Tintin and the Lake of Sharks – A TINTIN FILM BOOK

By Greg & various, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont)
ISBN: 978-1-40520-822-2 (HB)                    978-1-4052-0634-1 (PB)

Although this tale is not strictly canonical, fans of Hergé’s intrepid boy reporter and his tragically now completed series of adventures can always console themselves with this high-quality graphic adaptation of the animated feature-film Tintin et la Lac aux Requins.

The motion picture was originally released in 1972 and – although not directly created by Hergé who only enjoyed a supervisory role – remains a classy piece of rousing fiction directed by publisher Raymond LeBlanc and written by European mega-star Michel Regnier.

As “Greg”, he is best remembered now for his comedic anti-hero Achille Talon (translated into English both in animated cartoons and comic albums as Walter Melon), Luc Orient, Bruno Brazil, Zig et Puce and memorable runs as scripter and/or editor on Spirou and Fantasio, Clifton and many more.

Although lacking the smartly satirical edge of Hergé’s efforts, comedy, action and slapstick are still well represented in this hectic yarn which transforms animation stills into sequential narrative, albeit with admittedly mixed results.

Purists who love the artist’s landmark and legendary Ligne Claire style will be deterred that the designs are laid over and across fully-rendered, moulded and painted backgrounds, but although the result is initially jarring, the story does swiftly carry the reader beyond such quibbles.

Ligne Claire – or the Democracy of Lines as it is sometimes called (in case you were wondering) – is the term given to the dramatically simplified drawing style developed by Hergé which has influenced so very many creators. With it sleek, clean lines of equal strength, thickness and prominence are used to impart an almost diagrammatic value to subjects.

This is in contrast to styles which might emphasise foreground or background with varying line-weights. Line-shading, hatching, feathering and the use of shadows are also ignored or down-played. It’s the perfect base for bold. simple colour and imparts an impressive solidity and immediacy to pictures.

When combined with a stripped-down but accurate character or object design, the effect of hyper or even meta-reality is astoundingly convincing. The term was first used by creator, fan and devotee Joost Swarte in the late 1970s. Here Endeth the Lesson…

In The Lake of Sharks a series of art and gem robberies coincide with a trip by Tintin, Captain Haddock and the detectives Thompson and Thomson to visit Professor Calculus. The savant is sequestered at a villa on the shores of Lake Pollishoff; a huge body of water in the mountains of Syldavia, artificially created by building a dam and flooding a village.

The locals believe the area is haunted. And no sooner do our picaresque cast arrive than attempts to kill them begin!

Calculus is in seclusion to perfect his latest invention – a 3-D duplicating machine – but a series of strange events leads Tintin to believe that sinister forces have targeted the eccentric genius once again.

Spies, intruders and weird occurrences seem to be a daily threat at the Villa Sprog! Our heroes are not easily cowed, however, and with the help of two peasant children, Niko and Nushka (and their dog Gustav) a dastardly plot by the heroes’ greatest enemy is revealed. This mastermind now calls himself King Shark

This magical, fast-paced romp does the canonical episodes proud and can hold its head high even amidst the incredible legacy of one of the true Masters of the Comic Strip. And besides, your collection is incomplete without it…
Artwork © 1955 Editions Casterman, Paris& Tournai. © renewed 1983 Egmont UK Limited. Text © 1971 Egmont UK Limited. All Rights Reserved.

Artemis Fowl: The Graphic Novel

By Eoin Colfer &Andrew Donkin, illustrated by Giovanni Rigano with colour by Paolo Lamanna (Puffin Books)
ISBN: 978-0-141-32296-4

In an age when the boundaries of good guys and bad guys are constantly blurred and redefined, it’s well to keep your options open. One admirable player for the other side (mostly) is the captivating Artemis Fowl II. A criminal mastermind, scion of Ireland’s greatest family of rogues and villains, he is probably the greatest intellect on the planet.

The wee lad inherited the family business when his father mysteriously vanished on a caper, a loss from which Artemis’ mother has never recovered.

This Machiavellian anti-hero is a teenager so smart that he has deduced that fairies and mystical creatures actually exist and thus spends this first book stealing their secrets to replenish the family’s depleted fortunes and fulfil his greatest heart’s desire…

His greatest ally is Butler, a manically loyal and extremely formidable hereditary retainer who is a master of physical violence…

The first of the eight novels (with four so far making the transition to sequential narrative whilst production of the Disney movie nears completion) is here adapted by the author and Andrew Donkin; illustrated in a kind of Euro-manga style that won’t suit everybody but which nevertheless perfectly captures the mood and energy of the original.

This lavish adventure is also interspersed with comprehensive and clever data-file pages (by Megan Noller Holt) to bring everybody up to full speed on this wild, wild world…

Fowl is utterly brilliant and totally ruthless. Once determining that the mythological realm of pixies, elves, ogres and the like are actually a highly advanced secret race predating humanity and now dwelling deep underground, he “obtains” and translates their Great Book and divines all their secrets of technology and magic.

Artemis has a plan for the greatest score of all time, and knows that he cannot be thwarted, but he has not reckoned on the wit, guts and determination of Holly Short, an elf who works for the Lower Elements Police Reconnaissance Force.

She is the only female LEPRecon operative allowed to work on the world’s surface and has had to prove herself every moment of every day…

Combining sinister mastery, exotic locales, daring adventure, spectacular high fantasy concepts and appallingly low puns and slapstick, this tale has translated extremely well to the comics medium (but that’s no reason not to read the books too, especially as they’re all available in paperback and digital formats), offering a clever plot and characters that are both engaging and grotesquely vulgar – and thus perfect fare for kids.

I especially admire the kleptomaniac dwarf Mulch Diggum, whose species’ biological self-defence mechanism consists of overwhelming, explosive flatulence…

Farting, fighting and fantasy are pretty much the perfect combination for kid’s fiction and boys especially will revel in the unrestrained power of the wicked lead character. This is a little gem from a fabulously imaginative creator and an unrelentingly rewarding publisher. Long may you all reign…
Text © 2007 Eoin Colfer. Illustrations © 2007 Giovanni Rigano. All rights reserved.

Walt Kelly’s Our Gang, Vol 1

By Walt Kelly (Fantagraphics Books)
ISBN 978-1560977537

The movie shorts series Our Gang (latterly the Li’l Rascals) were one of the most popular in American Film history. Beginning in 1922 they featured the fun and folksy humour of a bunch of “typical kids”. Atypically though, there was always full racial equality and mingling – but the little girls were still always smarter than the boys. Romping together, they all enjoyed idealised adventures in a time both safer and more simple.

The rotating cast of characters and slapstick shenanigans were the brainchild of film genius Hal Roach who directed and worked with Harold Lloyd, Charley Chase and Laurel and Hardy amongst many others. These brief cinematic paeans to a mythic childhood entered the “household name” category of popular Americana in amazingly swift order.

