Fantastic Four – Full Circle


By Alex Ross, with Josh Johnson & Ariana Maher (MARVEL Arts)
ISBN: 978-1-4197-6167-6 (HB) eISBN: 978-1-64700-781-2

Win’s Christmas Gift Recommendation: Irresistibly Pure, Primal Pandering Nonsense… 8/10

Jacob Kurtzberg – AKA Jack Curtiss, Curt Davis, Lance Kirby, Ted Grey, Charles Nicholas, Fred Sande, Teddy, The King and others – did lots of stuff but most significantly inspired millions if not billions of people by drawing his ideas. This book is one of the most impressive examples of how that all worked out…

Fantastic Four #1 is the third most important comic book ever, behind Action Comics #1 – which introduced Superman and formalised the subgenre we call superheroes – and All Star Comics #3, which invented superhero teams via the debut of The Justice Society of America. Feel free to disagree.

After a troubled period at DC Comics (National Periodicals as it then was) and a creatively productive but disheartening time on the poisoned chalice of the Sky Masters newspaper strip (see Complete Sky Masters of the Space Force), Kirby settled into a presumed temp job at the dying outfit that was once publishing powerhouse Timely/Atlas Comics. There he churned out high quality mystery, monster, war, romance and western material in a market he feared was ultimately doomed, as always doing the best job possible. That generic fare is regarded as the best of its kind ever seen. His soaring imagination couldn’t be suppressed for long, however, and when the Justice League of America caught the public’s collective attention, it gave him and writer/editor Stan Lee opportunity to change our industry forever by creating an opportunistic cash-in called The Fantastic Four.

The result took those same fans by storm. It wasn’t the powers: they’d all been seen since the beginning of the medium. It wasn’t the costumes because they didn’t have any until the third issue. It was Kirby’s compelling art and the fact that these characters weren’t anodyne cardboard cut-outs. In a real and recognizable location – New York City – imperfect, raw-nerved, touchy outsider people banded together out of tragedy, disaster and necessity to face the incredible. In many ways, The Challengers of the Unknown (Jack’s prototype partners-in-peril for National/DC) had already laid all the groundwork for the wonders to come, but staid, nigh-hidebound editorial strictures of the market leader would never have allowed the undiluted energy of the concept to run all-but-unregulated.

Concocted by “Lee & Kirby”, with inks by George Klein & Christopher Rule, FF #1 (bi-monthly and cover-dated November 1961) saw maverick scientist Dr. Reed Richards summon fiancée Sue Storm, their close friend Ben Grimm and Sue’s teenaged brother before heading off on their first mission. They are all survivors of a private space-shot that went horribly wrong when Cosmic Rays penetrated their ship’s inadequate shielding and mutated them all. Richards’ body became elastic, Sue gained the power to turn invisible, Johnny Storm could turn into living flame and tragic Ben devolved into a shambling, rocky freak. It was crude, rough, passionate and uncontrolled excitement unlike anything young fans had ever seen before. Thrill-hungry kids pounced on it and the raw storytelling caught a wave of change starting to build in America. It and succeeding issues changed comic books forever.

So much so that this slim yet epic arts extravaganza by uberfan/creator Alex Ross (Marvels, Kingdom Come, Astro City, Project Superpowers) dipped into one specific issue and the era encompassing it to create his next leap in sequential graphic storytelling.

Co-produced by Marvel and Abrams ComicArts, Fantastic Four: Full Circle is a vividly vibrant pastiche of and thematic sequel to what many fans consider the greatest single FF story ever. Illustrated by Kirby and inked by Joe Sinnott, ‘This Man… This Monster!’ saw Ben Grimm’s grotesque body usurped and stolen by a vengeful, petty-minded scientist harbouring a grudge against Reed. The anonymous boffin subsequently discovered the true measure of his unsuspecting intellectual rival and willingly paid a fateful price for his envy…

By this time the monthly title was the most consistently groundbreaking publication in Marvel’s stable: the indisputable core of its ever-unfolding web of cosmic creation. As the forge for fresh concepts and characters at a time when Kirby was in his conceptual prime and unleashing his vast imagination, Fantastic Four was the most passionate superhero comic series fans had ever seen, and here Ross combines his own response to that: incorporating other milestones of those moments into a visually stunning tale set amidst that marvellous milieu.

Although this hark-back to halcyon days is literally all about the visual verve, fanboys like me can also be assured that continuity and characterisation are also faithful extrapolations – albeit with the painful sixties gender stereotyping given a thorough going over – of what has gone before, augmenting a spectacular tribute to those glory days…

The initial release in a proposed range of high end experimental graphic narratives, Full Circle opens with someone the first family never thought they’d see again almost unleashing an insectile invasion from the Negative Zone. Saddling up, Sue, Reed, Ben and Johnny return to the antimatter universe in search of answers and uncover a deadly plot, a miraculous revelation, an unsuspected new world to explore and a series of shocking surprises, as well as more mischief in the making from former foes Annihilus and Janus the Nega-Man

As “the first longform work” written and illustrated by Ross, this is an explosion of colour, wild layouts, narrative sallies and retro psychedelia, with additional colour input from Josh Johnson and Ariana Maher putting the words in to get as close to reviving the long gone past as any incurable nostalgic could ever want.
© 2022 MARVEL.

