Author: NowReadThis

Posted on

Beano Annual 2017


By many and various (DC Thomson & Co., Ltd.)
ISBN: 978-1-84535-603-3

Win’s Christmas Gift Recommendation: No Christmas Complete Without One… 9/10

For many British fans Christmas means The Beano Book and/or its companion tome The Dandy – although Scots worldwide have a pretty fair claim that the season belongs to them with collections of The Broons and Oor Wullie making every Yule truly cool. Happily in these parlous times of uncertainty both are available this year to maintain a magnificent Seasonal tradition and a smidgen of comforting stability.

Unmissable treats for generations of kids and grandparents, this year both great big (285 x 215 mm) full-colour hardback Annual offerings are packed with a wealth of talent and as great as ever…

Beano Annual 2017 takes us through key points of the year and offers a wildly anarchic gathering of stars, opening and closing with chaotically star-stuffed double page spreads by Nigel Parkinson.

The panoply of perilous perishing kids unleashes Dennis the Menace and Gnasher, David Sutherland’s Bash Street Kids, Roger the Dodger, Gnasher and Gnipper!, Calamity James, Minnie the Minx and Bananaman in daily doses of crime and punishments – and the cartoon attractions do so on a regular basis throughout the book as they track through a year in the life of the characters…

However, colossal themed team-ups are all the rage these days, so we have some of those too, as Beanotown Adventures offers a shocking mash-up of little horrors amusing in unison.

Nigel Parkinson delineates the Valentine’s Day calamity after Minnie gets hold of Cupid’s machine gun and starts dispensing love-bullets to all and sundry, providing unspeakable horror and embarrassment to the other characters all over town…

Shorter strips that follow include Nigel Aucterlounie’s The Numskulls, more Bash Street Kids, Wilbur Dawbarn’s Billy Whizz and return engagements for Roger, Dennis, Gnasher, and Minnie, whose time-travel caper takes us from January to St. George’s Day. Then Ball Boy and Bananaman endure inclement weather and the hay fever rites of Spring…

Easter with the Bash Street Kids leads to another multi-star Beanotown Adventure set on a flatulence-filled May Fourth – yes! Star Wars Day…

The recurring cast pop up thick and fast in quick solo japes or extended excursions such as Bananaman’s clash with the book’s recurring masked villain “Boy Genius”

Amongst the storm of madcap mayhem, Laura Howell’s know-it-all Angel Face puts her foot down and The Numskulls endure even more allergy aggro in Edd’s Head before the Bash Streeters have their own brush with Boy Genius.

More solo strips from old pals then carry us into high summer as ‘Beach Bother’ sees the entire unsavoury cast hit the seaside for another aggregated Beanotown Adventure…

Diverse hands take all those sullen kids ‘Back to School’ and all too soon Halloween rears its misshapen, badly carved orange heads; but even doughty Bananaman can’t stop the little louts sneaking out to a stone age monument for a mass Beanotown party only to encounter ‘The Creature from the Big Rocks Henge!’…

All too soon it’s Yule time again and after a silly streak of solo stories, the cast all reunite for the big closer as the esteemed Mr. Dickens gets a hilarious kicking in ‘A Christmas Beano Carol’…

Fast, irreverent and timelessly exuberant, The Beano Annual is a cornerstone of British culture and national celebration at this time of year. Have you got yours yet?
© DC Thomson & Co., Ltd 2016.

Posted on

Rocket Raccoon and Groot Complete Collection


By Stan Lee, Jack Kirby, Bill Mantlo, Dan Abnett & Andy Lanning, Keith Giffen, Mike Mignola, Timothy Green II & various (Marvel)
ISBN: 978-0-7851-6713-6

Although heralded since its genesis in the early 1960s with making superheroes more realistic, The House of Ideas has also always maintained its close connection with outlandish and outrageous cosmic calamity (as seen in their pre-superhero “monster-mag” days), and their pantheon of much-travelled space stalwarts maintain that delightful “Anything Goes” attitude in all of their many and varied iterations.

The pair of interstellar oddments featured here are creative oddments who took a very long time to achieve their stellar potential and have done particularly well out of recent reboots and re-imaginings: both in comicbooks and through large and small screen reinterpretations…

Collecting Groot’s debut from Tales to Astonish #13; Incredible Hulk # 271, Rocket Raccoon volume 1 #1-4, and pertinent material from Marvel Preview #7, Annihilators #1-4 and Annihilators: Earthfall #1-4, collectively ranging from November 1960 to February 2012, this fun-filled paperback compendium offers a wealth of thrills and expansive action and a fair slice of witty satire to boot…

The sidereal shenanigans begin with an absolute classic of the gloriously whacky “Kirby Kritter” genre, predating the birth of the Marvel Age. Crafted by Stan Lee, Larry Lieber, Kirby & Dick Ayers, ‘I Challenged Groot! The Monster from Planet X’ (Tales to Astonish #13, November/December 1960) reveals how a studious biologist saves humanity from a rapacious walking tree intent on stealing Earth cities and shipping them back to his distant world.

Rocket Raccoon was a minor character who first appeared in backup serial ‘The Sword in the Star’. His debut was in Marvel Preview #7 in 1976 but that particular tale comes later.

In 1982, writer Bill Mantlo brought him into the mainstream of the Marvel Universe with a star role in Incredible Hulk #271 (May). Like Wolverine years before, the hairy iconoclast then simply refused to go away quietly…

Illustrated by Sal Buscema, ‘Now Somewhere In the Black Holes of Sirius Major There Lived a Young Boy Name of… Rocket Raccoon!’ found the jade juggernaut stranded on an alien world where sentient animals used super-scientific gadgetry to battle robot clowns to preserve the security of humans who seemed incapable of caring for themselves. When Green-skin arrived, a simmering civil war broke out…

With the Hulk safely removed from the combat zone, Rocket faded from view for a few years before returning in a newfangled format for comicbooks: a mini series…

The 4-issue Rocket Raccoon miniseries (cover-dated May to August 1985 and crafted by Mantlo, Mike Mignola, Al Gordon & Al Milgrom) presented a bizarre and baroque sci-fi fantasy blending the charm of Pogo with the biting social satire of One Flew Over the Cuckoo’s Nest all whilst ostensibly describing a battle between Good and Evil in a sector of space crazy even by funnybook standards.

Rocket was one of many talking animals in the impenetrable, inescapable Keystone Quadrant; a Ranger in charge of keeping the peace in a troubled atmosphere where robots and anamorphic beasties went about their ordained task of caring for the distinctly odd and carefree humans known as The Loonies on their idyllic, sybaritic planet Halfworld.

When a brutal shooting war between voracious apex toymakers Judson Jakes and Lord Dyvyne leads to Rocket’s girlfriend Lylla Otter being kidnapped, the planet goes crazy wild, or perhaps… ‘Animal Crackers’.

