Year: 2021

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IR$ volume 1: Taxing Trails


By Vranken & Desberg, coloured by Coquelicot: translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-51-9 (Album PB)

The most appetising thing about European comics (and manga too, although we only ever see the tip of that vast iceberg in English) is the sheer breadth of genres, styles and age ranges of material available.

The same used to be true of British and US comics, but creeping cultural colonisation by calcified fan-bases has slowly but surely eradicated many types of tale that might pique interest beyond the generalised ghettoes of superheroes, space opera, sexy horror and merchandised adaptations. Even crime and war comics are a rare exception these days.

Thus, finding that this quirky but exceedingly readable thriller series with a tantalising twist has finally arrived as eBooks is a welcome treat even if the Franco-Belgian original first saw print in 1999.

The unlikely champion of these sagas is a civil servant with the US government. Once upon a time these dedicate civil servants started employing super-cool and infallibly effective agents to go after the type of tax dodger far beyond the reach of the law. These days, every country should have one…

Belgian writer Stephen Desberg remains one of the bestselling comics authors in France. Son of an American lawyer (who was the distribution agent for Metro-Goldwyn Mayer) and a French mother, he was born in Brussels in 1954 and studied law at Université Libre de Bruxelles. However, he dropped out to follow a winding path into the comics biz…

Starting with plots and eventually scripts for Will (AKA Willy Maltaite) on Tif et Tondu in Le Journal de Spirou, he developed into a reliable jobbing creator on established strips for younger readers before launching his own in the Stéphane Colman illustrated Billy the Cat (a funny animal strip, not the DC Thomson superhero series).

Thereafter came 421 with Eric Maltaite, Arkel (Marc Hardy), Jimmy Tousseul (with Daniel Desorgher) and many others. During the 1980s, he gradually redirected his efforts to material for older readerships (such as The Garden of Desire), and in 1999 created this modern thriller before capping it all a year later with exuberant historical drama Le Scorpion joining his catalogue of major hits.

Bernard Vranken was an award-winning artist by the time he was fifteen and working on Le Journal de Tintin a year later. Whilst studying architecture at Saint-Luc, he took some comics courses by legendary illustrator Eddy Paape at St. Gilles and his true career path was set. Vranken was crafting short stories for A Suivre when he met Desberg, and in 1996 they collaborated for the first time on epic romance Le Sang Noir. Three years later they traded love for money and launched IR$…

The premise is simple and delicious, and this English edition doubles your money by combining the first two albums РLa voie fiscal and La strat̩gie Hagen Рinto one compelling compilation.

As Taxing Trails it opens with stylish American mystery man Larry B. Max calling his new favourite chat-line girl Gloria Paradise (Larry hates complications in his life) to kill some time before heading out.

A few days previously a Swiss banker had been rather ostentatiously splurging cash on a visit to California when he ended up as a freeway statistic. However, his spending spree and sudden demise raised a few red flags…

A right place, wrong time kind of guy, Larry was decisively ending a convenience store hold-up he’d stumbled into when he got a call and soon was working his way up a deadly chain of wealthy reprobates trying to track down who had issued the contract on the banker…

Before long Max identifies the former Luc Cretier as a minor banker and major blackmailer who pushed someone too hard and paid the price. That said, the person he was putting the squeeze to is of far more interest to the tax detective.

Jewish-American Abraham Loewenstein is a rags-to-riches holocaust survivor who turned tragedy into a life of success and good works. Larry, however, has seen something the rest of the world has not, and his interview with the aged activist (as an author investigating the scandal of Jewish gold illegally held in Swiss Banks) puts him on another profitable track…

Those esteemed institutions always found some legal chicanery to deny the claims of survivors and family members who tried to attempted to retrieve their property, but recent years – due to the efforts of people like Loewenstein – have seen frustrated victims begin to win justice through court cases exposing bank practises.

Now Larry’s forensic investigation leads straight to those so-secretive Swiss Banks and a generations-long scandal regarding the illegal retention and redistribution of Jewish funds deposited whilst Hitler was rising to power.

Although the Nazis are apparently long gone, their heritage of plunder remains in those Helvetic vaults and somehow, enigmatic, untouchable multi-billionaire survivor of the Death Camps Moshe Geldhof is involved…

Larry knows he’s on to something when his car is sabotaged and less feasible accidents – such as a girl on a motorbike blasting him with a machinegun – complicate his investigation. Undaunted, he confronts Geldhof in a fancy New York restaurant and finds hot lead is the first course on the menu…

After Abraham is murdered for knowing too much, a spectacular, breakneck car chase results in Max arresting Geldhof, but for once, the infallible tax man has grossly underestimated the sheer power of money…

The story concludes in The Hagen Strategy as the scene shifts to 1943 for the incredible truth about Moshe Geldhof, as the indefatigable Max delves deeper into the history of the man who has the ear of governments, especially Israel’s…

In America, the man himself seems to be “too big to fail” but his sudden liberation only pushes Larry to greater efforts. That means heading to Bern and cultivating the attentions of Geldof’s ferociously Amazonian daughter Lenni whilst dear daddy is tangled in red tape…

No sooner has Larry broached the palatial fortress-like mansion, however, than the sinister patron turns up and the hunt is on, with a cadre of heavily armed killers at his well-shod heels…

Larry has finally gleaned the true appalling secret of the contemporary Croesus and the truth is something his government can’t cover up for him. Now he has only one possible ally in his all-or-nothing war against the money-man… and places a call to Mossad.

