Mata Hari


By Emma Beeby, Ariela Kristantina, with Pat Masioni & Sal Cipriano (Berger Books/ Dark Horse)
ISBN: 987-1-50670-561-3(TPB) eISBN: 987-1-50670-590-3

Until relatively recently (some would argue that should read “hopefully soon”), History has never really treated women well or even factually or fairly. When not obscured, sidelined or just written out, they have been cruelly misunderstood and misrepresented. Moreover, as we’re all painfully aware these days, a bold lie or convenient fabrication has far more veracity than simple, muddled, messy truth.

Margaretha Geertruida “Margreet” MacLeod (nee Zelle) was born on August 7th 1876 in Leeuwarden (in the Dutch Netherlands) to milliner and later industrialist Adam Zelle. She was the eldest of four children raised in wealth… until her father lost it all. Margreet’s life became more troubled and remarkable after that, before she died on 15th October 1917 in front of a French firing squad.

In between, she had married, lived in the East Indies, had children she never really knew and artfully remade herself as a rather scandalous dancer and performer. Margreet adopted a stage name – Mata Hari (which means “eye of the dawn” in Malay) – and her gifts, drive and determination led to her becoming a successful courtesan in the highest circles of privileged society, with princes, ambassadors, tycoons and generals all clamouring for her attention. She was also courted by some countries – including France and Great Britain – to act as an operative in the dangerous world of espionage.

After a chequered life during a volatile period when European society seemingly embraced and welcomed strong independent women, she was accused on meagre evidence of spying for the Germans during the Great War, and rapidly convicted. Deemed to have caused the death of 50,000 men, and the moral ruination of countless others, Mata Hari became and remains the purest and most enduring symbol of the deadly, cunning femme fatale…

However, in the last few decades, serious historical investigation has cast a rather different, and far fairer complexion on the mythical spy in film, song, ballet, books, musicals and all arenas of popular culture. Among the most compelling was an imaginative 5-issue miniseries from Dark Horse’s Berger Books imprint: a collaboration of writer Emma Beeby (Judge Dredd, Doctor Who, Judge Anderson), artist Ariela Kristantina (Wolverine: The Logan Legacy, Deep State, Insexts), colourist Pat Masioni and letterer Sal Cipriano.

Blending hard fact with emotive supposition and informed extrapolation, the sorry episode unfolds in the flashbacks and daydreams of a prisoner held at the Saint-Lazare Prison for Prostitutes in Paris in October 1917. Opening chapter ‘Bare Faced’ introduces Margreet as she strives and struggles to complete a book that will tell her story in her own words…

Against a backdrop of political and military manipulation resolved to make an example of her, ‘Bare Breast’ details her disastrous, life changing marriage and its terrible consequences whilst ‘Bare Heart’ relates her fight back to independence and notoriety after which ‘Bare Teeth’ moves on to the war and great love for a Russian soldier that led to her downfall in ‘Bare All’…

Real life doesn’t work the way narrative would like and the people there aren’t actors. Packed with documentary photos, this contemplative fable carefully acknowledges all that frustrating complexity in an account scrupulously devoid of heroes and outright villains whilst exposing centuries of institutionalised injustice in an extremely entertaining manner. It closes with a series of textual Codas (offering even more intimate photos of the woman and her times) with ‘Mata Hari’s Conviction’, relating oddities and strange events regarding the disposal of her body plus an authorial opinion by Beeby in ‘Was Mata Hari a Martyr?’…

In both word and imagery, Mata Hari is a potently beguiling, evocatively uncompromising retelling of a murky and long-misconceived moment in history any student of the past and lover of comics will adore.
Mata Hari text and illustrations © 2019 Emma Beeby and Ariela Kristantina. All rights reserved.

Yoko Tsuno volume 17: The Exiles of Kifa


By Roger Leloup, coloured by Studio Leonardo & translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-065-4 (Album PB)

In 1970, indomitable intellectual adventurer and “electronics engineer” Yoko Tsuno began her career in Le Journal de Spirou. She is still delighting readers and making new fans to this day in astonishing, action-packed, astoundingly accessible adventures which are amongst the most intoxicating, absorbing and broad-ranging comics thrillers ever created. The globe-girdling mysteries and space-&-time-spanning epics were devised by multitalented Belgian maestro Roger Leloup who – from 1953 – truly started his own solo career after working as a studio assistant and technical artist on Hergé’s Adventures of Tintin.

Compellingly told, superbly imaginative and – no matter how implausible the premise of any individual yarn may seem – always firmly grounded in hyper-realistic settings underpinned by authentic, unshakably believable technology and scientific principles, Leloup’s illustrated escapades were at the vanguard of a wave of strips revolutionising European comics.

That long-overdue sea-change heralded the rise of competent, clever, brave and formidably capable female protagonists taking their rightful places as heroic ideals and not romantic lures; elevating Continental comics in the process. Such endeavours are as engaging and empowering now as they ever were, none more so than the exploits of Miss Tsuno.

Her first outings (the STILL unavailable Hold-up en hi-fi, La belle et la bête and Cap 351) were mere introductory vignettes in a more cartoonish style before authenticism took hold in 1971 and the unflappable troubleshooter met valiant but lesser male comrades Pol Paris and Vic Van Steen and properly hit her stride in premier full-length saga Le trio de l’étrange (beginning in Le Journal de Spirous May 13th edition). From that point Yoko’s cases would include explosive exploits in exotic corners of our world, sinister deep-space sagas and even time-travelling jaunts. There are 30 European albums to date but only 19 translated into English thus far (ironically, none of them digitally).

First serialised in LJdS #2736-2760, Les Exilés de Kifa was crafted in 1990: a tense race against time and hidden agendas far across the universe where our terrestrial trouble-shooters toil beside the disaster-prone lethally pragmatic alien colonists of planet Vinea. Their most trusted ally is Khany: a competent, commanding single mother combing parenting her toddler Poky with saving worlds, leading her people, averting continual cosmic catastrophe and – with Yoko – trying to restore some kind of moral compass to those ancient survivors ruthlessly rebuilding their fallen civilisation and permanently undermining and gaslighting the upstarts who slept out the apocalypse on another planet…

In their initial adventure together, Yoko, Vic and Pol had discovered an enclave of dormant aliens hibernating for eons in the depths of the Earth. After saving the sleepers from robotic/AI subjugation, the humans occasionally helped the refugees (who had fled their planet two million years previously) to rebuild their lost sciences. Ultimately, they accompanied the Vineans when they returned to their own star system and presumed long-dead homeworld. In the years Vineans slept, their primary civilisation collapsed, and the world they have begun to reclaim is much changed, with isolated pockets of the former inhabitants evolved beyond recognition…

They are constantly hostile to their returned descendants. As the re-migrants gradually restore the decadent, much-debased civilisation and culture, the human trio become regular guests and helpers against sabotage and skulduggery…

On a previous visit (The Archangels of Vinea) Yoko had established a unique psychic link with robotic intelligence Queen Hegora: one granting her certain technophilic abilities. On this excursion, the humans – including Tsuno’s adopted daughter Morning Dew (The Dragon of Hong Kong) are exploring another region of the recovering orb: the non-rotating planet’s frozen northern hemisphere where they briefly encounter a derelict space probe before it is (mostly) destroyed under mysterious circumstances…

As Khany investigates a space laser planetary defence station, Yoko receives a vision from Hegora revealing the crashing probe carried a passenger who needs the humans’ help. Guided into high orbit and the upper limits of Khany’s spacecraft, they retrieve a sentient toy robot instants before station commander Balky blasts the probe remnants.