As times and tastes changed Roach was forced to sell up to the celluloid butcher’s shop of MGM in 1938, and the features suffered the same interference and loss of control that marred the later careers of Stan and Ollie, the Marx Brothers and Buster Keaton.

In 1942 Dell released an Our Gang comicbook written and drawn by Walt Kelly who, consummate craftsman that he was, deftly restored the wit, verve and charm of the glory days via a progression of short comic stories which elevated lower-class American childhood to the mythic peaks of Dorothy in Oz, Huckleberry Finn or Laura Ingalls of Little House… fame.

Over the course of the first eight issues so lovingly reproduced in this glorious collection, Kelly moved beyond the films – good or otherwise – to scuplt an idyllic story-scape of games and dares, excursions, adventures, get-rich-quick schemes, battles with rival gangs and especially plucky victories over adults: mean, condescending, criminal or psychotic.

Granted great leeway, Kelly eventually settled on his own cast, but aficionados and purists can still thrill here to the classic cast of Mickey, Buckwheat, Happy/Spanky, Janet and Froggy.

Thankfully, after far too long a delay, today’s comics are once again offering material of this genre to contemporary audiences. Even so, many modern readers may be unable to appreciate the skill, narrative charm and lost innocence of this style of children’s tale. If so I genuinely pity them, because this is work with heart and soul, drawn by one of the greatest exponents of graphic narrative America has ever produced. I hope their loss is not yours.

© 2006 Fantagraphics Books. All Rights Reserved.

The Thief of Bagdad

By Achmed Abdullah, illustrated by P. Craig Russell (Donning/Starblaze edition)
ISBN: 978-0-89865-523-0

This is a tenuous entry for a graphic novel listing, and potentially a controversial one, but other than all publishers’ motivation to turn a profit, these editions of the late 1980s had a worthy purpose and an admirable intention.

Donning’s Starblaze Editions began as a way of introducing lost classics to a new audience, by reproducing them with illustrations provided by some of the most respected names in comics. Their other selections were the silent film icon Metropolis by Thea von Harbou and illustrated by Michael Wm. Kaluta; Charles Vess’ illuminated A Midsummer Night’s Dream and most contentiously, The Merry Adventures of Robin Hood by Howard Pyle with new artwork by Mike Grell replacing the author’s own groundbreaking illustrations. These are all household names but also tales that very few could admit to have ever actually read.

The Thief of Bagdad (and that’s how the West spelt it back then) began as a film by Douglas Fairbanks in 1924, with a screenplay by Elton Thomas, accompanied by a short story written by Lotta Woods. The fantastic and exotic tale of a common vagabond who wins a Princess was an eye-popping, swashbuckling blend of magic, adventure and romance which captivated the viewing public, leading to what was probably the World’s first ever novelisation of a movie.

Achmed Abdullah (1881-1945) was actually Alexander Nicholayevitch Romanoff, a prolific English author whose father was Russian Orthodox whilst his mother was a Muslim. Educated at Eton and Oxford, he joined the British Army, serving in France, India and China before becoming a jobbing writer of Crime, Adventure and Mystery tales, many apparently based on his own early life.

He was also a screen-writer, with his most well-known success being the 1935 film Lives of a Bengal Lancer (very loosely based on the novel by Francis Yeats-Brown).

As a book this is a cracking, literally spellbinding read and the illustrations are Russell at this flamboyant best. There are five vibrant full-colour plates plus an additional ten large black and white line drawings combining the artist’s clean design line with a compositional style that owes much to the works of Aubrey Beardsley.

Whilst not technically a graphic narrative, this book features all the crucial antecedents of one with the additional virtues of being a hugely entertaining concoction garnished with some of the best art ever produced by one of the industry’s greatest stylists. Believe me, you really want this book and I really want some modern publisher to revive this tome and its companions, even if only in eBook format…
© 1987 the Donning Company/Publishers. Art © 1987 P. Craig Russell. All Rights Reserved.

The Graphic Canon volume 1: From the Epic of Gilgamesh to Shakespeare to Dangerous Liaisons

By Many and Various, edited by Russ Kick (Seven Stories)
ISBN: 978-1-60980-376-6

Once upon a time in the English-speaking world, nobody clever, educated or in any way grown-up liked comics. Now we’re an accredited really and truly art form and spectacular books like this can be appreciated…

The Graphic Canon is an astounding literary and art project, instigated by legendary crusading editor, publisher, anthologist and modern Renaissance Man Russ Kick, which endeavours to interpret the world’s great books through the eyes of masters of crusading sequential narrative in an eye-opening synthesis of modes and styles.

The project is divided into three periods roughly equating with the birth of literature and its evolution up to the rise of the modern novel. Debut volume From the Epic of Gilgamesh to Shakespeare to Dangerous Liaisons covers literature from ancient times to the end of the 1700s in stories and poetry. Much of the material here has been taken from already extant or ongoing projects: indeed, as editor Russ Kick explains in his Introduction, it was a realisation that so many creative individuals were attempting to publish their own graphic responses to global heritage literature that led him to initiate this mammoth project in the first place…

Rather than simply converting the stories, the artists involved have enjoyed the freedom to respond to texts in their own way, producing graphics – narrative or otherwise, monochrome or something else, sequential or not – to accompany, augment or even offset the words before them and the result is simply staggering…

Make no mistake: this is not a simple bowdlerising “prose to strip” exercise like generations of Classics Illustrated comics, and you won’t pass any tests on the basis of what you see here. Moreover, these images will make you want to re-read the texts you know and hunger for the ones you haven’t got around to yet. You will of a certainty marvel at the infinite variety of the artistic responses the canonical works inspired…

They certainly did for me…

Each piece is preceded by an informative commentary page by Kick, and the wonderment begins with a colourful and outrageously engaging ‘Three Panel Review: Hamlet’ by Lisa Brown after which grateful Acknowledgements and that aforementioned Editor’s Introduction lead directly into a delirious snippet from The Epic of Gilgamesh.

Like many contributions collected here, The Bull of Heaven – as adapted by Kent & Kevin Dixon – was already in production when invited into this book. The finally-completed saga has recently re-manifested and you can read of it here.

Those august remnants of lost Babylonian Tablets are followed by a delicious retelling of the origin of the stars in ‘Coyote and the Pebbles’. The beguiling and witty Native American Folktale is given a compelling reworking by Dayton Edmonds & Micah Farritor and leads seamlessly into a double dose of Homeric grandiloquence.

Alice Duke samples the duel between Paris and Menelaus from The Iliad after which Gareth Hinds dips into The Odyssey to re-present the monstrous duel between the lost Greeks and the ghastly Cyclops, after which we stay firmly in the cradle of civilisation to enjoy Sappho’s ‘Poem Fragments’ as embellished by Alessandro Bonaccorsi before Tori McKenna sums up the vengeful force of Euripides’ ‘Medea’.

Aristophanes’ still-shocking and controversial play Lysistrata is potently and hilariously précised in strip form by Valerie Schrag before J.T. Waldman powerfully synthesises the erotic vision of ‘The Book of Ester’ from the Hebrew Bible and Yeji Yun translates Plato’s Symposium into stark yet effective pantomimic visuals.

