Charley’s War volume 5: Return to the Front


By Pat Mills & Joe Colquhoun (Titan Books)
ISBN: 978-1-84576-769-9

The fifth instalment of Mills and Colquhoun’s astonishing comic strip condemnation of the Great War (and war-mongering in general) picks right up from the previous volume (Blue’s Story) as recuperating boy-soldier Charley Bourne settles his affairs in London before reluctantly returning to the terrifying trenches and insane warlords on both sides of No-Man’s Land, whose callous and inept tactics and strategies decimated an entire generation of Europe’s manhood.

Charley’s War, originally published in the weekly comic Battle (from #200, 6th January 1979 until October of 1986), tells the story of an underage East-Ender who lies about his age to enlist in the British Army setting out to fight the Hun in 1916. Writer Mills fully exercised his own political and creative agendas on the series and, as his own always informative commentary relates, was always amazed at what he got away with and what seeming trivialities his editors pulled him up on. Here for example, as the lad rejoins his unit in April 1917, just in time for the third Battle of Ypres, the creators was allowed to wallow in historical accuracy, and some intriguing gallows humour, capitalising on the lengthy build-up of troops which forced a long period on tedious inactivity upon the already bored soldiery.

Life in the trenches was notoriously hard and unremittingly dull… except for brief bursts of action which ended so many lives. By closely following the events of the war, powerful episodes featuring such insanity as a Cricket match played out whilst shells rained down, brutal forced marches that incapacitated already shattered “Tommies”, dedicated heroes destroying their own equipment and a dozen other daily insanities of the military mind are exposed with devastating effect.

The saga focuses far more on the characters than the fighting – although there is still plenty of harrowing action – and reveals to the readers (which at the time of original publication were presumed to boys between ages 9-13) that “our side” could be as unjust and monstrous as the “bad guys”.

Charley receives the dubious honour of being seconded a servant to the callous officer Captain Snell who thinks the war a terrific lark: thereby revealing an utterly different side to the conflict, and acts as the only voice of reason when the veterans of earlier conflicts take out their resentment on the new replacement troops – all conscripted, and commonly seen by the hardened survivors of early years as cowards and shirkers for not volunteering.

But although the horrors and madness and incessant waiting for the big show to begin are omnipresent, things do proceed: as the book closes Charley discovers that his unit has been posted to join an engineering detail short of manpower. The losses were caused by cave-ins and flooding, and Charley realises that his next job will be to complete a year-long project to tunnel under a vast ridge of solid rock and undermine the German Guns on the Messine Ridge. If they don’t get killed he and his comrades will be packing the explosives for the biggest explosion the world has ever experienced…

Brutal, dark, beautiful, instantly affecting and staggeringly informative, there has never been a series like Charley’s War: it is something future generations will scorn you for not reading…

© 2008 Egmont Magazines Ltd. All Rights Reserved.

John Constantine, Hellblazer: Chas – The Knowledge


By Simon Oliver & Goran Sudzuka (Vertigo)
ISBN: 978-1-84856-140-3

It’s tough being a sidekick – especially when your guv’ner is the sardonic, ultra-cool laughing magician and arch-trickster John Constantine, and you’re just an over-the-hill granddad who drives a black cab in a London you recognise less and less every day. Your glory days are long gone – if there ever were any – and all you can look forward too is the big match, a few jars and not too much ear-ache from the dragon you married.

Chas Chandler (not the pop star) is probably Constantine’s oldest mate, at least this side of the grave, and his stolid, sensible “hit it don’t hex it” attitude has saved the street sorcerer from disaster on more than one occasion. His brushes with the unknown are mercifully limited but always terrifying (see for example “In Another Part of Hell” in Hellblazer: Rare Cuts) and he’s more than happy to keep it that way.

For such a man loyalty is sacrosanct and family worth dying – or killing – for.

Whilst his prospective son-in-law and a friend are researching “The Knowledge” one of them is involved in an accident that releases a spiteful demonic presence last seen during the Great Plague. This hateful spirit has nasty plans for London and quickly starts to enact them.