Khany reveals how its kind were constant companions to children until the parents abruptly deemed them too smart and dangerous, subsequently banishing them to distant asteroid Kifa. Needing to know more, Yoko returns to the subsea Archangel City over her human allies’ strident warnings, where the presumed-defunct Queen secretly repairs the adorable toy creature – “Myna” – who reveals Kifa holds many more like her, and has been diverted from its orbit to crash into Vinea. The evil mastermind behind the impending cataclysm is Gobol: the ancient genius who caused so many of primordial Vinea’s woes by granting independence and sentience to robots and computing systems…

As the conference ends, Hegora also gives Yoko her own hyper-advanced deep space ship…

As Myna begs for help, her new friends learn Kifa is Balky’s next target for obliteration and her rapid response sees humans and Vineans blast off for Kifa, with betrayal, incredible scientific secrets, terror, tragedy and malign immortal intelligence Gobol awaiting them…

Once more, however, overwhelming digital malevolence proves inadequate in the face of Yoko Tsuno’s passionate humanity, bold imagination and quick thinking, but her ultimate success comes at great cost and cannot be called a triumph…

Rocket-paced, deviously twisted and terrifying plausible, this race against time and battle with bigotry is superbly mesmerising, proving once more how smarts and combat savvy are pointless without compassion. As always, the most potent asset of these edgy outer space dramas is the astonishingly authentic settings, as ever benefitting from Leloup’s diligent research and meticulous attention to detail.

The Exiles of Kifa is a magnificently wide-screen thriller, tense and compelling, and surely appealing to any fan of blockbuster action fantasy or breathtaking derring-do.
Original edition © Dupuis, 1991 by Roger Leloup. All rights reserved. English translation 2022 © Cinebook Ltd.

Ms. Marvel Epic Collection volume 1: This Woman, This Warrior 1977-1978


By Gerry Conway, Chris Claremont, John Buscema, Sal Buscema, Jim Mooney, John Byrne, Keith Pollard, Carmine Infantino, George Tuska & various (Marvel)
ISBN: 978-1-3029-1639-8 (TPB/Digital edition)

Until relatively recently American comics and especially Marvel had very little in the way of positive female role models and almost no viable solo stars. Although a woman starred in the very first comic of the Marvel Age, The Invisible Girl took decades to become a potent and independent character in her own right – or even just be called “woman”. The company’s very first starring heroine was Black Fury: a leather-clad, whip-wielding crimebuster imported from a newspaper strip created by Tarpe Mills in April 1941. The sultry sentinel was repackaged as a resized reprint for Timely’s funnybooks and renamed Miss Fury to enjoy a 4-year run (1942-1946) – although her tabloid incarnation fought on until 1952. Fury was actually predated by Silver Scorpion, who debuted in Daring Mystery Comics #7 (April 1941), but she was relegated to a minor position in the book’s line-up and endured a very short shelf-life.

Miss America premiered in anthological Marvel Mystery Comics (#49, November 1943), created by Otto Binder & artist Al Gabriele. After a few appearances, she won her own title in early 1944. Miss America Comics lasted, but the costumed cutie didn’t as – with the second issue (November1944) – the format changed, to become a combination of teen comedy, fashion feature and domestic tips magazine. Feisty take-charge superheroics were steadily squeezed out and the title is most famous now for introducing virginal evergreen teen ideal Patsy Walker. A few other woman warriors appeared immediately after the War, many as spin-offs and sidekicks of established male stars such as female Sub-Mariner Namora (debuting in Marvel Mystery Comics #82, May 1947 before graduating to her own 3-issue series in 1948).

She was soon joined by the Human Torch’s secretary Mary Mitchell who, as Sun Girl, helmed her own 3-issue 1948 series before becoming a wandering sidekick and guest star in Sub-Mariner and Captain America Comics. Draped in a ballgown and wearing high heels, masked detective Blonde Phantom was created by Stan Lee & Syd Shores for All Select Comics #11 (Fall 1946) whilst sort-of goddess Venus debuted in her own title in August 1948, becoming the gender’s biggest Timely-Atlas-Marvel success until the advent of the “Jungle Girl” fad in the mid-1950s. This was mostly by dint of the superb stories and art by the great Bill Everett and by ruthlessly changing genres from crime to romance to horror every five minutes…

Jann of the Jungle (by Don Rico & Jay Scott Pike) was just part of an anthology line-up in Jungle Tales #1 (September 1954), but she took over the title with the 8th issue (November 1955). Jann of the Jungle continued until June 1957 (#17), spawning a host of in-company imitators like Leopard Girl, Lorna the Jungle Queen and so on…

During the costumed hero boom of the 1960s, Marvel experimented with a title shot for Inhuman émigré Madame Medusa in Marvel Super-Heroes (#15, July 1968) and a solo series for the Black Widow in Amazing Adventures #1-8 (August 1970 to September 1971). Both were sexy, reformed villainesses, not wholesome girl-next-door heroes – and neither lasted solo for long.

When the costumed crazies craze began to subside in the 1970s, Stan Lee & Roy Thomas looked into creating a girl-friendly boutique of heroines written by women. Opening shots in this mini-liberation war were Claws of the Cat by Linda Fite, Marie Severin & Wally Wood and Night Nurse by Jean Thomas & Win Mortimer (both #1’s cover-dated November 1972).

Contemporary jungle queen Shanna the She-Devil #1 – by Carole Seuling & George Tuska – was out in December 1972; but despite impressive creative teams none of these fascinating experiments lasted beyond a fifth issue.

Red Sonja, She-Devil with a Sword, caught every one’s attention in Conan the Barbarian #23 (February 1973) and eventually won her own series, whilst The Cat mutated into Tigra, the Were-Woman in Giant-Size Creatures #1 (July 1974), but the general editorial position was “books starring chicks don’t sell”…

The company kept on plugging though, and eventually found the right mix at the right time with Ms. Marvel who launched in her own title cover-dated January 1977. She was followed by the equally copyright-protecting Spider-Woman (in Marvel Spotlight #32: February 1977), who secured her own title 15 months later) and Savage She-Hulk (#1, February 1980). She was supplemented by the music-biz sponsored Dazzler who premiered in Uncanny X-Men #130 the same month, before inevitably graduating to her own book.

Ms. Marvel was actually Carol Danvers, a US Air Force security officer first seen in Marvel Super-Heroes #13 (March 1968): the second episode of the unfolding tale of Kree warrior Mar-Vell, dispatched to Earth as a spy after the Fantastic Four repulsed the alien Kree twice in two months. In that series the immensely competent Carol seemed stalled, perpetually investigating Mar-Vell’s assumed and tenuous cover-identity of Walter Lawson for months. This was until Danvers was caught up in a devastating battle between the now-defecting alien and his nemesis Colonel Yon-Rogg in Captain Marvel #18 (November 1969).

