Category: Comedy

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Spirou & Fantasio: The Marsupilami Thieves


By André Franquin,translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-167-9

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

The legendary anthology was launched on April 21st 1938 with this other red-headed lad as the lead of the anthology weekly comic which bears his name to this day.

He began life as a plucky bellboy/lift operator employed by the Moustique Hotel (a reference to publisher’s premier periodical Le Moustique) whose improbable adventures with his pet squirrel Spip eventually evolved into high-flying surreal comedy dramas.

Spirou and his pals have spearheaded the magazine for most of its life, with a phalanx of truly impressive creators carrying on Velter’s work, beginning with his wife Blanche “Davine” Dumoulin who took over the strip when her husband enlisted in 1939.

She was aided by Belgian artist Luc Lafnet until 1943 when Dupuis purchased all rights to the feature, after which comic-strip prodigy Joseph Gillain (“Jijé”) took over.

In 1946 Jijé‘sassistant André Franquin assumed the reins, slowly sidelining the short, gag-like vignettes in favour of longer epic adventure serials, introducing a wide and engaging cast of regulars and eventually creating a phenomenally popular magic animal dubbed Marsupilami to the mix (first seen in Spirou et les héritiers in 1952 and now a spin-off star of screen, plush toy store, console games and albums all his own), crafting increasingly fantastic tales until he resigned in 1969.

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

By the 1980s the series seemed outdated and without direction: three different creative teams alternated on the serial, until it was at last revitalised by Philippe Vandevelde writing as Tome and artist Jean-Richard Geurts best known as Janry, who adapted, referenced and in many ways returned to the beloved Franquin era. Their sterling efforts consequently revived the floundering feature’s fortunes and resulted in fourteen wonderful albums between 1984 and 1998.

As the strip diversified into parallel strands (Spirou’s Childhood/Little Spirou and guest-creator specials A Spirou Story By…) the team on the main vehicle were succeeded by Jean-David Morvan & José-Luis Munuera, and in 2010 Yoann and Vehlmann took over the never-ending procession of amazing adventures…

Cinebook have been publishing Spirou and Fantasio’s exploits since October 2009, concentrating on translating Tome & Janry’s superb pastiche/homages of Franquin, but for this fifth edition (originally entitled Les voleurs du Marsupilami or ‘The Marsupilami Robbers’), they’ve reached back all the way to 1952 and translated the second appearance of the adorable wonder-beast by the great man himself.

On January 3rd 1924, Belgian superstar creator André Franquin was born in Etterbeek. Drawing from an early age the lad began formal art training at École Saint-Luc in 1943. When the war forced the school’s closure a year later, Franquin found animation work at Compagnie Belge d’Animation in Brussels where he met Maurice de Bevere (Lucky Luke creator “Morris”), Pierre Culliford (Peyo, creator of The Smurfs) and Eddy Paape (Valhardi, Luc Orient).

In 1945 all but Culliford signed on with Dupuis, and Franquin began his career as a jobbing cartoonist and illustrator, producing covers for Le Moustique and scouting magazine Plein Jeu.

All during those early days Franquin and Morris were being trained by Jijé who was the main illustrator at Spirou. He turned the youngsters and fellow neophyte Willy Maltaite AKA Will (Tif et Tondu, Isabelle, Le jardin des désirs) into a perfect creative bullpen known as the La bande des quatre or “Gang of Four” who revolutionised Belgian comics with their prolific and engaging “Marcinelle school” style of graphic storytelling.

Jijé handed Franquin all responsibilities for the flagship strip part-way through Spirou et la maison préfabriquée, (Spirou #427, June 20th 1946) and the eager lad ran with it for two decades, enlarging the scope and horizons until it became purely his own.

Almost every week fans would meet startling new characters such as comrade and rival Fantasio and crackpot inventor the Count of Champignac. Along the way Spirou and Fantasio became globe-trotting journalists, continuing their weekly exploits in unbroken four-colour glory.

The heroes travelled to exotic places, uncovering crimes, revealing the fantastic and clashing with a coterie of exotic arch-enemies such as Zorglub and Zantafio as well as one of the first strong female characters in European comics, rival journalist Seccotine (renamed Cellophine in this current English translation).