Sleek, lean, almost Spartan in its lithe, muscular tribute to James Bond movies, IR$ is a splendidly effective, stylishly gritty thriller series to delight fans of modern mayhem in all its literary and artistic forms.

Only death and taxes are inescapable, and Larry B. Max offers either or both in one suavely economical package…
Original edition © 1977 EDITIONS DU LOMBARD (Dargaud-Lombard) 1999-2000 by Desberg &Vrancken. English translation © 2008 Cinebook Ltd.

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Papyrus volume 6: The Amulet of the Great Pyramid


By Lucien De Geiter, coloured by B. Swysen: translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-240-9 (Album PB)

Papyrus is the astoundingly addictive magnum opus of Belgian cartoonist Lucien de Gieter. Launched in 1974 on the pages of legendary weekly Le Journal de Spirou, it has run to 35 albums and spawned a wealth of merchandise, a TV cartoon series and video games.

Born in 1932, the author studied at Saint-Luc Art Institute in Brussels before going into industrial design and interior decorating. In 1961 he made the jump to sequential narrative, first via ‘mini-récits’ (half-sized, fold-in booklet inserts) for Spirou, starring his jovial cowboy ‘Pony’, and later by writing for art-star regulars such as Kiko, Jem, Eddy Ryssack and Francis.

He later joined Peyo’s studio as inker on ‘Les Schtroumpfs’ (The Smurfs), took over long-running newspaper strip ‘Poussy’ and launched mermaid fantasy ‘Tôôôt et Puit’ when Pony was promoted to Spirou‘s full-sized pages. Deep-sixing the Smurfs, de Gieter expanded his horizons by joining a select band contributing material to both Le Journal de Tintin and Le Journal de Mickey.

From 1972-1974 he worked with cartooning legend Berck on ‘Mischa’ for Germany’s Primo whilst perfecting his dream project: a historical fantasy which would soon occupy his full attention and delight millions of fervent fans for decades to come.

The annals of Papyrus encompass a huge range of themes and milieux, mixing Boy’s Own adventure with historical fiction, fantastic action and interventionist mythology. The Egyptian epics gradually evolved from standard “Bigfoot” cartoon style and content to a more realistic, dramatic and authentic iteration. Each tale also deftly incorporated breaking historical theories and discoveries into the beguiling yarns.

Papyrus is a fearlessly forthright young fisherman favoured by the gods who rises against all odds to become an infallible hero and friend to Pharaohs. As a youngster, the plucky Fellah was singled out and given a magic sword, courtesy of the daughter of crocodile-headed Sobek, before winning similar boons and blessings from many of the Twin Land’s potent pantheon.

The youthful champion’s first accomplishment was freeing supreme deity Horus from imprisonment in the Black Pyramid of Ombos and restoring peace to the Double Kingdom, but it was as nothing compared to current duty: safeguarding Pharaoh’s wilful, high-handed and insanely thrill-seeking daughter Theti-Cheri – a dynamic princess with an astounding knack for finding trouble …

The Amulet of the Great Pyramid was 6th-&-last-to-date Cinebook translation (the 21st album of the series, originally released in 1998 as Le Talisman de la grande pyramide). It’s an enthralling rollercoaster romp through living mythology and a spooky trial for the plucky chosen one which begins when Papyrus is dragged from the palace – and a rare reward from Theti-Cheri for saving her life and soul again – by spookily intelligent donkey Khamelot.

The savvy beast of burden belongs to court jester Puin and whenever it comes running in such a manner, it means the funny little man has found more trouble…

An eventful trip to the Giza plateau with its royal necropolis and great pyramids of Kheops, Khefren and Mykerinusresults in the daring lad finding not only his diminutive friend but also a desiccated yet extremely active mummy unearthed by tomb-robbers.

Puin has been hearing ghastly screams emanating from the tombs and convinces the boy-hero to stay and listen for them too. He never anticipated his bold friend to look for what made them…

The sinister sounds lead deep into the nobles’ grave fields, but as they proceed, the searchers stumble upon another acquaintance. The unconscious man is one of the three Pepi brothers charged with keeping the recently-restored Sphinx free of desert sands. Leaving the comatose victim in Puin’s care, Papyrus presses on. Before very long though, the eerie events prove too much and the panicked Professional Fool bolts. His pell-mell rush carries him down a passage far under the Kheops pyramid where he is confronted with the spirit of Seneb the Dwarf, magician and priest of that august and long-deceased pharaoh…

The garrulous ghost is in need of a favour and urges his terrified “guest” to carry his jewelled heart scarab to Papyrus who will know what to do with it…

Scrabbling out of the ancient passageway, Puin is eventually rescued by his donkey and impetuous Theti-Cheri – who again refused to be left out of any action and secretly followed her bodyguard into peril.

Papyrus, meanwhile, plunges deeper into the necropolis and is attacked by a pack of spectral jackals. Even his magic sword is no help and the malign mobbing only ends when Anubis himself calls a halt to it. The God of the Dead is angered by the sudden increase in grave-robbing and has abducted two of the caretaking Pepi brothers, thinking them desecrators.

Unfortunately, rather than admit a mistake, the jackal-headed judge demands Papyrus retrieve Kheops’ heart amulet in return for their liberty. Anubis needs it to weigh the king’s soul before he can remove all the wandering spirits of the region to a place where the living can no longer disturb them…

And thus ensues an astonishing race against time as the young champion has to scour the Great Pyramid from top to bottom (magnificently detailed and scrupulously explained in some of the best action illustration the author has ever produced); defeating deadly traps, defying spectral sabotage and godly interventions and solving the riddles of the dead to accomplish his mission.

