Category: Best of British

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Bunny vs Monkey: Machine Mayhem!


By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-285-4 (Digest HB)

Win’s Christmas Gift Recommendation: Madcap Mega-Meta Magnificence… 10/10

Bunny vs. Monkey has been a staple of The Phoenix since the very first issue in 2012: recounting a madcap vendetta gripping animal arch-enemies set amidst an idyllic arcadia masquerading as more-or-less mundane but critically endangered English woodlands.

Concocted with gleefully gentle mania by cartoonist, comics artist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Flember), his trendsetting, mind-bending yarns have been wisely retooled as graphic albums available in remastered, double-length digest editions such as this one.

All the tail-biting tension and animal argy-bargy began yonks ago after an obnoxious little beast plopped down in the wake of a disastrous British space shot. Crashlanding in Crinkle Woods – scant miles from his launch site – lab animal Monkey believed himself the rightful owner of a strange new world, despite all efforts from reasonable, sensible, genteel, contemplative forest resident Bunny to dissuade him. For all his patience, propriety and good breeding, the laid-back lepine just could not contain the incorrigible idiot ape, who was – and is – a rude, noise-loving, chaos-creating loutish troublemaker…

Problems are exacerbated by the other unconventional Crinkle creatures, particularly a skunk called Skunky who has a mad scientist’s attitude to life and a propensity to build extremely dangerous robots and super-weapons…

Here – with artistic assistance from design deputy Sammy Borras – the war of nerves and mega-ordnances appears to be over. The unruly assortment of odd critters cluttering up the bucolic paradise had finally picked sides and the battles ended. They even seemingly forgot the ever-encroaching Hyoomanz…

Following a double-page pin-up of our odd and ever-expanding cast, this magnificent hardback archive of insanity opens in the traditional manner: divided into seasonal outbursts, and starting slowly with a querulous teaser tale as the cold retreats and Spring begins in ‘D.I.Whyyyy?’

As the animals all gather to help Bunny repair his much-abused house, universal innocents Weenie squirrel and Pig Piggerton are more keen than skilled, with no idea that cheese is not a suitable substitute for wallpaper paste, plaster or cement…

Despite the subsequent collapse, times are good and very peaceful since the anarchic ape went away and Ai acts quickly to keep it that way when Bunny feels nostalgic for the old days. Sadly, somebody’s listening and brings in a ‘Makeshift Monkey!’ – until the real deal returns in ‘The Little Monkey Who Cried…’

It isn’t long before Skunky is back too and everyone’s fleeing for their lives from deadly underground tentacles, but life quickly resumes its old pattern until obsolescence rears its ugly head and cyborg gator Metal Steve is pronounced ‘Out of Warranty’ and left to wither on Skunky’s scrapheap…

Back and still bad, Monkey briefly inflicts himself on Bunny and wrecks the joint again in ‘The Housemate’ after which the mercurial monochrome megamind constructs a replacement for the gone gator and triggers a ‘Robot Rampage’ when infinitely superior mechanoid Metal E.V.E. decides to lay down her law…

Falling foul of another near-lethal prank the silly simian is scientifically resurrected and evolved in ‘Curse of the Monkey’ only to trip on his own incompetence and barely escape a fishy final fate in ‘Toilet Run!’

A close call with humans in ‘Bunny vs Monkey Jellybeans!’ precedes Weenie and Pig going on ‘A Dangerous Voyage’ as pirates, before Monkey endures his own Fantastic Voyage. Skunky is “The Most Brilliant Animal in the Woods” and convinces his erstwhile ally to shrink down and explore the inner cerebellum of brain-battered, bewildered former stuntman Action Beaver in search of ‘The Lost Memory’ of a misplaced ultimate weapon, which is what probably inspires him to make his own after entering a competition and prematurely unleashing his ‘Winning Entry’…

Metal E.V.E. is forming her own plans but they have to wait a bit as she’s ‘Keepin’ Busy’ with some domestic chores in Skunky’s lab, but’s not long until Summer begins and the woods are imperilled by subterranean invasion from new menace ‘Roland T. Mole’…

Hijinks in parallel dimensions herald the arrival of doomsayer ‘Skunky?’ whilst the forgotten stuntman stumbles onto his ancestral homeland in ‘Beaverville’ with catastrophic consequences even as Monkey creates unexpected carnage but precious little terror with super-cute kaiju ‘Rofl Axolotl’ before being painfully reminded how dangerous the woods can be in ‘So Beautiful’…

After a brief and deceptive flirtation with ‘The Dark Arts’ the hairy halfwit returns to science and creates little golden minions, but his ‘Gloobs’ prove too smart for servitude, so he instead embraces high fashion in ‘C’est Chic!’ Utterly uncaring, Weenie and Pig go about their business until a ‘A New Friend’ almost breaks up the partnership. The swiftly-developing relationship of ‘Weenie and Winnie’ seems set to end the good old days but another robotic invasion sets the world to rights in ‘Just Checking’…

A reality-altering beast threatens in ‘Wishful Thinking’ and the entire woods go all French just as aliens invade in ‘L’Honk Honk’ before Monkey and Skunky explore artisanal dining in ‘Eat Up!’ with appalling consequences for their customers, after which Ai and Monkey discover uncanny ‘Night Lights’ in the deep dark woods…

The eventful season concludes as Metal E.V.E. gets ahead by installing some crucial ‘Upgrades’ and inadvertently making contact with an unsuspected predecessor just as Autumn opens with ‘Bumblesnatch’ as the pig and squirrel enjoy some super-powers-inducing chewing gum and Crinkle Woods is catapulted into a different kind of chaos when broached by pet dog ‘Fluffy’…

When ‘The Summoning’ invokes some pretty indifferent forest gods, Skunky lodges with over-accommodating Bunny who is soon sucked into unwanted adventure ‘Down Below’ and unearths E.V.E.’s brave new world and hopeless old ally as Metal Steve runs amok with nano-bots and spawns the unlikely armageddon beast ‘Pig-Kira!’

Once that menace vanishes into vapour, the mostly organic animals unite and formulate ‘Some Kind of Plan’ to fight E.V.E. – except ‘Nurse Monkey’ who’s keen to explore other lifestyles – until reenlisting in ‘Roll Up! Roll Up!’ with a barmy spinning machine which has no chance of easing their plight but will probably end their lives before she does…

The crusade pauses for Weenie’s birthday and the hunt for ‘The Best Present in the World’ but starts again when E.V.E. crashes the party with ‘Something to Say’ about the “rise of the machines” and end of all flesh…

Skunky’s obvious response is another monster, but giant mecha-hedgehog ‘Thunderball!’ is easily overcome, and as so-distractable Monkey goes wild among the fallen leaves in ‘Leaf it Alone’, the machine rise begins in ‘Nahhhhh!’ Sadly, Metal E.V.E. makes a big mistake then, spilling Monkey’s drink and kicking the conflict to an unprecedented new level…

Pausing for Weenie, Pig, Ai and Bunny to share some ‘Scary Stories’ around a night time campfire, the crisis enters a new phase when the ghost of local legend Fantastic Le Fox, manifests, even as the manic simian is captured and transformed into E.V.E.’s ‘Metal Monkey’…

Le Fox is ‘An Old Friend’ resolved to help the animals survive, and his strategic advice is welcome, but the turning point comes in ‘Clash of the Robots’ as Metal Monkey and Steve duel, even as their mecha-mistress takes charge, unleashing DNA-altering microbots that put the fleshy freedom fighters to flight in ‘Uh-Oh-Nano!’

Winter sets in and hostilities suddenly cease as all concerned succumb to the temptation of chucking ‘Snowballs’ after which the end gets nigher in a wave of robotic attacks triggered by ‘Metal Mania’. Yet again everything pauses as Christmas gives the heroes a moment to unwrap ‘Presents’ but, drenched in seasonal spirit, ‘An Unlikely Hero’ dares to bring the message of the moment right to the robot queen: unwittingly changing the course of history in the woods, and leaving only some ‘Tidying Up’ to restore everything to what passes for normal in the sylvan glade…

The animal anarchy might have ended for now there’s more secrets to share thanks to detailed instructions on ‘How to Draw Metal Steve’ and ‘How to Draw Metal E.V.E.’ to wind down from all that angsty furore…

The zany zenith of absurdist adventure, Bunny vs Monkey is weird wit, brilliant invention, potent sentiment and superb cartooning all crammed into one eccentrically excellent package. These tails never fail to deliver jubilant joy for grown-ups of every vintage, even those who claim they only get it for their kids. This is the kind of comic parents beg kids to read to them. Shouldn’t that be you?
Text and illustrations © Jamie Smart 2022. All rights reserved.

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Chloe Noonan: Monster Hunter Digital Omnibus


By Mark Ellerby, with additional colours by Adam Cadwell (Great Beast Books)
ISBN: 978-1-78845-285-4 (Digest HB)

When the TV show Buffy the Vampire Slayer debuted, its mix of sassy teen culture, wry humour, scary adventure, soap opera group dynamics and supremely quotable zingers utterly revolutionised popular entertainment – but not as much as the kick-ass star who proved once and for all that girls could be action heroes.