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

In 1955 a contractual spat with Dupuis saw Franquin sign up with rivals Casterman on Tintin, where he collaborated with René Goscinny and old pal Peyo whilst creating the raucous gag strip Modeste et Pompon.

He soon patched things up with Dupuis and returned to Spirou, subsequently co-creating Gaston Lagaffe in 1957 but was obliged to carry on his Tintin work too…

From 1959, writer Greg and background artist Jidéhem assisted Franquin but by 1969 the artist had reached his Spirou limit and resigned, taking his mystic yellow monkey with him…

His later creations include fantasy series Isabelle,illustration sequence Monsters and bleak adult conceptual series Id̩es Noires,but his greatest creation Рand one he retained all rights to on his departure Рis Marsupilami, which in addition to comics tales has become a star of screen, plush toy store, console and albums.

Franquin, plagued in later life by bouts of depression, passed away on January 5th 1997 but his legacy remains, a vast body of work that reshaped the landscape of European comics.

The Marsupilami Thieves was originally serialised in Spirou #729-761 (collected into an album in 1954); a sequel to previous adventure Spirou et les héritiers in which the valiant lad and his inseparable companion colleague encountered an incredible elastic-tailed anthropoid in the jungles of Palombia and brought the fabulous, affable creature back to civilisation.

Franquin’s follow-up tale – crafted from an idea by fellow cartoonist Jo Almo (Geo Salmon) – sees the triumphant journalists visit the big City Zoo where their latest headline has ended up, only to be stricken with guilt and remorse at the poor creature’s sorry state of incarceration.

Resolving to free the poor thing and return him to his rainforest home, their plan is foiled when the poor thing suddenly dies in its cage. Distraught and suspicious, the boys muscle their way in to see the vet and discover the corpse has gone missing…

Acting quickly Spirou and Fantasio rouse the authorities and the commotion prevents the body thief from escaping. All through the night the keepers and our heroes scour the institution and in the dark of night finally spook the mysterious malefactor from his cosy hiding place…

There follows a spectacular and hilarious midnight chase through the zoo, with the lads harrying a dark figure who must be some kind of athlete past a panoply of angry animals, hindered more than helped by inept keepers…

They almost catch the intruder, but a last burst of furious energy propels the bandit over a back wall, but not before Spirou snatches a paper clue from him…

The precious scrap takes the determined investigators to the flat of Victor Shanks, where his wife Clementine provides further information. Her man is flying off to the city of Magnana for his new job and to deliver a package…

The boys’ frantic chase to the airport is plagued by manic misfortune and they miss Victor by mere moments, but undeterred borrow a neighbour’s car and attempt to follow overland.

This leads to a fractious episode of fisticuffs with striking Customs Officers. After a night in jail, the undeterred duo and the kvetching Spip eventually fetch up in Magnana and the search begins.

A month later they are frustrated and ready to throw in the towel when Spirou literally runs into Clementine Shanks and tracks her to a football stadium where formerly unemployed desperate Victor is now a star of the local soccer team…

Confronting the essentially good-hearted rogue Fantasio and Spirou force the truth from him. In return for his new job Victor drugged and swiped the Marsupilami for ruthless showman The Great Zabaglione as a star attraction for his circus and travelling menagerie…

Determined to see the little creature free, the boys attempt to infiltrate the show but are quickly discovered and forcefully expelled, but after a chance meeting with weird science master Count of Champignac try once more disguised as miraculous magic act Cam and Leon…

This time the ruse works but after a phenomenally outrageous opening performance the brutal Zabaglione rumbles the reporters and things look bleak for the lads and the Marsupilami until guilt-wracked Victor steps in to save the day.

…And once the dust settles the wondrous beast is free, but happily opts to stay with the boys and share their fun-filled, exciting exploits…

Soaked in superb slapstick comedy and with gallons of gags throughout, this exuberant yarn is packed with angst-free action, thrills and spills and also offers an early ecological message and an always-timely moral regarding the humane treatment of animals. There is even a fascinating history and creative overview of the timeless wandering heroes in the back-up feature ‘Spirou & Fantasio’s Stories Last Through Generations’.