Fred Van Lente & Ryan Dunlavey have adapted numerous deep thinkers in their series Action Philosophers! ‘Tao Te Ching’ as dictated by Lao Tzu is both wickedly funny and thoughtfully compelling and perfectly offset by Matt Wiegle’s colourful heroic snippet ‘The House of Lac’ from The Mahabharata.

Van Lente & Dunlavey bring us some Analects and Other Writings of Confucius – called here ‘Master Kong’ – before the Hebrew Bible provides Benjamin Frisch with the golden-hued inspiration for dreamy fable ‘The Book of Daniel’, after which Tom Bilby & Jonathan Fetter-Vorm (AKA Two Fine Chaps) graphically discourse On the Nature of Things as originally cited by Lucretius.

Michael Lagocki captures the graceful ferocity of Virgil’s ‘Aeneid’ – specifically the founding of Rome – before master cartoonist Rick Geary astoundingly encapsulates the entirety of ‘The Book of Revelation’ from the New Testament and Sharon Rudahl restores calm and sanity with ‘Three Tang Poems: Frontier Song by Wang Han, A Village South of the Capital by Cul Hu and Drinking Alone Beneath the Moon by Li Bai’

Gareth Hinds grittily adapts the battle between hero and monster in Anglo-Saxon Epic Poem Beowulf after which idyllic romance is referenced by Molly Kiely through a series of portraits of some of the many erotic conquests of an ideal Japanese prince as inspired by Murasaki Shikibu’s The Tale of Genji.

Far darker and more troubled love guides the images crafted by Ellen Lindner to illustrate ‘The Letters of Heloise and Abelard’ after which Kiely illuminates the profoundly eco-activist poem ‘O Nobilissima Viriditas’ by Hildegard of Bingen (look her up, you really should…).

Andrice Arp puckishly illustrates stories within a story for ‘The Fisherman and the Genie’ from The Arabian Nights, after which the same source – albeit the unexpurgated translation by Sir Richard Burton – provides racy and outrageously wry ‘The Woman with Two Coyntes’ as adapted by Vicki Nerino.

Coleman Barks translates a wonderful plenitude of ‘Poems’ by Sufi sage – and advocate of a loving universe – Rumi for Michael Green to spectacularly illustrate, after which a double dose of Dante Alighieri begins with Seymour Chwast’s smart and sassy take on The Divine Comedy. Hunt Emerson than adds his own unique spin to ‘The Inferno’ (The Eighth Circle, if you’re keeping score) whilst Sanya Glisic sustains the post-viva theme by offering views of the Eastern afterlife as cited in Padmasambhava and Karma Lingpa’s translation of The Tibetan Book of the Dead (Bardo Thodol).

Safely back among the living, we turn to the outrageous lifestyle of French poet and courtier François Villon, who penned in a jailhouse ‘The Last Ballad’ illustrated here by Julian Peters long before his actual end. It’s followed by another medieval masterpiece as Seymour Chwast deftly tackles the ‘Wife of Bath’ from Geoffrey Chaucer’s The Canterbury Tales.

Staying in England, Sir Thomas Malory’s Le Morte D’Arthur is given a stunning treatment by Omaha Perez who illumines the parable of ‘How the Hart was Chased into a Castle and There Slain, and How Sir Gawaine Slew a Lady’

The reason we have so much European and Asian literature today is the sheer fact that it wasn’t deliberately eradicated. That’s tragically not the case for the pre-Columbian Americas and a great pity since sole surviving Incan play Apu Ollantay – adapted here by Caroline Picard – is a smart and potent family star-crossed love affair worthy of the Greeks or even Shakespeare…

Outlaws of the Water Margin is a vast and sprawling epic of heroes battling against corruption and injustice in ancient China. As Shi Nai’an’s opus is far too large to handle here, illustrator Shawn Cheng has instead offered a rogues’ gallery of some of the heroic characters who feature in the portmanteau classics, whereas Isabel Greenberg has time and space to lyrically adapt Japanese Noh play ‘Hagoromo (Celestial Feather Robe)’ in full.

Roberta Gregory then pictorialises the decidedly more wholesome and charming creation myth from Popul Vuh – the Sacred Book of the Quiché Maya – and Edie Fake illuminates ‘The Visions of St. Teresa of Ávila’ as first seen in the Spanish religious reformer’s autobiography.

Almost forgotten English poet George Peele penned his own interpretation of the drama of Solomon and Bathsheba centuries ago, a snippet of which is here transformed by Dave Morice into stunning op-art masterpiece ‘Hot Sun, Cool Fire’. Conor Hughes then expertly covers in more traditional form ‘The Sun Rises’ from Wu Cheng’en’s revered Chinese epic Journey to the West before Michael Stanyer adapts and Eric Johnson illustrates a mere fragment from Edmund Spenser’s unfinished opus The Faerie Queene.

Shakespeare’s A Midsummer Night’s Dream must be one of the most popular comic strip topics of all, but Maxx Kelly & Huxley King still add fresh zest and contemporary sparkle to the scene where Titania and Oberon haggle over the fate of an abducted child…

Ian Pollock then tackles The Bard’s darkest drama as King Lear challenges the heavens themselves before Will Eisner lends his unique light touch to Miguel Cervantes’ Don Quixote.

Robert Berry and Josh Levitas then translate Shakespeare’s ‘Sonnet 18’ to an effectively modern setting whilst Aidan Koch applies a more esoteric approach to the eternally-mystifying ‘Sonnet 20’ before Noah Patrick Pfarr supplies a suitably raunchy setting and quirky twist to John Donne’s erotic poem ‘The Flea’.

Andrew Marvell’s equally celebrated devious love-ploy ‘To His Coy Mistress’ is given a sentimental 19th century makeover by Yien Yip after which real-life Restoration-Era Wonder Woman Aphra Behn provides moody inspiration for artist Alex Eckman-Lawn through her poem ‘Forgive Us Our Trespasses’.

John Milton’s magnificent Paradise Lost – specifically ‘the Fall of Satan’ – is astoundingly depicted by Rebecca Dart after which ‘Part II: A Voyage to Brobdingnag’ sees Gareth Hinds lovingly limning an extract from Jonathan Swift’s satirical salvo Gulliver’s Travels whilst Ian Ball uses abreaction to hammer home the finer points of Voltaire’s Candide.

Modern graphic crusader Peter Kuper then lambasts us with a lethally edgy visualisation of Swift’s brutally critical A Modest Proposal.

Benjamin Franklin’s scandalous epistle ‘Advice to a Young Man on the Choice of a Mistress’ is accompanied by a sumptuous painting from Cortney Skinner before James Bosworth’s shocking and sordidly biographical London Journal is captivatingly interpreted by comix pioneer Robert Crumb in ‘A Klassic Komic: excepts from Boswell’s London Journal 1762-1763’.