In rescuing her, Rocket and faithful deputy Wal Rus have to contend with a murderous army of mechanised Killer Clowns, face an horrific, all-consuming bio-weapon at ‘The Masque of the Red Breath’, and even team up with arch-foe and disreputable mercenary bunny Blackjack O’Hare in ‘The Book of Revelations!’ before finally uncovering the horrendous truth behind the mad society they so unquestioningly defend…

The final chapter shakes everything up as ‘The Age of Enlightenment’ sees the end of The Loonies, allowing the Raccoon and his surviving companions to escape the confines of the eternally segregated Keystone Quadrant into the greater universe beyond…

Next – eschewing continuity but at least presented here in the original monochrome – is that first Rocket romp from Marvel Preview #7.

‘The Sword in the Star’ was an epic combination of Druillet’s Loan Sloane stories with Homer’s Odyssey and Virgil’s Aeneid, detailing the interstellar search by Prince Wayfinder of Ithacon to find a new home for his dying people. That exodus took them from 1500 years in Earth’s future to prehistory where, on their second stop, the Once and Future King landed on a ‘Witch World!’ where trees tried to kill the imperial exile and a sarcastic, heavily-armed rodent helped him confront a sinister sorceress dubbed Kirke…

Impressively rendered by Keith Giffen in full Euro-mode, the story ended on a cliffhanger you won’t see resolved here…

In 2006 a massive crossover involved most of Marvel’s 21st century space specialists in a spectacular Annihilation Event, leading writing team Dan Abnett & Andy Lanning to confiscate and reconfigure the Guardians of the Galaxy concept for modern times and tastes.

Among the stalwarts in the big event were Silver Surfer, Galactus, Firelord (and other previous heralds of the world-eater), Moondragon, Quasar, Star-Lord, Thanos, Super–Skrull, Rigellian Colonizer Tana Nile, Gamora (“Deadliest Woman in the Galaxy”), Ronan the Accuser, Nova, Drax the Destroyer, a Watcher and many previously established alien civilisations such as the Kree, Skrulls, Xandarians, Shi’ar et al., all falling before an invasion of rapacious Negative Zone bugs and beasties unleashed by insectoid horror Annihilus..

After that shooting match subsided the decimated sectors and empires were left helpless as all-subsuming technological parasite The Phalanx struck, absorbing and thriving inside the machines and electronic engines the shaken civilisations were using to rebuild in a follow-up apocalypse designated Annihilation: Conquest.

To counter the threat Star-Lord Peter Quill was tasked with turning a bunch of Kree convicts into a Penal Strike Force (a highly engaging intergalactic Dirty Half-Dozen): Galactic Warrior Bug (originally from 1970’s phenomenon Micronauts), then-current Captain Universe, Shi’ar berserker Deathcry, failed Celestial Madonna Mantis, Groot and a so-very-far-from-home Rocket Raccoon…

From those sidereal sagas came a new Guardians of the Galaxy plus a pack of Cosmic Crusaders known as Annihilators. Their first 4-issue miniseries spanned May to August 2011 and carried a back-up strip starring Rocket and Groot by Abnett, Lanning and Timothy Green II.

After the wars, not all the heroes were feted – or even remembered – and Rocket is forced to take a job in the mail room of intergalactic corporation ‘Timely Inc’. He loathes the entire experience but when somebody sends a Killer Clown after him soon slips into old habits and goes looking for guns, grenades and answers…

He doesn’t find them on Planet X when seeking out Groot, but does save his old pal from certain death in ‘There is Unrest in the Forest, There is Trouble with the Trees’…

When Groot speaks of events Rocket can’t remember, the little warrior realises his mind has been tampered with and the trail leads right back to Halfworld…

The place has completely changed. ‘It’s a Mad Mad Mad Mad World’ now, containing the most dangerous mind in creation, and once Rocket discovers who excised his memories and why, it’s only a little leap of imagination to realise he’s been drawn into a subtle snare with potentially catastrophic consequences…

Armed with knowledge – and heavy ordnance – he and Groot then shut down the manipulator and save the universe through a carefully applied ‘Brain Storm’…

In November 2011 Annihilators: Earthfall offered another 4-issue miniseries with Abnett, Lanning & Green reprising Rocket and Groot’s danger-magnet escapades at the back of each. In ‘Batteries Not Included’ our unlikely heroes find themselves in one perilous situation after another with no idea of how they got there.

Only gradually do they realise they’ve been kidnapped by insidious impresario Mojo: turned into unwilling showmen and merchandising franchise with the prospect of painful death arising at every moment.

Understandably unhappy, they renegotiate terms in the most destructive manner possible…

This razor-sharp, spectacular slice of riotous star-roving action is a non-stop feast of tense suspense, surreal fun and blockbuster action: well-tailored, on-target and certain to turn curious movie-goers into fans of the comics incarnation.
© 2013 Marvel Characters Inc. All rights reserved.

Posted on

Fairy Tales of Oscar Wilde volume 3: The Birthday of the Infanta


Adapted by P. Craig Russell with Galen Showman (NBM)
ISBN: 978-1-56163-214-5 (Signed HC)        978-1-56163-775-1 (PB)

Win’s Christmas Gift Recommendation: A Comicbook Gift of the Graphic Magi… 9/10

Craig Russell began his illustrious career in comics during the early 1970s and came to fame young with a groundbreaking run on science fiction adventure series Killraven, Warrior of the Worlds.

Although his increasingly fanciful, meticulous classicist style was derived from the great illustrators of Victorian and Edwardian heroic fantasy and his visual flourishes of Art Nouveau were greatly at odds with the sausage-factory deadlines and sensibilities of the mainstream comicbook industry, the sheer power and beauty of his illustrative work made him a huge draw.

By the 1980s he had largely retired from the merciless daily grind, preferring to work on his own projects (generally adapting operas and plays into sequential narratives) whilst undertaking the occasional high-profile Special for the majors – such as Dr. Strange Annual 1976 (totally reworked and re-released as Dr. Strange: What Is It that Disturbs You, Stephen? in 1996) or Batman: Robin 3000.

As our industry grew up and coincided with the global fantasy boom, Russell returned to the comics industry with Marvel Graphic Novel: Elric (1982), further adapting prose tales of Michael Moorcock’s iconic sword-&-sorcery star in the magazine Epic Illustrated and elsewhere.

Russell’s stage-arts adaptations had begun appearing in 1978: first in the independent Star*Reach specials Night Music and Parsifal and then from 1984 at Eclipse Comics where the revived Night Music became an anthological series showcasing his earlier experimental adaptations; not just operatic dramas but also tales from Kipling’s Jungle Books and other favourite literary landmarks.

In 1992, he began adapting the two volumes of Fairy Tales of Oscar Wilde – a mission he continues to date, deftly balancing tales of pious allegorical wonderment with a wry touch and clear, heartfelt joy in the originating material of a mercurial misunderstood, much-maligned master of devastating, so-quotable epigrams who was briefly the most popular man in London Society…

First published in May 1888, The Happy Prince and Other Tales was Oscar Fingall O’Flahertie Wills Wilde’s first book for children with the lead story merely one of a quintet of literary gems. The others within were The Nightingale and the Rose, The Devoted Friend, The Remarkable Rocket and The Selfish Giant.

It was followed in 1891 by A House of Pomegranates; Wilde’s second book of stories for children which held The Young King, The Fisherman and his Soul, The Star-Child and our subject today The Birthday of the Infanta, with adaptor Russell utilising all his skills to staggering effect to deliver a masterpiece of sardonic whimsy and casual cruelty.