The Marsupilami Thieves is the kind of lightly-barbed, comedy-thriller to delight readers who are fed of a marketplace far too full of adults-only carnage, testosterone-fuelled breast-beating, teen-romance monsters or sickly sweet fantasy.

Easily accessible to readers of all ages and drawn with all the beguiling style and seductive but wholesome élan which makes Asterix, Lucky Luke, The Bluecoats and Iznogoud so compelling, this is a true and enduring landmark tale from a long line of superb exploits, certain to be as much a household name as those series – and even that other kid with the white dog…
Original edition © Dupuis, 1954 by Franquin. All rights reserved. English translation 2013 © Cinebook Ltd.

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Usagi Yojimbo book 9: Daisho


By Stan Sakai (Dark Horse Comics)
ISBN: 978-1-56971-259-7

Despite changing publishers a few times the Roaming Rabbit has been in continuous publication since 1987, with more than 30 collections and books to date. He has guest-starred in many other series (most notably Teenage Mutant Ninja Turtles and its TV incarnation) and even almost made it into his own small-screen show.

There are high-end collectibles, art prints, computer games and RPGs, a spin-off sci-fi comics serial and lots of toys. Author Sakai and his creation have won numerous awards both within the Comics community and amongst the greater reading public.

Usagi Yojimbo (which translates as “rabbit bodyguard”) first appeared as an extra in anthropomorphic comedy The Adventures of Nilson Groundthumper and Hermy which premiered in 1984 amongst assorted furry ‘n’ fuzzy folk in Albedo Anthropomorphics #1.

He subsequently graduated to a solo-starring act in Critters, Amazing Heroes, Furrlough and the Munden’s Bar back-up series in Grimjack.

In 1955, when Stan Sakai was two years old, his family moved to Hawaii from Kyoto, Japan. He left the University of Hawaii with a BA in Fine Arts, and pursued further studies at Pasadena’s Art Center College of Design in California.

His early forays into comics were as a letterer – most famously for the inimitable Groo the Wanderer – before his nimble pens and brushes found a way to express his passion for Japanese history, legend and the works of Akira Kurosawa and his peers, after which Sakai transformed a work-in-progress about a human historical hero into one of the most enticing and impressive fantasy sagas of all time.

Its engaging protagonist is a Bushido bunny and it’s still more educational, informative and authentic than any dozen Samurai sagas you can name…

Although the deliriously peripatetic and expansive period epic stars sentient animals and details the life of a wandering Samurai eking out as honourable a living as possible by selling his sword as a Yojimbo (bodyguard-for-hire), the milieu and scenarios all scrupulously mirror the Feudal Edo Period of Japan (roughly the 17th century AD by our Christian reckoning) whilst simultaneously referencing other cultural icons from sources from Zatoichi to Godzilla.

Miyamoto Usagi is brave, noble, industrious, honest, sentimental, gentle, artistic, empathetic, long-suffering and conscientious: a born soldier whose master has been murdered, now devoted to the spiritual tenets of Bushido. He simply cannot turn down any request for help or ignore the slightest evidence of injustice. As such, his destiny is to be perpetually drawn into an unending panorama of incredible situations.

The title was as much a nomad as its star. This guest-star-stuffed eighth monochrome masterpiece marshals yarns released by Mirage Publishing as Usagi Yojimbo volume 2, #7-14, and comes with an Introduction from writer James Robinson, after which the medieval mystery play resumes with ‘The Music of Heaven’ wherein Miyamoto and a wandering flock of tokagé lizards (ubiquitous, omnivorous reptiles that populate the anthropomorphic world, replacing scavenger species like rats, cats and dogs in the fictitious ecosystem) encounter a gentle, pious priest whose life is dedicated to peace, music and enlightenment…

When their paths cross again later, the ronin is almost murdered by a ruthless assassin who has killed and impersonated the holy man Komuso in an attempt to catch Usagi off guard…

Evocative and movingly spiritual, this classic of casual tragedy perfectly displays the vast range of storytelling Sakai can pack into the most innocuous of tales.