Caught in a climactic explosion of alien technology, she pretty much vanished from sight until Gerry Conway, John Buscema & Joe Sinnott revived her in Ms. Marvel #1 (January 1977) where ‘This Woman, This Warrior!’ opened a new chapter for the company and the industry.

This sturdy economical tome collects Ms. Marvel #1-14 plus guest appearances in Marvel Team-Up #61-62 and The Defenders #57, cumulatively spanning cover-dates January 1977 – March 1978, diving straight into the ongoing mystery. The irrepressible but partially amnesiac Danvers has relocated to New York to become editor of “Woman”: a new magazine for modern misses published by Daily Bugle owner J. Jonah Jameson.

Never having fully recovered from her near-death experience, Danvers left the military and drifted into writing, slowly growing in confidence until the irascible publisher makes her an offer she can’t refuse. At the same time as Carol is getting her feet under a desk, a mysterious new masked hero begins appearing and as rapidly vanishing, such as when she pitches up to battle the sinister Scorpion as he perpetrates a brutal bank raid. The villain narrowly escapes to rendezvous with Professor Kerwin Korwin of AIM (high-tech secret society Advanced Idea Mechanics). The skeevy savant has promised to increase the Scorpion’s powers and allow him to take long-delayed revenge on Jameson – whom the demented thug blames for his freakish condition…

Danvers has been having premonitions and blackouts since her involvement in the final clash between Mar-Vell and Yon-Rogg and has no idea she is transforming into Ms. Marvel. Her latest vision-flash occurs too late to save Jameson from abduction, but her “Seventh Sense” does allow her to track the villain before her unwitting new boss is injured, whilst her incredible physical powers and knowledge of Kree combat techniques enable her to easily trounce the maniac.

The second issue announced an ‘Enigma of Fear!’ in a return engagement for the Scorpion as Korwin and AIM make Ms. Marvel their new science project. As he turns himself into armoured assassin Destructor, Carol’s therapist Mike Barnett achieves an analytical breakthrough with his patient and discovers she is a masked metahuman before she does…

Although again felling the Scorpion, Ms. Marvel is ambushed by the Destructor, but awakes in #3 (written by Chris Claremont) to turn the tables in ‘The Lady’s Not for Killing!’

Travelling to Cape Canaveral to interview old friend Salia Petrie for a women-astronauts feature, Danvers is soon battling an old Silver Surfer foe on the edge of space, where all her occluded memories explosively return just in time for a final confrontation with Destructor. In the midst of the devastating bout she nearly dies after painfully realising ‘Death is the Doomsday Man!’ (with Jim Mooney taking over pencils for Sinnott to embellish).

The Vision guest-stars in #5 as Ms. Marvel crosses a ‘Bridge of No Return’. When Dr. Barnett reveals he knows her secret, Carol is forced to fight the Android Avenger after AIM tricks the artificial hero into protecting a massive, mobile “dirty” bomb. ‘…And Grotesk Shall Slay Thee!’ then pits her against a subterranean menace determined to eradicate the human race, culminating in a waking ‘Nightmare!’ when she is captured by AIM’s leader Modok and all her secrets are exposed to his malign scientific scrutiny. Grotesk strikes again in #8 as ‘The Last Sunset…?’ almost dawns for the planet, whilst ‘Call Me Death-Bird!’ (art by Keith Pollard, Sinnott & Sam Grainger) introduces a mysterious, murderous avian alien who would figure heavily in many a future X-Men and Avengers saga, but who spends her early days allied to the unrelenting forces of AIM as they attack once more in ‘Cry Murder… Cry Modok!’ (Sal Buscema & Tom Palmer).

A push to achieve greater popularity saw the neophyte in consecutive issues of Marvel Team-Up (#61-62, September & October 1977). Claremont had actually begun scripting that title with issue #57 with a succession of espionage-flavoured heroes and villains battling for possession of a mysterious clay statuette. As illustrated by John Byrne & Dave Hunt, the secret of the artefact is revealed in #61 as Human Torch Johnny Storm joins his creepy-crawly frenemy Spider-Man in battle against Super-Skrull and learns ‘Not All Thy Powers Can Save Thee!’, before the furious clash calamitously escalates to include Ms. Marvel with follow-up ‘All This and the QE2’. Here, the Kree-human hybrid uses knowledge and power she didn’t know she had and comes away in possession of an ancient, alien power crystal…

Frank Giacoia inks Sal B in Ms. Marvel #11’s ‘Day of the Dark Angel!’, wherein supernal supernatural menaces Hecate, the Witch-Queen and The Elementals (a group formerly seen fighting The Living Mummy) attack the Cape, tragically preventing Carol from rescuing Salia and her space shuttle crew from an incredible inter-dimensional disaster…

With Sinnott inking, the astonishing action continues in ‘The Warrior… and the Witch-Queen!’ before ‘Homecoming!’ (Mooney pencils) explores Carol’s blue-collar origins in Boston as she crushes a couple of marauding aliens before the all-out action and tense suspense concludes when ‘Fear Stalks Floor 40’ (illustrated by Carmine Infantino & Steve Leialoha) with the battered and weary warrior confronting her construction worker, anti-feminist dad whilst saving his business from the sinister sabotage of The Steeplejack’.

Wrapping up the show is another guest shot – this time from The Defenders #57 (March 1978). Crafted by Claremont, George Tuska & Dave Cockrum, ‘And Along Came… Ms. Marvel’ sees the “non-team” of outsiders and antiheroes paid a visit after Carol’s prescient senses warn her of their imminent ambush by AIM. Cue cataclysmic combat…

This comprehensive chronicle includes Ms. Prints’: Conway and David Anthony Kraft’s editorials on the hero’s origins from Ms. Marvel #1 & 2, original character sketches by John Romita Senior, a house ad, and unused cover sketches by John Buscema and Marie Severin and pages of original art by Sal Buscema, Giacoia & Sinnott and Infantino & Leialoha.

Always entertaining, frequently groundbreaking and painfully patronising (occasionally at the same time), the early Ms. Marvel, against all odds, grew into the modern Marvel icon of capable womanhood we see today in both comics and on screen as Captain Marvel. These exploits are a valuable grounding of the contemporary champion but also still stand on their own as intriguing examples of the inevitable fall of even the staunchest of male bastions: superhero sagas…
© 1977, 1978, 2018 Marvel Characters, Inc. All rights reserved.