In the glittering court of the King of Spain, the monarch is celebrating his beautiful daughter’s twelfth birthday. For such an occasion the normally closeted, haughty child is allowed to play with other, lesser youngsters whilst conniving courtiers look on and seek any moment of advantage which might further their own prospects.

There’s little chance of that, however. The King is not the man he was and has languished in growing misery since his beloved wife died soon after delivering the sole heir. So bereft is he at the loss of his flighty French bride’s boundless spirit and joyous joie de vivre that he cannot bear to have her interred. Instead her mummified corpse still occupies the chapel in the grand palace…

Thus the Infanta grew up isolated by her elevated position and swamped with magnificence, drowning in privilege and inundated in all things beautiful, but deprived of companionship. Today she takes full advantage of the youthful playthings around her, revelling in every boisterous dance and all attentions paid by the sons and daughters of the Court. The entertainments are even more thrilling: acrobats, jugglers, jongleurs, dancers, magicians and wild beasts all amaze, but nothing delights the lovely child more than the hideous, malformed dwarf-boy who dances for her, lost in his own simple, insensate world.

The deformed, inadvertent fool is a present from two particularly noxious nobles who had seen him capering innocently in the forests and promptly made off with him. The blithe simpleton knows nothing of this, only that his actions in this immaculate garden of boughs and flowers make the most beautiful creature in the world happy… and that her laughter is music to him…

His idiot caperings concluded, the dwarf is given a perfect white rose by the Infanta before the nobles’ children are escorted away. This casual, indifferent act drives him to even greater paroxysms and in his head a dangerous idea forms…

Later he sneaks into the Palace, finding room after room of breathtaking opulence and dazzling magnificence until he reaches at last the Infanta’s apartments. Curiously peeking in, he spies a coarse, misshapen monster mimicking his every move. Never has he seen such a thing of such utter ugliness…

What follows is one of the saddest, most relentless withering denouements in literature; a thinly-veiled yet ferocious condemnation of the brutal force of vanity and deadly power of surface glamour devastatingly depicted with debilitating detail by Russell and his assistant/letterer Galen Showman.

Bring tissues, and probably a stiff drink. You’ll need them.

A deeply moving, studiously horrific and truly tragic fairytale that shows not all endings are happy or even just, The Birthday of the Infanta displays Wilde’s razor-edged social commentary and scathingly beautiful cynicism to full effect; denying us the requisite happy ending and harbouring a cruel barb to prick and train the conscience…

This unsettling yet unmissable adaptation signalled another high point in Russell’s astounding career: another milestone in the long, slow transition of an American mass market medium into a genuine art form.

Most importantly, this and the other volumes in the series are incredibly lovely and irresistibly readable examples of superb writing (so please read Wilde’s original prose tomes too) and sublime examples of comics at their most potent.
© 1998 P. Craig Russell. All rights reserved.

Posted on

Lucky Luke volume 9: The Stage Coach


By Morris & Goscinny, translated by Luke Spear (Cinebook)
ISBN: 978-1-905460-40-3

Win’s Christmas Gift Recommendation: Classic Seasonal Adventure… 9/10

One could quite convincingly argue that the USA’s greatest cultural export has been the Western. Everybody everywhere thinks they know what Cowboys and Indians are and do, but the genre has migrated and informed every aspect or art and literature all over the planet. Comics particularly have benefited from the form, with Europe continuing to produce magnificent works even in these latter years when sagebrush sagas are less dominant in America than they have been for decades.

This side of the pond, westerns were a key component in every nook and cranny of popular fiction from the earliest days. Newspapers were packed with astoundingly high quality strips ranging from straight dramas such as Gun Law and Matt Marriott to uniquely British takes like Bud Neill’s outrageous spoof Lobey Dosser, whilst our weekly anthology kids comics abounded with the episodic exploits of Texas Jack, Desperate Dan, Colorado Kid, Davy Crockett, Kid Dynamite and more.

As previously mentioned, Europe especially embraced the medium and expanded the boundaries of the genre. In Italy Tex (Willer) remains as vital as ever as it approaches its 70th anniversary, far outdistancing later revered and much-exported series such as Captain Miki, Il Grande Blek, Cocco Bill,  Zagor, Larry Yuma, Ken Parker, Magico Vento and Djustine.

The Franco-Belgian wing also has a long tradition and true immortals amongst its ponderosa Pantheon: from all ages-comedic treats such as Yakari, OumPah-Pah, Chick Bill or The Bluecoats to monolithic and monumental mature-reader sagas like Jerry Spring, Comanche, Sergeant Kirk, La Grande Saga Indienne, Buddy Longway or the now-legendary Blueberry…

Topping them all in terms of sales and fame however is a certain laconic lone rider…

Lucky Luke is seventy years old this year: a rangy, good-natured, lightning-fast quick-draw cowboy who roams a fabulously mythical Old West on his super-smart horse Jolly Jumper, having light-hearted adventures and interacting with a host of historical and legendary figures of the genre.

He’s probably the most popular Western star in the world today. His unbroken string of laugh-loaded exploits has made him one of the best-selling comic characters in Europe (83 albums selling well in excess of 300 million copies in 30 languages at the last count), with spin-off toys, computer games, animated cartoons and even a passel of TV shows and live-action movies.

As alluded to above he was dreamed up in 1946 by Belgian animator, illustrator and cartoonist Maurice de Bévère (“Morris”) for that year’s Seasonal Annual (L’Almanach Spirou 1947) of Le Journal de Spirou, before launching into his first weekly adventure ‘Arizona 1880’ on December 7th 1946 in the famed weekly comic.

Prior to that, Morris had become acquainted with future comics super-stars Franquin and Peyo while working at the CBA (Compagnie Belge d’Actualitiés) cartoon studio and by contributing caricatures to weekly magazine Le Moustique. He quickly became one of “la Bande des quatre” (The Gang of Four) comprising creators Jijé, Will and Franquin: all leading proponents of the loose, free-wheeling art-style dubbed the “Marcinelle School” which dominated Spirou in aesthetic contention with the “Ligne Claire” style used by Hergé, EP Jacobs and other artists in rival magazine Tintin.

In 1948 the Gang (all but Will) visited the USA, meeting American creators and sightseeing. Morris stayed for six years, encountering fellow Franco-tourist René Goscinny and scoring some work from newly-formed EC sensation Mad whilst making copious notes and sketches of the swiftly vanishing Old West.

That research resonates on every page of his life’s work.

A solo act until 1955, Morris produced another nine albums worth of affectionate parody before formally teaming up with Goscinny, who became the cool cowboy’s regular wordsmith. Luke rapidly attained the dizzying heights of superstardom, commencing with ‘Des rails sur la Prairie’ (Rails on the Prairie), which began serialisation in Spirou with the August 25th 1955 edition.

In 1967 the six-gun straight-shooter switched sides, transferring to Goscinny’s own magazine Pilote with ‘La Diligence’ (The Stagecoach). Goscinny & Morris produced 45 albums together before the author’s death in 1977, after which Morris continued both singly and with fresh collaborators.