More menaces from the wanderer’s past reconnect in ‘The Gambler, The Widow and the Ronin’ as a professional gambler who fleeces villagers with rigged samurai duels plies his shabby trade in just another little hamlet.

Unfortunately this one is home to his last stooge’s wife, and whilst his latest hired killer Kedamono is attempting to take over the business, to make matters worse the long-eared nomad who so deftly dispatched his predecessor Shubo has just strolled into town looking for refreshments…

Again forced into a fight he doesn’t want, Miyamoto makes short work of blustering Kedamono, leaving the smug gambler to safely flee with the entire take. Slurping back celebratory servings of Saké, the villain has no idea that the inn where he relaxes employs a vengeful widow and mother who knows just who really caused her man’s death…

‘Slavers’ then begins a particularly dark journey for the ronin as Usagi stumbles across a boy in chains escaping from a bandit horde. Little Hiro explains how the ragtag rogues of wily “General” Fujii have captured an entire town and are making the inhabitants harvest all their crops for the scum to steal…

Resolved to save them the rabbit infiltrates the captive town as a mercenary seeking work, but is soon exposed and taken prisoner.

‘Slavers Part 2’ finds Miyamoto stoically enduring the General’s tortures until the boy he saved bravely returns the favour, after which the Yojimbo’s vengeance is awesome and terrible.

However even as the villagers rebel and take back their homes and property, chief bandit Fujii escapes, taking Usagi’s daishō (matched long and short swords) with him.

As previously seen, to take a samurai’s swords is to steal his soul, and the monster not only has them but continually dishonours them by slaughtering innocents as he flees the ronin’s relentless pursuit.

‘Daisho – Part One’ opens with a hallowed sword-maker undertaking the holy methodical process of crafting blades and the harder task of selecting the right person to buy them. Three hundred years later, Usagi is on the brink of madness as he follows the bloody trail of Fujii, remorselessly picking off the General’s remaining killers whilst attempting to redeem those sacred dispensers of death…

The chase leads him to another town pillaged by Fujii where he almost refuses to aid a wounded man until one of the women accuses him of being no better than the beast he hunts…

Shocked back to his senses Miyamoto saves the elder’s life and in gratitude the girl Hanako offers to lead him to where Fuji was heading…

‘Mongrels’ then changes tack as erstwhile ally and hard-to-love friend Gennosuké enters the picture. The irascibly bombastic, money-mad bounty-hunter and conniving thief-taker is on the prowl for suitably profitable prospects when he meets the Stray Dog: his greatest rival in the unpopular profession of cop-for-hire.

After some posturing and double-dealing wherein each tries to edge out the other in the hunt for Fujii they inevitably come to blows and are only stopped by the fortuitous intervention of the rabbit ronin…

‘Daisho – Part Two’ sees the rugged individualists come to a shaky truce in their overweening hunger to tackle the General. Mistrustful of each other they nevertheless cut a swathe of destruction through Fujii’s regrouped band, but even after the furious ronin regains his honour swords there is one last betrayal in store…

Older, wiser and generally unharmed, Gen and Usagi then part company again as ‘Runaways’ once more takes a peek into Usagi’s past. Stopping in a town he hasn’t visited in years, the rabbit hears a name called out and his mind goes back to a time when he was a fresh young warrior in the service of Great Lord MifunÄ—.

Young princess Takani Kinuko had been promised as bride to trustworthy ally Lord Hirano and the rabbit had been a last-minute replacement as leader of the “babysitting” escort column to her impending nuptials.

When an overwhelming ambush destroyed the party, Usagi was forced to flee with the stuck-up brat, both masquerading as carefree, unencumbered peasants as he strove to bring her safely to her husband-to-be through a seeming army of ninjas killers.

The poignant reverie concludes in ‘Runaways – Part 2’ as valiant hero and spotless maid fell in love whilst fleeing from the pitiless, unrelenting marauders on their heels. Successful at last, their positions naturally forced them apart once she was safely delivered.

