cats. Ego-pricking and male bluster-busting are provided by the wiry but formidable Aunty Dolly, and a kind of glamour by the local hairdresser and all-around floozie (at least according to the insecure and probably jealous Dog) Darlene Hobson.

Dry, surreal and wonderfully self-deprecating, the humour comes from perfectly realised characters, human and not, plus the tough life of a bachelor farmer in a landscape that likes to amuse itself at our expense. If the New Zealand tourist board knew the natural horrors daily depicted in this wonderful cartoon gem, they’d have packed it in years ago.

Murray Ball is one of those gifted few who can actually draw funnily. Combined with his sharp, incisive world-view the result is pure, acerbic magic. Once again I’m reviewing a 1990s Titan edition, but the same material is readily available from a number of publishers and retailers.

Like Wal, I’m no quitter! You probably need a good laugh, brilliantly drawn, so I’m going to keep on banging on bout Footrot Flats. Go on. Fetch!

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