Morris passed away in 2001, having drawn fully 70 adventures, plus launching the spin-off comics careers of Rantanplan (“dumbest dog in the West” and a charming spoof of cinema canine Rin-Tin-Tin). The immortal franchise was left to fresh hands, beginning with Achdé, Laurent Gerra, Benacquista & Pennac who have carried on the undying tradition.

Curiously, apart from the initial adventure, Lucky (to appropriate a quote applied to the thematically simpatico Alias Smith and Jones) “in all that time… never shot or killed anyone”. He did however smoke prodigiously, like all the cool cowboys and – if the stereotype still applies – most Frenchmen…

Lucky Luke was first seen in Britain syndicated to weekly comic Film Fun, then reappeared in 1967 in Giggle, renamed Buck Bingo. In all these venues – as well as the numerous attempts to follow the English-language successes of Tintin and Asterix albums from Brockhampton and Knight Books – Luke had a trademark cigarette hanging insouciantly from his lip, but in 1983, Morris – no doubt amidst both pained howls and muted mutterings of “political correctness gone mad” – substituted a piece of straw for the much-travelled dog-end, which garnered him an official tip of the hat from the World Health Organization.

Unquestionably, the most successful attempt at bringing Lucky Luke to our shores and shelves is the most recent. Cinebook – who have rightly restored the foul weed to his lips on the interior pages, if not the covers – have translated 60 albums thus far with the 61st scheduled for a December release.

The Wagon Train was their ninth – still readily available both on paper and as an e-book – and first published on the Continent in 1964 as Lucky Luke – La Caravane: the 24th European release and Goscinny’s fifteenth collaboration with Morris. It’s also one of their most traditional tales; playing joyously with the tropes and memes of the genre and clearly having as much fun as the future readers were going to…

In begins in dusty Nothing Gulch as a bedraggled procession of “Prairie Schooners” limp into town. Expedition head Andrew Boston is arguing with unscrupulous guide Frank Malone who is demanding even more money before completing his commission to bring the hopeful settlers to California. When heated words are replaced with gunplay, a dusty observer ends the fracas before blood is shed…

Boston has heard a lot about Lucky Luke and promptly starts a multi-pronged charm offensive to get the Sagebrush Stalwart to take over guiding the party to the fabled Golden State. Our hero is flattered but not interested, until Boston wheels out his big guns and has the kids ask in their own unique ways…

Despite being prepared to use children to emotionally twist the cowboy’s arm, the twenty or so wagon-loads of pioneers are an affable if odd bunch from all over the world and soon Luke is leading them across prairies and through deserts and mountains.

However as the days pass an exceedingly large number of accidents and mishaps occur and before long it cannot be denied that somebody is clearly attempting to sabotage the expedition…

As close calls and near-death escapes mount Lucky splits his attention between blazing a trail and playing detective but the list of suspects is just so large. Anybody from the undertaker in his hearse to the inventor in his constantly evolving horseless converter-car (there’s more than a passing similarity to TV’s Whacky Races here!); the suspiciously French Barber/Surgeon, creatively foul-mouthed mule driver or even the no-nonsense School Marm could be the culprit. But then again there are so many others who act out of the ordinary…

Nevertheless, the voyage proceeds and as the would-be homesteaders survive the temptations of bad towns and other dens of vice and iniquity, bad food, and inclement weather a sense of community builds. Sadly that’s soon tested to the limit when word comes of that Sioux Chief Rabid Dog is on the warpath…

Despite all these traditional trials and tribulations Luke persists and before long the Promised Land is reached and a vile villain is finally exposed…

Cleverly barbed, wickedly ironic and joyously packed with classic cowboy set-pieces, this splendidly slapstick spoof of a crucial strand of the genre is another grand old hoot in the tradition of Destry Rides Again and Support Your Local Sheriff (maybe Paint Your Wagon, Evil Roy Slade or Cat Ballou are more your style?), superbly executed by master storytellers for any kids who might have missed the romantic allure of an all-pervasive Wild West that never was…

And in case you’re worried, even though the interior art still has our hero chawin’ on that ol’ nicotine stick, trust me, there’s very little chance of anyone craving a quick snout, but quite a strong probability that they’ll be addicted to Lucky Luke Albums…
© Dargaud Editeur Paris 1971 by Goscinny & Morris. © Lucky Comics. English translation © 2007 Cinebook.

Posted on

Doctor Who Graphic Novels #23: The Highgate Horror


By Mark Wright, Jonathan Morris, Steve Lyons, Roger Langridge, Jacqueline Rayner, Scott Gray, David A. Roach, Mike Collins, John Ross, Adrian Salmon, Martin Geraghty, Dave Gibbons, John Ridgway, Dan McDaid & various (Panini Comics)
ISBN: 978-1-84653-749-3

Win’s Christmas Gift Recommendation: Timeless Tradition… 9/10

The British love comic strips and they love celebrity and they love “Odd Characters.”

The history of our graphic narrative has a peculiarly disproportionate amount of radio comedians, stars of theatre, film and TV: folk like Charlie Chaplin, Arthur Askey, Winifred Atwell, Max Bygraves, Charlie Drake and their ilk, as well as actual shows and properties such as Whacko!, ITMA, Our Gang, (a British version of the Hal Roach film sensation by Dudley Watkins in The Dandy as well as the American comicbook series by Walt Kelly), Old Mother Riley, Supercar, Pinky & Perky and literally hundreds more.

Anthology variety comics such as Radio Fun, Film Fun, TV Fun, Look-In, TV Tornado, TV Comic and Countdown amongst others translated our viewing and listening favourites into pictorial escapism every week, and it was a pretty poor lead or show which couldn’t parley the screen job into a licensed comic property.

Television’s Doctor Who premiered with part one of ‘An Unearthly Child’ on November 23rd 1963, and the following year a decades-long association with TV Comic began in issue #674 and the first instalment of ‘The Klepton Parasites’.

On 11th October 1979 (although, adhering to US off-sale cover-dating system, it says 17th) Marvel’s UK subsidiary launched Doctor Who Weekly, which regenerated into a monthly magazine in September 1980 (#44), efficiently entitled Doctor Who Monthly. It has been with us through various title-changes ever since. All of which only goes to prove that the Time Lord is a comic hero with an impressive pedigree and big shoes to fill.

Panini’s ongoing process of collecting every strip from the prodigious annals and archives in a uniform series of over-sized graphic albums – each concentrating on a particular incarnation of the deathless wanderer – reaches its twenty-third volume here as the Twelfth Doctor returns in another (inter)stellar line-up of comic strip sagas.

This particular tome gathers stories from DWM #484 and #489-500; spanning March 2015 to July 2016; starring Peter Capaldi’s irascible old chrononaut and his saucy sidekick Impossible Girl Clara Oswald in unforgettable action across the universe and every Elsewhen imaginable.

The adventures of the Grumpy Gallifreyan are – as always – described and delineated by a rapidly rotating roster of British creators who also provide a treasure-trove of background information in the Commentary section at the back, comprising story-by-story background, history and insights from the authors and illustrators, supplemented by scads of sketches, roughs, designs, production art and photos.