With Constantine pathetically unavailable Chas is forced to take action himself, aided by a few plucky cabbies and an extraordinarily tempting American lady he found in the back of his cab. Luckily this bloke at the pub, last guardian of the Secret History of Licensed Hackney Carriage Drivers, is on hand to explain the true meaning of The Knowledge: the mystic origin of the 320 routes all cabbies must learn before they qualify, and how the twenty-five thousand street names, esoteric stops and countless places of interest visited by tourists have kept our great metropolis safe and secure for four centuries…

More dramatic than terrifying, this is a cracking magical mystery (originally released as a 5 issue miniseries) with pitifully human heroes giving their all for just the right reasons; a delightful treat for jaded readers who might be in need of light refreshment before plunging back into the bleak and sordid cauldron of extreme, urban horror, but a terrific tale with which to break in prospective new fans.

© 2008, 2009 DC Comics. All Rights Reserved.

Dracula


Adapted by Otto Binder & Craig Tennis, art by Alden McWilliams (Ballantine Books)
No ISBN: U2271

You’re never to young to be exposed to the classics or scared out of your wits, and this delightful remnant from my own far-distant youth always brings back the gory, glory days of Bela Lugosi on TV and trying to sneak in to the latest Hammer Horror at the pictures (too young, not too cheap!) as well as such diverse treats as Famous Monsters of Filmland and other assorted illicit thrills that made we baby-boomers such terrific well-rounded, fully-socialised individuals.

At a time when scary movies, as well as Super-Spies, superheroes and comics in general, were all experiencing a popular revival, lots of strips made the jump to paperback format as publishers courted new markets. Along with lots of Mad collections, newspaper comic-strips, resized black and white comicbook reprints (such as High Camp Superheroes) and a host of other retreads, the occasional all-new item appeared.

One such is this delightfully forthright, faithful and respectful – if tension and terror free – adaptation of Bram Stoker’s gothic classic, adroitly encapsulated by comics and pulp sci fi legend Otto Binder (and Craig Tennis – of whom I know almost nothing other than he was a TV scripter) and drawn by the “deserves-to-be-legendary” Al McWilliams, a superb comics illustrator and draughtsman often confused with and nearly as good as his near-namesake Al Williamson.

The story is as you remember it; effective and pretty rather than beautiful and terrifying, but for a little seven year old it was a treasured item to be pored over, traced and adored, and today’s film fans might be enticed by Christopher Lee’s voluble introduction.

Even though it was reprinted by Manor Books in 1975, I suspect this isn’t the easiest of books to find, and to be completely honest the alternating portrait and landscape layouts make reading it a bit of a juggling act, but still and all I wish somebody somewhere would rescue this little gem from near obscurity. Any opportunistic publishers listening out there?
© 1966 Russ Jones Productions.

Giraffes in my Hair: a Rock ‘n’ Roll Life


By Bruce Paley & Carol Swain (Fantagraphics Books)
ISBN: 978-1-60669-162-6

Biographies are usually about interesting people and/or interesting times. Or at least famous ones. That makes this fascinating new book relating the incredible life-on-the-edge of ordinary hippie Bruce Paley an engrossing double-threat. Paley isn’t a superstar, he’s just a guy who turned 18 during the Summer of Love, bummed and scammed his way across America, saw some bands, met some girls, narrowly dodged the Draft and had a few memorable experiences along the way.

Captivatingly illustrated by Paley’s partner Carol Swain in her trademark monochrome line and textures style, we see his highs and lows: life as heroin addict, hookers and Black Panthers, getting by in crappy jobs, following the ever-changing music scene and even the rare brushes with real fame we’ve all experienced: in this case a short, intense friendship with doomed rock star Johnny Thunders.

Paley isn’t a particularly likable guy, but he and his life are real and human and worth recording – and this small saga of someone surviving some of our most turbulent times is a magical testament to creativity, durability and human adaptability. This is a captivating story and a brilliant use of our medium…

© 2009 Bruce Paley and Carol Swain. All rights Reserved.

Priscilla Darling


By Maz (Humorbooks)
No ISBN:

This little gem is a relic from a simpler time (although a quick scan of the internet reveals it to be still delightfully popular and readily available) when innocent smut was good, solid business, and genteel ribaldry could be infinitely double entendred for gentle laughs. Priscilla’s tale is the slight saga of an innocent English girl of good character and solid breeding who leaves her decent, upstanding family to go in search of happiness; becoming a very modern miss after illuminating encounters with “Ban the Bomb” marchers, soviet spies, Arab slavers, Hindu gurus, Eton-educated cannibals, assorted bandits and the good old British Navy.