However, even after more than satisfying the demands of Anubis, there’s still the murderously mundane menace of the real grave-robbers holding Theti-Cheri hostage to deal with before the canny champion can rest easy…

Epic, chilling, funny, fast-paced and utterly engaging, this is another amazing adventure to thrill and enthral lovers of wonder from nine to ninety-nine, confirming Papyrus to be a sublime addition to the family-friendly pantheon of Euro Stars who wed heroism and humour with wit and charm.

Any avid reader who has worn out those Tintin, Lucky Luke and Asterix albums would be wise beyond their years to add such classic chronicles to their bookshelves, and actively agitate the publishers to get on with releasing the rest of these too-long buried treasures.
© Dupuis, 1998 by De Gieter. All rights reserved. English translation © 2015 Cinebook Ltd.

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Haru’s Curse


By Asuka Konishi translated by Hannah Airriess (Vertical)
ISBN: 978-1949980264 (Tankōbon PB)

Manga has an unfair reputation for being lightweight and genre-centric in the west, but if that’s true in any way it’s more an artefact of what we’ve seen translated into English rather that an inherent aspect of the form. Here’s a deceptively dark and subtly off-kilter example of my point from Asuka Konishi, who’s most successful offering to date is gangster romance Raise wa Tanin ga li.

Like that remarkable thriller, Haru’s Curse (which first saw life as Haru no Noroi 1 and 2 in Gekkan Komikko Zero Samu from Ichijinsha, Inc.) also examines the Japanese tradition of arranged marriage, but this time in purely emotional terms as it outlines a potent romantic triangle fuelled by filial devotion and societal expectation.

And pressure. Lots and lots of self-imposed, guilt-tinged pressure…

A comedically mature romance with sharp edges and dangerous corners, the relationship blossoms in seasonally-themed chapters which begin with ‘Spring is gone’ as boisterous, overactive underachiever Natsumi Tachibana reels in grief following the death of her beloved younger sister Haru. The shattering sense of loss over her meek, mild eternal soulmate is peppered with anger and shame when she attends the funeral rites and meets again the stiff-necked, stand-offish rich boy her little Haru was forced to become engaged to, but whom she grew to adore…

Although now just an ordinary middleclass family – apart from having a status-diminishing stepmother thanks to father’s scandalous divorce – the Tachibana’s are of a proud and ancient lineage. So, when the matriarch of a spectacular rich banking family wanted a wife for her heir, she didn’t much care which daughter her son Togo Hiragi picked.

Natsumi was just happy it wasn’t her, and quite baffled at the genuine affection Haru felt. However, after Haru’s debilitating disease and tragic demise, the pressure was on again to honour the contract…

A distant and reserved discussion with the emotionless golden boy results in a bizarre devil’s bargain. Togo seems as reluctant to pursue matrimony as she is, but family duty compels them both, and Natsumi is consumed with curiosity as to what her sister ever saw in the big oaf. She accepts the situation on condition that he takes her to every place and re-enacts every date he had with Haru. At least this way, the sisters can be together again, after a fashion…

The campaign begins in ‘July’ and carries on into ‘August’ with all concerned going through the very painful motions, but gradually dislike and shame (Natsumi feels cursed and dreads public scorn for betraying her sister’s memory and “cheating” on her with her fiancé) turns to neutrality and grudging interest.

Events take a surprising twist in ‘September (Parts One and Two)’ after Natsumi finds Haru’s online diary and is forced to make radical changes to her own flighty lifestyle and assessment of her devoted departed…

Small, apparently incidental developments finally bring Togo out of his defensive shell, and by the time ‘November (Part One and Two)’ rolls round a major familial earthquake is set to upset everybody and redefine the future of all concerned in ‘and winter will come’…

The secrets of the changes of stance are explored at the end via a brace of sidebar vignettes. ‘Bonus comic 1 and 2’ reveal how small incidental moments can spark big responses…

At heart a very mature modern romance, Haru’s Curse is a splendid example of how very alike we all are, and how social mores aren’t worth a damn when we’re truly honest with ourselves…
© 2016, 2017 Asuka Nonishi. All rights reserved.

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The Black Project


By Gareth Brookes (Myriad Editions)
ISBN: 978-1-908434-20-3 (PB)

As I eagerly await Gareth Brookes’ imminent latest release, let’s look at his first award-winning work: one that set the scene not just for his trademark versatility of style and artistic weapons of choice, but also the uniquely skewed mindset that finds the extraordinary in everyday life and those weird things called people…

Brookes is a capital-A artist, printmaker, textile creator and educator who learned his craft(s) at the Royal College of Art and who has subsequently appeared in ArtReview; Kus; The British Library’s Comics Unmasked exhibition and numerous classrooms and lecture theatres as inspirational teacher.