None of which is relevant if all you want is a darn good read. However all the imagineers involved have managed the ultimate task of any artisan – to produce engaging, thrilling, fun work which can be enjoyed equally by the merest beginner and the most slavishly dedicated and opinionated fans imaginable.

That feast of fun – coloured throughout by James Offredi and lettered by the multi-talented Roger Langridge – opens with ‘Space Invaders!’ by Mark Wright, Mike Collins & David A. Roach as The Doctor and Clara fetch up at an orbiting storage facility just as the owners start their latest sell-off of unclaimed items. Sadly, the time-travellers are not quite quick enough to stop the avid bargain-hunters opening a container full of just hatched planet-eating monster eggs…

Following smart social satire is a multi-part action romp. ‘Spirits of the Jungle’ by Jonathan Morris & John Ross sees our heroes joining an extraction mission to recover lethal intelligent weapons-tech before apparently walking into trap on a planet where the forests have their own definition of World Wide Web…

Gothic horror and vintage thrills permeate Wright, Roach & Collins’ superb chiller ‘The Highgate Horror’ wherein Clara, her immortal straight man and neophyte Companion Jess Collins hunt vampires and satanic covens in a 1970s London cemetery and instead encounter a race of ancient predators who want far worse than mere blood…

As conceived and realised by Steve Lyons & Adrian Salmon, ‘The Dragon Lord’ was a radical activist attempting to save magnificent saurians from human fun-seekers who hunted them for sport on a medieval-themed fantasy resort world. By the time our wandering troubleshooters turn up however, things have turned decidedly bloody and it looks like nobody is getting out alive…

Roger Langridge then offers an all-him treat as Harry Houdini sends out a distress call and old pal The Doctor dutifully answers. Sometimes even fakers and charlatans have power and really resent being de-bunked by upstart human escapologists playing in the ‘Theatre of the Mind’…

A new time-bending miscreant debuts in Jacqueline Rayner, Martin Geraghty & Roach’s epic tale of persecution and justice as temporal prankster Miss Chief infiltrates Clara’s workspace. After causing havoc at Coal Hill School the trickster drops Miss Oswald in the vicious clutches of Witchfinder General Matthew Hopkins, leaving The Doctor to either participate in a time duel or somehow search the entire 17th century for his missing school chum in a ‘Witch Hunt’ with potentially fatal and final consequences…

Our temporal tintinnabulations conclude with a splendidly appropriate anniversary party get-together of old friends and foes that will delight long-tern fans without baffling newbies or casual readers.

Written by editor Scott Gray, ‘The Stockbridge Showdown’ returns The Doctor to the alien-beleaguered British village just as cosmic corporate conqueror Josiah W. Dogbolter thinks he’s finally leveraged the keys to time itself.

As the universe nears a shocking “Going Out of Business” sale, the wily Gallifreyan and many allies from the past 500 issues unite to teach the richest man in creation the paucity of his resources and the lesson of his life in a tale crafted by artists past and current, including Dave Gibbons, Langridge, Salmon, Dan McDaid, Ross, Collins, John Ridgway, Geraghty and Roach…

This is another marvellous book for casual readers, a fine shelf-addition for dedicated fans of the show and a perfect opportunity to cross-promote our particular art-form to anyone minded to give comics one more go…
All Doctor Who material © BBCtv. Doctor Who, the Tardis and all logos are trademarks of the British Broadcasting Corporation and are used under licence. Licensed by BBC Worldwide. Tardis image © BBC 1963. Daleks © Terry Nation. All commentaries © 2016 their respective authors. Published 2013 by Panini UK Ltd. All rights reserved.

Posted on

Green Lantern: The Silver Age volume 1


By John Broome, Gardner Fox, Gil Kane, Mike Sekowsky & various (DE Comics)
ISBN: 978-1-4012-6348-5

Win’s Christmas Gift Recommendation: Timeless Wholesome Entertainment… 9/10

After their hugely successful revival and reworking of The Flash, DC (or National Comics as they were) were keen to build on the resurgent superhero trend. Showcase #22 hit the stands at the same time as the fourth issue of the new Flash comicbook – #108 – and once again the guiding lights were Editor Julie Schwartz and writer John Broome. Assigned as illustrator was action ace Gil Kane, generally inked by Joe Giella

This fabulous paperback compilation gathers Showcase #22-24 (September/October 1959 to January/February 1960) and Green Lantern #1-9 (July/August 1960-November 1961) and reveals how a Space Age reconfiguration of the Golden-Age superhero with a magic ring replaced mysticism with super-science.

Hal Jordan was a young test pilot in California when an alien policeman crashed his spaceship on Earth. Mortally wounded, Abin Sur commanded his ring – a device which could materialise thoughts – to seek out a replacement officer, honest and without fear. Scanning the planet it selected Jordan and brought him to the crash-site. The dying alien bequeathed his ring, the lantern-shaped Battery of Power and his profession to the astonished Earthman.

In six pages ‘S.O.S Green Lantern’ established characters, scenario and narrative thrust of a series that would increasingly become the spine of DC continuity, leaving room for another two adventures in that premiere issue. ‘Secret of the Flaming Spear!’ and ‘Menace of the Runaway Missile!’ were both contemporary thrillers set against the backdrop of the aviation industry at a time when the Cold War was at its height.

Unlike the debut of The Flash, the editors were now confident of their ground. The next two issues of Showcase carried the new hero into even greater exploits. ‘Summons from Space’ sent Green Lantern to another world: saving an emerging race from a deadly threat at the behest of the as-yet-unnamed leaders of the Green Lantern Corps, whilst ‘The Invisible Destroyer’ pitted the neophyte Emerald Gladiator against the earthbound but eerie menace of a psychic marauder that lived on atomic radiation.

Showcase #24 (January/February 1960) featured another spy-ring in ‘The Secret of the Black Museum!’ but Jordan’s complex social life took centre-stage in ‘The Creature That Couldn’t Die!’ when the threat of an unstoppable monster paled before the insufferable stress of being his own rival. Hal’s boss Carol Ferris, controversially left in charge of her father’s aviation company (a radical concept in 1960 when most women were still considered faint-fodder fluff) won’t date an employee, but is deliriously happy for him to set her up with the glamorous, mysterious Green Lantern.

Six months later Green Lantern #1 was released. All previous tales had been dynamically drawn by Kane & Giella, in a visually arresting and exciting manner, but the lead tale here, ‘Planet of Doomed Men’ was inked by the uniquely gifted Murphy Anderson, and his fine line-work elevated the tale (more emergent humans in need of rescue from another monster) to the status of a minor classic. Giella returned for the second tale, ‘Menace of the Giant Puppet!’, in which GL fought his first – albeit rather lame – super-villain, the Puppet Master.

The next issue originated a concept that would be pivotal to the future of DC continuity. ‘The Secret of the Golden Thunderbolts!’ featured an Antimatter Universe and the diabolical Weaponers of Qward, a twisted race who worshipped Evil, and whose “criminals” (i.e. people who wouldn’t lie, cheat, steal or kill) wanted asylum on Earth. Also inked by Anderson, this is an early highpoint of tragic melodrama from an era where emotionalism was actively downplayed in comics.