Shaken from his memories the ronin moves on, tragically unaware that he was not the only one recalling those moments and pondering what might have been…

This emotional rollercoaster ends on a note of portentous foreboding with ‘The Nature of the Viper’, opening a year previously when a boisterous, good-hearted fisherman pulled a body out of the river and nursed his amazingly not dead catch slowly back to health. If he expected gratitude or mercy the peasant was sadly mistaken, as the victim explained whilst killing as soon as he was able.

Jei is a veritable devil in mortal form, believing himself a “Blade of the Gods”; singled out by the Lords of Heaven to kill the wicked. The maniac makes a convincing case: when he stalked Usagi the monster was struck by a fortuitous – or possibly divinely sent – lightning bolt and is still keen to continue his quest…

This medieval monochrome masterwork also includes a gallery of covers to charm and delight one and all.

Fast-paced yet lyrical, informative and funny, and always astoundingly action-packed, Usagi Yojimbo alternately bristles with tension and thrills and frequently breaks your heart with irresistible tales of pride, triumph and tragedy.

Simply bursting with veracity and verve, this is a perfect comics experience: monolithic, magical tales of irresistible appeal that will delight devotees and make converts of the most hardened hater of “funny animal” stories.
Text and illustrations © 1994, 1995, 1998 Stan Sakai. All other material and registered characters are © and™ their respective owners. Usagi Yojimbo and all other prominently featured characters are registered trademarks of Stan Sakai. All rights reserved.

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Lobey’s The Wee Boy! – Five Lobey Dosser adventures by Bud Neill


By Bud Neill, compiled by Ranald MacColl (Mainstream Publishing)
ISBN: 1-85158-405-6

Nobody’s ever accused me of being sensitive to the tone of the times, but with all thoughts directed north of the border for so long now, I’ve decided to feature this superbly unique dose of Celtic (more properly Glaswegian) cartoon magic today.

It’s the work of a tragically near-forgotten genius of pen and brush who should rightly be a household name wherever people like to laugh and ponder the absurdity of existence, no matter what flag they fly.

William Neill – forever immortalised as “Bud” – was born in 1911 in Partick just before the family moved to Troon in Ayrshire. He was a typical kid and fell in love with the brash wonder of silent movies – most especially the rambunctious westerns of William S. Hart.

His other great drive was a love of horses, and he could always be found hanging around stables, trading odd jobs for the chance of a few minutes’ riding.

After finishing school the young artistic star won a place at Glasgow School of Art. In the late 1930s Bud briefly emigrated, working in Canada and absorbing the tricks of America’s greatest newspaper cartoonists in their creative heyday.

He served as a gunner during WWII but was invalided out and became a bus driver. These experiences led to his creating a series of pocket cartoons starring the “Caurs & Clippies” of Glasgow’s tramcar system.

By 1944 Bud was drawing for the Glasgow Evening Times: sharp, wry observational pieces starring the city and its inhabitants, characterised by a devastating and instantly enchanting use of the iconic rhythms, vernacular and argot everyone shared.

In January 1949 The Evening News began running the uniquely surreal escapades of his greatest creation. Sheriff Lobey Dosser of Calton Creek was a brilliant inspiration: the adventures of a canny wee lawman in a hauntingly typical western town populated exclusively by Scots (from Glasgow’s Calton district, presumably) living an outrageously domestic, hilariously apt inner city life all whilst tricked out in cowboy hats and six-guns…

Delving deep into the venerable, anarchic and often surreal material of music hall and pantomime, Bud crafted a supremely odd, anachronistically familiar, bizarrely inviting world of solecism masquerading as local events. The series transferred to The Sunday Mail in 1956 where it became so popular that previous, complete strip adventures were collected in instant sell-out, one shilling landscape booklets (all incredibly sought after collectors’ items these days).

Neill died in 1970 but his work steadily continued to garner fans and acquire a mythical status, so by the middle of the decade Glasgow artist and sculptor Ranald MacColl began work on a biography.

That in turn led to a series of graphic collections such as this one and eventually belated recognition for Neill and his most memorable creations.