He began literally crafting comics in 2015 with an astounding, disturbing and hilarious epic entitled The Black Project. In essence it’s a paean to uncomfortable, outsider British youth: the ones shunned and ignored by those who overachieve in class, look like gods on the sports field and have great hair and no trouble talking to girls or the right boys. If you’re old enough, try humming “David Watts” (either The Kinks or The Jam versions) while reading this and you won’t go far wrong…

It’s the 1990’s and schoolboy Richard is at that difficult age. Status, social pressure, shifting relationships are all acting on a bizarrely changing body, but at least he’s not overly worried about proving his burgeoning manhood. According to him, getting a prestige-enhancing girlfriend is simple. All you need is time, peace and quiet and the right components…

Sadly, once Richard has completed his amatory endeavours, there’s the small matter of keeping her secret from his few – rather unpleasant – friends, assorted adults in his family circle, teachers and overly-fussing mother. He may not be able to express why, but the clever lad instinctively knows nobody will understand what he’s done, or why…

Inevitably, disaster strikes and “Laura” is lost to him, but Richard is not daunted. He simply adjusts, regroups and starts the laborious creative process again. And again and…

Darkly hilarious and outrageously clever, powerfully mired in the minutiae of English suburban nostalgia and peppered with twisty subplots and red herrings, The Black Project is rendered with mastery in stark monochrome imagery, generated by deftly-chiselled lino cuts and pieces of painstakingly-sewn embroidery. It’s like nothing you’ve ever seen and equally unique in terms of narrative.

Supplemented by a revelatory Q&A Afterword delving deep into the methodology and inspiration for the book, this is a graphic triumph no fan of the medium or lover of dark fiction should be without.
© Gareth Brookes 2013. All rights reserved.

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Fantastic Four Epic Collection volume 6 1969-1970: At War with Atlantis


By Stan Lee & Jack Kirby, John Romita, Ron Frenz, Joe Sinnott, Frank Giacoia, John Verpoorten & various (Marvel)
ISBN: 978-1-3029-2202-3 (TPB)

Cautiously bi-monthly and cover-dated November 1961, Fantastic Four #1 (by Stan Lee, Jack Kirby, George Klein & Christopher Rule) was crude: rough, passionate and uncontrolled excitement. Thrill-hungry kids pounced on it and the raw storytelling caught a wave of change starting to build in America. It and succeeding issues changed comics forever. Happy Anniversary!

This epic and extras-packed full-colour compendium – also available in digital editions – gathers issues #88-104 and Annual #7 (cumulatively spanning July 1969 – November 1970) plus Fantastic Four: The Lost Adventure #1 (2008). It covers the final days of the King’s reign on Marvel’s flagship title and shaky transitional start of a new era. And includes diverse bonus treats including a rejected, recovered, recycled tale to delight all aficionados, only finally released in April 2008.

As seen in the ground-breaking premier issue, maverick scientist Reed Richards, his fiancée Sue Storm, their close friend Ben Grimm and Sue’s teenaged brother survived an ill-starred private space-shot after Cosmic Rays penetrated their ship’s inadequate shielding and mutated them all.

Richards’ body became elastic, Sue gained the power to turn invisible, Johnny Storm could turn into living flame whilst tragic Ben shockingly devolved into a shambling, rocky freak. After the initial revulsion and trauma pass, they solemnly agree to use their abilities to benefit mankind and thus was born The Fantastic Four.

Throughout the 1960s the FF was the indisputable central title and most consistently groundbreaking series of Marvel’s ever-unfolding web of cosmic creation: a forge for new concepts and characters at a time when Kirby was in his creative prime and continually unleashing his vast imagination on plot after spectacular plot, whilst Lee scripted some of the most passionate superhero sagas ever seen.

Both were on an unstoppable roll, at the height of their creative powers, and full of the confidence that only success brings, with The King particularly eager to see how far the genre and the medium could be pushed… which is rather ironic since it was the company’s reticence to give the artist creative freedom which led to Kirby’s jumping ship to National/DC in the first place…

And then, he was gone…

Without preamble the magical wonderment resumes with Joe Sinnott inking Fantastic Four #88 which focuses on the five champions (Johnny’s Inhuman girlfriend Crystal had been standing in for Sue who was until recently enjoying a hard-earned maternity leave) back in the USA after defeating Doctor Doom. They are soon looking at an unconventional new house found by determinedly domesticated Mrs. Richards in her perpetual quest to carve out a relatively normal life for her new – and still unnamed – son.

Regrettably the trendy, extremely isolated detached dwelling in ‘A House There Was!’ has been designed by the team’s oldest enemy. No sooner do they all move in than ‘The Madness of the Mole Man!’ turns the deadly domicile against them even as the maniac’s goal of rendering the entire world blind and wiping out the extended heroic family comes within inches of succeeding…

The Thing then takes centre-stage in an extended epic as he is stalked and pressganged to another world when ‘The Skrull Takes a Slave!’ in #90. Abducted to fight in gladiatorial games on a colony world patterned after Earth’s 1920s gangster era, ‘The Thing… Enslaved!’ introduces rival Skrull mobs vying for planetary supremacy and a noble slave destined to slaughter our shanghaied champion. ‘Ben Grimm, Killer!’ efficiently ramps up the tension as Ben Grimm and mechanoid marvel Torgo discover their home-worlds are hostage to their fortunes and ferocity in the arena…

Elsewhere, Reed, Johnny and Crystal have not been idle. While Ben is at ‘The Mercy of Torgo!’ (inked by Frank Giacoia) his Earthly comrades are enacting a desperate plan to swoop in, save him and destroy the Skrulls doom-weapon… a task undertaken and accomplished with great speed and in stunning style…

Fantastic Four #94, began a string of single-issue stories with the doom-laden debut of eldritch babysitter/governess Agatha Harkness in ‘The Return of the Frightful Four!’. The eponymous recalcitrant rogues make a major mistake believing they can catch the FF off-guard by attacking while the heroes are interviewing a new nanny for the latest addition to the Fantastic Family…