Veteran cartoonist Stan Shaw then captures the wryly scatalogical spirit of Benjamin Franklin’s ‘Letter to the Royal Academy of Brussels (AKA ‘Fart Proudly’)’ and van Lente & Dunlavey return with another Action Philosophers! titbit clarifying Mary Wollstonecraft’s momentous political tract A Vindication of the Rights of Woman before Molly Crabapple illustrates select moments from Choderios de Lacios’ dark and disturbing social satire Dangerous Liaisons to bring the art schooling to a close.

Wrapping up the elucidatory experience are suggestions of ‘Further Reading’ from Liz Byer, a full list of ‘Contributors’, plus details of ‘Credits and Permissions’ and an ‘Index to volume 1’.

Although no replacement for actually reading as much of the source material as you can find, this astonishing agglomeration of visual interpretations is a magnificent achievement and one every fan of the comics medium should see: a staggering blend of imperishable thoughts and words wedded to and springing from sublimely experimental pictures.

This type of venture is just what our art form needs to grow beyond our largely self-imposed ghetto, and anything done this well with so much heart and joy simply has to be rewarded.
© 2012 Russ Kick. All work © individual owners and copyright holders and used with permission. All rights reserved.

Doctor Who Graphic Novel #1: The Iron Legion

Illustrated by Dave Gibbons and scripted by Pat Mills, John Wagner & Steve Moore (Panini Books)
ISBN: 978-1-904159-37-7

The British love comic strips and they love celebrity and they love “Characters.” The history of our homegrown graphic narrative has a peculiarly disproportionate amount of radio comedians, Variety stars and film icons and television actors: such disparate legends as Charlie Chaplin, Flanagan & Allen, Shirley Eaton (“The Modern Miss”), Arthur Askey, Winifred Atwell, Max Bygraves, Jimmy Edwards, Charlie Drake and so many more long forgotten.

As well adored and adapted were actual shows and properties such as Whacko!, ITMA, Our Gang (a British version of the Hal Roach film sensation by Dudley Watkins ran in The Dandy as well as the American comicbook series by Walt Kelly), Old Mother Riley, Supercar, Thunderbirds, Pinky and Perky, The Clangers and literally hundreds more.

Hugely popular anthology comics such as Radio Fun, Film Fun, TV Fun, Look-In, TV Tornado, TV Comic and Countdown translated our viewing and listening favourites into pictorial joy every week, and it was a pretty poor star or show that couldn’t parley the day job into a licensed comic property…

Doctor Who premiered on black-&-white televisions across Britain on November 23rd 1963 with the first episode of ‘An Unearthly Child’. In 1964 his decades-long association with TV Comic began: issue #674 offered the premier instalment of ‘The Klepton Parasites’.

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

Panini’s UK division is in the ongoing process of collecting every strip from its archive in a uniform series of over-sized graphic albums, each concentrating on a particular incarnation (those in the know refer to them as “regenerations”) of the deathless wanderer. This particular tome was the very first, gathering 36 weekly monochrome strips from the first 38 weeks, all drawn, inked and lettered by International Treasure Dave Gibbons and published between 11th October 1979 and July 3rd 1980.

In fact, the Doctor Who stories were amongst the last regular comics work the artist created for the British market before being scooped up by the Americans as part of the early 1980s “British Invasion”.

All that and more is covered in the comprehensive ‘Dave Gibbons Interview’ conducted by Alan Woollcombe which precedes the frantic tales plucked from the annals of history featuring the Fourth Doctor (AKA Tom Baker). Thanks to the skills of writers Pat Mills & John Wagner (who plotted the yarns together but alternated as solo-scripters for completed stories) and latterly Steve Moore, the adventuresome episodes combine thrills, fights and scares with a suitable degree of surreal humour and whimsical Anglophilic cultural nonsense…

The cosmic comics carnage kicks off with a ‘The Iron Legion’ (originally seen in Doctor Who Weekly #1-8: 11th October to December 5th 1979) with Mills providing dialogue as the wandering Time Lord lands in a contemporary English village just as it is attacked by robot soldiers from a parallel plane where the Roman Empire never fell.

Taken as a prisoner across the dimensional divide, The Doctor faces formidable opposition from the tyrannical mechanical General Ironicus, bratty boy-Emperor Adolphus and his terrifying mother Juno.

However, as the gob-smacked Gallifreyan strives to survive the worst trials and tribulations the all-conquering empire can throw at him, he realises that there is an even greater evil controlling the toga-draped elite: immortal alien devil Magog and his arcane brethren The Malevilus.

Escape is no longer the issue: The Doctor needs to stop a ghastly scheme to enslave and consume the entire universe…

Wagner did the typing for next serial ‘City of the Damned’ (DWW #9-16: 12th December 1979 – January 30th 1980) as our hero attempts to enjoy a little downtime in placid Benidorm but instead ends up in grim metropolis Zombos, where all emotion has been outlawed and the citizens submit to mind-altering procedures to keep the all-pervasive state sound and stable.

Captured by the passionless Moderators, The Doctor is only saved from surgically-induced emotional lobotomy by daring – possibly deranged – rebels fighting to restore feeling to the People.

When one of their number unleashes a doomsday bio-weapon that thrives on the lack of emotion, the Time Lord and his ZEPO (Zom Emotional People’s Organisation) allies. The immortal wanderer has to think – and feel – fast to save the population and restore feeling to the endangered masses…

The next two tales were fill-ins and our ongoing saga resumes with the strip from #19 as, still searching for a seaside retreat, The TARDIS next dumps the increasingly harried Doctor in the English town of Blackcastle. The BBC news is full of denials that a starship has crashed into the local steelworks, but schoolgirl Sharon Davies and her friend Fudge know better. After all, they have already befriended ‘The Star Beast’ (February 20th – April 9th) that was hiding in the wreckage and promised to hide it from its enemies…

The Doctor has already met them but believes he’s successfully escaped the contingent of Wrarth Warriors. He is blissfully unaware that they have implanted a devasting bomb in his stomach for the moment he finally meets their elusive prey Beep the Meep

Even after escaping that near-death experience, the gullible Gallifreyan is unaware of quite who and what’s he’s dealing with in a devious tale where no-one and nothing are quite what they seem…

And to make things even more complicated, by the time the stardust settles, Sharon has moved into the TARDIS as his latest companion…

The Mills & Wagner stories – originally created as prospective TV adventures – conclude in deep space and an indeterminate future as The Doctor and Sharon encounter space truckers Joe Bean and Babe, servicing the colony worlds of the New Earth System. What nobody knows at this stage is that the planets are under attack by highly infectious lycanthropic horrors dubbed ‘The Dogs of Doom’ (DWW #27-34: 10th April – June 5th).

As the creatures ravage the young planets, eradication seems certain, and doubly so once the infected Doctor discerns that the werewolves are merely tools of his greatest enemies – the Daleks!