This type of tale was very popular in the 1960s as cautious publishers tentatively acknowledged the zeitgeist of the times by not so much “Swinging” as “Gently Swaying”, but the real appeal of this still marvelously funny book is the copious vignettes, cartoons and saucy illustrations by the author: Dutch master storyteller, film-maker, draftsman and cartoonist Alfred Leonard Mazure who worked in Britain under the pen-name Maz.

Self-taught, Mazure (1914-1974) began his career in the Netherlands in 1932 with The Chef in Nieuwe Utrechtse Courant and De Prins, before embarking on a six-year journey of discovery through Europe and Africa. On his return to Holland in 1938 he created the seminal martial arts detective strip Dick Bos, best known to older fans and cognoscenti for their unique packaging (7cm broad and 11cm high {3″ x 4″} pocket sized digests).

Maz was the victim of an appalling, draconian contract in his own country, and remained anonymous and underpaid before moving to England after the War, where he gained a certain degree of fame and success with newspaper strips such as Dad and Egbert in John Bull and Passing Show, Sam Stone and Bruce Bunter in The Daily Herald (1948 to 1950), the brilliant adventure comedy Romeo Brown in The Daily Mirror (from 1954 to 1957 when he left the strip to the even more gifted Jim Holdaway), Jane, daughter of Jane also in the fabulously comics-friendly Mirror – from 1961 to 1963 and Lindy Leigh for “top-shelf” men’s magazine Mayfair from 1969 to 1970.

Produced at the beginning of the 1960s sexual revolution, Priscilla Darling is a book crafted for an adult audience that probably knew less about sex and relationships than the average nine year old these days, but it’s undoubtedly a true guilty pleasure for anybody who can remember chaste kisses, the thrill of pursuit and the (far too) occasional coy and joyous surrender, anybody who yearns for beautifully rendered, sexually simpler times and anyone with an undying love of great cartooning.
© 1964 A. L. Mazure. All rights reserved.

Requiem Vampire Knight Tome 2: Dracula and The Vampires Ball


By Pat Mills & Ledroit (Panini Books UK)
ISBN: 978-1-84653-438-6

The second double compilation of Pat Mills and Olivier Ledroit’s darkly spectacular masterpiece of nihilistic anti-heroism intensifies the decadent horrors with the next two translated volumes that created such a storm when first released in France. Dracula and The Vampire Ball resumes the tale of Heinrich Augsburg, a Nazi soldier doomed to unlive his life as a vampire warrior in a macabre inverse world of evil, which began in Requiem Vampire Knight Tome 1: Resurrection and Danse Macabre.

Resurrection is a brooding, blood-drenched world of eternal strife and warfare: a grim, fantastic mirror of Earth with the seas and land-masses reversed, where time runs backwards, populated by all the worst sinners of Earth reincarnated as monsters of myth – a realm where the ranked dead expiate or exacerbate the sins of their former lives.

This tome further explores the deeds that brought Heinrich (now called Requiem) to the very apex of the hell-world’s hierarchy as a full knight at the court of Dracula, trapped in a spiral of bloodletting, debauchery and intrigue. His position is not secure. Not only has he earned the enmity of the treacherous faction of elite Nosferatu led by Lady Claudia Demona, Lord Mortis and Baron Samedi, but it appears that he may be a returned soul…

Long before Augsberg died on a frozen battlefield, killed by a Russian he was trying to rape, the Templar Heinrich Barbarossa had committed such atrocities in the name of Christianity that he was guaranteed a place in Dracula’s inner circle when he inevitably reached Resurrection. But soon this new Vampire Knight Thurim committed an unpardonable crime and was excised from the court and Resurrection itself.