Christmas Comes to Moominvalley


By Tove Jansson, adapted by Alex Haridi & Cecilia Davidsson, illustrated by Filippa Widlund, translated by A. A. Prime (Macmillan Children’s Books)
ISBN: 978-1-5290-0362-8 (HB) 978-1-5290-0363-5 (HB) eISBN: 978-1-5290-5762-1

Win’s Christmas Gift Recommendation: All the Christmas You Ever Wanted… 9/10

Tove Jansson was one of the greatest literary innovators and narrative pioneers of the 20th century: equally inspired in shaping words and making images to create whole worlds of wonder. She was especially expressive with basic components like pen and ink, manipulating slim economical lines and patterns to realise sublime realms of fascination, whilst her dexterity made simple forms into incredibly expressive and potent symbols and as this collection shows, so was her brother…

Tove Marika Jansson was born into an artistic, intellectual and rather bohemian Swedish family in Helsinki, Finland on August 9th 1914. Patriarch Viktor was a sculptor and mother Signe Hammarsten-Jansson a successful illustrator, graphic designer and commercial artist. Tove’s brothers Lars – AKA “Lasse” – and Per Olov became – respectively – an author, cartoonist and art photographer. The family and its close intellectual, eccentric circle of friends seems to have been cast rather than born, with a witty play or challenging sitcom as the piece they were all destined to inhabit.

After extensive intensive study (from 1930-1938 at the University College of Arts, Crafts and Design, Stockholm, the Graphic School of the Finnish Academy of Fine Arts and L’Ecole d’Adrien Holy and L’Ecole des Beaux-Arts, Paris), Tove became a successful exhibiting artist through the troubled period of the Second World War. Brilliantly creative across many fields, she published the first fantastic Moomins adventure in 1945. Småtrollen och den stora översvämningen (The Little Trolls and the Great Flood or latterly and much more euphoniously The Moomins and the Great Flood) was a whimsical epic of gently inclusive, acceptingly understanding, bohemian misfit trolls and their rather odd friends…

A youthful over-achiever, from 1930-1953 Tove had worked as an illustrator and cartoonist for the Swedish satirical magazine Garm: achieving some measure of notoriety with an infamous political sketch of Hitler in nappies that lampooned the Appeasement policies of European leaders in the build-up to WWII. She was also an in-demand illustrator for many magazines and children’s books, and had started selling comic strips as early as 1929.

Moomintroll was her signature character. Literally.

The lumpy, gently adventurous big-eyed romantic goof began life as a spindly sigil next to her name in her political works. She called him “Snork” and claimed she had designed him in a fit of pique as a child – the ugliest thing a precocious little girl could imagine – as a response to losing an argument with her brother about Immanuel Kant.

The term “Moomin” originated with her maternal uncle Einar Hammarsten who attempted to stop her pilfering food when she visited, by warning her that a Moomintroll guarded the kitchen, creeping up on trespassers and breathing cold air down their necks. Over time Snork/Moomin plumped up, filled out and became timidly nicer – if a little clingy and insecure. He became a placid therapy-tool to counteract the grimness of the post-war world. The Moomins and the Great Flood didn’t make much of an initial impact but Jansson persisted, probably as much for her own edification as any other reason, and in 1946 published second book Kometjakten (Comet in Moominland).

Many commentators believe the terrifying tale a skilfully compelling allegory of Nuclear Armageddon. In truth, an undercurrent of bleak anxiety and the dangers of imminent unwanted change underpins all of her Moomin tales, subtly addressing the fact that the world is a wonderful but also scary, dangerous place beyond our control, and why we should value friends and family and always welcome the needy and all strangers. You should read it now… while you still can.

When it and third illustrated novel Trollkarlens hatt (1948, Finn Family Moomintroll AKA sometimes The Happy Moomins) were translated – to great acclaim – into English in 1952, it prompted British publishing giant Associated Press to commission a newspaper strip about her seductively sweet and sensibly surreal creations. Jansson had no misgivings or prejudices about strip cartoons and had already adapted Comet in Moominland for Swedish/Finnish paper Ny Tid. Mumintrollet och jordens undergäng. Moomintrolls and the End of the World was a popular feature so Jansson readily accepted the chance to extend her eclectic family across the world. In 1953, The London Evening News began the first of 21 Moomin strip sagas which promptly captivated readers of all ages. Jansson’s involvement in the cartoon feature ended in 1959, a casualty of its own success and a punishing publication schedule. So great was the strain that towards the end she recruited brother Lars to help. He took over, continuing the feature until its end in 1975.

Liberated from the strip’s pressures, she returned to painting, writing and her other creative pursuits, generating plays, murals, public art, stage designs, costumes for dramas and ballets, a Moomin opera and nine more Moomin-related picture-books and novels, as well as 13 books and short-story collections strictly for grown-ups. Tove Jansson died on June 27th 2001. Her awards are too numerous to mention, but consider this: how many artists get their faces on the national currency?

Whenever such a creative force passes on, the greatest tragedy is that there will be no more marvels and masterpieces. Happily, so tirelessly prolific was Tove that her apparently endless bounty bequeathed plenty of material for later creators and collaborators to pick over. One such example is this glorious picture book, part of a series using her characters and adapted from her short story The Fir Tree. Like previously recommended picture book The Invisible Guest in Moominvalley, this moving, thought-provoking yarn was a short story in 1962’s Det osynliga barnet (Tales from Moominvalley) and has been reprinted many times in a bunch of varying formats. It’s been adapted to television too, if you have one of those…

Moomintrolls are easy-going free spirits: rounded modern bohemians untroubled by domestic mores and unwelcome or intrusive societal pressures. Moominmama is warm, kindly tolerant and capable, if perhaps too concerned with propriety and appearances, whilst devoted spouse Moominpappa spends most of his time trying to rekindle his adventurous youth or dreaming of fantastic journeys. Their son Moomin is a meek, dreamy boy with confusing ambitions. He adores and moons over permanent houseguest the Snorkmaiden – although that flighty gamin prefers to play things slowly whilst waiting for somebody potentially better…

Heartwarming with a hidden edge and packing plenty of impact to balance the fun and charm, this beguiling picture tale is adapted by Alex Haridi & Cecilia Davidsson with Jansson’s unique imagery translated by prolific comics star/book illustrator Filippa Widlund.