In the wake of the phenomenon, cartoonist Marc Ellerby (Love the Way You Love, Phonogram: The Singles Club, Ellerbisms, Rick and Morty, Regular Show, Doctor Who) deployed the sarcastic whimsical contrariness we Brits are so grievously afflicted with and belatedly devised a wry riposte to the saga of the mystically superpowered American “Chosen One” and her dedicated team of troubleshooters…

Between 2009 and 2014, Ellerby self-published five issues (and a few extra bits) of Chloe Noonan: Monster Hunter – the sublimely daft exploits of a plucky, determined and utterly normal girl who splits her time between going to college and holding back the malign forces of darkness lurking all around us.

In 2012, the majority of these Kitchen Sink/School Daze/Eldritch Exploits were coloured and gathered in a Digital Omnibus. Here you can comfortably enjoy a jolly jump back in time and space to see how the nuts and bolts of saving humanity works with hilarious hits from Chloe Noonan #1-4, Chloe Noonan Halloween Special 2012, Chloe Noonan Christmas Special 2012 and material from Paper Science #5 and Solipsistic Pop #2-3.

The preternatural perils are preceded by ‘Just a quick word! An introduction from the author’ wherein we learn the origins of the feature and how and why it was remastered, before we finally meet the snarky, sarky, brittle “plain Jane” B-lister who’s nobody’s first choice to save the world…

As well as benefitting from added colour, these terror tales have been chronologically adjusted so keep your wits about you as Chapter 1/ Chloe Noonan #1 takes us to a chip shop in Raven Dale where two students are chatting. Chloe is reluctantly revealing she’s in a band to ingenuous hottie Zoe Fox, when the dowdy, meek-seeming redhead gets an urgent call. For reasons she cannot understand, Noonan suddenly breaks protocol – and her oath of secrecy – and invites Zoe to come along as she tackles a rampaging monster. Her duty is onerous, unpaid and voluntary, so they have to take the bus…

It’s a long ride, made truly interminable by having to disabuse her new friend of ridiculous TV-fuelled notions of the job’s glamour, innate magic powers and skill with ancient weaponry, but eventually they locate the beastly Dahgul. It is not willing to come along quietly…

Forced to consult irascible mentor Professor Lemon Barley, the increasingly pissed off Chloe resorts to her favourite solution – nets and really big bombs – but is then stuck babysitting the beast while she plays a gig with the band…

Issue #2 opened with an inconclusive clash against drunken lobster-horror Pinchy, before another tedious day at Raven’s Dale College commences. Watching guys – especially cute but gormless Doug Stonebridge – hitting on Zoe does nothing to lift her mood, especially after her new self-elected BFF blurts out Cloonan’s monster-hunting sideline. More grief about her failures from Barley follows, and the absolute end comes when Pinchy – AKA Skaldjur – invades the college looking for girls, booze and a rematch and sparking a riot. Chloe might be merely human – and not very fit – but the brute has turned up just when she really needed to hit something and gets just what he deserves…

She’s barely regained her composure when the top secret clean-up crew show up, delivering pat disinformation and trying to impress pretty little Zoe…

Chapter 3 comes from Paper Science #5: a brief encounter with band nerds and ice creams, before Chloe Noonan #3 reveals how bandmate Zach pilfers arcane lore from Chloe’s bag and enhances the latest gig by summoning arcane armageddon in the form of an awakened Kraken…

Thankfully, a full-on angry rant seems to be Chloe’s private superpower…

A brace of shorts from Solipsistic Pop #3 and #2 reveals how Chloe & Zoe deal with a gang of monster-seeming Chavs and annoying girl band Pozzy Pops before chapter 7 presents the full-length fun of Chloe Noonan #4 with the “Nooners”, Zoe and Doug spending an unpleasant night clubbing, only to find that even supernal haunts crave a good time, cheap drinks and ear-splitting beats. However, when Chloe tries to lay down the law, she gets an unlikely schooling in monster politics…

Chloe Noonan #3 delivers the next instalment as drunken Doug falls foul of supernatural Chavs (think Devil-Moomins) in a deserted playground, and Zoe drags her “Nooners” out of a well-earned sleep to save his undeserving ass after which ‘Trick or Treat’ (from Chloe Noonan Halloween Special 2012) sees awestruck Zoe dressing up as her hero for a spot of fancy-dress, door-to-door begging on October 31st. Of course, prowling darkened streets with a happier, prettier, sexier version of herself is everything Chloe dreaded it would be, and she’s in no mood to dick about when the real monsters turn up to celebrate “their” special day…

Wrapping up the spooky selection is the Chloe Noonan Christmas Special 2012 with the surly supernaturalist and Professor Barley dutifully and pointlessly hunting an unknown antagonist and enduring ‘A Very Noony Christmas’ whilst everybody else is getting outrageously inebriated at a major college party…

Accompanying the morose mirth is a ‘Cover Gallery’ (fronts and backs!) including a spiffy art print; a selection of ‘Fan Art’ by Will Kirkby, Tom Humberstone, Liz Prince and Luke Pearson and a fulsome (29 pages) and fascinating dip into the author’s ‘Annotated Sketchbook’ as well as a ‘Biography’ of the creator.

Fun, funny, fiercely foolish and fabulously entertaining, this ancient arcane artefact is as fresh and festive as it ever was. Forget the Chosen One and just choose Chloe Noonan.
™ & © 2009-2012, 2020 Marc Ellerby. All rights reserved.

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Evil Emperor Penguin: Antics in Antarctica


By Laura Ellen Anderson, with Kate Brown (David Fickling Books)
ISBN: 978-1-78845-282-3 (Digest PB)

Win’s Christmas Gift Recommendation: Outrageous Acts and Brilliant Buffoonery… 8/10

In 2012 Oxford-based family publisher David Fickling Books launched an “old school” weekly comics anthology aimed at girls and boys between 6 and 12. It revelled in reviving the good old days of British picture-story entertainment intent whilst embracing the full force of modernity in its style and content. This comprised comic strips, humour, adventure, quizzes, puzzles and educational material in a joyous parade of cartoon fun and fantasy.

In the years since its premiere, the periodical has gone from strength to strength, its pantheon of superbly engaging strips generating a line of superbly engaging graphic novel compilations, the latest of which is this riotous romp starring a gloriously malign arch-wizard of scientific wickedness to delight all readers with a profound sense of mischief and unbridled imagination…

Conceived and created by illustrator and author Laura Ellen Anderson (Kittens, Snow Babies, My Brother is a Superhero, Amelia Fang!, Rainbow Grey, I Don’t Want…), these are the revived ad remastered exploits of Evil Emperor Penguin!

He lives in a colossal fortress beneath the Antarctic, working tirelessly towards total world domination, assisted by his stylish, erudite administrative lackey Number 8 and cutely fuzzy, passionately loyal Eugene. The latter is an endlessly inventive little abominable snowman clone. EEP had whipped up a batch of 250, but none of the others are quite like Eugene…

The Penguin appointed the hairy, bizarrely inventive tyke his Top Minion, but somehow never managed to instil him with the proper degree of evilness. He is, however, a dab-hand with spaghetti hoops, so it’s not a total loss…

Following a pin-up of the ‘Fridge of Evil’ and an info-packed double-page map of the Evil Underground Headquarters disclosing all you’ll need to know, an assortment of vile vignettes begins with ‘A Stitch in Time’ wherein the cape-draped malcontent megalomaniac unleashes his Evil Emperor-bot of Icy Doom at the annual World Leaders’ Picnic.

Unfortunately, due to a totally typical cock-up with the plans by oafish underlings, the titanic tin-can terror’s ice-laser eyes have somehow been replaced by instant knitting machines…

The next nasty invention doesn’t even get out of the lab before malfunctioning. ‘Have No Fear’ finds a dire device that manifests personal terrors running amok in the lab, unleashing EEP’s domineering mother and sweet Eugene’s incredible, ghastly secret phobia before the inventors can reach the Emergency Self-Destruct Button…

‘Cat-astrophe’ introduces a terrifying rival in the Word Domination stakes who infiltrates the bad bird’s base as a cute and fluffy feline pet for Number 8…

When EEP’s giant spider robot immobilises the entire Earth in its ‘World-Wide-Web’, even Evil Cat is caught off guard, and only Eugene’s incomprehensible preoccupation with shiny, sparkly unicorns prevents total disaster.

The top-hatted, moustachioed, perfidious puss then attempts amnesty in ‘The Truce’ but the fuzzy fiend is, of course, shamming friendship. The floral gift he proffers is actually a deadly animated booby-trap which is only just defeated thanks to Eugene’s inherent ineptitude.

Would-be World Dictators are not a particularly forgiving bunch and when the fuzzy tyke accidentally unleashes the full force of EEP’s Ferocious And Really Terrible machine, ‘The Stinking Truth’ is released in a Nuclear Stench Cloud and prompting the penguin peril to fire his Top Minion. EEP’s loss is Evil Cat’s gain though, and Eugene soon settles in with a Malign Master who really appreciates him.