At a time when superhero sales were in a slump and magical mystery themes resurgently returned, this rollercoaster ride of action, battle and suspense is most significant for finally giving Sue and Reed’s baby a name – Franklin Benjamin Richards – after literally years of shilly-shallying…

Technological super-assassin The Monocle is resolved to trigger global nuclear Armageddon in #95’s ‘Tomorrow… World War Three!’ – in the middle of which Crystal is astoundingly abducted by her own family – before ‘The Mad Thinker and his Androids of Death!’ (Giacoia inks) once again ambush the team and still prove to be no match for the fab foursome…

A tense and moody episode further cashing in on the growing trend for creepy creatures and supernatural shenanigans manifests as ‘The Monster from the Lost Lagoon!’ in #97, offering a decidedly different take on the horror-movies it gloriously homages as the First Family try to combine a quick tropical vacation with a little rumour-busting sea-beastie hunt…

Both Sinnott and the robotic Sentry Sinister return in #98’s turbulently then-topical ‘Mystery on the Moon!’ as global fervour over the first lunar landing in 1969 (conveniently forgetting, of course, the FF’s own numerous visits to our satellite, beginning with issue #13) results in a cracking yarn wherein the team stop the extra-galactic Kree Empire sabotaging mankind’s first steps into space.

In FF #99 heartsick Johnny Storm at last snaps, invading the hidden home of the Inhumans. His intent is to reunite with his lost love at all costs, but of course, tempers fray, everything escalates and ‘The Torch Goes Wild!’…

With Crystal happily in tow, the 100th anniversary adventure features a daft, extremely rushed but nonetheless spectacular all-out battle against robotic replicas of their greatest enemies in ‘The Long Journey Home!’ Nuff Said!

With the anniversary cataclysmically concluded, issue #101 provides a far more intriguing imbroglio when dastardly criminal combine the Maggia buy the team’s skyscraper HQ in a cunning, quasi-legal ploy to appropriate Reed’s scientific secrets, resulting in total ‘Bedlam in the Baxter Building!’

Fantastic Four #102 sported the first cover not drawn by The King as John Romita (senior) prepared to jump into the artistic hot-seat following Kirby’s abrupt move to the home of Superman, Batman and Wonder Woman.

After an incomprehensibly vast catalogue of creativity an unthinkable Changing of the Guard occurred when the increasingly discontented King of Comics left the House of (mostly his) Ideas for arch-rival National/DC to craft his Fourth World Magnum Opus plus a host of other game-changing comic book classics…

An era ended at Marvel when the King abdicated his seemingly divinely-ordained position. Left to pacify and win back the stunned fans were Lee and a couple of budding talents named Romita and Buscema…

Kirby was not quite gone, however, as he and Sinnott opened an impressive extended epic wherein mutant menace Magneto uses guile and subterfuge to turn ‘The Strength of the Sub-Mariner’ and his undersea armies against the FF and entire surface world…

Romita and inker John Verpoorten took over the story in mid-flow, depicting an embattled America ‘At War with Atlantis!’ before malign Magneto inevitably turns on Namor, inspiring the Prince to ally with the Fantastic Four to prevent the mutant’s dream of ‘Our World… Enslaved!’…

That was more or less the end. Romita drew a couple more issues and eventually John Buscema took up the challenge, although a later issue baffled us fans by inexplicably pairing the new artist with a somehow returned Kirby…

Before that, the cover of all-reprint Fantastic Four Annual #7 brightens our day, as does its contemporary photo-feature, revealing each and every member of the burgeoning Marvel Bullpen.

Fantastic Four #108 contained ‘The Monstrous Mystery of the Nega-Man!’ which “reintroduced” a character never before seen by recycling portions of a near-complete but rejected Kirby tale. This was modified with new sequences illustrated by John Buscema and Romita. In the published story (not included in this volume) the mysterious Janus tapped into the anti-matter power of the Negative Zone once and now “returned” to steal more via the portal in Reed’s lab.

Unfortunately, this attracts the attention of extinction-event predator Annihilus, who had long sought entry into our life-rich universe…

The origins of that yarn are convoluted and circuitous but are eruditely explained by archivist John Morrow in his article ‘Fantastic Four #108: Kirby’s Way’, supplemented by (almost) the entire original story reproduced from photostats of Kirby’s pencils and published pages from #108.

In 2007 those fragments and Kirby’s story notes were used by Lee, Joe Sinnott and Ron Frenz to reconstruct the tales as the King drafted it. The result was ‘Fantastic Four: The Lost Adventure’ which here offers a gloriously tantalising slice of times past as the team (circa 1970) tackle a seemingly schizophrenic super-villain in ‘The Menace of the Mega-Men!’

It doesn’t really fit anywhere into continuity but it is a superbly nostalgic rush for devotees of the classics…

Rounding out the Kirby Kommemorations are a selection of original art pages and covers from issues #88-90, unused cover art, house ads, portfolio and poster art and more: a graphic bonanza no fan could resist.

Epic, revolutionary and unutterably unmissable, these are the stories which made Marvel the unassailable leaders in fantasy entertainment. They remain some of the most important superhero comics ever crafted. Verve, conceptual scope and sheer enthusiasm shine through on every page and the wonder is there for you to share. If you’ve never thrilled to these spectacular sagas then this book of marvels is the perfect key to another – far brighter – world and time.
© 2020 MARVEL.