Here the adaptors have sustained the shocking wonder of a close, loving family, who, due to the Moomintroll habit of hibernation, have never heard of Christmas… until a Hemulen digs down to their snowcapped attic to loudly warn them that Christmas is coming…

Awakened, aroused and much afeared, the family frantically canvas the neighbours – and everyone else rushing about – and hear of the bizarre litany of tasks they must accomplish before it’s all too late! With fading hopes of doing all that catching up and tree decorating and tribute wrapping and food finding necessary to appease the clearly savage and utterly unreasonable beast that is Christmas, the family set to and do their very best…

However, as they all pitch in and do as the neighbours do, fear fades a bit and a little miracle happens…

Witty, engaging, sentimental and deeply moving, every youngster’s perfect introduction to sequential narratives, and a beguiling reminder to oldsters why we love them…
© Moomin Characters™. All rights reserved.

The Invisible Guest in Moominvalley


By Tove Jansson, adapted by Cecilia Davidsson & A. Haridi, illustrated by Filippa Widlund, translated by A. A. Prime (Macmillan Children’s Books)
ISBN: 978-1-5290-1027-5 (HB) eISBN: 978-1-5290-5764-5

Win’s Christmas Gift Recommendation: Fabulous Family Fable … 9/10

Tove Jansson was one of the greatest literary innovators and narrative pioneers of the 20th century: equally inspired in shaping words and making images to create whole worlds of wonder. She was especially expressive with basic components like pen and ink, manipulating slim economical lines and patterns to realise sublime realms of fascination, whilst her dexterity made simple forms into incredibly expressive and potent symbols and, as this collection shows, so was her brother…

Tove Marika Jansson was born into an artistic, intellectual and rather bohemian Swedish family in Helsinki, Finland on August 9th 1914. Patriarch Viktor was a sculptor and mother Signe Hammarsten-Jansson a successful illustrator, graphic designer and commercial artist. Tove’s brothers Lars – AKA “Lasse” – and Per Olov became – respectively – an author, cartoonist and art photographer. The family and its close intellectual, eccentric circle of friends seems to have been cast rather than born, with a witty play or challenging sitcom as the piece they were all destined to inhabit.

After extensive and intensive study (from 1930-1938 at the University College of Arts, Crafts and Design, Stockholm, the Graphic School of the Finnish Academy of Fine Arts and L’Ecole d’Adrien Holy and L’Ecole des Beaux-Arts, Paris), Tove became a successful exhibiting artist through the troubled period of the Second World War. Brilliantly creative across many fields, she published the first fantastic Moomins adventure in 1945. Småtrollen och den stora översvämningen (The Little Trolls and the Great Flood or latterly and more euphoniously The Moomins and the Great Flood) was a whimsical epic of gently inclusive, acceptingly understanding, bohemian misfit trolls and their rather odd friends…

A youthful over-achiever, from 1930-1953 Tove had worked as an illustrator and cartoonist for the Swedish satirical magazine Garm: achieving some measure of notoriety with an infamous political sketch of Hitler in nappies that lampooned the Appeasement policies of European leaders in the build-up to WWII. She was also an in-demand illustrator for many magazines and children’s books, and had started selling comic strips as early as 1929.

Moomintroll was her signature character. Literally.

The lumpy, gently adventurous big-eyed romantic goof began life as a spindly sigil next to her name in her political works. She called him “Snork” and claimed she had designed him in a fit of pique as a child – the ugliest thing a precocious little girl could imagine – as a response to losing an argument with her brother about Immanuel Kant.

The term “Moomin” came from her maternal uncle Einar Hammarsten who attempted to stop her pilfering food when she visited, warning her that a Moomintroll guarded the kitchen, creeping up on trespassers and breathing cold air down their necks. Snork/Moomin filled out, became timidly nicer – if a little clingy and insecure – acting as a placid therapy-tool to counteract the grimness of the post-war world. The Moomins and the Great Flood didn’t make much of an initial impact but Jansson persisted, probably as much for her own edification as any other reason, and in 1946 published second book Kometjakten (Comet in Moominland).

Many commentators believe the terrifying tale a skilfully compelling allegory of Nuclear Armageddon. In truth, an undercurrent of bleak anxiety and the dangers of imminent unwanted change underpins all of her Moomin tales, subtly addressing the fact that the world is a wonderful but also scary, dangerous place beyond our control, and why we should value friends and family and always welcome the needy and all strangers.

You should read it now… while you still can. When it and third illustrated novel Trollkarlens hatt (1948, Finn Family Moomintroll AKA sometimes The Happy Moomins) were translated – to great acclaim – into English in 1952, it prompted British publishing giant Associated Press to commission a newspaper strip about her seductively sweet and sensibly surreal creations. Jansson had no misgivings or prejudices about strip cartoons and had already adapted Comet in Moominland for Swedish/Finnish paper Ny Tid. Mumintrollet och jordens undergäng. Moomintrolls and the End of the World was a popular feature so Jansson readily accepted the chance to extend her eclectic family across the world. In 1953, The London Evening News began the first of 21 Moomin strip sagas which promptly captivated readers of all ages. Jansson’s involvement in the cartoon feature ended in 1959, a casualty of its own success and a punishing publication schedule. So great was the strain that towards the end she recruited brother Lars to help. He took over, continuing the feature until its end in 1975.