But now Requiem, already plagued by memories of his doomed affair with the Jewess Rebecca, is the subject of dangerous talk. Far too many vampires are remarking how similar to the disgraced Thurim the newcomer seems…

And what’s worse for him is that as the interminable battles (incredibly realised by the epic mastery of Ledroit) with such foes as the Gods of Limbo, the arcane order of Archaeologists, Lamias, Werewolves, Ghouls and others, Requiem discovers that Rebecca too is on Resurrection and the only way she can find peace is to “expire” the one responsible for her being there…

Blending decadent, opulent, Machiavellian dalliance with the wildest dreams – and grim, black wit – of a new De Sade, the tensions of the palace even outstrip the constant eye-popping action on myriad battlefields, so this book ends far too quickly on yet another cliffhanger when Rebecca is first captured by the Vampires only to escape with the still besotted and now wildly off-reservation Requiem. And their headlong flight has catapulted the doomed ex-lovers straight into the mouth of a cosmic dragon storm…

Supplemented by a gallery of the artist’s series paintings this astonishing, captivating work for the Goth within is an adult fantasy fan’s darkest dream come true. More please and soon…

© 2000, 2001, 2009 Nickel, Mills, Ledroit. All rights Reserved.

Wonder Woman: the Once and Future Story


By Trina Robbins, Colleen Doran & Jackson Guice (DC Comics)
ISBN: 1-56389-373

Every so often the intention to do good generates an above average comics product such as this one-shot created to raise awareness of domestic violence. A hugely important issue, and one that far too many unfortunate children are sadly aware of from an early age, it is also one of the oldest “relevant” topics in comic book history: Superman memorably dealt rough justice to a “wife-beater” in his very first adventure (Action Comics #1, June 1938).

Less visceral, but far more even-handed, is this beautiful, subtle tale-within-a-tale from Trina Robbins, illustrated by Colleen Doran and Jackson Guice. Wonder Woman is summoned to an archeological dig in Ireland by a husband and wife team to verify the finding of a 3000 year old tomb that contains the body and burial trappings of a princess from the fabled island of Themyscira.

As Wonder Woman translates the scrolls detailing the story of Princess Artemis of Ephesus, daughter of Queen Alcippe, who was taken as a slave by the Greek hero Theseus, she slowly realizes that the animosity of dig-chief James Kennealy is perhaps more than professional jealousy, and that his wife’s Moira’s defensive attitude and constant apologies mask a dark secret. Artemis’s brutal, painful quest to rescue her mother mirrors Moira’s journey to awareness as both women, separated by three millennia, take control of their so different, tragically similar lives.

Challenging, powerful but still wonderfully entertaining, this is a tale both worthy and worthwhile.
© 1998 DC Comics. All Rights Reserved.

The Best of GI Joe


By Larry Hama & various (Panini Books UK)
ISBN: 9787-1-84653-425-6

The torrent of material tying in to the blockbuster move (see GI Joe: the Rise of Cobra Official Movie Prequel and GI Joe: Snake in the Grass) continues with this very welcome compendium collecting some of the most impressive highlights of Marvel’s output: a hugely successful mini-franchise that encompassed three regular titles plus many specials at one stage.

I’ve no real interest in the film, but the toy, cartoon and comics phenomenon reached way more impressionable minds that most modern comics could even imagine and many of the strip adventures (both US and Marvel UK’s) were highpoints of sequential narrative at a time when innovation and imagination were highly regarded – and rewarded – so it’s great to see some of them finding a fresh audience.

In case you came in late: GI Joe is the operating name for an American covert, multi-disciplinary espionage and military intervention force that draws its members from all branches of the services. At the time of these tales the Joes and terrorist secret society Cobra are well known to each other and engaged in a full-on clandestine global war…

The collection begins with the ultimate “classic Joe” story; a magnificent example of disciplined storytelling from Larry Hama who wrote all the tales in this volume, and laid out this sharp tale of Yankee ninja Snake-Eyes rescuing operative Scarlett from Cobra captivity. Originally published in GI Joe #21, ‘Silent Interlude’ was embellished by Steve Leialoha, and tells a riveting action-packed yarn without ever using dialogue or captions.