The Adventures of Red Sonja volume 1


By Roy Thomas, Bruce Jones, Frank Thorne, Dick Giordano, Esteban Maroto, Neal Adams, Ernie Chan & various (Dynamite Entertainment)
ISBN: 978-1-93330-507-3 (TPB/Digital edition)

Once upon a time, busty women expertly wielding swords and kicking butt were rarer than politicians and business leaders who respected personal boundaries. Then – for an inexplicably long time – it seemed no lady’s ensemble was complete without a favourite pig-sticker and accompanying armour accessories. That phenomenon eventually settled into women who fight kitted out and tooled up and those who battled unfeasibly underdressed and usually in gear that looked like it really chafed…

If you’d like more fascinating insights on this state of affairs in entertainment arenas you should also check out Jill Bearup’s Just Stab Me Now and/or her YouTube commentaries and lectures on safely and convincingly fighting with sharp objects, heavy implements and a sanguine attitude…

Meanwhile back in comics, you can probably trace the trend for combative, unsuitably cuirassed or chest plated cuties (just stab ME any time now!) to one breakthrough character. Although Diana Prince/Wonder Woman, Valkyrie, Asgardian goddess Sif and even Modesty Blaise all used bladed weapons on a daily basis, none of them ever racked up the kill quotient you’d expect or believe of women in battle until ‘The Song of Red Sonja’ (Conan the Barbarian #23, February 1973).

Drawn, inked and coloured by Barry Windsor-Smith with Roy Thomas scripting, the fragment of a larger epic introduced a dark-eyed hellion to the world. The tale became one of the most popular and reprinted stories of the decade, winning that year’s Academy of Comic Book Arts Awards in the Best Individual Story (Dramatic) category.

Although based on Robert E. Howard’s Russian war-woman Red Sonya of Rogatine (as seen in the 16th century-set thriller The Shadow of the Vulture, with a smidgen of Dark Agnes de Chastillon thrown into the mix) the comic book Red Sonja is very much Thomas’ brainchild.

In his Introduction here – ‘A Fond Look Back at Big Red’ – he shares many secrets of her convoluted genesis, development and achievements as part of the first (of three) archival collection (available in trade paperback and digital editions) of her Marvel appearances. Originally released at a time when accepted editorial wisdom declared comics starring women didn’t sell, Marvel Feature (volume 2) was launched to capitalise on a groundswell of popular interest stemming from Sonja’s ongoing guest shots in Conan stories. This first compilation collects issues #1-7 (November 1975-November 1976) and opens with a then scarce-seen reprint…

Sonja graduated from cameo queen to her first solo role in a short eponymous tale scripted by Thomas and illustrated by Esteban Maroto, Neal Adams & Ernie Chan, tucked into the premiere issue of monochrome mature-reader magazine Savage Sword of Conan – cover-dated August 1974. Colourised by Jose Villarrubia and edited to remove the racier bits, it filled out the premier general distribution Marvel Feature, and revealed in sumptuous style how the wandering woman mercenary undertook a mission for King Ghannif of Pah-Dishah. That task led to her momentous first meeting with Conan and her successful completion of the mission; which was supposed to pay off with the potentate’s most treasured gift. When that reward turned out to be a position as his next wife, Sonja’s response was swift, sharp and so very memorable…

That captivating catch-up yarn leads here to ‘The Temple of Abomination’ (Thomas & Dick Giordano) as the restless sell-sword stumbles upon a lost church dedicated to debauched antediluvian gods and saves a dying priest of Mitra from further torture at the paws of monstrous beast-men…

MF #2 delivered the last key component of Red Sonja’s ascendancy as Frank Thorne (June 16th 1930-March 7th 2021) signed on as illustrator. One of the most individualistic talents in American comics, he began his career in 1948, drawing romances for Standard Comics with the legendary Alex Toth before graduating to better paid newspaper strips. Thorne illustrated Perry Mason for King Features Syndicate and at Dell/Gold Key drew Flash Gordon, Jungle Jim and The Green Hornet, as well as the first years of seminal sci-fi classic Mighty Samson.

At DC he produced compelling work on Tomahawk and Son of Tomahawk before being hired by Thomas at Marvel to illustrate (belated) breakthrough strip Red Sonja. Forever-after connected with feisty, earthy, highly sexualised women, in 1978 Thorne created outrageously bawdy (some say vulgar) swordswoman Ghita of Alizarr for Warren’s adult science fantasy anthology 1984/1994 and a succession of adult satirical strips like Moonshine McJugs for Playboy and Danger Rangerette for The National Lampoon. He won the National Cartoonists Award for Comic Books, an Inkpot Award, a Playboy Editorial Award and countless international honorariums over his astoundingly long career. Throughout his controversial career, steadfast supportive wife Marilyn worked beside him. Their 69-year marriage ended when they both died on same day – March 7th 2021.

Applying his loose, vigorous style and frenetic design sense to a meticulously plotted script from Bruce Jones, Thorne hit the ground running with ‘Blood of the Hunter’ wherein Sonja tricks formidable rival Rejak the Tracker out of an enigmatic golden key. She has also unsuspectingly unleashed a whirlwind or torment as the hunter remorselessly stalks Sonja, butchering everyone she befriends and driving her to the brink of death before their final confrontation…

Marvel Feature #3 reveals the secret of the key after Sonja takes some very bad advice from an old wise-woman and reawakens a colossal death-engine from an earlier age in ‘Balek Lives!’ before endless meanderings bring her to a village terrorised by a mythological threat. However, when she looks into the ‘Eyes of the Gorgon’ she discovers the most merciless monsters are merely human. That same lesson is repeated when ‘The Bear God Walks’ but – after joining a profitable bounty hunt for a marauding beast – Sonja and her new comrades soon find that fake horrors can inadvertently summon up real ones…

With #6, Thomas returned as scripter and set up a crossover with Conan and then-paramour Bêlit: pirate queen of the Black Coast. Although the concomitant issues of Conan the Barbarian (#66-68) aren’t reproduced here, the story is constructed in such a way that most readers won’t notice anything amiss…

Thus, ‘Beware the Sacred Sons of Set’ sees Sonja – after routing a pack of jackal-headed humanoid assailants – commissioned by Karanthes, High Priest of the Ibis God, to secure a magical page torn from mystic grimoire the Iron-Bound Book of Skelos in demon-haunted Stygia. She’s barely aware of an unending war between ancient deities, or that old colleague and rival Conan of Cimmeria is similarly seeking the arcane artefact…

After clashing repeatedly with her rivals and defeating numerous beasts and terrors, Sonja believes she has gained the upper hand in ‘The Battle of the Barbarians’, but there is more at stake than any doughty warrior can imagine…

To Be Continued…

Augmented by a colour-remastered cover gallery by Gil Kane and Thorne, this is a bold and bombastic furiously fun fiesta for fantasy action fans of all ages, genders or persuasions.

RED SONJA® and related logos, characters, names and distinctive likenesses thereof are trademarks of Red Sonja Corporation unless otherwise noted. All Rights Reserved.

Horizontal Collaboration


By Navie & Carole Maurel, translated by Margaret Morrison (Korero Press)
ISBN: 978-1-91274-001-7 (HB)

With its world-shaking reordering of society and all the consequent, still-felt repercussions World War II remains very much in people’s minds. This translated European tale is a potent counterpoint to the usual commemorative bombast, devoting much-delayed attention to the ever-dwindling last of “The Few”. Here, as well as the valiant men, we see acknowledgment of the nigh-universally disregarded contributions of women caught up in the conflict, not to mention unsung heroes of all nations who were drawn into the horror.