Liberated from the strip’s pressures, Tove returned to painting, writing and other creative pursuits: generating plays, murals, public art, stage designs, costumes for dramas and ballets, a Moomin opera and nine more Moomin-related picture-books and novels, as well as 13 books and short-story collections strictly for grown-ups.

Tove Jansson died on June 27th 2001. Her awards are too numerous to mention, but just think: how many artists get their faces on the national currency?

Whenever such a creative force passes on, the greatest tragedy is that there will be no more marvels and masterpieces. Happily, so tirelessly prolific was Tove that her apparently endless bounty bequeathed plenty of material for later creators and collaborators to pick over. One such example is this glorious picture book, part of a series using her characters and adapted from her short story The Invisible Child from prose anthology Tales from Moominvalley.

The entire generationally familiar cast are present for this comforting parable about an abused and neglected child welcomed into the bustling, tempestuous Moomin clan, and how silent unseen Ninny slowly adapts and recuperates. With warmth, patience and understanding the child is allowed to become her new self, not cured or fixed, but just better…

Heartwarming with a hidden edge and hiding plenty of impact to balance the fun and charm, this is solidly engaging picture tale is adapted by Cecilia Davidsson (Utvandrarna, Invandrarna, Leva lite till, mucho Moomins adaptations) & A. Haridi, with Jansson’s unique imagery translated by prolific comics star/book illustrator Filippa Widlund (många pixiböcker/Pixi Books, Bojan series, The Buoy and the Tow Truck). As a narrative it is utterly compelling, and carries a message always worth repeating.

Witty, thrilling, sentimental and moving, The Invisible Guest in Mooninvalley is every youngster’s perfect introduction to sequential narratives, and a beguiling reminder to oldsters why we love them…
Entire contents © Moomin Characters™. All rights reserved.

Edifice


By Andrzej Klimowski (SelfMadeHero)
ISBN: 978-1-914224-25-6 (TPB)

Win’s Christmas Gift Recommendation: A Christmas treat for Sentimentalists Who Can’t Switch Their Brains Off …9/10

This book includes Discriminatory Content included for dramatic effect.

Born in London in 1949 of proudly Polish heritage (me too!), Andrzej Klimowski studied at St. Martin’s School of Art in London and the Warsaw Academy of Fine Arts. A world-renowned designer, poster maker, illustrator, writer, political satirist, filmmaker and graphic novelist (go check out collaborations and adaptations like The Master and Margarita, Dr. Jekyll and Mr. Hyde, Robot and Behind the Curtain or solo efforts The Depository, The Secret and Horace Dorlan), he was Head of Illustration at the Royal College of Art until they promoted him to Professor Emeritus. With his wife Danusia Schejbal, Klimowski still produces graphic art and profound works like this book. You probably didn’t see his retrospective at the National Theatre, London, but you really should have.

At least you can compensate by falling in love, in awe and in wonder at this dark wry, twisty exploration of human nature and polite foibles at Christmas…

Set in the iconic and dankly expressionistic city of Engelstadt (City of Angels!), a broad, socially disparate group congregate in and around one certain building. Each has a remote, compartmentalised life, full of secrets and desires, but occasionally the so-civilised residents grudgingly get together. It’s the done thing after all, and who would be so churlish as to decline an invitation from formidable matriarch Lady Dendrite poised at the peak and at the top of this heap?

However, strange events are unfolding in run-up to that much-anticipated soiree. All those isolated, iconic lives (a domestic, her kid, a strange foreigner, clerics, pontificating professor, hero/victim, love interest and a monster… just like some bleak game of Cluedo!) are about to intrude and burst in upon each other… at least if sudden disappearances and odd phenomena outside the tall straight walls don’t upset everyone’s plans…

Comfortingly macabre, and unravelling at its own mesmeric, seductive pace, Edifice is a captivating visual treat, a sinister social comedy of errors if not terrors and a puzzle-game/trick played on and for you. This is a purely pictorial extravaganza you will either love or hate, but should not ignore.

(PS. I loved it.)
© Andrzej Klimowski, 2024. All rights reserved

Black Dog: The Dreams of Paul Nash


By Dave McKean & various (Dark Horse Books)
ISBN: 978-1-50670-108-0 (TPB/Digital edition)

Win’s Christmas Gift Recommendation: Magnificent and thought-provoking… 9/10

After so many years of being sidelined and despised, sequential narrative has finally been acknowledged as one of humanity’s immortal and intrinsic art forms. That’s never been more apparent than in this astounding biographical examination of celebrated surrealist, landscape painter and war artist Paul Nash, as conceived, designed and created here by modern master of many disciplines Dave McKean.

Black Dog: The Dreams of Paul Nash was commissioned to supplement a retrospective exhibition of Nash’s work, running at London’s Tate Gallery from October 26th 2016 to March 5th 2017. Thia was done as part of 14-18 Now: the Arts plank of Britain’s national centenary commemoration of the Great War. The project was set in motion as a result of the always wonderful Lakes International Comic Art Festival (so you should also look them up, send an effusive thank you and book early for next year’s shindig). At the time the book also came in a limited edition run of 400 signed hardbacks…

This huge (280 x 219 mm) comics chronicle is rendered in a stunning melange of styles alternatively racing and meandering in evocatively sequential manner through Nash’s nightmares and memories. Distilled from his art works, correspondence and writings, it examines the artist’s thoughts and reactions in dreamlike snippets as he comes to terms with a troubled family life, the staggering shocks of war and his lifelong striving for a clear artistic vision. These visions are filtered through a lens of mud, blood and unremitting horror which didn’t diminish after surviving life in the trenches.