‘Please Alight for the Domination Station’ finds them quashing the chilly Caped Fiend’s scheme to transform Britain’s seat of government into the Houses of Penguinment (which I’m pretty sure we’d all vote for this week), but a pitched battle between super-science cat and ghastly gadget bird swiftly escalates beneath London streets before Eugene’s cuteness-filled ultimate weapon sadly takes out his new boss by mistake…

As a result of that debacle, the little snowman is briefly evaporated by Evil Cat and ends up floating wistfully over Antarctica as a ‘Head in the Clouds’ even as Evil Emperor Penguin faces his greatest challenge when his little sister Ruth – she prefers “Ruth-less” – pays a visit, sees what big bro is up to and decides that she too is going to rule the world in ‘Sibling Rivalry’…

Things get even worse after Evil Cat interferes, holding Ruth-less hostage until everybody involved has foolishly forgotten that tiny turncoat Eugene is afflicted with niceness and a powerful conscience…

The exploration of  cartoon evil and daft depravity amplifies and intensifies in an epic exploit detailing ‘The Return’ when sweet-natured Eugene’s continual bodges at last force Evil Cat to fire him with extreme prejudice. Hopeless, homeless and homesick, the shaggy savant is on his last legs when he’s adopted by jolly unicorn Keith, who nurses him back to health and flies him to Antarctica just in time for them both to become embroiled in a final fateful clash between Penguin and Cat.

Naturally such devoted do-gooders can only get stuck in and engineer some marvellously magical reconciliation…

More nefarious nonsense unfolds in extended thriller-chiller ‘I Will Crèche You’ wherein EEP’s incredible De-Ageifying “Youth Juice” wreaks the now-customary havoc after insidious rival Evil Cat breaks into the citadel and everybody gets a rejuvenating soaking…

Undaunted, the Penguin of Perfidy attempts to increase his own stature with a growth ray but doesn’t consider that his top menial might wander in and accidentally become ‘Hugene’…

More trouble arrives when the Barmy Bird decides to digitise and upload himself into the global data net via his Super Computer of Evil. Believing supreme power is in his feathered grasp once he becomes ultimate virus ‘X-Treme Evil’, EEP is ambushed in virtual reality by digital demon virus Trojan the Hunk. Luckily, Eugene is a dab paw with computer games and comes to his master’s rescue… sort of…

Back in the physical world once again the Emperor is next subjected to a terrifying surreal assault by feathered scavengers and finds himself ‘Pigeon Holed’…

Everybody loves cute kittens, which is what Evil Cat’s cousin Debra counts on when she uses soppy Eugene to infiltrate the fortress and steal all the Spaghetti Hoops in ‘What’s New Pussycat’. With the team – even Evil Cat – trapped and helpless, they must surrender all pride and dignity and call on jolly unicorn Keith to save them…

Without their favourite food, Christmas seems drab and dreary for the entire ice-bound army but when Eugene finds ‘The One Hoop’ it unleashes a torrent of unexpected emotion to tide the Evil Emperor over, even though it ultimately leads to deprivation mania in ‘A New Hoop’…

Deranged and desperate, EEP is only saved after Eugene and Number 8 track down Debra and steal back the vast cache of spaghetti tins. Good thing too, as she wasn’t planning on eating them but needed them to power her world-destroying machine…

After all that drama, ‘Eugene’s Day Off’ is an unremitting stream of great experiences for the faithful servitor, but for the Penguin Potentate – forced to put up with substandard substitute Neill – a string of catastrophic and painful disasters. Thus, it’s no surprise and a total tragedy when EEP’s top flunky is lost on a melting ’berg after watching the pretty sunset ‘On Thin Ice’…

Happily, the unthinkable occurs as the cape-clad malcontent megalomaniac teams up with scintillating Keith the Unicorn to save Eugene from dire deep sea doom…

‘Pop Goes the Easel’ finds the putrid penguin planning an attack on world leaders through the medium of art, but sadly, turning his victims into paintings proves to be a double-edged sword with unexpected repercussions, especially after Eugene tries to help…

This gag-filled grimoire of bird-based bombast concludes in high style as a sinister scheme to flood the world with scented candles of distilled Ultimate Evil is thwarted once ‘Essence of Eugene’ is added to the wax mixer, resulting in a global outpouring of warm, fuzzy euphoria…

Rocket-paced, hilariously inventive, wickedly arch and utterly determined to be silly when it most counts, this tome of terror also has educational merit as it offers lessons on ‘How to Draw Eugene’. Evil Emperor Penguin: Antics in Antarctica is a captivating cascade of smart, witty funny adventure, which will delight readers of all ages.
Text and illustrations © Laura Ellen Anderson 2022. All rights reserved.

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El Mestizo


By Alan Hebden & Carlos Ezquerra (Rebellion Studios)
ISBN: 978-1-78108-657-5 (HB/Digital edition)

Carlos Sanchez Ezquerra was born in Aragon on November 12th 1947. Growing up in Ibdes, in the Province of Zaragoza, he began his career illustrating war stories and westerns for Spain’s large but poorly-paying indigenous comics industry. In 1973 he got a British agent (Barry Coker: a former sub-editor on Super Detective Library who formed Bardon Press Features with Spanish artist Jorge Macabich): joining a growing army of European and South American illustrators providing content for British weeklies, Specials and Annuals.

Like so many superbly talented newcomers, Ezquerra initially worked on Girls’ Periodicals  – like Valentine and Mirabelle – and more cowboys for Pocket Western Library as well as assorted adventure strips for DC Thomson’s The Wizard. The work proved so regular that the Ezquerras upped sticks and migrated to Croydon…

In 1974, Pat Mills & John Wagner tapped him to work on IPCs new Battle Picture Weekly, where he drew (Gerry Finley-Day’s) Rat Pack, and later, Major Eazy scripted by Alan Hebden. Three years later he was asked to design a new character called Judge Dredd for a proposed science fiction anthology. Due to creative disputes, Carlos left the project and went back to Battle to draw instead a gritty western entitled El Mestizo…

As we all know, Carlos did return to 2000AD, illustrating Dredd, dozens of spin-offs such as Al’s Baby, Strontium Dog (1978), Fiends of the Eastern Front (1980), adaptations of Harry Harrison’s Stainless Steel Rat and key Dredd storylines such as the epic Apocalypse War and Necropolis.

Soon after, Ezquerra was “discovered” by America…

El Mestizo debuted amidst a plethora of British-based war features and didn’t last long – June 4th to September 17th 1977 – with author Alan Hebden giving you his take on why in a concise Introduction before the action begins.

Born in Bristol in 1950, Hebden is a second generation comics scripter, having followed his dad into the profession. The lad began his career writing Commando Picture Library stories for DC Thomson – and he still does – and also contributed to the company’s adventure titles Hornet and Victor.

For Fleetway he co-created Major Eazy, and scripted Rat Pack for Battle; The Angry Planet for Tornado; Comrade Bronski, The Fifth Horseman and The Tower King for Eagle; Holocaust and Mind Wars for Starlord and – for 2000 AD – M.A.C.H. One, Mean Team, Death Planet, Meltdown Man, Future Shocks, amongst many others.

Heavily leaning on Sergio Leone “spaghetti westerns”, the first starkly monochrome Mestizo episode – of 16 – introduces a half-black, half-Mexican bounty-hunting gunfighter who offers his formidable services to both the Union and Confederate sides in the early days of the War between the States.

Proficient with blades, pistols, long guns and a deadly bola, El Mestizo plays both sides while hunting truly evil men, whether they be Southern raiders, rogue Northern marauders, treacherous Indian scouts, army deserters from both sides organised by a crazy, vengeful femme fatale, or even a demented physician seeking to end the war by releasing plague in Washington DC.

Along the way, the mercenary even finds time to pay off a few old scores from his days as a starved and beaten plantation slave…

Sadly, the feature was always a fish out of water and was killed off before it could truly develop, but the artwork is staggeringly powerful and the stories deliver the kind of cathartic punch that never gets old.

This stunning package is another nostalgia-triumph from Battle, collecting a truly seminal experience, and hopefully forging a new, untrodden path for fans of grittily compelling fare and sampling a typically quirky British comics experience.

This gem is one of the most memorable and enjoyable exploits in British comics: acerbic, action-packed and potently rendered: another superb example of what British and European sensibilities do best. Try it and see…
© 1977 & 2018 Rebellion Publishing IP Ltd. All Rights Reserved.

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Je Ne Sais Quoi


By Lucie Arnoux (Jonathan Cape)
ISBN: 978-1-78733-359 8 (HB/Digital edition)

Win’s Christmas Gift Recommendation: Sweet, Smart Reminder of What We Are and Where We’re Going … 9/10

The French have a word for it…

We Brits have an hard-won and insanely-cherished Awkward Relationship with the French. On “our” side, the unending, frequently re-declared war of cultures and attitudes stems from our envy of their scenery, beautiful holiday locations, wonderful food, all those different words (like chic and elan) for style, mature and easy attitudes to sex and even the cheap booze & smokes. It’s all bundled up in a shared history of squabbling with a neighbour.