This is followed by a more traditional, but no less impressive yarn from issue #24. Illustrated by the legendary Russ Heath, ‘The Commander Escapes!’ sees a small team of Joes attempting to keep Cobra’s leader captive, with all their enemy’s vast resources arrayed against them, and in #26 Leialoha returned for ‘Snake-Eyes: the Origin’, a complex Vietnam saga that barely scratches the surface of a long-running mystery…

‘Shakedown!’ (GI Joe #34), with art from Rod Whigham and Andy Mushynsky, is a cracking tale of ultra-modern jet dogfighter that would make Hans von Hammer proud whilst ‘Going Under’ from #63, (by Ron Wagner and Mushynsky) finds a select team undercover and facing the Soviet analogues of Borovia in an attempt to rescue Joes held in an infamous Gulag. Regrettably it’s the middle of a much longer epic and impressive though it is, there’s no resolution to be had for new readers.

Hama successfully reprised Silent Interlude in #85’s ‘SFX’, with Paul Ryan illustrating a classy, high body-count ninja tale featuring Snake-Eyes’ polar opposite Storm Shadow, and issue #86 celebrated the 25th anniversary of the original toy’s release (we called him Action Man in the UK) with the excellent Marshall Rogers and Randy Emberlin depicting ‘…Not Fade Away!’ – where the team meet the original “Real American Hero” when Cobra commandos seize New York landmark…

The superb Tony Salmons pencilled ‘No Simple Solutions’ (#91) with Emberlin inks, a engrossing yarn detailing a duel between genius of disguise Zartan and the martial arts marvel Blind Master; a cracking fight issue, but as a component of the hugely extended Snake-Eyes origin, the unresolved sub-plots are a little confusing in places…

‘Hero of the People!’ from #104 (with art from Mark Bright and Emberlin) finds Snake-Eyes in Borovia as the country reels under an anti-communist revolution: another epic with no conclusion in this volume, but at least the book ends on a classy mote with the complete story ‘All in a Night’s Work’ (art by Herb Trimpe and Mushynsky) from GI Joe Special Missions #17 as Stalker leads a covert team on a simple rescue mission against terrorists only to discover he’s been set up to take a fall by elements of his own government…

I’m never sure of the social value of stories where secret government operatives act beyond the law or the constraints of Due Process but the kid in me adores the pure satisfying simplicity of seeing a wrong and righting it: so on those terms this book of clever, witty action-packed adventures of honourable warriors doing their job is a delight worth sharing. Won’t you have some…?

© 2009 Hasbro. All Rights Reserved.

Stories of the West Book 1: Three Women at the Frontier


By Paulo Eleuteri-Serpieri, translated by Alfred Blomgren & Tony Raiola (Marvel)
ISBN: 0-932629-03-2

Paulo Eleuteri-Serpieri was born in Venice on February 29th 1944, and studied painting and architecture at the Fine Art Academy in Rome, graduating in 1966. He became an acclaimed painter before turning to comics in 1975 with historical dramas of the American West, scripted by Raffaele Ambrosio, which were published in Lancio Story and Skorpio as well as illustrating biblical tales in Découvrir la Bible.

From 1980 he turned to science fiction material for L’Eternauta, Il Fumetto and Orient-Express, before creating his landmark signature character Druuna, whose Junoesque proportions and fantastic adventures have captivated readers all over the world in such classics of pulchritudinous fantasy as Morbus Gravis, Creatura, Carnivora, Mandragora, Aphrodisia, Obsession, Druuna X and Croquis.

In Europe, where such superlatives are cherished, Serpieri’s astonishing ability to capture the female form in line and in colour has won him the title (although who else would want it is moot) of “Master of the Ass”, and this rare American translation of some of those early Western sagas certainly has a few beautiful nudes within its pages, but these two stories are worth looking at for more than that.

The eponymous ‘Three Women at the Frontier’ details the journey of a group of women literally exported to edge of American Civilisation at the close of the 19th century and how they wrested control of their lives and destinies from the callous, patronising men who thought they knew best, whilst ‘John and Mary, Mary and John’ details the unique meeting and budding relationship of a grizzled old mountain man and a wild woman hermit, once a squaw and slave; certainly one of the most intriguing and refreshing romances I’ve ever read.

Quirky, compelling and superbly underplayed, with some of the best drawing you’ll ever see, this is a fabulous lost treasure, only slightly marred by its appalling reproduction and too-casual proofreading. These wonderful tales of the west (and all those others untranslated as yet) are desperately in need of a high quality English language edition, but until then this will have to suffice…
© 1985 Paulo Eleuteri-Serpieri. All rights reserved.