Horizontal Collaboration is not about heroes. It deals with people: civilians and fugitives, women and invading occupiers: the ones who are seldom celebrated but who also confronted the triumph of global darkness, all in their own small, unnoticed way…

France was taken by the Nazi war machine in 1940: occupied and partitioned on June 22nd, with the Germans holding the industrial north and central regions whilst Marshal Philippe Pétain’s puppet protectorate Régime de Vichy was allowed to govern the south and pacified colonies such as Algeria. When France was liberated in September 1944, a wave of retaliation began against those who “cooperated” with the conquerors in all ways great and small.

A sordid time of scores (real, imagined or fabricated) settled and cruel abuses arbitrarily inflicted on guilty and innocent alike plagued France for years afterwards. The most telling indignities were perpetrated upon women – wives, mothers, sisters or strangers – accused of fraternising with or giving comfort to the enemy. Such liaisons were called “Collaboration Horizontale” and even the most nebulous or unfounded accusation carried a heavy and immediate price…

Just about now, a grandmother listens to her granddaughter unload about her current amour and her mind drifts back to the war and a secret she has never shared with anyone…

In 1942, a large apartment house on Passage de la Bonne-Graine is filled with families, all dealing with the German conquerors in their own way. Despite the change in their fortunes, they have not found any way to overcome the petty grudges and ingrained social difficulties that have always kept them at odds with each other… even before war broke out.

Surly aged crone Madame Flament is rude to everyone. She spends all her time complaining or disappearing into the cellars to feed her cats. What secret is she really hiding?

Old Camille is deemed the man of the house, but he is gentle, ineffectual and blind: blithely letting life go on around him and apparently noticing nothing. His wife is the building’s concierge. Brusque matron Martine Andrae is a snooping busybody loudly championing decency and family values, but her home life is nothing to envy and her sharp tongue scores points off family, friends and foes indiscriminately. She despises the younger women and their families in the building, especially pretty Joséphine Borgeon who makes ends meet through her theatre act. Surely, everybody knows what she really does to survive?

Also viewed with suspicion is young mother Rose. Her husband Raymond has been taken away to work for the Nazis, so his friend and neighbour Leon – a gendarme – has been keeping a “friendly” eye on her, even though his own pregnant wife Judith keeps clumsily falling and hurting herself and certainly needs proper supervision…

Strangely boyish artist Simone keeps to herself as much as she can and – originally – there was also a Jewess called Sarah Ansburg and her little son. They somehow disappeared before the Germans could find them. That must be the reason Abwehr intelligence officer Mark Dinklebauer spends so much time in the building. It couldn’t possibly be that he has fallen in love with one of the occupants, or that this most forbidden of passions is dangerously, illegally reciprocated, can it?

Crafted with deft incisiveness by media writer and historian (Mademoiselle) Navie and rendered in a beguiling style (powerfully reminiscent of Will Eisner in his later years) by seasoned illustrator/author Carole Maurel (Luisa: Now & Then, Waves, L’apocalypse selon Magda), this is a meditative but uncompromising glance at ordinary lives under relentless pressure: an ensemble piece of human drama taking as its heart and centre point an unlikely flowering of true but doomed love…

Moving, beguiling and evocatively rewarding, Horizontal Collaboration is a beautiful tragedy and potent reminder that love takes no prisoners while enslaving all it touches.
© Editions Delcourt – 2017. All rights reserved.

Axa Adult Fantasy Color Album


By Enrique “Enric” Badía Romero & Donne Avenell (Ken Pierce Books/Eclipse Comics)
ISBN: 0-912277-27-0 (TPB)

Born in 1930 Enrique “Enric” Badía Romero’s comics career began in his native Spain fifteen years later when he was apprenticed to popular creator Emilio Freixas. By 1949 – as “Badia” – he was drawing strips for Susy and other publications, and in 1953, launched his own magazine Alex, before going on to found publishers Ruiz Romero where he produced everything from westerns, sports, war stories and trading cards – mostly in conjunction with his brothers Jorge and Jordi. Their most memorable series were Cromos, Hombres de Lucha and Historia de la Guerra.

“Enric” began working for the higher-paying UK market in the 1960s, on strips such as ‘Cathy and Wendy’, ‘Isometrics’ and ‘Cassius Clay’ before successfully assuming drawing duties on the high-profile Modesty Blaise adventure-serial in 1970. He left in 1978 when an enticing new prospect appeared whilst he was simultaneously illustrating Modesty and Rahan with André Chéret for Franco-Belgian weekly Pif gadget. Even for the prolific artist something had to give…

Axa ran in The Sun Monday to Saturday from 14th July 1978 to her abrupt cancellation on November 16th 1986 – purportedly a victim of political and editorial intrigue which saw the strip cancelled in the middle of a story. Other than the First American Edition series from strip historian Ken Pierce and this colour collection, there has never been a definitive English language collection. It should be noted also that at the time of this book she was still being published with great success and to popular acclaim.

Back then in Britain it often appeared the only place where truly affirmative female role-models appeared to be taken seriously were cartoon sections, but even there the likes of Modesty Blaise, Danielle, Scarth, Amanda, Wicked Wanda and all the other capable ladies who walked all over the oppressor gender – both humorously and in straight adventure scenarios – lost clothes and shed undies repeatedly, continuously, frivolously and in the manner they always had…

Nobody complained (at least no one important or who was ever taken seriously): it was just tradition and the idiom of the medium… and besides, artists have always liked to draw bare-naked ladies as much as blokes liked to see them. It was even “educational” for the kiddies – who could buy any newspaper in any shop without interference, even if they couldn’t get into cinemas to view Staying Alive, Octopussy or Return of the Jedi without an accompanying adult…

Tough ’n’ sexy take-charge chicks (without clothes) were a comic-strip standard by the time the Star Wars phenomenon rekindled interest in science fiction, and the infallible old standby of scantily-clad, curvy amazons in post-apocalyptic realms never had greater sales-appeal than when The Sun – Britain’s sleaziest yet best-selling tabloid – hired Romero & Donne Avenell to produce a new fantasy feature for their already well-stacked cartoon section.

This beautifully illustrated but oddly out of kilter collection doesn’t bear much similarity in terms of tone or format to the (ostensibly) family-oriented daily strip, and features none of the regular supporting cast like long-suffering lover Matt or robotic companion Mark 10, which leads me to suspect it was created independently for a European market, perhaps as a Sunday page in Romero’s homeland or elsewhere where attitudes and mores were more liberal.

Certainly in the early 1980s Axa appeared in adult bande dessinée icon Charlie Mensuel (which reprinted many classic newspaper strips from around the world) and after that closed in Swedish publication Magnum.

Whatever their origin, the tales collected here are far stronger and more explicitly sexual in nature; occasionally coming close to being macho rape-fantasies, so please be warned as such content, no matter how winningly illustrated, will certainly offend most modern consumers.