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No Country


By Patrice Aggs & Joe Brady (David Fickling Books)
ISBN: 978-1-78845-183-3 (PB)

This is the scariest book I’ve read in decades.

That’s an odd thing to say about a collection of strips from a wholesome children’s comic like The Phoenix, but true nonetheless, so I’ll qualify that statement by adding that it’s beautifully illustrated by Patrice Aggs with a complete absence of gore, supernatural terror or zombies of any kind, casting its chilling pall thanks to a subtle, understated script by Joe Brady, who convincingly speculates on the current global and national political situation…

Just imagine a Britain where the Prime Minister ignores the law, suspends Parliament and rules by ministerial fiat. Consider curfews and lockdowns, shortages in the shops and direct monitoring and control of what teachers can say and do. Further ponder on what happens when strident, impassioned protestors organise into militant groups and start systematically and violently resisting daily interventions and oppressions doled out by an ever more heavy-handed police force and too-readily deployed army…

No Country is set in Britain and follows middle schooler Bea, her little brother Dom and frequently bossy older sister Hannah as they daily adapt to a draconian new reality. Their dad used to work as a local councillor, but now looks after the kids and spends his downtime in quiet secret meetings with other adults with worried faces…

Mum has been gone for a while now, but still talks to them via the internet whenever there’s enough electricity. She’s in another country somewhere, trying to get exit visas and paperwork so the family can be reunited… somewhere safe.

Daily tensions ratchet up when the long-declared Martial Law edict is shockingly enforced by new army divisions who occupy the town and “requisition” everything not nailed down. Hannah just got her first boyfriend and is acting really weird, especially after he reveals he’s part of the patriotic rebel front called the Free Kingdom – the other side in a rapidly escalating, ideologically fanatical civil war, ripping sedate stuffy Britain apart.

As hunger grows, home raids and “searches” intensify and friends and teachers start disappearing, Mum finally contacts them that the documents are ready and the family must act immediately. Tragically, not everyone is there to get the message but there’s no time to wait. This is the moment to run…

To Be Continued…

A superb and gripping exploration of the refugee crisis with the comfy, cosy UK all-too-convincingly substituting for Syria, Venezuela, Afghanistan, South Sudan and Myanmar (please feel free to look up why I chose those countries). This is a brilliant introduction to real world problems any kid can grasp and be moved by, in exactly the same way books like Animal Farm, A Kestrel for a Knave, Ring of Bright Water or Lord of the Flies ushered in a new, transformational understanding for generations of youngsters.
Illustrations © Patrice Aggs 2021. Text © Joe Brady. rights reserved.

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I Never Promised You a Rose Garden


By Mannie Murphy (Fantagraphics Books)
ISBN: 978-1-68396-410-0 (HB)

How does memory work? Are your recollections neatly sorted and filed away: dry, dusty documents effortlessly relating time, place, event and response, or is the act of personal recall mired in apparently extraneous passions and seemingly irrelevant sidebars of emotion, pulling you from the topic far and away before circling back to what originally set you thinking?

Mine’s that last one, and it’s a phenomenon used to devasting effect by Mannie Murphy as they pull together deeply intimate musings on famous – but presumably unrequited – imagined inamorata who endured tragic fates, peppered with youthful school experiences and personal philosophies while powerfully delivering a chilling expose of the proudly racist and white supremacist history of hometown Portland, Oregon.

Rendered as a personal diary with sometimes-impenetrable cursive script married to wash-&-ink images, Murphy details long-distance, strictly hands-off relationships with teen icons River Phoenix, Keanu Reeves (specifically as observed in Gus Van Sant’s My Own Private Idaho); Kurt Cobain and less well-known or admired personalities: all while deftly dissecting the far-from-savoury development and current state of a region long considered the promised land for Far Right fantasists and dreamers.

Available in hardback or various digital formats, the meandering masterclass opens with ‘My Own Private Portland’setting the scene for a mesmerising journey through the city and state through the lens of damaged, disenfranchised and frequently doomed youth. Second chapter ‘Ken Death is Dead’ expands the discussion detailing the career of a beautiful poster child for Nazi extremism and convicted mass killer, who was just another pawn in a cruel game played by older, nastier Machiavellians, after which the story of Oregon and its awful record of racism, exclusion and mass murder – much of it permitted or committed by a complacent and compliant police force – is covered in ‘Flood’.

A hard-earned, personal view of the educational set-up and its grim consequences is related in ‘Victims of Groupthink’with perspective supplied by further reference to celluloid Lost Boys and their connections to bands like The Red Hot Chili Peppers, and other notable outsiders, all cleverly married to distressing accounts of tragedies and disasters that systematically shaped the city and the kids growing up the Oregon way.

The miraculous transport of curated memories then closes with a chilling Epilogue as ‘Young Hatemongers’ revisits the Ken Death trial and media storm around it with revelations that came to light during the later stages of this book’s creation.

Dark, brooding, deeply upsetting while brimming with potent immediacy and rough-hewn passion, I Never Promised You a Rose Garden is an apparently rambling but carefully steered narrative of seemingly random remembrances that serve as a warning from history and heartfelt plea for people to be better than they are…
© 2021 Mannie Murphy. This edition © 2021 Fantagraphics Books, Inc. All rights reserved.