For us, it’s their arrogant smugness, never knowing when they’re wrong and/or beaten, inconceivable ability to say no to their leaders and rulers, never knowing their place and just plain not being British. Worst of all is they do it all whilst making us look stupid: “indulging” and “tolerating” our antics.

Oh, and sport too. They won’t accept our clear superiority there, either. They don’t even play cricket and have their own name for bowls…

I won’t detail their side, even though it’s probably as justified and well-reasoned. Until this book, there was never any evidence that a Gallic heart could fathom the workings of the English mind…

At least the rivalry is generally good natured these day, but can still somehow be exploited to rile up an unwholesome and frankly embarrassing audience whenever dog-whistle politics are unleashed or if newspapers need a quick boost to prop up our equally despised governments. Of course, theirs are despised at home too, but at least seem to know what they’re doing…

At heart, the entente cordiale is an ambiance we’ve carefully cultivated for more than a millennium, nurturing it like a Home Counties lawn or boutique-brewed artisanal gin, which is why it’s such a splendid moment when national disgraces like me can say “Oi! Look at this”…

The one place where the French constantly and conclusively kick our derrieres is comics. Acknowledged as an art form (officially The Ninth Art, in fact) the medium and industry is supported, understood and appreciated by all: calling forth talented individuals like the ungrateful émigré revealed in this tome: someone who inexplicably loves us here as we are and has made her home among us oiks and heathens for more than a decade now…

Lucie Arnoux is a story-maker based in London, from where she’s been embracing our peculiar uniqueness for over a decade. When not travelling the world, she gratefully returns to her English home, celebrating so many conflicting aspects of us, channelling her mania for drawing and music and art in all forms into comics, teaching, illustrating, book writing, set design, sculpture, knitting and so many more forms of sharable self-expression…

I’ve never met her, but she’s clearly as engaging and personable as she is gifted, and – in this big colourful hardback collection of strips – shares her history, thoughts, dreams and adventures with astounding frankness.

A self-confessed misfit looking to find her place, Arnoux draws beautifully in a clear, expressively welcoming – almost chatty – manner and knows how to quietly sneak up, grab your undivided attention and never let go. In a succession of seditiously disciplined 9-panel grids which act as counterpoint to the free flowing pictorial excursions, the auteur deftly steers us through her self-determined chaotic life.

It’s like a comics take on those wonderful 1990s Alan Bennett character studies Talking Heads, revealing greater truth through apparent conversation, intimate fact and candid self-assessment, except here you can actual see what does and doesn’t happen …and how…

Across these page you’ll learn how the drawing-addicted prodigy grew up in Marseilles in an unconventional family amidst unfriendly school inmates and unsettled environs. How she was a remarkable comics prodigy who began working professionally at the age 14, the same year she first visited Britain and inexplicably fell in love with the place…

Formally learning her craft under a strong editor at Studio Gottferdom, she produced a weekly autobiographical strip for legendary fantasy publication Lanfeust Magazine, studied unhappily in Paris, and eventually migrated to her happy place and spiritual home… London.

You’ll pry no more secrets from me: this is a hugely enjoyable treat that you deserve to experience with no preconceptions or spoilers. So go do that, then buy copies for all your friends…

Je Ne Sais Quoi is a fabulously absorbing jolly with a delightfully forthright companion. Arnoux unstintingly shares her thoughts, feeling and experiences in a manner guaranteed to win over the most jaded companion – especially as she garnishes her slivers of fresh experience with laconic but unguarded observations, glimpsed through the welcoming lens of regional foods, booze, hunts for companionship, festivals attended, artworks made, consumed and enjoyed.

Sharp, funny, disarmingly incisive, heart-warming, uncompromising and utterly beguiling, this moving memoir is a comics experience you’ll want to relive over and again.
© Lucie Arnoux 2022.

Je Ne Sais Quoi will be published on 27th October 2022 and is available for pre-order now.

If, like Lucie, you’re London-based, love to travel and party, there’s a Launch Event scheduled for that day at the wondrous and fascinating Gosh! Comics. For details see Gosh! Comics (goshlondon.com)

There could be wine, there may be cheese, there WILL be Lucie Arnoux, convivial conversation and Signed Copies.

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House of Dolmann


By Tom Tully & Eric Bradbury, with Carlos Cruz & various (Rebellion)
ISBN: 978-1-78618-491-7 (TPB/Digital edition)

Win’s Christmas Gift Recommendation: Weird, Wonderful, So Why Not?… 9/10

Wrapping up a week of Unamerican Superheroes is a classic British confection which might well be the closest we ever got to a Silver Age super-team – even if the members are technically all the same bloke…

Valiant debuted as a “Boys’ Paper” in 1962, as our indigenous periodicals industry struggled to cope with spiralling costs and a sudden mass importation of brash, flashy, full-colour comics from America. A weekly anthology dedicated to adventure features and providing a constantly-changing arena of action, the comic became the company’s most successful title for over a decade: absorbing many less successful titles whilst preserving their top features between its launch on October 6th and eventual amalgamation into new-styled, immensely popular Battle Picture Weekly in 1976. It also generated dozens of extra-sized Summer Specials and 21 Annuals between 1964 and 1985: combining original strips with prose stories; sports, science and general interest features, short humour strips and – increasingly from the 1970s onwards – reformatted reprints from IPC/Fleetway’s copious back catalogue.

In February of 1963 it merged with the company’s previous star vehicle Knockout and, mere months later, became the brand title for a series of fortnightly – later monthly – digest-sized comics volumes. The Valiant Picture Library offered longer stories at the cost of 1 shilling. It ran to 144 issues ending in 1969…

In May 1965, the weekly Valiant increased its price from sixpence to 7d (that was in old money, of course) but also increased the page count from 28 to 40 action and fun-packed pages, and ramped up the innovative anthological entertainment…

British weekly comics in the 1960s and early 1970s were a phantasmagorical playground of bizarre wonders. Truly recognisable heroes appeared in war, western and its gradually declining straight crime serials, whilst the most memorable momentum devolved to a hybrid, bastardized mixture of fantasy, horror and science fiction themes to spawn an evil-crushing pantheon unlike any other…

The Spider, Steel Claw, Thunderbolt, Phantom Viking, Captain Hurricane, Robot Archie, Kelly’s Eye, Cursitor Doom and others utterly tainted the gleaming pristine gene pool of noble superheroism with its bleak and often manic sensibilities. You can thank this stuff for the 1980s “British Invasion” of American comic books and the dystopian weltschmerz that dominated the industry for a decade thereafter, peppering the genre with our sort of misfit, maverick and malcontent misanthrope…

Even early on when we briefly adopted full-blown US style superheroes like Marvelman, Captain Universe, Danger Man and Thunderbolt Jaxon, or late entries Tri-Man, The Leopard from Lime Street, Gadget Man & Gimmick Kid and the wondrous Johnny Future at the height of “Batmania”, Brits could never really take it straight. There was always something daft, anarchic, quirky or just scarily warped in the final result…

Here’s a sublimely perfect example of all that: a seedy solitary inventor with a hidden past who spends his days playing with puppets: an obsessive who can’t help literally putting words into their mouths…

Another stunning salvo of baby boomer nostalgia courtesy of Rebellion’s Treasury of British Comics strand, this first collection of The House of Dolmann gathers the early material from Valiant, spanning October 8th 1966 (issue #208) to May 6th 1967, plus a late entry from Valiant Super Special 1980. The strip itself ran until May 1970, and has resurfaced a few times since then, both in reprint form and new tales…

It also offers an incisive Introduction from modern day comics scribe Simon Furman and begins with a handy character guide in ‘Meet Dolmann’s Dolls (part 1)’ providing a pictorial and text run-down of Astro, Elasto, Giggler, Micro, Mole, Raider and Togo: purpose-built robots designed with amazing specialised abilities. I’m sure I don’t need to remind you that this was the mid-Sixties, so racial depictions like the half-sized sumo wrestler-bot last cited were perpetrated “in fun”, and not fairness or good taste…

House of Dolmann was a curious, inexplicably compelling blend of super-spy and crime-buster strip scripted by the magnificently prolific Glasgow-born Tom Tully. His astoundingly broad output included classic delights like Roy of the Rovers, Heros the Spartan, Dan Dare, Master of the Marsh, Janus Stark, Mytek the Mighty, The Wild Wonders, Nipper, Adam Eterno, The Mind of Wolfie Smith, Johnny Red, Harlem Heroes, Mean Arena, Inferno, The Robo Machines, Football Family Robinson, Buster’s Ghost as well as many of the strips cited above.