The eponymous heroine was raised in a stultifying, antiseptic and emotionless domed city: a bastion of technological advancement in a world destroyed by war, pollution and far worse. Chafing at the constricting life of loveless living dead men, Axa broke out and, ancient sword in hand, chose to roam the shattered Earth searching for something real and true and free…

This slim oversized tome opens with Axa crossing trackless wasteland under a scorching sun until she finds a hidden grotto beneath a ruined building. The coolly sensual hidden pool is a welcome delight but harbours a ghastly monster and mutant voyeur…

Captured by a hideously scarred human degenerate Axa discovers his gentle nature but is soon abducted by his far-less sympathetic brethren who want to use her as a brood mare for their next generation. Ultimately, fate, her newfound friend and that ever-present longsword combine to effect her escape…

Resuming aimless exploration, Axa encounters a coastal village and is almost killed by wild dogs. Desperate flight takes her to a lighthouse on the promontory above the deserted town where ruggedly handsome Juame and his teenaged daughter Maria have been trapped for months. Swiftly, sexual tension between Axa and Jaume culminates in the only way it can as Maria is driven mad by jealousy she can barely comprehend. When a roving band of vicious post-apocalyptic Hell’s Angels hits town hungry for slaughter and kicks, the conflicted teen opens the tower doors for them…

The brutes casually murder her father and are intent on adding her and Axa to their string of human playthings, when a terrific storm hits and Axa breaks loose to become the bloody tool of harsh, uncompromising and final fate…

This incarnation of the warrior wanderer is certainly harder-hitting and more visceral than the British strip version and has little of the feature’s sly, dry humour, but art-lovers cannot fail to be impressed by Romero’s vibrant mixed-media illustration and imaginative, liberating page compositions.

Lush, lavish, luxurious and strictly for adventure-loving adults, Axa is long overdue for a comprehensive ethical overhaul and definitive comics collection. Is there a bold publisher out there looking for the next big thing and prepared to face a barrage of ethical vituperation?
Axa © 1985 Enrique Badia Romero. Previously © 1983, 1984 in Spanish. Express Newspapers, Ltd.

Modesty Blaise: The Green Eyed Monster


By Peter O’Donnell & Enrique “Enric” Badía Romero (Titan Books)
ISBN: 978-1840238662 (Album PB)

Spanish artist Romero was a familiar presence for generations of British comics and newspaper strip readers. He died on February 15th this year with most of his work out of print and nigh forgotten. Here are two reasons why that’s not right and should be rectified as soon as possible.

Infallible super-criminals Modesty Blaise and her lethally charming, compulsively platonic, equally adept partner Willie Garvin gained fearsome reputations whilst heading underworld gang The Network. At the height of their power, they retired young, rich and still healthy. With honour intact and hands relatively clean, they cut themselves off completely from careers where they made all the money they would ever need and far too many enemies: a situation exacerbated by their heartfelt and – for their calling – controversial conviction that killing was only ever to be used as a last resort.

When devious British Spymaster Sir Gerald Tarrant sought them out, they were slowly dying of boredom in England. That wily old bird offered them a chance to get back into harness, have fun and do some good in the world. They jumped at his offer and began cleaning up society’s dregs in their own unique manner. That self-appointed crusade took decades…

From that tenuous beginning the dynamite duo went on to crush the world’s vilest villains and most macabre monsters in a succession of tensely suspenseful, inspirational action thrillers over more than half a century. The inseparable associates debuted in The Evening Standard on 13th May 1963 and, over passing decades, starred in some of the world’s most memorable crime fiction, in approximately three panels a day.

Creators Peter O’Donnell & Jim Holdaway (who previously collaborated on Romeo Brown – another lost strip classic equally as deserving of its own archive albums) crafted a timeless treasure trove of potent pictorial escapades until the illustrator’s tragic early death in 1970, whereupon Spanish artist Enrique “Enric” Badía Romero (and also occasionally John Burns, Neville Colvin & Pat Wright) assumed art duties, taking the partners-in-peril to even greater heights.

The series was syndicated world-wide and Modesty starred in prose novels and short-story collections, several films, a TV pilot, radio play, original American graphic novel from DC, an audio serial on BBC Radio 4 as well as nearly 100 comic adventures. The strip’s conclusion came on 11th April 2001 in The Evening Standard. Many papers around the world immediately began running reprints and further new cases were conceived, but British newspaper readers never saw them. We’re still waiting…

The pair’s astounding exploits comprise a broad blend of hip adventuring, glamorous lifestyle and cool capers: a melange of international espionage, crime and even plausibly intriguing sci fi/supernaturally-tinged horror fare, with ever-unflappable Modesty & Willie canny, deadly, yet all-too-fallibly-human defenders of the helpless and avengers of the wronged…

We have Titan Books to thank for collecting the saga of Britain’s Greatest Action Hero (Women’s Division), although they haven’t done so for a while now…

This volume was the first to feature Romero as sole artistic hand, following the unexpected death of Holdaway partway through ‘The Warlords of Phoenix’. To ease him into the job author O’Donnell was asked to write a lighter tale to follow up the epic. ‘Willie the Djinn’ plays well to the new artist’s strengths, and although there are echoes of a previous O’Donnell &Holdaway Romeo Brown romp, this tale of kidnapped dancing girls, oil sheikhs and military coups is a short, sweet treat, and change of pace to the usual storm of murder, intrigue and revenge.

Those elements return in ‘Green-Eyed Monster’ as the spoiled and obnoxious daughter of a British ambassador is kidnapped by South American rebels. Modesty & Willie must use all their skills to get her out of the terrorists’ clutches, escape deadly jungles and resist the overwhelming temptation to kill her themselves….

‘Death of a Jester’ closes out the volume as our antiheroes stumble across a bizarre murder that leads to another job for British spymaster Sir Gerald Tarrant. A man in Jester’s garb is impaled by a knight’s lance and thrown to lions in a caper revolving around Mediaeval Re-enactments, a band of bored and dangerous British ex-commandos and the impossible theft of the Navy’s latest super torpedo.

The infectious whimsy of the early 1970s was becoming increasingly present but under the strictly controlled conditions of prolific, ingenious O’Donnell and sleek slick Romero, Blaise & Garvin grew in stature and accomplishments to carve out a well-deserved reputation for excellence in these magnificent tales of modern adventure. Certified Gold. So bring them back please…
© 2005 Associated Newspapers/Solo Syndication.

Marie Curie – The Radium Fairy


By Chantal Montellier & Renaud Huynh translated by Lara Vergnaud (Europe Comics)
No ISBN: digital-only publication

I’ve waited ages (well, since March 2017, but I’m old and joyless and my days are clearly pretty limited now) for this superb book to be picked up by a print publisher, but now I’m just going to plug it again it anyway and assume that as you’re reading this on a computer, you can make the leap to seeing comics that way too.

And yes, I know all about the smell and feel of proper books. I feel that way too, but we’re killing more trees than we need to. Just think of it as portable fun you can’t crumple or rip…

Originally released across Europe in 2011, Marie Curie La Fée du Radium was produced in collaboration with the Curie Museum and the Cité des sciences et del ’industrie (part of Universcience), with educator, illustrator and bande dessinée creator Chantal Montellier (Odile et les crocodiles, Les Damnés de Nantes).

The book summarises and dramatizes via graphic narrative a most astounding life, prior to research scientist, educator and museum curator Renaud Huynh’s (La fantastique histoire du radium) extensive and copious Timeline which traces the triumphs, tribulations and legacy of Marie Sklodowska-Curie (1867-1934): thus far the only woman to win two Nobel Prizes.