This stunning, sterling trade paperback concludes with the first story by veteran British comics stalwart Steve Moore and the threat of ‘The Time Witch’ (DWW #197-202: June 12th to 3rd July).

Before Earth formed, psychic adept Brimo was imprisoned in a timeless cell for misusing her powers. From her crystal cage she saw galaxies rise and fall and raged to be free…

That joyous moment occurred when the dashing time meddler’s TARDIS accidentally interfaced with a blank universe, freeing her and granting her the power to reshape reality. Unfortunately for her, The Doctor realised that those conditions applied to anybody trapped in that unformed region, and in a battle of wills and imagination his brain was second to none…

Sheer effusive delight from start to finish, this is a splendid 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 another shot…
All Doctor Who material © BBCtv. Doctor Who, the Tardis, Dalek word and device mark and all logos are trademarks of the British Broadcasting Corporation and are used under licence. Dalek device mark © BBC/Terry Nation 1963.All other material © its individual creators and owners. Published 2004 by Panini. All rights reserved.

Star Wars: A New Hope – The 40th Anniversary

By Jess Harrold, Jordan D. White, Heather Antos & various (Marvel)
ISBN: 978-1-3029-1128-7

I’m sure we’re all familiar with the mythology of Star Wars. What you might not know – or maybe remember – is that the first glimpse future fanatics got of its enthrallingly expansive, potential-packed continuity and mythology-in-the-making way back in 1977 was the premier issue of the Marvel comicbook tie-in.

It hit US shelves and spinner racks two weeks before the film launched in cinemas (that screen release being May 25th, fact-fans), setting the scene for a legion of fans and kick-starting a phenomenon which encompassed the initial movie trilogy and expanded those already-vast conceptual horizons.

Marvel had an illustrious run with the franchise: nine years’ worth of comics, specials and paperback collections before the series ended in 1986.

After an abortive miniseries try-out in 1987-1988 from Blackthorne Publishing, regular comicbook exploits were properly reinstated in 1993 by Dark Horse Comics who built on the film legacy with numerous titles – supplemented by three more movies – until Disney acquired the rights to Star Wars in 2012.

The home of Donald & Mickey had already acquired Marvel Comics (in 2009) and before long the original magic was being rekindled…

When Marvel relaunched the enterprise, they included not just a core title but also solo books for the lead stars. Star Wars #1 debuted on January 14th 2015, with Princess Leia, Luke Skywalker, Darth Vader and Poe Damaron coming soon after. They haven’t looked back since.

2017 was the 40th anniversary of the movie premiere and in a slyly subtle salute to the event many comics were earmarked for a rather novel event: variant covers depicting unforgettable moments from the cinematic Star Wars: A New Hope. These were commissioned as 48 key images that would combine to relate and encapsulate the entire tale in an entirely new way.

Just So’s You Know: variant covers are alternative frontages for some comicbooks, usually by big-name artists; often “homaging” earlier covers or as part of an event, commemoration or even trends such as Skottie Young’s occasional series of star characters depicted as comedic babies. Star Wars #1 (2015) was released with a staggering 70 variant covers. Successive issues also had a plethora of the same.

This gleefully exuberant hardcover art-collection (also available in eBook formats), takes that sales-boosting process to a new level; gathering those covers designed to celebrate A New Hope and presenting them as a new way of enjoying the original story…

Following ‘Star Wars and Marvel’, which explains the process and progression of the project, those crucial moment-as-iconic-images – accompanied by narrative guides, appropriate quotes and often alternate sketch ideas and works-in-progress – unfold to tell a well-known tale of a galaxy long ago and far, far away…

Juan Giménez sets things off with ‘It is a period of Civil War…’, after which Stuart Immonen, Ryan Stegman & Jordan Boyd and Meghan Hetrick carry us from confrontations in space to the surface of Tatooine.

In quick succession Terry & Rachel Dodson, Pepe Larraz & David Curiel, Kevin Wada, Marc Laming & Matthew Wilson, Leinil Francis Yu & Sunny Gho, Paul Renaud and Javier Rodríguez advance the tale to the moment old hermit Ben Kenobi tells a young warrior-to-be ‘You must learn the ways of The Force.’

Stunning images follow from Rod Reis, Jef Dekal, Kevin Nowlan, Mike Mayhew, Greg Land & Edgar Delgado, David Marquez, Chip Zadarsky, Will Robson& Jordan Boyd and Jen Bartel before Stephanie Hans steals the show with a stunning rendition of the death of Alderaan for ‘No Star System will dare oppose the Emperor now.’

The memorable moments come thick and fast as Julian Totino Tedesco, David Lopez, Reilly Brown & Jim Charalampidis, Caspar Wijngaard, Paulina Ganucheau, Paolo Rivera, Daniel Acuña, Russell Dauterman & Matthew Wilson, Amy Reeder carry us ever onward until Tradd Moore & Wilson nail the key moment in a trash compactor where Han Solo utters the immortal phrase ‘I got a bad feeling about this.’

Taking us into the third act and final straits, Ed McGuiness, Mark Morales & Laura Martin, Nick Roche & Jordan Boyd, Chris Samnee & Wilson, Adi Granov, Greg Smallwood, Declan Shalvey & Jordie Bellaire, Rahzzah, Ryan Level & Boyd, Kris Anka, Will Sliney & Rachelle Rosenberg, Ashley Witter, Mark Brooks, Salvador Larroca & Angel Unzueta, Daniel Warren Johnson & Mike Spicer and Mike Del Mundo visualise the thrilling final fight culminating in Phil Noto’s triumphal procession scene in ‘Remember, The Force will be with you, always’

Backing up the picture feast is text feature ‘The Guardians of the Galaxy Far, Far Away’ wherein Marvel Star Wars editor Jordan D. White discusses the project with comics writers Jason Aarons (Star Wars) and Kieron Gillen (Darth Vader, Star Wars: Doctor Aphra, Star Wars) whilst Heather Antos incites insights from illustrators Terry Dodson, Stephanie Hans, Mike Mayhew and Will Sliney on ‘How to Draw Star Wars the Marvel Way’ for the anniversary project.

This comes with a multitude of non-Anniversary images from Mayhew, John Cassady, Immonen, the Dodsons, Yu, Brooks, Francesco Francavilla, Lee Bermejo, Michael Allred, Tula Lotay, Skottie Young, Alex Ross, Simone Bianchi, Granov, Kaare Andrews, Giménez, Kamome Shirahama, Samnee, Joe Quesada, Francesco Mattina, Giuseppe Camuncoli and David Aja.

Wrapping up the fabulous picture-fest is a stroll down memory lane for comics fans as ‘The Greatest Space-Fantasy of All!’ harks back to that initial comics release: reprinting adapter Roy Thomas’ introductory ‘Star Warriors’ columns and the full first issue as translated from an original, uncut shooting script by illustrator Howard Chaykin (and yes, that does mean scenes that didn’t make it into any cut of the movie…).