The second story ‘Riddle of the Frozen Ghost Town!’ is a crime thriller highlighting the developing relationship between the hero and his Inuit (then “Eskimo”) mechanic Tom ‘Pieface’ Kalmaku.

The Qwardians returned in the all-Giella-inked  #3, leading with ‘The Amazing Theft of the Power Lamp!’ and Jordan’s love-life again spun out of control in ‘The Leap Year Menace!’, whilst GL #4 saw the hero trapped in the antimatter universe in ‘The Diabolical Missile from Qward!’ (Anderson inks) nicely balanced by the light-and-frothy mistaken-identity caper ‘Secret of Green Lantern’s Mask!’ This last apparently crafted by a veritable raft of pencillers including Kane, Giella, Carmine Infantino, Mike Sekowsky and Ross Andru…

Issue #5 was a full-length thriller which introduced Hector Hammond, GL’s second official super-villain in ‘The Power Ring that Vanished!’: a saga of romantic intrigue, mistaken identity and evolution gone wild.

This was followed by another, pure science fiction puzzler ‘The World of Living Phantoms!’ (Kane & Giella) which introduced avian Green Lantern Tomar Re and opened up the entire universe to avid readers…

Having shown us other GLs, Broome immediately trumped himself with the next episode. ‘The Day 100,000 People Vanished!’ brought the Guardians of the Universe into the open to warn of their greatest error: a renegade Green Lantern named Sinestro who, in league with the Qwardians, had become a threat to the entire universe. This tense shocker introduced one of the most charismatic and intriguing villains in the DCU and the issue still had room for a dryly amusing, whimsical drama that introduced Tom Kalmaku’s fiancée Terga in ‘Wings of Destiny’.

In the early 1960s DC production wizard Jack Adler created a process to add enhancing tone to cover illustrations. The finished result was eye-catching and mind-blowing, but examples, such as the cover of #8, really don’t work with the glossy pages and digitised colour-tints of modern reproduction.

Never mind, though, since the contents of that issue, ‘The Challenge from 5700AD!’ comprise a fantasy tour de force: the Emerald Gladiator is shanghaied through time to save the future from a invasion of mutant lizards…

Sinestro returned in the next issue – the last in this astounding cosmic collection – with his own super-weapon in ‘The Battle of the Power Rings!’ (with Anderson once more substituting for Giella) but the real gold is ‘Green Lantern’s Brother Act’ which introduces Hal’s two brothers and a snoopy girl reporter convinced young Jim Jordan is the ring-slinging superhero. This wry poke at DC’s house plot-device shows just how sophisticated Schwartz and Broome believed their audiences to be.

In those long ago days costumed villains were always third choice in a writer’s armoury: clever bad-guys and aliens always seemed more believable to creators back then. If you were doing something naughty would you want to call attention to yourself? Nowadays the visual impact of buff men in tights dictates the type of foe more than the crimes committed, which is why these glorious adventures of simpler yet somehow better days are such an unalloyed delight.

These Fights ‘n’ Tights romps are in themselves a great read for most ages, but when also considered as the building blocks of all DC continuity they become vital fare for any fan keen to make sense of the modern superhero experience. Judged solely on their own merit, these are snappy, awe-inspiring, beautifully illustrated captivatingly clever thrillers that amuse, amaze and enthral both new readers and old devotees. This lovely collection is a must-read item for anybody in love with our art-form and especially for anyone just now encountering the hero for the first time through his movie incarnations.
© 1959, 1960, 1961, 2016 DC Comics. All Rights Reserved.

Posted on

If You Loved Me, You’d Think This Was Cute – Uncomfortably True Cartoons About You


By Nick Galifianakis (Andrews McMeel)
ISBN: 978-0-7407-9947-1

Win’s Christmas Gift Recommendation: Exposing the Tinsel and Glitter of Romance… 9/10

Delivering biting wit, a groundbreaking revelation or an excoriating assault with an unforgettable drawing and a few well-chosen words is one of the greatest gifts humans can possess. Even those stuck-up holdouts who pointedly claim to have “never read a comic” certainly enjoy strips or panels: a golden bounty of brief amusement demanding no commitment other than a moment’s close attention.

Truth be told, it’s probably in our genes…

According to the text preface by Carolyn Hax in this astoundingly funny collection, the cartoons gathered here by immensely gifted illustrator Nick Galifianakis were originally intended as little pictorial add-ons to accompany and supplement her nationally syndicated Advice Column (cited by Time magazine as America’s best…).

Apparently, Nick kept making them so funny that the pictures became an intrinsic and unmissable companion and in 2010 a whole bunch of the very best of them turned into this book.

Also included are an outrageous Foreword by his cousin Zach – yes, that movie comedian guy – sharing the kind of intimate incident insights and past humiliations only a close family member can; as well as a vast Acknowledgments section and insider information on the way Nick works in his Introduction. There are also concrete clues that his one true love is his dog ZuZu…

All that aside, what’s on offer here is a spellbinding examination of human relationships as seen from a natural raconteur’s perspective: devastatingly penetrating, sharp to the point of cruelty, warmly sympathetic, ultimately understanding and forgiving and, most importantly, laugh-out-loud, Horlicks-jetting-out-of-your-nose funny.

Or whatever your shared evening tipple of choice might be. I’m not saying that his gags make your body mysteriously manufacture Horlicks. That would be weird…

In this delicious monochrome paperback (or eBook: you choose; it’s a free world and you’re most likely some sort of consenting adult) you will find all the perilous wonders and tribulations of human relationships and the search for love reduced to simple, forthright categories stuffed with beautifully rendered line drawings exemplifying the rights and wrongs of finding and keeping – or satisfactorily jettisoning – a partner.

It kicks off with the male perspective as seen through female eyes in ‘The Bastard Files’ before naturally offering the opposing viewpoint in ‘The Unfair Sex’…

The eternal hunt is deconstructed in ‘Finding the Ones(s)’ and expanded in ‘So This Was The One’ before negotiating deadly traps and bile-filled traumas of ‘The Bridal Industrial Complex’.

Weddings survived, everybody’s all reconciled to being one great big joyous clan, as proved here in the acerbically astute ‘Putting the Eff in Family’, but Love’s all about the children really, isn’t it? Thus a close-up-and-personal dissection of procreation in ‘Just Kidding’ which leads to the conclusion that some sons and daughters don’t ever grow up in ‘When We’re Five We’re All Artists’…

When confused or in trouble, the natural thing to do is depend on your closest comrades in the Battle of the Sexes, but ‘With Friends Like These’ clarity and understanding are early casualties. Still, if we’re being truly honest we can only trust our ‘Lusting Impressions’ before settling for ‘A Little Something on the Side’ to avoid getting ‘Ego-Tripped’.

At least our animal companions still offer us unconditional love. don’t they? Perhaps not, if the bestial examples in ‘Ark Types’ are to be believed, if you ‘Catch My Riff’…

When all’s said and done then, perhaps it’s best to play safe and just try the ‘Flair of the Dog’ when looking for a truly lasting love…

With recurring themes including Frogs and Princesses, malevolent Cupids, uncomprehending Adams and Eves, weary Saint Peter at the Pearly Gates and the absolutely crucial role of Lawyers and Counsellors in all relationship matters, this compendium of situational quandaries and unromantic entanglements is a superbly cathartic look at love and one every new home and generational estate should have in pride on place on the mantelpiece – near the heavy candlesticks, poker, poisons and stun guns…
© 2010 by Nick Galifianakis. All rights reserved.