The critical comics component kicks off in Stockholm on September 4th as aging Marie Curie works on a speech; preparing to receive that second cherished accolade. Thinking back, she pictures her departed husband Pierre Curie. Their joint isolation of the element they named Polonium after her place of birth was a grand achievement but doesn’t make up for her years of struggle for acceptance or his tragic accidental death so early in their marriage…

And so, briefly, concisely and sans fanfare unfolds a true tale of brilliance applied, adversity overcome and persistence rewarded. Today, Curie is credited with adding two elements to the Periodic Table – Radium was the other one – and venerated for her unceasing researches. She was also the first woman allowed to teach at the prestigious Sorbonne, but for much of her life had to overcome entrenched patriarchal attitudes and oppression whilst being vilified in the media and by wider society for her “scandalous” personal life… and generally just for being an uppity female who didn’t know her place.

Isn’t it great how much everything has changed since then? (I am of course waiting for my own Nobel for the isolation of Sarcastium…)

This small but powerful digital-only tome concludes with that large and detailed Timeline. Huynh’s pictorial essay is packed with photographic illustrations, cartoons and clippings combining to encapsulate and clarify Curie’s life and achievements. It is all deconstructed and précised in chapters entitled 1867/1895 Warsaw-Paris’, ‘1896/1905 A Scientific Dream’, ‘1906/1911 Hardships and Success’, ‘1912/1921 The Radium Institute’ and ‘1922/1934: An International Figure’, before concluding with an ‘Epilogue’ revealing how 60 years after her death, Marie Curie’s ashes were transferred to the Pantheon (resting place of the nation’s greatest citizens). She was the first woman to be accorded this honour based solely on her own merits…

Making learning fun, Marie Curie – The Radium Fairy is a potent and powerful inspiration, venerating one of history’s most dedicated scientists: one every youngster of any age should know.
© 2016 – DUPUIS – Chantal Montellier & Renaud Huynh. All rights reserved.

Supergirl: The Silver Age volume 1


By Otto Binder, Al Plastino, Jerry Seigel, Jim Mooney & various (DC Comics)
ISBN: 978-1-4012-7292-0 (TPB/Digital edition)

Superhero comics seldom do sweet or charming anymore. Narrative focus nowadays concentrates on turmoil, angst and spectacle and – although there’s nothing intrinsically wrong with that – sometimes the palate just craves a different flavour.

Such was not always the case as this superb compendium of the early career of Superman’s cousin Kara Zor-El of Argo City – gathering material from Action Comics #252-284 and spanning May 1959-January 1962 – joyously proves. Also included to kick off proceedings is the delightful DC House Ad advertising the imminent arrival of a new “Girl of Steel”. Sadly missing, however, is the try-out story ‘The Three Magic Wishes’ – written by Otto Binder and illustrated by Dick Sprang & Stan Kaye from Superman #123, August 1958 – which told how a mystic totem briefly conjured up a young girl with super powers as one of three wishes made by Jimmy Olsen. Such was the reaction to the plucky distaff hero that within a year a new version was introduced to the Superman Family…

Here, then, the drama commences with ‘The Supergirl from Krypton!’, the third story from Action Comics #252 introducing Superman’s cousin Kara, who had been born on a city-sized fragment of Krypton, which was somehow hurled intact into space when the planet exploded. Eventually Argo City turned to Kryptonite like the rest of the giant world’s debris, and Kara’s dying parents, having observed Earth through their scanners and scopes, sent their daughter to safety as they perished.

Crashing on Earth, she is met by Superman who creates the cover-identity of Linda Lee whilst hiding her in an orphanage in small town Midvale allowing her to learn about her new world and powers in secrecy and safety. This groundbreaking tale was also written by Binder and drawn by the hugely talented Al Plastino.

Once the formula was established Supergirl became a regular feature in Action Comics (starting with #253), a residency that lasted until 1969 when she graduated to the lead spot in Adventure Comics. In ‘The Secret of the Super-Orphan!’, at her new orphanage home she makes the acquaintance of fellow orphan Dick Wilson (eventually Malverne) who would become her personal gadfly (much as the early Lois Lane was to Superman), a recurring romantic entanglement who suspects she has a secret. As a young girl in far less egalitarian times, romance featured heavily in our neophyte star’s thoughts and she frequently met other potential boyfriends: including alien heroes and even a Merboy from Atlantis.

Many early tales involved keeping her presence concealed, even whilst performing super-feats. Jim Mooney became regular artist as Binder remained chief scripter for the early run. In Action #254’s ‘Supergirl’s Foster-Parents!’ sees an unscrupulous couple of con-artists easily foiled, after which Linda meets a mystery DC hero when ‘Supergirl Visits the 21st Century!’ in #255. Her secret is nearly exposed in ‘The Great Supergirl Mirage!’ before she grants ‘The Three Magic Wishes!’ to despondent youngsters and teaches a mean bully a much-needed lesson.

The Man of Steel often came off rather poorly when dealing with women in those far less enlightened days, always under the guise of “teaching a much-needed lesson” or “testing” someone. When she ignores his secrecy decree by playing with super dog Krypto, cousin Kal-El banishes the lonely young heroine to an asteroid in ‘Supergirl’s Farewell to Earth!’ but of course there’s paternalistic method in the madness…

‘The Cave-Girl of Steel!’ sees her voyage to Earth’s ancient past and become a legend of the Stone Age before AC #260 finds her transformed by the mystical Fountain of Youth into ‘The Girl Superbaby!’ The next tale introduced feline fan-favourite Streaky the Super-Cat in ‘Supergirl’s Super Pet!’ after which ‘Supergirl’s Greatest Victory!’ supplies a salutary lesson in humility to the Girl of Steel. Binder moved on after scripting ‘Supergirl’s Darkest Day!’ in which the Maid of Might rescues an alien prince before incoming Jerry Siegel began his own tenure by scripting ‘Supergirl Gets Adopted!’: a traumatic yet sentimental tale which ends with the lonely lass back at Midvale orphanage.

I’ve restrained myself so please do likewise when I say the next adventure isn’t what you think. ‘When Supergirl Revealed Herself!’ (Siegel & Mooney, Action #265) is another story about nearly finding a family, after which Streaky returns in ‘The World’s Mightiest Cat!’ as prelude to Supergirl finding fantastic fellow super-kids in Action #267’s ‘The Three Super-Heroes!’ She narrowly fails to qualify for the Legion of Super Heroes through the cruellest quirk of fortune, but – after picking herself up – exposes ‘The Mystery Supergirl!’ prior to Siegel & Mooney introducing fish-tailed Mer-boy Jerro as ‘Supergirl’s First Romance!’

Packed with cameos like Batman & Robin, Krypto and Atlantean Lori Lemaris, ‘Supergirl’s Busiest Day!’ sees her celebrating a very special occasion, after which Streaky enjoys another bombastic appearance as the wonder child builds ‘Supergirl’s Fortress of Solitude!’ before Binder wrote ‘The Second Supergirl!’ – an alternate world tale too big for one issue. Sequel ‘The Supergirl of Two Worlds!’ appeared in Action #273 – as did a novel piece of market research. ‘Pick a New Hairstyle for Linda (Supergirl) Lee!’ involved eager readers in the actual physical appearance of their heroine and provided editors valuable input into who was actually reading the series…

Siegel & Mooney soundly demonstrated DC dictum that “history cannot be changed” in ‘Supergirl’s Three Time Trips!’ before ‘Ma and Pa Kent Adopt Supergirl!’ offered a truly nightmarish scenario: rapidly followed by a return visit to the Legion of Super Heroes in ‘Supergirl’s Three Super Girl-Friends!’, whilst Action #277 featured an amazing animal epic in ‘The Battle of the Super-Pets!’