The Star Wars franchise has spawned an awful lot of comics, but this isn’t really one of them. It is, however, a fascinating art compendium commemorating the verve, vitality and sheer impact of the source material in a way no fan could possibly…
STAR WARS and related text and illustrations ™ and/or © of Lucasfilm Ltd. and/or its affiliates. © & ™ of Lucasfilm Ltd. All rights reserved.

Marvel’s Avengers – Infinity War Prelude

By Will Corona Pilgrim, Tigh Walker, Jorge Fornés, Chris O’Halloran, with Jonathan Hickman, Jim Starlin, Jim Cheung, Ron Lim & various (Marvel)
ISBN: 978-1-3029-0943-7

With another eagerly anticipated Marvel Cinematic Universe film premiering around the world, here’s a timely trade paperback and eBook edition to augment the celluloid exposure and cater to movie fans wanting to follow up with a comics experience.

Comprising selected reprints and new digital material designed to supplement the movie release, these Prelude editions have become a traditional part of the dissemination and build-up and this compilation contains Marvel’s Avengers Infinity War Prelude #1-2 plus material starring the ultimate arch-villain Thanos taken from Infinity #1 and Thanos Annual #1.

This original 2-part miniseries sets the scene for the film blockbuster: written by Will Corona Pilgrim and based on the Captain America: Civil War screenplay by Christopher Markus & Stephen McFeely. It was realised by illustrator Tigh Walker, colourist Chris O’Halloran and letterer Travis Lanham and reveals how the knowledge that Captain America’s old ally Bucky (AKA Winter Soldier) assassinated Tony Stark’s parents splits the Avengers into two warring teams…

After a ferocious battle, Cap’s allies – Falcon, Scarlet Witch, Ant-Man and Hawkeye – are broken out of prison by the renegade Sentinel of Liberty and take refuge in Wakanda where the advanced technologies of the Black Panther deprogram Bucky even as in America an isolated Stark reconfigures his armour in advance of an overwhelming threat heading to Earth from the depths of space…

The second chapter – with Jorge Fornés as artist – features new movie maven Dr. Strange, coming to terms with his role in a terrifying universe of appalling unknown forces and deadly dangers.

As advisor Wong regales the wizard with tales and histories of the Infinity Stones and how they have shaped events (as seen in many previous MCU films), Thor and Loki return to Earth to consult the mage in the matter of the sudden disappearance of Asgardian All-Father Odin

In space, the Guardians of the Galaxy are also gauging a growing threat as cosmic overlord Thanos turns his avaricious eyes upon Earth…

Of course, all these plot threads get knotted together in the movie…

The supplemental classic appearances then open with the first chapter of mega publishing event Infinity #1 (August 2013), scripted by Jonathan Hickman.

In the aftermath of the blockbuster Avengers versus X-Men war, the company-wide reboot MarvelNOW! reformed the entire overarching continuity: a drastic reshuffle and rethink of characters, concepts and brands with an eye to winning new readers and feeding the company’s burgeoning movie blockbuster machine…

Moreover, numerous story strands were slowly building and combining to kick off the Next Big Thing with the cosmically revamped Avengers titles forming the spine of an encroaching mega-epic.

The intergalactic Hammer of Doom finally fell as a two-pronged, all-out attack which saw an impossibly ancient threat materialise to wipe out life in the cosmos, whilst Earth itself was targeted by an old enemy with a long memory and monstrous agenda…

What Came Before: In recent Avengers episodes an impossibly ancient trio of galactic “Gardeners” – robotic Aleph, seductive Abyss and passionate Ex Nihilo – attempted to remake Earth into something special. To that end they bombarded the world with “Origin bombs”, seeding locations with bizarre, exotic and uncompromising new life-forms.

When the Avengers went after them, the invaders claimed to have been tasked by The Builders – first species in creation – and their Mother of the Universe to test and, whenever necessary, eradicate, recreate and replace life on all worlds.

Although the World’s Mightiest Heroes defeated the intruders and set about mitigating the effects of the O-bombs on Earth, it seemed increasingly futile as global threats seemingly multiplied without surcease. Evidence also indicated that the very structure and celestial mechanics of the multiverse were catastrophically unravelling.

And then rumours began of an incredible alien armada heading directly for Earth…

It all starts here with the miniseries’ first issue as ‘Infinity’ (illustrated by Jim Cheung, Mark Morales, John Livesay & David Meikis) focuses on Saturnian moon Titan where death-driven despot Thanos dispatches his diabolical Outrider to demand ‘The Tribute’ from another newly enslaved world in his growing interstellar empire. Some of the Dark Lord’s most effective agents are already on Earth, stalking the planet’s greatest champions and ‘Constructing Apocalypse’

Sixty thousand light-years away, an even bigger threat is mopping up the puissant Space Knights of Galador. Various varieties of Builders – of the same ancient order that spawned Aleph, Abyss and Ex Nihilo – have razed the planet whilst unearthly new Avenger Captain Universe (whom the Gardeners call “Mother”) can only look on with despair as her wayward children destroy another world tainted by contact with Earth…

‘Orbital’ finds Captain America and Hawkeye cleaning out a nest of Skrulls in Palermo, but these invaders are far from the arrogant, treacherous warriors they’re accustomed to. The shapeshifters are scared, cowering refugees, fleeing and hiding from something incomprehensibly bad…

‘What was Hidden, Now Uncovered’ then focuses on the Inhumans’ floating city Attilan, currently parked above Manhattan, where Outrider prepares to extract secrets from the brain of slumbering monarch Black Bolt.

Even as the supremely powerful Inhuman foils the ghastly intrusion, the Avengers have regrouped following Captain Universe’s return with warnings of an oncoming impossibly vast Builder Armada. It merely confirms what Earth’s deep space monitoring array already shows: The fleet is bearing directly on Earth and any race or empire in the way is summarily destroyed as the invaders move ever closer.

The once unbeatable Kree are only the latest to fall…

When a distress call arrives from the rulers of the Galactic Council representing Kree, Skrulls, Badoon, Spartax, Brood and Shi’ar, the Avengers are soon ‘Outbound’, resolved to stop the fleet long before it reaches Earth.

Severely wounded, Outrider returns to Titan to inform Thanos that the thing he seeks most in the universe has been hidden on Earth by Black Bolt, prompting an invasion by the Titan’s own fleet long before the Builders can arrive. Moreover, almost all the planet’s infernal metahuman champions have left for Kree space…

If that whetted your appetite, you’ll need to see the two volume Infinity collection…

Here, however, we move on to Thanos Annual #1 (July 2014) as a defeated, comatose Mad Titan recalls an early turning point in his life. Written by Jim Starlin, pencilled by Ron Lim and inked by Andy Smith, ‘Damnation and Redemption’ begins after his first defeat by Captain Marvel and the Avengers, when he used a Cosmic Cube to become God before being stripped of everything through his own arrogance.