His collaborative co-creator here also worked on many of those sagas. The incredibly gripping moody comic art of Eric Bradbury had begun gracing newsagents shelves in 1949 in Knockout. Frequently working with studio mate Mike Western, Bradbury drew strips like Our Ernie, Blossom, Lucky Logan, Buffalo Bill, No Hiding Place, The Black Crow and Biggles. He was an “in-demand” illustrator who worked into the 1990s on landmark strips like The Avenger, Phantom Force 5, Maxwell Hawke, Death Squad, Doomlord, Darkie’s Mob, Hook Jaw, The Sarge, Invasion, Invasion 1984, Rogue Trooper, Future Shocks, Tharg the Mighty and so much more…

From the start, Tully & Bradbury delivered intense, claustrophobic tension-drenched, action-packed episodic adventures, opening with a spectacular kidnapping at the London Opera House.

When Professor Hanson – head of Britain’s atomic missile program – is abducted by jetpack-wearing masked thugs, the police and security services are stumped and the authorities have no recourse but to call in independent contractors International Security. Enigmatic chief Mr. Marshal and his top aide promptly pop over to the East End and The House of Dolmann: a pokey shop owned by a grimy, creepy puppet seller who apparently makes ends meet as a mannequin repairman who also dabbles in second-hand dolls, puppets, animatronics and shop or museum dummies.

However, in the grotty emporium – looking like a blend of junk shop and the parlour set of Steptoe & Son – a brilliant inventor has been clandestinely building an army of automated assistants – if not actual friends – to do his bidding. The IS operatives are greeted by a 3-foot tall articulated sumo automaton who invites them inside. They are as yet unaware that the voice – and appallingly racist accent – in fact belongs to proprietor Eric Dolmann who uncontrollably puts words in the mouths of all his creations… and perhaps divides a series of multiple personalities amongst them all at the same time. Shabby Dolmann’s life is pure subterfuge. (I digress here, but an awful lot of “our” heroes were tattily unkempt: we had “Grunge” down pat decades before the Americans made a profit out of it!)

The bizarre figure is in fact a troubled engineering genius who designs and constructs an army of specialised robots disguised as puppets to act as his shock-troops in his a dark and crazy war against the forces of evil. They are all directly radio-controlled by the inventor, but seem to act with increasing autonomy as the months go by …

Top of his hit list is subversive organisation D.A.R.T. – the Department for Arson, Revolution and Terror – and he eagerly accepts the job of foiling their plans by single-handedly raiding their London secret HQ with small army of super-bots…

The assault is a complete success but in the resultant rout and rescue, D.A.R.T. boss Rafe Garrott gets away from Dolman and his “children”…

Pattern set, what follows is a potent and spectacular parade of peril-packed romps: complete 4-page thrillers alternating with extended sagas wherein the troubled and frankly disturbing puppeteer and an ever-expanding team tackle high-tech kidnappers, rascally protection racketeers, road haulage hijackers, weapons dealers, bullion bandits, museum marauders, blackmailers and a silver-obsessed madman…

In his unceasing war on wickedness, the daring Dolls hunt and confront modern-day river pirates, escaped killer convicts, train robbers and mail van raiders, fur-thieves, mad scientists Dr. Magno and Doctor Volt, a costumed cat-burglar, super-sophisticated safecrackers, deranged arsonist Firebug, cunning counterfeiters in their tricked-out funfair of doom, a brutal biker gang and – repeatedly – the massed minions of arch super-criminal ‘The Hawk’. The half-pint heroes even infiltrate a prison in search of justice…

As the series progressed, additions were made to the synthetic squad – like tactical calculator Egghead – and supplemental gadgets such as a flying Dolmobile and all-terrain Dol-Bike (with sidecar for the fractious, ever-squabbling toy boys), tacitly acknowledging the tropes and trends gripping the world beyond the comic.

A slow backstory develops, hinting at the inventor’s murky past. Eventually his real name – Jonas Luthor – is revealed after his obscuring clown mask falls off in a tussle with a career criminal. The accident belatedly leads to his squalid shop being threatened by a police raid as diabolical plunderer The Gold Miser drives London into a glistering plutocratic panic and it takes all Dolmann’s ingenuity and dexterity to deflect, divert, disinform and save the day…

Ultimately, wild sci fi spy paraphernalia like levitation ray thieves and the tank-driving Commando Raiders inform and dominate the stories, with D.A.R.T.’s resurrection adding layers of fearsome fantasy frenzy. Crucially, the always-unsettling sight of dolls perpetually arguing amongst themselves grows more frenetic, generating moments of apparently genuine animosity within the automatic adventurers …

The weekly stories were always a mix of action, surreal humour and topical bombast, which close here with a rowdy, rousing romp involving saving the Tower of London and the Crown Jewels from fake guards tunnelling under the walls…

One final treat opens the ‘Extras’ section, with the 1980 Valiant Summer Special providing an extended maritime exploit from Tully and Spanish artist Carlos Cruz (AKA Carlos Cruz González, who limned many UK yarns including Sergeant Kirk, The Shrinker’s Revenge, Mighty McGinty, Sergeant Rock – Paratrooper, Dr. Mesmer’s Revenge, Bloodfang, Union Jack Jackson, M.A.S.K., Dan Dare: Pilot of the Future, The Phantom and so forth) detailing how a jaunt to Cornwall leads to the plastic pack scuppering a gang of transatlantic pirates raiding shipping in a submarine…

That’s supplemented by prose thriller ‘Slaves of the Spider’: a tantalising promo and extract by Barrington J. Bayley & Bradbury taken from the forthcoming Mind of Jason Hyde collection and a batch of Creator Biographies…

Brilliantly bizarre, creepily compelling and stuffed to overflowing with zany thrills and chills, The House of Dolmann is inconceivably engrossing and incontrovertibly British to the core: fast-paced, freakily funny and once seen, never forgotten. Buy it for the kids and read it too; this is a glorious book, and you should brace yourself for better yet to come…
© 1966, 1967 & 2022 Rebellion Publishing IP Ltd. All Rights Reserved.

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The Leopard from Lime St. Book Two: the Beast of Selbridge Returns!


By Tom Tully, Mike Western, Eric Bradbury & various (Rebellion Studios)
ISBN: 9-781-78108-678-0 (TPB/Digital edition)

Other than lawyers, most people claim imitation as the sincerest form of flattery. You can make your own mind up on that score when seeking out these quirky and remarkable vintage treats offering a wonderfully downbeat, quintessentially British spin on a very familiar story…

British comics have always enjoyed a strange, extended love affair with what can only be described as “unconventional” (for which feel free to substitute “weird” or “creepy”) heroes. So many stars and putative role models of our serials and strips have been outrageous or just plain “off”: self-righteous voyeurs-vigilantes like Jason Hyde, sinister masterminds in the manner of The Dwarf, self-absorbed outsiders like Robot Archie, arrogant former criminals like The Spider or outright racist supermen such as Captain Hurricane…

Joking aside, British comics were unlike any other kind: having to be seen to be believed and enjoyed – especially if “homaging” such uniquely American fare as costumed crimefighters…

Until the 1980s, UK periodicals employed an anthological model, offering variety of genre, theme and character on a weekly – sometimes fortnightly – basis. Humorous comics like The Beano were leavened by action-heroes like The Q-Bikes or General Jumbo whilst adventure papers like Smash, Lion or Valiant always carried palate-cleansing gagsters like The Cloak, Grimly Feendish, Mowser and other laugh treats.

Buster offered the best of all worlds. Running 1902 issues from May 28th 1960 to 4th January 2000, it delicately balanced drama, mystery, action and comedy, with its earliest days – thanks to absorbing Radio Fun and Film Fun – heavily dosed with celebrity-licensed material starring media mavens like Charlie Drake, Bruce Forsyth and Benny Hill backing up the eponymous cover star billed as “the son of (newspaper strip star) Andy Capp”. The comic became the final resting place of many, many companion papers in its lifetime, including The Big One, Giggle, Jet, Cor!, Monster Fun, Jackpot, School Fun, Nipper, Oink! and Whizzer & Chips, so its cumulative strip content is wide, wild and usually pretty wacky…

At first glance, British comics prior to the advent of 2000AD – and Happy 45th Anniversary to you all, Mighty Tharg! – seem to fall into fairly ironclad categories. Back then, you had genial and/or fantastic preschool fantasy; a large selection of licensed entertainment properties; action; adventure; war; school dramas, sports and straight comedy strands. Closer looks would confirm that there was always a subversive merging, mixing undertone, especially in such antihero series as Dennis the Menace or our rather strained interpretation of superheroes. Just check out The Phantom Viking, Kelly’s Eye or early Steel Claw…

We had dabbled with the classic form in the early Marvel and Batman-influenced 1960s (and slightly before and beyond), but Tri-Man, The Black Sapper, Gadgetman & Gimmick Kid, Johnny Future, Red Star Robinson and Thunderbolt Jaxon remained off-kilter oddities. In the March 27th 1976 edition of Buster everything changed…

Now part of Rebellion Publishing’s line of British Comics Classics, The Leopard from Lime Street originally ran 470 episodes (comprising 50 adventures until May 18th 1985 – and even later as colorized reprints and a wealth of foreign-language and overseas editions). For most of that time it was a barely-legal knock-off of Marvel’s Spider-Man – with hints of DC Thomson’s Billy the Cat – as viewed through a superbly time-stamped English lens of life in a Northern Town. It was also, however, utterly unmissable reading…

This second collected volume – available as an oversized (213 x 276 mm) paperback and digital edition – was released in 2019, gathering Buster and Buster & Monster Fun strips spanning 18th June 1977 to 15th July1978.