Posted on

Spirou and Fantasio volume 11: The Wrong Head


By André Franquin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-313-0

Win’s Christmas Gift Recommendation: Classic Madcap Mirth and Melodrama… 9/10

Spirou (which translates as both “squirrel” and “mischievous” in the Walloon language) was created by French cartoonist François Robert Velter using his pen-name Rob-Vel for Belgian publisher Éditions Dupuis in direct response to the phenomenal success of Hergé’s Tintin for rival outfit Casterman.

Thus, a soon-to-be legendary weekly comic entitled Spirou launched on April 21st 1938 with a rival red-headed lad as lead in an anthology which bears his name to this day.

The eponymous boy was originally a plucky bellboy/lift operator employed by the Moustique Hotel (a sly reference to the publisher’s premier periodical Le Moustique) whose improbable adventures with pet squirrel Spip gradually evolved into high-flying, far-reaching and surreal comedy dramas.

Spirou and his chums have spearheaded the magazine for most of its life, with a phalanx of truly impressive creators carrying on Velter’s work, beginning with his wife Blanche “Davine” Dumoulin who took over the strip when her husband enlisted in 1939. She was assisted by Belgian artist Luc Lafnet until 1943 when Dupuis purchased all rights to the property, after which comic-strip prodigy Joseph Gillain (“Jijé”) took the helm.

In 1946 Jijé’s assistant André Franquin assumed the creative reins, gradually sidelining the well-seasoned short gag vignettes in favour of epic adventure serials; introducing a broad, engaging cast of regulars and eventually creating phenomenally popular magic animal the Marsupilami to the mix.

First seen in Spirou et les héritiers in 1952, the elastic-tailed anthropoid eventually spun-off into his own strip series; becoming also a star of screen, plush toy store, console games and albums. Franquin continued concocting increasingly fantastic tales and spellbinding Spirou sagas until his resignation in 1969.

He was followed by Jean-Claude Fournier who updated the feature over the course of nine stirring adventures which tapped into the rebellious, relevant zeitgeist of the times: offering tales of environmental concern, nuclear energy, drug cartels and repressive regimes.

By the 1980s the series seemed outdated and without direction: three different creative teams alternated on the feature, until it was at last revitalised by Philippe Vandevelde – writing as Tome – and artist Jean-Richard Geurts AKA Janry, who adapted, referenced and in many ways returned to the beloved Franquin era.

Their sterling efforts revived the floundering feature’s fortunes and resulted in fourteen wonderful albums between 1984 and 1998. As the strip diversified into parallel strands (Spirou’s Childhood/Little Spirou and guest-creator specials A Spirou Story By…) the team on the core feature were succeeded by Jean-David Morvan & José-Luis Munuera, and in 2010 Yoann & Vehlmann took over the never-ending procession of amazing adventures…

Cinebook have been publishing Spirou & Fantasio’s exploits since 2009, alternating between Tome & Janry’s superb reinterpretations of Franquin and earlier efforts from the great man himself.

André Franquin was born in Etterbeek, Belgium on January 3rd 1924. Drawing from an early age, he only began formal art training at École Saint-Luc in 1943. When war forced the school’s closure a year later, he found work at Compagnie Belge d’Animation in Brussels. There he met Maurice de Bévère (AKA Lucky Luke creator “Morris”), Pierre Culliford (Peyo, creator of The Smurfs) and Eddy Paape (Valhardi, Luc Orient). In 1945 all but Peyo signed on with Dupuis and Franquin began a career as a jobbing cartoonist and illustrator; producing covers for Le Moustique and Scouting magazine Plein Jeu.

In those early days Franquin and Morris were tutored by Jijé – the main illustrator at Spirou. He turned the youngsters and fellow neophyte Willy Maltaite AKA Will (Tif et Tondu, Isabelle, Le jardin des désirs) into a smooth creative bullpen known as the La bande des quatre or “Gang of Four”.

They later reshaped and revolutionised Belgian comics with their prolific and engaging “Marcinelle school” style of graphic storytelling…

Jijé handed Franquin all responsibilities for the flagship strip part-way through Spirou et la maison préfabriquée, (Spirou #427, June 20th 1946) and the new guy ran with it for two decades; enlarging the scope and horizons until it became purely his own. Almost every week fans would meet startling new characters such as comrade/rival Fantasio or crackpot inventor and Merlin of mushroom mechanics the Count of Champignac.

Spirou and Fantasio became globe-trotting journalists, travelling to exotic places, uncovering crimes, exploring the fantastic and clashing with a coterie of exotic arch-enemies such as Zorglub and Fantasio’s rascally cousin Zantafio.

In a splendid example of good practise, Franquin mentored his own band of apprentice cartoonists during the 1950s. These included Jean Roba (La Ribambelle, Boule et Bill), Jidéhem (Sophie, Starter, Gaston Lagaffe) and Greg (Bruno Brazil, Bernard Prince, Achille Talon, Zig et Puce), who all worked with him on Spirou et Fantasio over the years.

In 1955 contractual conflicts with Dupuis droved Franquin to sign up with rival outfit Casterman on Tintin. Here he collaborated with René Goscinny and old pal Peyo whilst creating the raucous gag strip Modeste et Pompon. Although Franquin soon patched things up with Dupuis and returned to Spirou – subsequently co-creating Gaston Lagaffe in 1957 – Franquin was now contractually obliged to carry on his Tintin work too…

From 1959 on, co-writer Greg and background artist Jidéhem increasingly assisted Franquin but by 1969 the artist had reached his limit and resigned.

His later creations include fantasy series Isabelle, illustration sequence Monsters and bleak adult conceptual series Idées Noires, but his greatest creation – and one he retained all rights to upon his departure – is Marsupilami.

Plagued in later life by bouts of depression, Franquin passed away on January 5th 1997. His legacy remains; a vast body of work which reshaped the landscape of European comics.

Originally serialised in Spirou # 840-869 in 1954 and subsequently released on the continent in 1957 as hardcover album Spirou et Fantasio 8 РLa mauvaise t̻te, this sinister yarn begins as Spirou visits his short-tempered pal Fantasio and finds the house a shambles. The intrepid reporter has ransacked his home in search of missing passport photos but his insensate fury abates a bit after Spirou convinces him to come play paddleball.