At this low ebb he is tempted by arch demon Mephisto but saved by his own future self, using the Infinity Gauntlet’s Time Gem to correct an almost irrevocable error…

Shown his potential future, the Titanian plotter thinks he is on the rise but has not counted on the interference of true cosmic gods such as the Living Tribunal…

This selection also includes a cover and variants gallery by Adam Kubert, Dale Keown & Ive Svorcina, Skottie Young, Marko Djurdjević, Lim & Smith and Starlin & Al Milgrom.

From such disparate seeds movie gold can grow, but never forget that the originating material is pretty damned good too and will deliver a tempting tray of treats that should have most curious fans scurrying for back-issue boxes, bookshop shelves or online emporia…
© 2013, 2014, 2018 Marvel Characters, Inc. All rights reserved.

The Transformers UK Classics Volume One

By Steve Parkhouse, Simon Furman, James Hill, John Ridgway, John Stokes, Geoff Senior, Mike Collins, Barry Kitson, Will Simpson, Jeff Anderson & various (IDW)
ISBN: 978-1-60010-943-0

Win’s Christmas Gift Recommendation: A Nostalgia-Fuelled Read to Toy With… 8/10

The metal-morphing Transformers toys took the world by storm in the 1980’s and a tie-in monthly American Marvel comicbook was a smash hit. Marvel’s UK division quickly produced their own fortnightly (ultimately weekly) periodical reprinting the US material, but the scheduling disparity soon necessitated the creation of original material.

As you’d expect from a top brand, the supremely popular shiny shapeshifters have been the jewel in the crown of numerous publishers ever since. The license currently resides with IDW and as part of their line, the new guys have kindly added archival editions of past glories to enthral new readers and give inveterate nostalgics a potent reminder of the good old days…

It should be noted that although a toy and cartoon show tie-in, the weekly British comic – when not reprinting US Marvel stories – seemed to pitch their material at a slightly older, if not necessarily more mature, readership…

As well as re-presenting originated material from The Transformers #1-44 (September 20th 1984 – January 18th 1986), this initial hardback/Trade Paperback/eBook archive also includes an erudite and extremely informative introduction – ‘A Complete History of Transformers UK’ – by James Roberts (following his Foreword) – detailing not only the origins and impact of the toys but the nuts and bolts of the creation of the British material. There’s even a list of feature pages, ads and premium give-aways!

Moreover, each episodic strip adventure is preceded by fulsome notes and commentary as well as a complete cover gallery – and that’s a lot of covers!

Following more candid background data the comics magic begins with ‘Man of Iron’ by Steve Parkhouse, John Ridgway & Mike Collins; coloured by Gina Hart & Josie Firmin and lettered by Richard Starkings.

The 4-part thriller ran in Transformers #9-12 (January 12th to February 23rd 1985) and revealed that a lost and unknown Autobot had periodically emerged for millennia from a crashed ship buried deep beneath rural England.

A castle built on the grounds provided year of sightings and legends but the era of mystery abruptly ends when both modern-day Autobots and Decepticons zero in on the legendary figure…

Weekly comics are hugely labour-intensive and time-critical, necessitating a vast turnover of staff – all duly recorded here. After the UK’s surprise hit periodical reprinted more US-originated material another Made-in-Britain epic began with the debut of star scribe-in-the-making Simon Furman who wrote ‘The Enemy Within!’ for #13-17 (March 9th – May 4th). Illustrated by Ridgway, Collins, Hart & Starkings, the saga details how rival Decepticons Megatron and Starscream vie for supremacy whilst vile spy Ravage infiltrates the Autobots’ Ark to action a malign mechanoid plan involving framing the Good Robots for an attack on a human military base…

‘Raiders of the Last Ark!’ #18-21 (May 16th – 29th by Furman, Collins, Jeff Anderson, Hart, Starkings & John Aldrich) then finds a Decepticon attempt to seize the Ark derailed when the vast ship’s AI consciousness manifests as a judgemental Auntie who proposes assessing the worthiness of both sides and eradicating those she finds lacking…

Following found text feature ‘Robot War! From Cybertron to Earth: The Story So Far!’ and another tranche of covers ‘Decepticon Dam-Busters’ (#29-30 October 5th – 12th 1985 and by Furman, John Stokes, Steve Whitaker & Starkings) attempts to marry toy, TV and comics universes in a brutal clash of ideologies and metal muscles in a tale adapted from an animated television episode.

Then it’s back to comicbook basics for #31-31 (October 19th – 26th) as Dinobots Grimlock, Sludge, Snarl and Slag face ‘The Wrath of Guardian!’ by Furman, Barry Kitson, Hart & Annie Halfacree as the tragic Autobot turned into a Decepticon slave battles his former allies before eventually succumbing to ‘The Wrath of Grimlock!’ (Furman, Kitson, Mark Farmer, Scott Whittaker & Mike Scott).

Preceded by ‘Robot War II: The Saga of the Transformers!’ and Geoff Senior’s black-&-white try-out art assignment, ‘Christmas Breaker!’ (James Hill, Will Simpson, Hart & Starkings from #41 December 28th) sees human robot hunter Circuit Breaker declare a temporary truce with her quarry to save a child, after which ‘Crisis of Command!’ (#42-44, January 4th – 18th 1986) – written by Collins & Hill, illustrated by Senior & Stokes, coloured by Steve Whitaker, John Burns, Gina Hart & Stuart Place & Starkings, and lettered by Mike Scott – sees burned out Optimus Prime under pressure from his own friends to create Super Autobots. The moral machine is severely embattled but knows becoming worse than Decepticons is no way to win the million-year-war…

Meanwhile, waiting in the shadows, Ravage lurks, ready to exploit the Autobots’ hesitation…

This initial compilation heads toward a conclusion with the all-UK material created for The Transformers Annual 1986; released in Autumn 1985 for the Christmas trade.

After plenty of candid, behind-the-scenes creative secrets shared, the narratives resume with

‘Plague of the Insecticons!’ (Furman, Collins, Anderson, Hart & Starkings) as a new breed of robots are catastrophically unleashed just as the Autobots are invited to the White House for a parley with President Reagan…

Then Tales of Cybertron takes us back eons to the robot homeworld where and when ‘And There Shall Come… A Leader!’ (by Furman, Stokes, Hart & Starkings) reveals the origins of the Autobot leader.

Annuals used prose stories to beef up the content and cut down on illustrating costs and a brace follow here.

Written by Hill with spot illos from Ridgway & Hart, ‘Missing in Action!’ details how neophyte Autobot Tracks gets accidentally involved in a bank robbery whilst ‘Hunted!’ finds Bumblebee battling for his life against Ravage in the Amazon jungle…

Rounding out this procession of childhood delights is a big bunch of ‘Adverts and Ephemera’ reprinting numerous toy infomercials and ‘Interface Fact Files’ offering byte-sized (sorry!) bursts of data on the galvanised Goodies and Baddies…

Fast-paced and furious in intensity, this cosmic drama for all ages still carries a punch today and the early work of modern graphic luminaries is a distinct pleasure for today’s fans to see.