Potent and evocative, this is a compelling visual poem not meant as a primer, biographical introduction or hagiography. It’s a celebration of Nash’s art and ethos, and a reminder of the pointless futility of throwing away people’s lives, delivered in styles and imagery deftly chosen for emotional impact. As such it might require you to consult a favourite search engine to grasp the subtler nuances, but any fool can see that a century on from the close of the War to end all Wars, we’ve all individually or collectively made precious little progress or changed in any significant way…

At least we can all still appreciate and be moved by beauty and horror, or art and suffering, and here, it’s definitely worth the effort.
Black Dog: The Dreams of Paul Nash ™ & © Dave McKean. All rights reserved.

The British Invasion


By Hervé Bourhis, translated by James Hogan (NBM)
ISBN: 978-1681123424 (HB/Digital edition)

Win’s Christmas Gift Recommendation: Pourquoi pas, non?… 9/10

Despite a thousand years of “not getting on”, Britain and France are neighbours who have bathed and basked in the glow of each other’s culture, arts, achievements… and failures… with remarkable constancy and consistency. For as long as each nation has existed, this peculiarly dysfunctional relationship has periodically cross-fertilised the lives and adventures and judgements of all of us. We love their stuff and apparently they’re pretty cool about ours. The strange state of affairs (oh tee hee!) has also baffled countless observers from other countries and probably always will. C’est la vie, innit?

Now and here, music writer, graphic novelist, culture vulture and avowed anglophile Hervé Bourhis (The Little Book of Rock) has encapsulated his – possibly forbidden – love for les anglaise and all their works in a fabulously eclectic years-by-year catalogue of events, achievements, style-&-fashion forays, music-&-movie moments, and less definable landmarks. Beginning in 1962, and meandering all the way to 2022, the best, worst, weirdest, and wildest pub talking points, quiz question fodder and modern minutia of pop culture have been assiduously counted and crafted into a dossier of our innate spiffiness.

These are all graphically combined with listicles, celebrity call-outs, name checks, scandals, disasters, tragic passing (and a few who are probably still feeling someone’s boots dancing on their tombs, even through six feet of well-packed Albion dirt) and all the kinds of True Brit bewilderments that provoke our always astonished amis to doff their berets, scratch their pomaded bonces and mutter “sacred blue et focquinelle”…

Joking, japing and jesting aside, this is a superbly astute, stunning researched and wittily wrought dose of weaponised memorabilia, stuffed with fun facts captivating drawn and even offers the best index I have ever seen in its ‘Britbook Playlist’ section. This is something so many boomers deserve in their wrinkled gabardine (or latex: live and let live sez me) stocking this year.

I’ve been around – if not always awake – for all of the stuff cited here, and while I can’t say it was all as much fun as what’s on show on these crisp, fab-hued pages, it does stir memories, bouts of quiet pride and an odd urge to mumble “been there, did that, gottit, mum threw it away,” and “where are they now?”

Gosh, I say! Do you think the Germans could be induced to commit their thoughts on how terrific we’ve been to paper too?
Le Britbook, © DARGUAD 2023, by Hervé Bourhis, All rights reserved. © 2024 NBM for the English translation.

The British Invasion is published on November 12th 2024 and is available for pre-order now.
Most NBM books are also available in digital formats so for more information and other great reads see http://www.nbmpub.com/

Struwwelpeter – in English Translation


By Heinrich Hoffman, translated by (Dover Publications)
ISBN: 978-0-486-28469-9 (TPB/Digital edition)

Win’s Christmas Gift Recommendation: Forever Fearsome and Eternally Disturbing …8/10

This book includes Discriminatory Content produced in less enlightened times.

It might not have occurred to you, but it looks like most of our ancestors were real scary callous bastards. Once upon a time we weren’t afraid to scare the bejeezus out of our kids, and look just how much quieter everything was. It was a philosophy that held hard for decades. In Britain during the 1960s and 1970s, Public Information Films all knew the value of terrorising kids and free-thinking potential troublemakers, presumably with the intention of keeping us silent and quite, quite still until we reached the age of 21. If the films were right, though, I assume many of us never did…

For horror writers and especially comic creators, Struwwelpeter may well be the most influential book of all time, regardless of what age they first encountered it. Even now, it’s hard to come away from the text and pictures and – remembering that this was bought by millions of parents as an entertainment and/or instructional gospel – without screaming out loud “what was wrong with you people!!!?”

The be-all-&-end-all of cautionary tales for the instruction and correction of wayward youth was crafted and initially self-published by German physician (and later psychiatrist) Heinrich Hoffman in January 1845. Lustige Geschichten und drollige Bilder mit 15 schön kolorierten Tafeln für Kinder von 3–6 Jahren or “Funny stories and droll pictures with 15 beautifully coloured panels for children of 3-6 years” offered illustrated rhymes (all snazzy, full-colour lithographic plates) and looked awfully like the comics of a later era. The printed collation, attributed to “Hoffmann Kinderslieb”, apparently evolved from family bedtime tales, and only reached proper publishers thanks to the Frankfurt literary club the Tutti Frutti Society (Gesellschaft der Tutti-Frutti).

From there perspicacious go-getter Zacharias Löwenthal, co-founder of publishing house Literarische Anstalt, unleashed a commercial edition that just kept going back to the presses. It was of course, bootlegged across the world by dozens more printers and publishers. Shock-headed Peter was translated into English by the author and just kept on going. Its imagery and concepts struck a perennial chord with the parental public everywhere, eventually permeating stage, books, film, musicals, comics, criticism, and all manner of mass entertainment. The book’s style and content even became propaganda tools in a few Anglo-Germanic wars along the way…

This Dover edition from 2013 heavily refences the 328th (!) edition and includes in its bonus section, the ‘Anniversary Page for the Hundredth Edition’ – as well as the ‘Original German Text’ and a biographical ‘Afterword’ on the author’s life.