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Women Discoverers: 20 Top Women in Science


By Marie Moinard & Christelle Pecout, translated by Montana Kane (NBM)
ISBN: 978-1-68112-270-0 (Album HB) eISBN: 978-1-68112-271-7

Comics and graphic novels have an inconceivable power to deliver information in readily accessible form, and – like all the best teachers – can do so in ways that are fascinating, fun and therefore unforgettable. Here’s a fresh entrant in a wave of historical and biographical visual celebrations seeking to redress centuries of gender injustice while providing true life role models for the coming generations.

Crafted by writer, editor and journalist Marie Moinard (En chemin elle recontre, La petite vieille du Vendredi) & Christelle Pécout (Lune d’Ombre, Hypathie, Histoires et légendes normandes), Les découvreuses is a cheery hardback – or digital – compendium made comprehensible to us, via translation into English by those fine folk at NBM.

As the name suggests, Women Discoverers focuses on twenty female scientists who generally Рwithout fanfare or even fair credit Рchanged the world. Some are still doing so. A combination of comics vignettes and short illustrated data epigrams preceded by an impassioned Introduction from Marie-Sophie Pawlak (President of Elles Bougent scientific society), the revelations begin an extended strip history of the achievements of the peerless Marie Curie whose discoveries in chemistry and physics practically reinvented the planet. She is followed by brief vignettes of French biologist Fran̤oise Barre-Sinoussi (discoverer of the HIV retrovirus), Canadian physicist Donna Th̩o Strickland (laser amplification) and African-American Dorothy Vaughan whose mathematical and computing skills served the world at NASA.

It’s back to comics for Ada Lovelace who revolutionized mathematics by inventing computer programming, after which single page biographies describe the achievements of lengths undertaken by French mathematician Émilie du Châtelet to attend men-only institutions in the days of the Enlightenment.

Although separated by centuries, mathematicians Emmy Noether (Germany 1882-1935) and Grace Alele-Williams (born in Niger in 1932) both excelled and triumphed despite male opposition but their stories pale beside the strip-delivered hardships of actress, engineer and mobile phone pioneer Hedy Lamarr…

Another Nasa stalwart, mathematician/astrophysicist Katherine Coleman Goble Johnson, famously calculated Apollo 11’s life-saving orbit, while paediatrician Marthe Gautier discovered the origins of Downs’ Syndrome and Iranian mathematician Maryam Mirzakhani’s geometry discoveries were tragically cut short by illness…

The shameful treatment and fate of British researcher Rosalind Franklin also ended in a cruelly early death and belated fame, unlike French mathematician, philosopher and physicist Sophie Germain whose many (posthumous) triumphs never brought her inclusion in the numerous scientific organisations barring female membership during her lifetime.

Whereas Marie Curie’s daughter Irène Joliot-Curie won similar accolades to her mother, astrophysicist Jocelyn Bell Burnell discovered pulsars only to have her (male) supervisor steal the credit. At least she’s still alive to see the record set straight…

In pictorial form, astronaut Mae Jemison reveals her life and medical successes on Earth, before this potent paean closes with a trio of one-page wonders: Kevlar inventor Stephanie Kwolek, Navy mathematician Rear Admiral Grace Murray Hopper (writer of the COBOL programming language) and Chinese chemist Xie Yi whose advances in nanotechnology have made the world a very different place.

Sure, you could Google them, but this book is a far more satisfying and charming alternative and the very fact that you probably haven’t heard of most of these astounding innovators – or even a few of the more ancient ones – only proves, without doubt, that you need this book.
© 2019 Blue Lotus Prod. © 2021 NBM for the English translation.

For more information and other great reads see http://www.nbmpub.com/

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White Tiger: A Hero’s Compulsion


By Tamora Pierce, Timothy Liebe, Phil Briones, Alvaro Rio & various (Marvel)
ISBN: 978-0-7851-2273-9 (TPB)

I’ll try to be brief but bear with me because this might be a little complex for anyone not hardened by 55 years of constant exposure to raw comic-books…

After the mid-1970’s Kung Fu craze subsided Marvel was left with a couple of impressive themed properties (Master of Kung Fu and Iron Fist) and a few that needed some traditional superhero “topping up”. The Sons of the Tiger debuted in monochrome magazine Deadly Hands of Kung Fu: a multi-racial martial arts team who – augmented by three mystic amulets – fought the usual mystic ninja/secret empire types until internal dissent and an obvious lack of creative imagination split them up.

The amulets – a Tiger’s Head and two paws carved from magical jade – passed on to young Hector Ayala who donned all three to become a super-martial artist calling himself the White Tiger. After an inauspicious, short and excessively violent career including team-ups with both Spider-Man and Daredevil, the “first Puerto Rican Superhero” all but vanished until (in a Man Without Fear storyline I’ll get around to reviewing one day) he lost his life…

In the meantime, a new White Tiger had appeared in the 1997 revival of Heroes for Hire: an actual tiger evolved into a humanoid by renegade geneticist the High Evolutionary. In 2003 Kaspar Kole, a black, Jewish cop briefly replaced the Black Panther, becoming the third White Tiger shortly thereafter…

Which finally brings us here as this volume collects the first 6-issue miniseries to feature Angela Del Toro, niece of the first White Tiger; one time cop, de-frocked FBI agent and eventual recipient of the amulets that empowered and doomed her uncle Hector.

Normally I’d steer clear of reviewing a graphic novel like this because by all rights it should be all but impenetrable to non-fans, but novelist Tamora Pierce and co-scripter Timothy Liebe have made the necessary and mandatory recaps and references to other books (particularly the extended Daredevil storyline that dealt with the death of Angela’s uncle and her becoming a costumed vigilante in his memory) relatively painless: a seemingly seamless part of the overall narrative thrust of this tale and one that perfectly suits the action-packed, highly realistic artwork of Phil Briones, Alvaro Rio, Ronaldo Adriano Silva & Don Hillsman.