The next five tales form an extended saga, taking the Girl of Steel in totally new directions. On the eve of Superman announcing her existence to the world, Supergirl loses her powers and – resigned to a normal life – is adopted by the childless Fred and Edna Danvers. Sadly, it’s all a cruel and deadly plot by wicked Lesla-Lar, Kara’s identical double from the Bottle City of Kandor. This evil genius wants to replace Supergirl and conquer Earth…

This mini-epic – ‘The Unknown Supergirl!’, ‘Supergirl’s Secret Enemy!’, ‘Trapped in Kandor!’, ‘The Secret of the Time-Barrier!’ and (following the results of the Hair Style competition) ‘The Supergirl of Tomorrow!’ ran in Action #278-282: solidly repositioning the character for a more positive, effective and fully public role in the DC universe. The saga also hinted of a more dramatic, less paternalistic, parochial and even reduced-sexist future for the most powerful girl in the world, over the months to come; although the young hero is still very much a student-in-training, her existence still kept from the general public as she lives with adoptive parents who are completely unaware the orphan they have adopted is a Kryptonian super-being.

The accent on these stories generally revolves around problem-solving, identity-saving and loneliness, with both good taste and the Comics Code ensuring readers weren’t traumatised by unsavoury or excessively violent tales. Plots akin to situation comedies often pertained, as in ‘The Six Red “K” Perils of Supergirl!’ Peculiar transformations were a mainstay of Silver Age comics, and although a post-modern interpretation might discern some metaphor for puberty or girls “becoming” women, I rather suspect the true answer can be found in author Seigel’s love of comedy and an editorial belief that fighting was simply unladylike…

Red Kryptonite, a cosmically-altered isotope of the radioactive element left when Krypton exploded, caused temporary physical and sometimes mental mutations in the survivors of that doomed world. It was a godsend to writers in need of a challenging visual element when writing characters with the power to drop-kick planets. Here the wonder-stuff generates a circus of horrors, transforming Supergirl into a werewolf, shrinking her to microscopic size and making her fat. I’m not going to say a single bloody word…

The drama continues and concludes – like this initial Silver Age compilation – with ‘The Strange Bodies of Supergirl!’ wherein Linda Lee Danvers’ travails escalate after she grows a second head, gains death-ray vision (ostensibly!) and morphs into a mermaid. This daffy holdover to simpler times presaged a major change in the Girl of Steel’s status… but that’s a volume for another day.

Throughout her formative years Kara of Krypton underwent more changes than most of her confreres did in 20 years, as editors struggled to find a niche the buying public would appreciate, but for all that, these yarns remain exciting, ingenious and utterly bemusing.

Possibly the very last time a female super-character’s sexual allure wasn’t equated to sales potential and freely and gratuitously exploited, these tales are a link and window to a far less crass time, displaying one of the few truly strong and resilient female characters parents can still happily share with even their youngest children.
© 1959, 1960, 1961, 1962, 2017 DC Comics. All Rights Reserved.

Trish Trash Rollergirl of Mars – The Collected Edition


By Jessica Abel, with Lydia Roberts & Walter various (Super Genius/Papercutz)
ISBN: 978-1-5458-0167-3 (TPB/Digital edition) 978-1-5458-0166-6 (HB)

Our fascination with Mars has never faltered and now that we’re almost within touching distance, the Red Planet’s allure and presence in our fiction has never been more broad-based and healthily imaginative. Amidst all the recent TV, movie and literary product, one of the most engaging treatments was an enthralling comics serial detailing the life of an extraordinary young woman in exceedingly trying times.

After Earth collapses in an ecological and economic meltdown, recently arrived first settlers on Mars were trapped under an increasingly burdensome fixed economic structure and oppressive corporate plutocracy. Two centuries later, an entire class of indentured servants eke out a fraught existence, harvesting water and food with machines rented from Arex (“we’re the air that you breathe”). The air they don’t breathe is meagre, toxic, dust-filled and a bit radioactive…

On Mars, everything belongs to The Company, and people usually live from cradle to grave in crippling debt. There is, ostensibly, a chance to escape: mandatory offworld mining missions to the asteroid belt. These Temporary Labor Assignments, however, are regarded as a quick ticket to certain death.

All tyrannies need bread and circuses though. On Mars that’s Hoverderby…

Based on an ancient Earth entertainment, teams of women race around a hover track in flying boots, scoring points by beating each other up. It’s the planet’s most popular spectator sport and Arex own that too…

Trish Nupindu is seven-and-a-half (on Mars. In Earth terms she’s 15): a smart, recently-orphaned kid who’s really good with engines and most mechanical systems. Stuck on her aunt’s water farm, Trish dreams of becoming a Hoverderby star and is utterly discontented with the state of her existence. All “Marty” reel from the force of crushing, inescapable poverty and Trish totally believes her only chance of getting out from under a system stacked from the get-go against ordinary people is to become a media star of the great game.

Bold and impatient, one day she sneaks off to join the local team and is suckered into a binding intern’s contract, even though she’s under-age…

Trish doesn’t even get to play: the team manager wants her because she’s good at fixing the hoverboots continually malfunctioning due to the all-pervasive dust. Her world turns upside down after she and avowed-revolutionary/pal Marq discover a native Martian. Recalled from near-death, the mythical creature opens their eyes to a whole new world, and “her” secrets will change forever not just the way Hoverderby is played but also the very economic balance of power on the Red Planet – if the ruthless upper echelons of Arex don’t stop them first…

The inspirational drama is backed up by extensive supplemental features such as the rules of Hoverderby; Derby Gear: Then and Now; illustrated specifications for Radsuits; fact-features on The Homestead Debate, Native Martians, Ares Collective Statement of Debt (ACSOD), TLAs and Asteroid Mining all delivered in the manner of wiki pages. Also on show are data bursts on legendary water miner Ismail Khan, faux kids’ comics “True Tales of the Early Colonists” and a complete Timeline of Mars Colonization.

Jessica Abel has been wowing readers and winning prizes since 1997 when she took both the Harvey and Lulu awards for Best New Talent. Previous graphic delights include the fabulous Artbabe, Growing Gills, Life Sucks, Drawing Words & Writing Pictures, collections Soundtrack and Mirror, Window plus the Harvey-winning La Perdida.

Trish Trash began gradually unfolding in 2016: a sublime blend of subversive human drama and hard science fiction thriller with a supremely human and believable lead taking charge and changing the world. After three album releases, the entire saga was made available in this oversized (218 x 284 mm) hardback, plus paperback and eBook editions, at least one of which you really must see ASAP.
© Jessica Abel and Dargaud. All rights reserved. All other editorial material © 2018 by Super Genius.