All jocularity aside, this is a masterpiece and landmark of graphic narrative, one that all cognoscenti don’t have to like but really should be aware of. In deference to changing times and attitudes, and the latterday argument that Hoffman might have been using his book as a therapeutic tool for mental disorders of the young, I’m just going to run a couple of the least spooky/offensive pages, list the individual yarns in order and simply say no more.

In a constant mind-bending flow, brace yourselves for titular triumph ‘Shock-Headed Peter’, ‘The Story of Cruel Frederick’, ‘The Dreadful Story About Harriet and the Matches’, ‘The Story of the Inky Boys’ (as racist a tale as you’ll ever find in these enlightened days!), ‘The Story of the Man that Went Out Shooting’, ‘The Story of Little Suck-A-Thumb’, ‘The Story of Augustus Who Would Not Have Any Soup’, ‘The Story of Fidgett Philip’ and ‘The Story of Johnny Head-In-Air’ before innocuously closing with ‘The Story of Flying Robert’

Short, surprising and unquestionably unmissable; read with caution, please, children.
© 1995 by Dover Publications, Inc. all rights reserved.

The A-Z of Marvel Monsters


By Jack Kirby, Dick Ayers, Stan Lee, Larry Lieber & various (Marvel)
ISBN: 978-1-3029-0863-8 (HB/Digital edition)

Win’s Christmas Gift Recommendation: Fan Smash! … 9/10

This book includes Discriminatory Content produced in less enlightened times.

To dyed-in-the-wool comic book fanboys there’s a much beloved period in history when a frankly daft and woefully formulaic trend produced utter, joyous magic. We look back on it now and see only the magnificent art, or talk with loving derision of the crazy (and frequently onomatopoeic) names, but deep down we can’t shake the exuberant thrill inside or the frisson of emotion that occurs when we see or even think of them.

Before Jack Kirby & Stan Lee brought superheroes back to Marvel Comics, the company was on its last legs. Locked into a woefully disadvantageous distribution deal, the company’s output was limited to some sixteen genre titles. But there was hope…

The outside, mainstream, world was currently gripped in an atomic B-movie monster craze, so Lee, Kirby and Steve Ditko dutifully capitalised on it in their anthology mystery titles Journey into Mystery, Strange Tales, Tales to Astonish and Tales of Suspense. In an unending procession of brief inspirational novelettes, dauntless or canny or just plain outsider humans outsmarted a succession of bizarre aliens, mad scientists, an occasional ghost or sorcerer (this was, after all, the heyday of the Comics Code Authority when any depiction of the supernatural was BAD) and a horde of outrageous beasties in a torrent of wonders best described by the catchphrase “monsters-in-underpants.”

Simplistic, moralistic, visually experimental yet reassuringly predictable in narrative, these Outer Limits-style yarns were – and still are – the epitome of sheer unrelenting fun with no redeeming social context required. Marvel have increasingly celebrated that fact in recent years (even folding most of the yarns into their modern multiversal continuity) and – over the course of one month – commissioned a line of 26 “Kirby Monster” variant covers for their periodical releases, all lovingly crafted by a number of top names to highlight the treasured contribution of beasties, things and what-nots…

This volume gathers those images in a handy hardcover primer (and eBook edition) whilst gloriously gilding the lily with a splendid selection of a few of the original mini-epics as created from those pre-Marvel Age masterpieces. The short sharp surprise is suitably augmented by ‘Jack Kirby, Atlas Comics & Monsters!’: a 1994 Introduction from the King himself.

The next bit’s another shopping-list moment, so if you want to skip ahead a little, I shouldn’t be at all surprised…

Augmented by the original cover of each diabolical debut, the worshipful A to Z art-section opens with Erica Henderson’s reinterpretation of ‘The Awesome Android!’ (as first seen in Fantastic Four #15) and rapidly follows up ‘The Blip!’ by Simon Bisley, and ‘The Crawling Creature!’, delineated by Maguerite Sauvage. An extreme late entry in the Kirby-Kritter Circus, ‘Devil Dinosaur!’ launched in his own title in 1978 and his moody reprise from Matthew Wilson is followed by Jeff Lemire’s take on ‘Elektro!’ and ‘Fin Fang Foom!’ – first seen in Strange Tales #89, and rendered here by Walter Simonson & Laura Martin.

Michael & Laura Allred depict latter-day cellulose celluloid star ‘Groot!’ (originating in Tales to Astonish #13), before Francesco Francavilla highlights ‘The Hypno-Creature!’, Paolo Rivera revisits Fantastic Four #24’s weird menace ‘The Infant Terrible!’ and Glenn Fabry regales us with an Asgardian god battling ‘The Jinni Devil!’ in a scene that didn’t make it into 1967’s Thor #137…

Dave Johnson details a key point in the life of ‘Kraa the Unhuman!’ before John Cassaday & Matthew Wilson illuminate the depredations of ‘Lo-Karr, Bringer of Doom!’, after which Geof Darrow whisks us back to Thor #154 to meet again amalgamated atrocity ‘Mangog!’

Kirby’s astounding 1976 Eternals series produced many incredible images, with Paul Pope & Shay Plummer selecting 2,000 feet tall Space God ‘Nezarr the Calculator!’ to set the pulses racing, whilst Mike del Mundo plumps for Strange Tales #90’s ‘Orrgo!’ and James Stokoe recalls Strange Tales of the Unusual #1 (December 1956)’s forgotten fiend ‘Poker Face!’