Chock full of high-tech, explosive-but-not-gratuitous action, this book fairly barrels along: A solid read for aficionados and thrill-seeker of all ages.
The Transformers Classics UK vol. 1. Hasbro and its logo TRANSFORMERS and all related characters are trademarks of Hasbro and are used with permission. © 2011 Hasbro. Circuit Breaker and all related characters are ™ and © Marvel Entertainment LLC and its subsidiaries All Rights Reserved.

Land of the Giants: The Complete Series

By Paul S. Newman, Tom Gill & various (Hermes Press)
ISBN: 978-1-93256-343-6

Land of the Giants debuted in America in September 1968, the fourth of producer Irwin Allen’s incredibly successful string of TV fantasy series which also included Lost in Space, Voyage to the Bottom of the Sea and The Time Tunnel.

The key premise was that in the then far-future of 1983 the passengers and crew of Sub-Orbital Space-liner flight 703 from Los Angeles to London fall through a space-warp and crashes in an incredible world twelve times larger than ours (mimicking the dimensions of the Brobdingnagians in Gulliver’s Travels).

To make things even scarier, the giant society closely parallels Earth in the primitive era of the mid-1960s, with crime, Cold War espionage, cultural paranoia and social injustice obsessing every anxious citizen of the Big New World…

The motley and disparate occupants of the ailing Spindrift thus have to survive and seek ways to return home whilst giant beasts, agents of totalitarian governments of that colossal planet, greedy opportunists and their own perverse natures all conspire against them.

The fact that doom is always looming above them is exacerbated by a perpetual dilemma: the ship is still space-worthy and the dimensional warp a permanent fixture but Spindrift is drained of the electrical energy needed to achieve high orbit.

Daily existence consists of staying alive and free whilst somehow scavenging – like high-tech Borrowers – enough motive power from the hulking natives to blast off forever…

The TV series generated 51 episodes and ran until 1970 with many re-runs throughout the intervening decades. It spawned a Viewmaster reel and book, a comicbook series, numerous games and toys plus a string of excellent novels by pulp Sci Fi legend Murray Leinster.

While the show aired it was the most expensive television series ever produced, but a special effects budget was no hindrance to publisher Gold Key whose five comicbook issues – released between November 1968 to September 1969 – honed in on the perilous plight of the starlost Spindrifters via the scripts of Paul S. Newman (Turok, Son of Stone, Lone Ranger) and sagely meticulous illustrator Tom Gill (Flower Potts, Lone Ranger).

Collected in this sturdy hardcover archival edition (also available in eBook editions), the miniscule voyagers’ odyssey is preceded by an effusive photo-filled ‘Introduction: Revisiting Gulliver’ by Chris Irving, covering every aspect from series production to the history of Gold Key before the graphic reverie opens with ‘The Mini-Criminals’ from Land of the Giants #1.

Behind the evocative photo-montage cover (each issue boasted one), Part I – ‘The Power-Stealers’ – sees the crew’s perpetual search for fuel sources to re-energise Spindrift lead to capture by opportunistic and imaginative thief Carlo Krogg.

In this action-oriented adventure the focus is on passengers Mark Wilson, fugitive conman Fitzhugh and he-men crew members Captain Steve Burton and co-pilot Dan Erickson who toil mightily to free hostage stewardess Betty Hamilton from Krogg’s clutches whilst pretending to burgle a jewellery store for him.

Issue #2 featured ‘Countdown to Escape’ and opens with flighty socialite Valerie Scott revealing an unsuspected talent for falconry after catching and training a giant raptor to carry the ship on ‘The Wings of an Eagle’

Sadly, the plan goes agonisingly wrong for ‘The Little Buccaneers’ after animal keepers recapture their missing exhibit, inadvertently marooning the Little People in a zoo. Although this presents them with an astounding opportunity to secure their energy-needs, the end result is another frustrating return to square one…

In ‘Giant Damsel in Distress’, Val and Betty befriend a young woman unjustly accused of a terrible crime and on the run. Colossal fugitive Linda offers to restore the stranded ship’s energy reserves with ‘Mirror Power’ but before they can benefit from the deal, the real criminals track her down, leading to a catastrophic and one-sided battle in ‘The Charge of the Light Brigade’

LotG #4 reveals a daring ‘Safari in Giantland’ as the mini-marooned break into a department store to steal super-strong power cells in ‘Assault and Battery’. Typically, however, even after purloining model trucks from the kids’ wing to transport their electrical booty, the ‘Babes in Toyland’ lose the precious batteries when a giant rat attacks…

The last issue is uncharacteristically dark and grim for comics of the period. By never signing up to the draconian overreaction of the bowdlerizing Comics Code Authority, Dell/Gold Key became the company for life and death thrills, especially in the arena of traditional adventure stories.

If you were a kid in search of a proper body count instead of flesh wounds you went for Tarzan, Zorro, Roy Rogers, Tom Corbett and their ilk. That’s not to claim that the West Coast outfit were gory, exploitative sensationalists – far from it – but simply that the writers and editors knew that fiction – especially kids’ fiction – needs a frisson of danger and honest high stakes drama to make it work.

‘Operation Mini-Surgeon’ begins with ‘The Doctor’s Dilemma…’ as juvenile Spindrift passenger Barry Lockridge – who had been travelling unaccompanied to meet his parents in London – succumbs to a deadly infection. The adult castaways determine to take the boy to a giant physician, whatever the risk, and are on hand when a diplomat from a hostile foreign power is caught in an assassin’s bomb blast…

Although under government scrutiny and initially unable to save the dying Premier Klosson, surgeon Dr. Rains is still willing to aid the Little People in curing Barry. In return Mark and Steve enter the dying Klosson’s wounds to repair the tyrant from the inside in ‘A Life in Their Hands’

Tragically, before the eternally-grateful Rains can deliver the batteries that would send the aliens home, political intrigue and expedience make him a martyr to someone else’s cause…

Stuffed throughout with cast stills and candid photos, the rocket ride down memory lane concludes with ‘Photos, Artwork, and Collectibles’, offering a bonanza of stills, production photographs, promo material, posters, cast shots, original artwork from the comics, bubble gum cards, pages from Mort Drucker’s Mad Magazine parody “Land of the Giant Bores”, box art from a jigsaw puzzle and the Aurora model kit of the Spindrift, plus a picture gallery of the show’s celebrity guest stars.

Even more tantalising treats include Leinster’s novel covers, the View Master packaging, colouring Book covers and the cover of the British TV21 1971 annual…

TV themed compendia of screen-to-page magic were an intrinsic part of growing up in Britain for generations and still occur every year with only the stars/celebrity/shows changing, not the package. The show itself has joined the vast hinterland of fantasy fan-favourites and is immortalised in DVD and streamed all over the world but if you want to see more, this sparkling tome is a treat you won’t want to overlook.
Land of the Giants® is © 1968, 1969 and 2010 Irwin Allen Properties, LLC and 20th Century Fox Film Corporation. All Rights Reserved throughout the world.