What you need to know: in the middle (or maybe north-ish) of England lies Selbridge, where scrawny 13-year-old Billy Farmer was constantly bullied, by kids at school and especially his Uncle Charlie. Billy’s abiding interests were journalism and photography. He started a school newspaper (Farmer’s World) all by himself, probably to compensate for his home life. He lived with loving but frail Aunt Joan and her vicious, indolent, physically abusive partner Charlie Farmer who avoided honest work like the plague but was always ready to deliver a memorable life-lesson with fist, boot or belt…

Billy’s life forever changed when he visited the Jarman Zoological Institute and was accidentally scratched by Sheba, an escaped leopard being treated for an unspecified disease with radioactive chemicals.

In the days before Health and Safety regulations or a culture of litigation, Billy was given a rapid once-over by the boffins in charge and declared fine before being sent home. When Uncle Charlie tried to hit him. the brute was casually chucked into the dustbins and the lad realised he had developed  the strength, speed, stamina and agility of a jungle cat as well as enhanced senses, empathic feelings, a paralysing roar and a predator’s “danger-sense”…

Soon, clad in a modified pantomime costume, Billy prowled Selbridge’s dark streets and low rooftops, incurring the curiosity and animosity of Thaddeus Clegg: editor of local paper The Selbridge Sun whilst ever-more confidant Billy sold exclusive news photos of burglars, crooks and kidnappers the vigilante “leopard man” preyed upon at night. Somehow, the raw kid could also get candid shots of many secluded celebrities no adult journo could get near…

Moreover, the boy’s earnings – grudgingly paid by Clegg – started making life easier for Aunt Joan, whilst the Beast’s constant proximity to Lime Street ensured Charlie kept his outbursts verbal and his drunken fists unclenched…

School remained a nightmare of bullies and almost-exposure of Billy’s secret, but home life improved further once the police identified Billy as an official confidante of the vigilante. They even noted how Charlie was regularly brutalised by the feral fury in defence of his “friend”…

Over months the leopard man caught many criminals, was implicated – and cleared – of arson and theft, was abducted by a crooked circus owner, caught  child abductors, battled a fame-obsessed masked wrestler and thwarted a circus acrobat mimicking the cat’s abilities to frame the Leopard for crimes.

On a school trip to a Safari Park, Billy was reunited with his accidental creator Sheba and his powers seemed to exponentially increase beyond his ability to control them…

The costumed melodramas resume now as hero-struck kids start imitating “Leopardman”, and the Selbridge Sun puts a cash bounty on his head, precipitating a string of minor annoyances. The real crisis comes when Farmer gets home and learns Aunty Joan is seriously ill and needs cash urgently to help pay for an operation. The only solution is for Billy to surrender his alter ego to Clegg…

Uncle Charlie also wants the cash and starts tracking the sneaky kid, hoping Billy will lead him to the cat beast. As the town erupts with opportunistic hopefuls and the cops close in, Billy prepares to end his double life, before Charlie’s interference provides a last-minute chance of escape and a solution to Joan’s dilemma…

The debacle makes an accidental and unwilling media star of Charlie, but Billy finds a way to safely sabotage the abuser’s 15 minutes of fame, leading to being singled out by more shady fairground showmen who initially seek to co-opt the boy. When rebuffed, they attempt to foist an imitation catman on the gullible public…

After the charlatans schedule a battle between leopard man and actual leopards, Billy is forced to intervene, finding himself in action against a huge, deranged, fame-hungry maniac with steel claws. Suffering a rare defeat, he awakes a captive of vile showman Flanagan who now has the scary beast he’s always hungered to exploit in his underground cages…

A glimpse for freedom comes after the fairground staff move their prize, displaying him at the distant Alf Campbell’s Circus. A moment’s distraction leads to Billy’s escape, liberating all the other big cats and briefly turning the tables on the human beasts before leaving them in the hands of a baffled constabulary and turning tail back to Selbridge…

In school, scrawny Billy is still the butt of bigger kids “jokes”, but finds a new if unwelcome ally in classmate Debra Stevens who secretly looks out for him and discovers that he’s not at all who he pretends to be…

When the cat crusader foils a wages van raid, she confronts the masked mystery, prompting a sustained and spectacular campaign of disinformation as Billy seeks to change her mind and stifle her suspicions. The task is made more difficult when reclusive millionaire (remember them?) Henry Hammond also targets the boy. His motives are far less benevolent but after cornering his prey (and Debra) everything spirals out of control when a criminal gang tries to abduct everybody…

As Christmas rolls around and Joan’s operation fund grows, Selbridge is blanketed in snow (remember that?). As Billy romps alone in the winter wonderland he is joined by Sheba who has once again escaped from Windburn Safari Park, but his joy is tempered with terror as he meets her far less friendly fellow fugitive… angry, unreasonable male leopard Raja…

Barely escaping, the boy hero is appalled to find that in intervening hours hordes of gun-toting hunters have converged on the town, eager for a spot of hometown big game fun. Suiting up, Billy is desperate to stop them – especially gun-nut Buck Redford – killing either Raja or beloved pal Sheba…

Their battle of wits and skills takes hunters, hunted and human cat all over the rugged icy landscape with numerous tragic close calls. The increasingly incensed gunman slowly loses all sense and starts menacing people as well as apex predators until a frenzied assault on Windburn finally sees Billy end the bonkers bwana’s campaign of terror…

Despite being shot, Billy’s greatest casualty is his repurposed costume and the New Year sees him searching out a replacement – or at least spare parts for a patch job. Opportunity knocks in the form of a genuine leopard skin in a junk shop, but even after arduous toil to earn the revolting antique remnant his troubles magnify not diminish when Charlie tries to steal the hard-won prize.

Things get completely out of hand and young Farmer physically rebuffs his guardian before secretly donning the modified suit. Suddenly, somehow, his human personality is utterly overwhelmed by savage, primal killer-cat instincts…

On the prowl and seeking brutal release, Billy comes to his senses just as Charlie is mugged. The town is currently swamped with ruthless violent street thieves and the leopard man instantly, instinctively intervenes: almost losing all semblance of humanity before ultimately regaining control and suppressing his newly awakened wild side after giving the muggers – and Charlie – the fright of their lives…

Ever ready to exploit a situation for profit, the vindictive uncle calls the police, blaming the cat vigilante for the rash of thefts. His lies spark a popular explosion of fear as embattled residents of Selbridge organise a protest which quickly degenerates into a riot and rabid mob on a leopard hunt…

Chased across rooftops, masked Billy tracks down the real muggers and falls into a trap laid by criminal mastermind Nipper Nemo. The elderly bandit is not as smart as he thinks, though, and before long the boy has made him and mugger army his latest chew toys…

Trouble of a different nature materialises at school when well-intentioned teacher Mr. Gleeson encourages the budding journalist and makes Farmer the preferred target of psychotic bully Barry Towler. Fighting back, Billy momentarily loses control before calming down, but the real damage is to his printing gear. With his pride and joy seemingly finished, the desperate boy approaches his employer Clegg, who cruelly offers to print the magazine for him if Billy can get a photo of the legendary ghost haunting the derelict Regal Cinema.

The editor thinks it a tremendous joke, but he’s underestimated the mettle of his victim…

Diligently researching, Billy learns the spook is reputedly old projectionist Lurcher Creel, who perished on the night before the fleapit closed for good. Strange visions have been seen ever since, but oddly, new owner Mr. Miller is violently opposed to letting the kid take a peek inside, for reasons which become blindingly obvious and increasingly deadly when the enigmatic leopard man starts sniffing round…

Enthrallingly scripted by British comics superstar Tom Tully (Roy of the Rovers; Heros the Spartan; Janus Stark; Mytek the Mighty; Adam Eterno; Johnny Red; Harlem Heroes and many of the strips cited above) these tales are magnificently illustrated.

Working collaboratively British comics royalty Mike Western (Lucky Logan; No Hiding Place; The Avenger; Biggles; The Wild Wonders; Darkie’s Mob; The Sarge; HMS Nightshade; Jack O’Justice; Billy’s Boots; Roy of the Rovers) shared pencilling and inking with mood master Eric Bradbury (Mytek the Mighty; Maxwell Hawke; Cursitor Doom; Von Hoffman’s Invasion; House of Dolmann; Death Squad; Hook Jaw; Doomlord; Rogue Trooper; Invasion; Mean Arena; Tharg the Mighty and more) to craft a pre-modern masterwork affording a fascinating insight into the slant a different culture can bring to as genre.