Angela Del Toro was a high-ranking Federal Agent, but now she’s jobless and bewildered, terrified of becoming just another masked crazy on the streets and skyways of New York City. Luckily, she still has a few friends – both in the legal and extra-legal law enforcement community – and soon links up with a private security firm while sorting out her new double life.

That mostly means coming to terms with being a costumed superhero, stopping a covert cabal of asset-stripping terrorists from turning the USA into a highly profitable war-zone and getting final closure if not revenge on Yakuza prince Orii Sano, the man who killed her partner…

White Tiger: A Hero’s Compulsion is a canny blend of family drama, cop procedural and gritty superhero thriller, with an engaging lead character, believable stakes, just enough laughs and truly sinister baddies who should appeal to the widest of audiences. Fun-filled and frantic with loads of guest-stars, including Spider-Man, Daredevil, Iron Fist, Luke Cage, Black Widow, and such scurrilous dirtbags as the Cobra, the Lizard, Deadpool and the assembled underworld of three continents, this is a read for devotees and dilettantes alike.

Whether cleaning up the mean streets and saving the entire world or just busting heads in her new day job, White Tiger has everything necessary to stay the course, but even if she somehow doesn’t, there will always be this thoroughly fascinating trade paperback and digital book to mark her territory, if not her passing…
© 2006, 2007, 2015 MARVEL. All rights reserved.

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Louise Brooks: Detective


By Rick Geary (NBM/Comics/Lit)
ISBN: 978-1-56163-952-6 (HB)

Rick Geary is a unique talent not simply because of his style of drawing but especially because of his tale-telling methodology. He’s best known for crime examinations via his Treasury of Victorian Murder and Treasury of XXth Century Murder series but also worked for decades as an Underground cartoonist and freelance illustrator of strange stories, published in locales as varied as Heavy Metal, Epic Illustrated, Twisted Tales, National Lampoon, Bizarre Sex, RAW, High Times and elsewhere. He possesses a unique gift for sublimely understated storytelling: stringing together seemingly unconnected streams of narrative to compose moving, often melancholy and always beguiling yarns. He is an international treasure.

Geary has grown into a grand master and unique presence in both comics and true crime literature through those aforementioned forensic reconstructions. He has entertainingly analysed some of the most infamous murder mysteries since policing began, but here marvellously repurposes his eye for historical verity to concoct something new and truly fascinating.

A fixation with mercurial silent movie star Louise Brooks coincides with the recorded historical facts of her fall from global fame and subsequent disappearance into the American heartland. A little casual speculation, a few wry ruminations and this is the result…

In ‘Louise: An Introduction’, Geary précis’ how, for a brief flickering moment in 1927, dancer/actress Louise Brooks was the toast of global cinema: her face known from America to Zanzibar before she inexplicably declined to renew her Paramount Pictures contract, moved to Germany to star in erotic classic Pandora’s Box and began an inexorable decline into obscurity.

She returned to the US in 1930, but parts were hard to find. Returning to club dancing, she married twice and divorced both men by 1940 when, aged 33, she suddenly chucked everything and returned to the family home in Kansas…

Following a triptych of the author’s trademark maps (Central Wichita, the area south east of the city and rural Burden, Kansas in 1941-1942) the cartoon chapter-play begins with ‘Back to Wichita’ as Louise retreats to a fractious, unwelcoming Brooks household and desperately begins hunting for a job. Increasingly, however, she is drawn into the town’s only topic of conversation: the seemingly impossible “locked-room” murder of wealthy widow Edna Leach, which is like something out of a movie…

Louise strikes up an acquaintance with a mousy shop assistant at the music store, but ‘My Friend Helen’ only has two topics of conversation: her never-seen boyfriend Walden Pond and the grisly demise of Mrs. Leach…

After America enters World War II and her latest business venture fails, Louise sets upon a new career path as a writer. Such ‘A Pilgrimage’ is daunting so she seeks out a former New York playwright who has lately taken residence in nearby Burden.

Borrowing her brother’s car, she sets off one morning in June 1942, having first made plans to meet Helen and her elusive beau, but encounters ‘Unforeseen Difficulties’ and stumbles upon a deeply personal tragedy inadequately explained by ‘Helen’s Story’…

Finding herself lost in the middle of an actual murder mystery where everything is painfully real and terrifying, the performer soon realises she even has doubts about ‘The Victim’ and reluctantly takes on the unlikely role of ‘Louise Brooks, Detective’…

It’s a part she was born to play, but after nearly losing her own life putting together the disparate strands and winkling out the culprit, she says ‘Farewell, Wichita’ and heads back to New York with reinvigorated dreams and her future again filled with untapped potential…

Combining a superlative talent for laconic prose, incisive observation and meticulously detailed pictorial extrapolation with his fascination with the lethal propensities of humanity, Geary’s forensic eye has scoured police blotters, newspaper archives and history books to compile his irresistibly enthralling documentaries. Happily, all that expertise is soundly utilised for his first major fiction feature and once again he has proved bloody murder is always a black and white affair…

A superbly engaging crime conundrum available in doughty hardback and accessible digital formats, the only thing that could improve this book is a sequel…
© 2015 Rick Geary.