However, whilst looking for a lost ball in the woods, Spirou finds one of the missing photos but thinks nothing of it…

That evening strange events begin: Spirou sees Fantasio acting oddly in town and when a jeweller is robbed, a brutalised merchant identifies Fantasio as the smash-and-grab thief…

Seeds of suspicion are sown and Spirou doesn’t know what to think when a solid gold Egyptian mask is stolen on live TV. The bandit is clearly seen to be his best pal…

Spirou is still trying to reason with Fantasio when the police arrive and, with nobody believing the reporter’s ridiculous story of being in Paris on a spurious tip, watches with helpless astonishment as the accused makes a bold escape bid…

Still astounded, Spirou wanders to the ramshackle house where he found the missing photo and finds a strange set-up: a plaster cast of Fantasio and weird plastic goo in a mixing bowl…

His snooping is suddenly disturbed by screams and sounds of a struggle. Following the cacophony he finds one man holding the stolen gold mask and another on the floor. The standing man is too quick to catch and drives away with a third stranger, but as Spirou questions the beaten victim he learns that the loser of the fight is a sculptor who was hired to make astounding life-like masks of a certain journalist…

Soon Spirou is hot on the trail of the criminal confederates and uncovers a diabolical scheme to destroy Fantasio by an old enemy they had both discounted and almost forgotten…

Fast-paced, compellingly convoluted and perfectly blending helter-skelter excitement with keen suspense and outrageous slapstick humour, the search for The Wrong Head is a terrific romp to delight devotees of easy-going adventure.

As if the criminal caper and its spectacular courtroom drama climax is not enough, this tome also includes a sweet early solo outing for the marvellous Marsupilami as ‘Paws off the Robins’ finds the plastic pro-simian electing himself guardian of a nestful of newborn hatchlings in Count Champignac’s copious gardens, resolved to defend the chicks from a marauding cat at all costs…

Stuffed with fabulously fun, riotous chases and gallons of gags, this exuberant tome is a joyous example of angst-free action, thrills and spills. Easily accessible to readers of all ages and drawn with beguiling style and seductively wholesome élan, this is pure cartoon gold: an enduring comics treat, certain to be as much a household name as that other kid reporter and his dog…
Original edition © Dupuis, 1957 by Franquin. All rights reserved. English translation 2016 © Cinebook Ltd.

Posted on

Baggywrinkles – A Lubber’s Guide to Life at Sea


By Lucy Bellwood with Joey Weiser & Michele Chidester (Toonhound Studios)
ISBN: 978-0-9882202-9-4

Win’s Christmas Gift Recommendation: For those Quiet Moments after all the Mainbraces have been properly Spliced… 10/10

Everybody needs an abiding passion in their lives, and born storyteller Lucy Bellwood seems blessed with two as this superb paperback compilation – also available as an ebook – of her comics about tall ships and the history of sailing delightfully proves.

In her Introduction she describes how at seventeen she fell under the spell of rigging, sheets and wind after spending a few life-changing weeks crewing aboard the Lady Washington – a fully functioning replica of a 1790s Brig.

How that inspired her to produce a succession of strips detailing her time afloat and many of the things she learned then and since make up the first seafaring snippet ‘The Call of the Running Tide’: a funny, fact-packed evocation of the immortal allure of sea and stars.

Following that is an utterly absorbing data page deftly describing and exactly explaining ‘What is a Baggywrinkle?‘

I now know; so does my wife and one of our cats, but I’m not telling you because it’s truly cool and I’m not going to spoil the surprise…

‘Sea of Ink’ describes with captivating charm and sheer poetic gusto ‘The Baggywrinkles Official Guide to Nautical Tattoos’, covering the history, development and specific significance of the most popular symbols worn by mariners across the centuries. It’s followed by a definitive ‘Fathom Fact’ and an account of Bellwood’s first days at sea traversing ‘Parts Unknown’ whilst nailing down the very basics of the ancient profession. It is backed up by the nitty-gritty of sea-man’s staple ‘Hard Tack’…

‘The Plank’ hilariously and wittily debunks the accumulated misleading mythology surrounding the pirates’ most infamous human resources solution and is counterbalanced by an evocative look at the first Lady Washington and her forgotten place in history. ‘Pacific Passages’ details how, in 1791, the Boston trader and accompanying sloop Grace deviated slightly from their journey to Shanghai and discovered Japan by anchoring in the Oshima Bay.

A tale of remarkable restraint and mutual respect which ended happily for all concerned, but the real trouble started 63 years later when Commodore Matthew Perry showed up and forced isolationist Japan to open her doors to foreign trade…

The heart-warming tale is supplemented by a ‘Glossary’ of Japanese and English terms and is followed by a superb and succinct history of the greatest scourge ever to afflict nautical travellers.

‘Scurvy Dogs’ relates the effects, causes and raft (sorry!) of solutions postulated and attempted by every stripe of learned man in the quest to end the debilitating condition’s toll of attrition. It’s followed by ‘Scurvy Afterword’: an engrossing essay by Eriq Nelson relating how we’re not out of the woods yet and why Scurvy still blights the modern world from individual picky eaters to millions suffering in refugee camps…

Wrapping up this magnificently beguiling treat is ‘The Scurvy Rogues’: an outrageously enticing and informative ‘Guest Art Gallery’ with strips and pin-ups from fellow cartoon voyagers Lissa Treiman, Betsy Peterschmidt, Adam T. Murphy, Kevin Cannon, Ben Towle, Steve LeCouilliard, Isabella Rotman, Dylan Meconis and Beccy David. And while we’re at it let’s not forget to applaud the colouring contributions of Joey Weiser & Michele Chidester…

Meticulously researched, potently processed into gloriously accessible and unforgettable cartoon capsule communications, the stories shared in Baggywrinkles are brimming with verve and passion: a true treat for all lovers of seas, wild experiences, comfy chairs, good company and perfect yarn-spinning.
© 2010-2016 Lucy Bellwood. All Rights Reserved.

Posted on

Zig and Wikki in Something Ate My Homework


By Nadja Spiegelman & Trade Loeffler (Toon Books/Raw Junior)
ISBN: 978-1-935179-02-3 (HC)                    ISBN: 978-1-935179-38-2 (PB)

Win’s Christmas Gift Recommendation: Take Me to Your Leader’s Bookshelf… 9/10

These days there’s a wealth of comics and cartoon books for the young to cut their milk-teeth on and amongst the most entertaining are those produced by Toon Books.…

This particular treat by writer Nadja Spiegelman & Trade Loeffler follows the escapades of a couple of alien kids cutting classes when they should be doing homework.

In space, however, teachers can still track you down wherever you are, and when an urgent call reminds Zig he has to complete his science project – bringing a pet in to class – he reluctantly lands on the blue-green planet he’s passing and goes hunting for an animal to adopt…

Thus begins a grand odyssey as Zig and his electronic know-it-all pal Wikki interview and pursue a range of earthly creatures for the role, only slightly hampered by the detail that they both are approximately the size of Earth mice. At least they have a shrinking ray with them…

Aimed at 5-and-over age-ranges, this splendidly child-sized (236 x162 mm) full-colour landscape format tome is a gloriously evocative, sleekly exciting kid-friendly caper, produced in hardback, paperback and e-book editions. Fast-paced, charming and packed with learning content as Wikki’s face-screen provides photos and gloriously gross fun facts about Flies, Dragonflies, Frogs and Raccoons, Zig’s quest to “bring ’em back alive” is a sweet blend of science and fiction that will keep kids and parents enthralled.
© 2010 RAW Junior, LLC. All rights reserved.

Why not check out the scene at: http://www.toon-books.com/zig-and-wikki-in-something-ate-my-homework.html