The concept of a “real-life” superhero has never been more clearly and cleverly explored than in these low-key tales of the cat kid who survives not supervillains but a hard-knock life…
The Leopard from Lime Street ™ & © 1977, 1978, 2019, Rebellion Publishing Ltd. All Rights Reserved.

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Adam Eterno – A Hero for All Time


By Tom Tully, Tom Kerr, Colin Page, Francisco Solano López, Eric Bradbury Ted Kearon, Rex Archer & various (Rebellion)
ISBN: 978-1-78108-869-2 (TPB/Digital edition)

British comics had a strange and extended love affair with what can only be described as “unconventional” (for which feel free to substitute “creepy”) heroes. So many of the stars and potential role models of our serials and strips were just plain “off”: self-righteous, moody voyeurs-turned vigilantes like Jason Hyde, sinister masterminds like The Dwarf, deranged geniuses like Eric Dolmann, so many reformed criminals like The Spider or just outright racist supermen like Captain Hurricane…

…And don’t get me started on our legion of lethally anarchic comedy icons or that our most successful symbol of justice is the Eagle-bedecked jack-booted poster boy for a fascist state. Perhaps that explains why these days we can’t even imagine or envision what a proper leader looks like and keep on electing clowns, crooks and oblivious privileged simpletons…

All joking aside, British comics are unlike any other kind and simply have to be seen to be believed and enjoyed. One of the most revered stars of the medium has finally begun to be collected in archival editions, and perfectly encapsulates our odd relationship with heroism,  villainy and particularly the murky grey area bridging them…

Until the 1980s, comics in the UK were based on an anthological model, offering variety of genre, theme and character on a weekly – or sometimes fortnightly – basis. Humorous periodicals like The Beano were leavened by thrillers like Billy the Cat or General Jumbo and adventure papers like Lion or Valiant always included gag strips such as The Nutts, Grimly Feendish, Mowser and a wealth of similar quick laugh treats.

Thunder and Jet were amongst the last of this fading model. Fleetway particularly was shifting to themed anthologies like Shoot, Action and Battle, whilst venerable veterans like Lion, Valiant and Buster hung on and stayed fresh by absorbing failing titles. Thunder ran for 22 weeks before merging into Lion & Thunder, bringing with it Black Max, The Steel Commando, The Spooks of Saint Luke’s and Adam Eterno. With Steel Commando, Adam would survive and thrive, as the comic later merged into Valiant & Lion (June 1974) until 1976. He also appeared in numerous Annuals and Specials thereafter.

Eterno was initially devised by Thunder assistant editor Chris Lowder and editor Jack Legrand, with top flight artist Tom Kerr (Monty Carstairs, Rip Kerrigan, Kelly’s Eye, Charlie Peace, Captain Hurricane, Steel Claw, Kraken, Mary-Jo, Tara King/The Avengers, Billy’s Boots) initially designing and visualising the frankly spooky antihero and drawing the first episode.

The feature was scripted by equally adept and astoundingly prolific old hand Tom Tully (Roy of the Rovers, Heros the Spartan, Janus Stark, Dan Dare, The Wild Wonders, Johnny Red, The Leopard from Lime Street) but after he left in 1976 Kerr, Donne Avenell, Scott Goddall and Ted Cowan would write Adam’s later adventures for star turns like Joe Colquhoun, John Catchpole, Eric Bradbury, Page, Carlos Cruz and others to illustrate.

Gathering the debut and all episodes from Thunder (October 17th 1970 – 13th March 1971 plus material from Thunder Annual 1972, 1973 & 1974, the chronal calamities and dark doings are preceded by ‘A Hero in Time’: an editorial reminiscence by artist Colin Page.

Delivered in stark, moody monochome, and further illustrated by Page, Francisco Solano López (and his family studio), Bradbury, Ted Kearon and Rex Archer, these tales are the earliest exploits of the tragic immortal chronal-castaway Adam Eterno who began life as a 16th century apprentice to alchemist Erasmus Hemlock…

When his master perfects an immortality serum, headstrong impatient Adam samples the potion against the sage’s command, precipitating the ancient’s death and a fiery conflagration that destroys the house. The alchemist last act is to curse his disobedient student to live forever and “wander the world through the labyrinths of time”. His only surcease would come from a mortal blow struck by a weapon of solid gold…

The curse is truly effective and as centuries pass, Adam becomes a recluse: his unchanging nature driving him away from superstitious mortals and denying him over and over again simple contact with humanity. He fought in all of Britain’s wars, but combat comradeship always ended when a seemingly fatal blow of wound left him unharmed…

Everything changed and the second part of the alchemist’s curse came true in 1970 when the traumatised, barely sane 421-year-old tramp staggered into a bullion robbery and was shot by the thieves. Realising their victim is invulnerable, the bandits attempt to use him in a raid on the Bank of England, but when that fails, Adam slowly starts to regain his wits – just in time to be struck by the fully-gold-plated limousine of a speeding millionaire…

The impact would be fatal for any other being, but for Adam Eterno it is the beginning of redemption as the shock hurls him into the time stream to land over and again in different eras…

With Page (D-Day Dawson, Paddy Payne) at the helm, his first jaunt lands Adam on a sailing ship in 1770, inadvertently saving seagoers from murderous pirate Barnaby Shark, before joining the buccaneer to steal his solid gold dagger to end his twice-lived life…

When that ploy fails, Adam is whisked away to rematerialize in Texas. The year is 1872 and the gold rush has ended a decade since, but evil still abounds as local cattle baron Bret Logan seeks to drive settlers away. When Adam sides with them, the rancher hires deadly gunslinger The Yellowstone Kid, a killer with guns of gold. It seems like Adam would finally get his wish, but sadly the bullets are simply lead.

And so it goes: Adam comes tantalisingly close on every arrival, seemingly drawn to terror and injustice with each event linked to some sort of potential auric armageddon. In Victorian London he battles masked madman the Flying Footpad as the villains seeks to steal a golden turban; foils contemporary South American dictator and war criminal General Carlos Cabeza despite the threat of another golden dagger and returns to World War I’s Western Front and confronts seemingly indestructible German General Von Gruber and his golden sabre in extended multi-chapter exploits.

Returning to modern days, Eterno joins treasure-hunting divers facing an apparent ghost guarding a sunken galleon: battling brutal thug dubbed Hammerhand (because of his gold prosthesis). Courtesy of the magnificent Solano López (Kelly’s Eye, Janus Stark, Master of the Marsh, Raven on the Wing), a voyage to Dark Ages England to stave off a Viking invasion, segues into Saxon times (by Colin Page) in the wake of the Norman conquest and a small war against wicked golden knight Baron de Gride before a turning point and further facts on the enigmatic wanderer arrives when he land in a 20th century reconstruction of the house where he served and was cursed by Erasmus Hemlock…

Limned by Solano-López, the tale discloses how modern crooks seek to use the house to swindle a rich American until “dissuaded” by the original occupant, who then fetches up in Africa during the Boer War, with Page detailing how he saves English troops from brutal Afrikaans tactical mastermind The Butcher. This time, the weapon to watch is a gold-tipped bullwhip…

Solano López returns for a Roman holiday as Adam saves a gladiator from assassination and becomes embroiled in a plot by wicked Odius Limpus to make himself even more wealthy. Such a shame it’s happening in Pompeii’s arena in August, 79 AD…

This spectacular yarn closed Adam Eterno’s run and indeed the comic Thunder, but this collection holds more gleaming extras in the form of a quintet of tales from Thunder Annuals. The first is from the 1972 edition, rendered by British national treasure Eric Bradbury who depicts a snowy drama in a German town circa 1598, where “the Old Man of Vartzberg” is again terrorising the populace with his sudden manifestations. In situ – prior to becoming lost in time – is English Witchfinder Adam Eterno, on a personal crusade to wipe out alchemists and other mystic dabblers. When he roots out the wizard he is damned by a prophecy to beware a golden sword… but the crisis point only happens in 1943 when British commando Eterno leads a team against Nazi-held Vartzberg…

Next comes a brace of tales from 1973, beginning with an adventure illustrated by Rex Archer. Here, after Merlin seals the Goblin Crown of the Dark Gods in his Golden Tower, Adam is plucked from Limbo to battle a dragon and duped by vile Sir Mordrac into fetching the artefact out again. Thankfully, King Arthur’s mage had made contingency plans…

In accompaniment is a prose tale with spot illustrations from Ted Kearon, wherein Adam saves enslaved Saxons from Vikings and is forced to prove his unkillable nature over and over again.

The following year Solano-López opened proceedings as the Man Who Could Not Die arrived in the Americas just in time to aid privateer captain Francis Drake in his legendary raid on Panama, but only after Adam clears out a host of giant mutated monsters created by a crazed Spanish Don-turned-alchemist.