Recurring FF foe ‘The Quonian!’ first appeared in Fantastic Four #97 and wows again here thanks to Christian Ward, after which Eric Powell previews ‘Rommbu!’ and Tradd Moore pits Ant-Man against Tales to Astonish #39 terror ‘The Scarlet Beetle!’ before Chris Bachalo & Tim Townsend show us the power of ‘Thorr!’ Chris Samnee & Wilson expose the fervent ferocity of Journey into Mystery #63’s undersea goliath ‘Ulvar!’ and Arthur Adams & Chris Sotomayor hark back to Tales to Astonish #17 to focus on ‘Vandoom’s Monster’ after which one last FF antagonist features as Cliff Chiang reveals ‘The Wrecker’s Robot!’ as seen in Fantastic Four #12.

Wrapping up this astounding alphabet are Dan Brereton’s rendition of ‘Xemnu!’ and Phil Noto’s depiction of ‘The Yeti!’ who battled Kirby’s Black Panther in #5 before Tony Moore & John Rauch hilariously conclude the countdown with alien outlaw ‘Zetora’.

Okay. Maybe a few of those spooky stalwarts might have been from a later era and star in superhero sagas, but the influence and intent was clearly seen throughout and just sets the tone for the Kirby-crafted fearsome fantasy-fest that follow…

The family-friendly monster mash – featuring scripts by Lee and Larry Lieber with Dick Ayers inking – opens with ‘I Learned the Dread Secret of The Blip!’ (Tales to Astonish #15, January 1961) wherein an openminded radar operator attempts to assist a stranded alien energy being. ‘I Dared to Battle the Crawling Creature!’ comes from TtA #22 (August 1961) as a scrawny High School nerd travels into the bowels of the Earth to face a primitive predator, whilst an aging electronicist creates and eventually counters would-be computerised conqueror ‘Elektro! He Held the World in his Iron Grip!’ (Tales of Suspense #19, January 1961).

The hideous Hypno-Creature harried a very human hero in extra-dimensional invasion epic ‘I Entered the Dimension of Doom!’ (ToS #23, November 1961) whilst facing hulking atomic victim ‘Kraa the Unhuman!’ (ToS #18, June 1961) proves the making of a timid American teacher…

A sunken stone head on a Pacific Island proved to be big trouble when explorers awakened ancient alien invaders in ‘Here Comes… Thorr the Unbelievable’ (Tales to Astonish #16, February 1961) and the origins of Defenders villain Xemnu the Titan are exposed in ‘I Was a Slave of the Living Hulk!’ (Journey into Mystery #62, November 1960) whilst one hapless human proves to be the perfect hideout for extraterrestrial fugitive Zetora in ‘The Martian Who Stole My Body!’, as seen in JiM #57 (March 1960).

Foolish, fabulous, thrill-packed, utterly intoxicating and unforgettable, these are fun-filled tales no puny human could possibly resist.
© 1956-1961, 2017 Marvel Characters Inc. All rights reserved.

The Dangerous Journey


By Tove Jansson, translated by Sophie  Hannah (Drawn & Quarterly/Enfant)
ISBN: 978-1-77046- (HB) eISBN: 978-1-77046-638-8

Win’s Christmas Gift Recommendation: Warm Storytelling for the Darkest Nights… 10/10

Tove Jansson was one of the greatest literary innovators and narrative pioneers of the 20th century: equally inspired in shaping words and making images to create whole worlds of wonder. She was especially expressive with basic components like pen and ink, manipulating slim economical lines and patterns to realise sublime realms of fascination, whilst her dexterity made simple forms into incredibly expressive and potent symbols and as this collection shows, so was her brother…

Tove Marika Jansson was born into an artistic, intellectual and rather bohemian Swedish family in Helsinki, Finland on August 9th 1914. Patriarch Viktor was a sculptor and mother Signe Hammarsten-Jansson a successful illustrator, graphic designer and commercial artist. Tove’s brothers Lars – AKA “Lasse” – and Per Olov became – respectively – an author/, cartoonist and art photographer. The family and its close intellectual, eccentric circle of friends seems to have been cast rather than born, with a witty play or challenging sitcom as the piece they were all destined to inhabit.

After extensive and intensive study (from 1930-1938 at the University College of Arts, Crafts and Design, Stockholm, the Graphic School of the Finnish Academy of Fine Arts and L’Ecole d’Adrien Holy and L’Ecole des Beaux-Arts, Paris), Tove became a successful exhibiting artist through the troubled period of the Second World War. Brilliantly creative across many fields, she published the first fantastic Moomins adventure in 1945. Småtrollen och den stora översvämningen (The Little Trolls and the Great Flood or latterly and more euphoniously The Moomins and the Great Flood) was a whimsical epic of gently inclusive, acceptingly understanding, bohemian misfit trolls and their rather odd friends…

A youthful over-achiever, from 1930-1953 Tove had worked as an illustrator and cartoonist for the Swedish satirical magazine Garm: achieving some measure of notoriety with an infamous political sketch of Hitler in nappies that lampooned the Appeasement policies of European leaders in the build-up to WWII. She was also an in-demand illustrator for many magazines and children’s books, and had started selling comic strips as early as 1929.

Moomintroll was her signature character. Literally.

The lumpy, gently adventurous big-eyed romantic goof began life as a spindly sigil next to her name in her political works. She called him “Snork” and claimed she had designed him in a fit of pique as a child – the ugliest thing a precocious little girl could imagine – as a response to losing an argument with her brother about Immanuel Kant.