Bradbury then added two-toned images (red & black) to another prose saga as Adam arrived in London fog in 1896: avoiding the police whilst tracking a murderous “Leaping Terror” with a strong resemblance to a giant bat…

Closing with biographies on the many creatures featured herein and dotted with covers and teaser visuals, Adam Eterno – A Hero Out of Time is potently thrilling and rewarding romp to delight readers who like their protagonists dark and conflicted and their history in bite-sized bursts.
© 1970, 1971, 1972, 1973, & 2021 Rebellion Publishing IP Ltd. All Rights Reserved.

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Rogan Gosh: Star of the East


By Pete Milligan & Brendan McCarthy with Tom Frame (Vertigo/Little, Brown & Co)
ISBN: 978-1-56389-143-4 (Vertigo TPB) 1-85386-253-3 (Little, Brown PB)

It feels like a cop-out and total dereliction of duty, but none the less true that some graphic novels simply defy categorisation and defeat the reviewers’ dark arts: they just have to be read, experienced and judged on a personal basis. We could stop there and it’s over to you…

However, should you require more…

Rogan Gosh is a short serial by Pete (Skin; John Constantine, Hellblazer; Strange Days; The Human Target; Batman; Red Lanterns; Shade, the Changing Man; Enigma; The Extremist; X-Statix; Johnny Nemo, Bad Company) Milligan and Brendan (Dream Gang; Mad Max: Road Fury; Judge Dredd; Spider-Man: Fever; ReBoot; Zaucer of Zilk; Skin; Swimini Purpose; Strange Days; Sometime Stories) McCarthy with notable contributions from letterer/colourist Tom Frame.

It first appeared in short-lived, controversial, cutting edge, experimental British comic magazine Revolver – specifically issues #1-6 spanning July-December of the Fleetway Publication. It was later collected into a graphic album by DC/Vertigo in 1994. I’m pretty sure there was also a Fleetway collection, but if so, it’s nigh impossible to find now, and that was a lifetime ago, so I might be dreaming of another reality…

Like companion/precursor title Crisis, Revolver’s brief was to make comics for people who had outgrown funny picture stories and adults who claimed to have never read them. It was supposed to be political, fashionable, contemporary and contentious, and it succeeded over and over again, in strips like Dare, Purple Days, Happenstance and Kismet, God’s Little Acre, Pinhead Nation and Plug Into Jesus.

For many, the jewel in the crown was a bizarre and beautiful, sardonically surreal saga incorporating English curry houses, karmic renewal and exploration, science fiction iconography, cultural commentary and (in)appropriation, ferociously irreverent satirical comedy, and – apparently – concealed creator autobiography. It referenced Indian philosophy and religions, British colonial history and modern urban street life in an onrushing miasma of visual and ideological concepts that blew the mind and generated outrageous belly laughs. There were loads of guns and rockets and tons of sex too…

Like many Milligan & McCarthy creations the strip is often described as “post-modern psychedelia”, evolving from channelled childhood experiences of two white art school kids who had grown up amidst the burgeoning fallout of the Desi Diaspora. That’s when families from the countries of the Asian sub-continent – specifically Pakistan, Bangladesh and India – migrated to western countries like Britain, bringing new thought, music, fashions, scents and especially food to broaden and enrich an evolving multiculture. There were even comics unlike any we’d ever seen before when cruising the streets of Southall or Brick Lane…

Proud products of such an environment and rising superstars thanks to 2000AD, writer Milligan and co-plotter/illustrator McCarthy had planned to deliver a kind of “Bollywood Blade Runner”, but the story sort of got away from them… as is often the case with passion projects…

I’m feeling truly redundant trying to precis the plot, but for the sake of form, try this…

The universe exists on many levels and at all times. In Raj-era India Rudyard Kipling has shamed himself with a native houseboy and now roams the streets of Lahore, seeking a holy man to save his sanity and reputation by putting him in touch with the fabled Karmanauts.

His quest succeeds and the author is – via drugs and magic and ancient wisdom – elevated to a state where he witnesses a future where laddish London oaf Dean Cripps escapes stroppy girlfriend Mary Jane to go for a curry at the magnificent Star of the East in Stoke Newington.

When Dean feels a frisson of connection with beautiful waiter Raju Dhawan, the energy unleashes time-travelling wonder warrior Rogan Gosh just in time to defend enlightenment and all realities from the clandestine attacks of destructive Kali and her malign vampiric agent the Soma Swami…

It all gets a bit strange after that, what with audacious experimental love, devastation and recreation, Karma Kops, and that pest monkey god Hanuman, but rest assured that by the end, what you presume to be the regulation natural universe is back near where it belongs…

Although the story and events might bewilder, what is beyond question is the astounding art by Brendan McCarthy: utilising a blend of pen, paint and early digital technology to create a lush and vibrant homage to the startlingly bright colours of the subcontinent and plush décor of favourite London curry houses and tapping the wellsprings of a fevered and sublimely seasoned imagination to beguile the eyes. This stuff is just so damn pretty…

Hard to find in its original form, the entire trip is reprinted in 2013 anthology The Best of Milligan & McCarthy beside lots of other great stuff like Freakwave, Paradax! and Skin. The collection (which is on my to-do list…) is also available in digital format so there’s no need to wait.

Your destiny awaits, you only have to choose to embrace it…
™ & © 1990, 1994, 2013 Peter Milligan & Brendan McCarthy. All rights reserved.

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Gentleman Jim


By Raymond Briggs (Jonathan Cape/Drawn & Quarterly)
ISBN: 978-0-22408-524-3 (HB, Jonathan Cape) 978-1-8972-9936-4 (PB, D&Q edition)

Once again a master of comics art has been taken from us, and this time it’s one of the greatest in our medium’s history: a hugely gifted maverick who worked largely outside the established industry, but whose decades of work truly turned sequential graphic narrative into an art form.

Cartoonist, political satirist, philosopher, social commentator and delighter of children of all ages, Raymond Redvers Briggs CBE (18th January 1934 – 9th August 2022) never forgot that kids aren’t fools. Many of his books – ostensibly targeting the young – revel in the target audience’s fascination with all things gross and disgusting and the artist never underestimated an “unformed” mind’s capacity for empathy and understanding. Moreover, unlike so many working in the children’s book industry, he wasn’t afraid to be morose or even sad…

The comic book industry always wilfully neglected and sidelined Briggs’s graphic narratives – which nevertheless reached more hearts and minds than Spider-Man or Dennis the Menace ever will. Briggs’ books remain among the most powerful and important in the entire field.

Deservedly famous works such as Father Christmas, The Snowman, When the Wind Blows, Fungus the Bogeyman, The Bear, Ethel and Earnest, Ug: Boy Genius of the Stone Age and Time for Lights Out are but the tip of an astoundingly impressive, remarkably wide-ranging and quintessentially British iceberg of dry, mordant wit, cheeky sarcasm and poignant fellow-feeling for even the most ghastly and graceless of his unlikely protagonists…

After studying at Wimbledon School of Art, Central and The Slade – and completing a stint of National Service in Catterick – Briggs started working as an illustrator in 1958. He produced dozens of books, ranging from illuminating other creators’ poetry and stories to crafting his own dingily fabulous yarns such as this slyly seditious treatise on self-betterment that first appeared in 1980.

One of his most charmingly bittersweet and contemplative efforts, Gentleman Jim is a mesmerising affectionate portrait of one of life’s always-dreaming no-hoper’s, published just as Thatcherite dogma began to bite and tear into Britain’s already reeling social structures.

Jim Bloggs is a middle-aged bloke who mans a Council-run public toilet or “Gentleman’s Convenience” in Birmingham: diligently and uncomplainingly cleaning and maintaining his subterranean office whilst constantly dreaming of bigger, better, bolder things.

There’s nothing wrong with the job; it’s just that Jim feels he was meant for greater challenges…

At every quiet moment, Jim scans the job section of the newspaper, imagining himself a hero of the Royal Marines or a tail-gunner in a fighter-bomber or an artist or even a doorman in a fancy uniform. It’s never too late…

Jim’s problem is education: he hasn’t any and all these vacant situations want people with “The Levels”… O’s and A’s and whatnot…

At home with his wife Hilda, Jim discusses a change of direction. Inspired by a late film on television, he decides to become a cowboy, maybe even a sheriff. A quick bit of research convinces him that the start-up costs for cowboying are beyond his means and the paperwork would be a nightmare, but after popping into the second-hand bookshop Jim realises that what he really wants to be is a Highwayman…

Even here though, money is a problem. Great black chargers or even plain old valiant steeds cost thousands of pounds. However, when the local Donkey Sanctuary lets him have one of their older ones for free, Jim’s off and running in his new career and living his dream…

Sublimely low key and gentle, the fall into arrant criminality of this ambitious dreamer is a sheer, understated masterpiece of sardonic whimsy to enthral and delight older kids as well as all us adults who never quite made it. Yet…

Raymond Briggs was the human turning point in the evolution of comics from tawdry waste of time to esteemed art form and his books will live forever. If you’re not a fan yet, you inevitably will be …once you start reading them.
© 1980, 2008 Raymond Briggs. All Rights Reserved.