The term “Moomin” came from her maternal uncle Einar Hammarsten who attempted to stop her pilfering food when she visited, warning her that a Moomintroll guarded the kitchen, creeping up on trespassers and breathing cold air down their necks. Snork/Moomin filled out, became timidly nicer – if a little clingy and insecure – acting as a placid therapy-tool to counteract the grimness of the post-war world.

The Moomins and the Great Flood didn’t make much of an initial impact but Jansson persisted, probably as much for her own edification as any other reason, and in 1946 second book Kometjakten (Comet in Moominland) was published. Many commentators believe the terrifying tale a skilfully compelling allegory of Nuclear Armageddon. You should read it now… while you still can. When it and third illustrated novel Trollkarlens hatt (1948, Finn Family Moomintroll or sometimes The Happy Moomins) were translated into English in 1952 to great acclaim, it prompted British publishing giant Associated Press to commission a newspaper strip about her seductively sweet and sensibly surreal creations.

Jansson had no misgivings or prejudices about strip cartoons and had already adapted Comet in Moominland for Swedish/Finnish paper Ny Tid. Mumintrollet och jordens undergäng Moomintrolls and the End of the World – was a popular feature so Jansson readily accepted the chance to extend her eclectic family across the world. In 1953, The London Evening News began the first of 21 Moomin strip sagas which promptly captivated readers of all ages. Jansson’s involvement in the cartoon feature ended in 1959, a casualty of its own success and a punishing publication schedule. So great was the strain that towards the end she recruited brother Lars to help. He took over, continuing the feature until its end in 1975.

Liberated from the strip’s pressures, Tove returned to painting, writing and other creative pursuits: generating plays, murals, public art, stage designs, costumes for dramas and ballets, a Moomin opera and 9 more Moomin-related picture-books and novels, as well as 13 books and short-story collections strictly for grown-ups.

Tove Jansson died on June 27th 2001. Her awards are too numerous to mention, but just think: how many artists get their faces on the national currency?

Whenever such a creative force passes on, the greatest tragedy is that there will be no more marvels and masterpieces. Happily, so tirelessly prolific was Tove that her apparently endless bounty left plenty of material for later creators and collaborators to pick over. One such example is this stunning children’s rhyming picture book, part of a series using her characters.

In a wonderfully peaceful place, there’s a girl called Susanna and a cat. Life is pretty idyllic but the brooding human wants action, not contentment…

When she makes an unwise move near the napping moggy, it precipitates a strange event, and a lengthy, laborious trek by many modes of transport through strange lands, supplying all the adventure a girl could ask for. Thankfully, there are some oddly familiar and exceedingly helpful characters heading in the same approximate direction…

Finished in 1970, this metaphysically moody and marvellous allegorical meandering was Jansson’s last picture book for kids, as she graduated to even darker themes addressing mature issues. As a narrative it is utterly compelling, and, for an example of kids’ doggerel, translator Sophie Hannah keeps the rhythm and rationale rolling along with exemplary invention.

Witty, thrilling and disturbingly lovely in dark ways The Dangerous Journey is every youngster’s perfect introduction to sequential narratives, and a beguiling reminder to oldsters why we love them…

Entire contents © Tove Jansson, 1970 Moomin Characters™. Translation © 2010, 2018 Sophie Hannah. All rights reserved.

Ghosts and Ruins


By Ben Catmull (Fantagraphics Books)
ISBN: 978-1-60699-678-2 (HB/Digital edition)

If you know the works of Sidney Sime and Edward Gorey, the horror comics of Bernie Wrightson and Michael Kaluta or simply love to peep through your interlocked fingers at the films of Tim Burton or the creepy backgrounds in Charles Addams’ creations, you’re clearly an aficionado of silly, spooky business and know mordant fantasy plays best when played for laughs.

With that in mind, you might be interested in this macabrely monochrome inconceivably un-famous coffee-table art book from cartoonist Ben Catmull (Monster Parade, Paper Theater). It classily celebrates the stuff of nauseating, stomach-churning terror and sinister, creeping suspense in a series of eerie illustrated plates crafted in scratchboard on Masonite – for extra-spooky darkness!

All that audaciously arcane art is wedded to epigrammatic prose snippets to comprise tantalising skeletons of stories best left untold and consequences safely ajudged as unimaginable…

The engrossing landscape hardback (268 x 222mm but digital views may vary!) combines gloomy gothic imagery with wry & witty updates on uncanny situations in a procession of locations best left well enough alone, commencing with six views of the dank domicile of diabolical ‘Drowned Shelley’ and a single ghastly glimpse of ‘The Buried House’.

A queasy quartet then divulges the doings of the ‘The Disgusting Garden’, after which one sight of ‘The Secluded House’ leads inexorably to a triptych revealing ‘The Woman Outside the Window’

Four frightful frames of ‘Wandering Smoke’ miasmically meander towards ‘The Order of the Shadowy Finger’ – five in full – before giving way to three glimpses of ‘The Lighthouse’; a visit to a domicile all ‘Hair and Earwigs’ and thence to numerous views of the monstrous masterpieces hewn by horrific revenant ‘The Sculptor’

On view is the ‘Labyrinth of Junk’ once concocted by a demonic carpenter, but that is as nothing compared to the sheer terror of ‘The Crawling House’ and the ghastly practises of a ‘Lonely Old Spinster’

Mordantly blending bleak, spectral dread and anxious anticipation with timeless scary scenarios, this terrifying tease – a kind of IKEA Fall Catalogue of the Damned – is a sheer delight no lover of Dark Art could conceivably resist…
© 2013 Ben Catmull. This edition © 2013 Fantagraphics. All rights reserved.