Bud was subsequently celebrated in exhibitions, galleries and, following Glasgow’s becoming European City of Culture in 1990, two separate bronze statues (Lobey, Rank Bajin and noble steed Elfie in Woodlands Road and, in Homecoming Year 2009, The G.I. Bride and her “Wean” at Partick Station), funded by public donations, Strathclyde Passenger Transport and private sponsors.

Hard to find but so worth the effort, Lobey’s The Wee Boy! gathers the contents of five of those shilling collections in a sensibly narrative chronological – not publication or even creation – order and is packed with informative extras such as MacColl’s fascinating historical and atmospheric Introduction and a hilarious Prologue by Bud himself from 1958, before the astonishing origin of the champion of Calton Creek is revealed in ‘Lobey Dosser: His Life Story’.

On a rare quiet day the grizzled sheriff recounts his early life to a jail full of impressionable young’uns…

Once upon a time in auld Glesca a mother had one bairn too many and the precocious tyke, to spare her further hardship, put his possessions in a hanky on a stick and headed off to make his way in the world.

Although only a few months old, he rejected being fostered out to his mean Auntie Mabel and joined a merchant ship under the tyrannical Captain Blackswite, unaware that the big shouty blackguard was a pirate…

After many exciting years at sea Lobey jumped ship and was befriended by cannibals and their erudite chief Hannibal which led to more exploring, meeting monsters and other strange things before encountering a race of Oxbridge-educated white savages and happily acquiring a rare two-legged horse.

El Fideldo was to become his greatest friend and inseparable companion. Together they made their way to Mexico where the wee wanderer discovered an unsuspected talent for upholding the law and keeping the peace. After cleaning out a nest of vicious banditos the restless pair headed north and soon fetched up in Laredo, Texas where a disastrous love affair with Adoda, formidable daughter of wealthy Whisk E. Glorr, led to a clash with rustlers led by scurrilous Watts Koakin…

His heart broken – even though he had cleaned up the range – Dosser and Elfie kept heading west until they reached Arizona and first met future arch-nemesis Rank Bajin selling out the wagon train he was guiding to the local Sioux…

Rescuing the embattled settlers, Lobey decided to stay with the Scots expats as they built a town in the wilderness.  They called it Calton Creek…

Wild, imaginative and with every daily episode loaded with sight gags, striking slapstick, punishing puns, cartoon in-jokes and intoxicating vernacular, each Lobey Dosser tale was a non-stop carnival of graphic mirth and this terrific tome continues in fine fettle with ‘The Mail Robbery’ wherein nefarious Bajin attempts to incite an Indian uprising amongst the Pawnee of Chief Toffy Teeth and leaves the little lawman to die of thirst in the searing deserts. As the scorched sheriff struggles to survive, the naïve citizens are left to adapt to a protective occupation by flash Yankee G.I.s and airmen…

Sardonic and satirically cutting, the yarn also sports one of the best – and daftest – horseback chases in entertainment history…

Romance and mystery abound in ‘The Secret of Hickory Hollow’ as that Bajin scoundrel buys up the mortgage on Vinegar Hill‘s farm and tries to kick out the old coot and his substantial niece Honey Perz. The villain has got wind of a mineral resource on the property that would make a man as wealthy as the Maharaja of Baroda, or perhaps even a regional Deputy Superintendent of the Coal Board…

When Lobey organises the cash needed to pay off the outstanding loan, Bajin reluctantly resorts to the last resort and begins romancing sweet, innocent, hulking Honey…

It all looks bleak for justice until the sheriff befriends an astoundingly good-looking and wholesome uranium prospector named Hart O’Gold who quickly tickles Honey’s fickle fancy…

However nobody – including ghostly guardian Rid Skwerr – is prepared for the soviet spies behind the entire affair to jump in take over and it needs the timely intervention of mystic imp Fairy Nuff to save their accumulated hash before the Dosser can finally expose the viper in the nest…

The local natives are always up to mischief and ‘The Indian War’ kicks off when the railroad tries to lay track through Pawnee Territory just as Chief Rubber Lugs of the Blackfeet Tribe revisits an old and outstanding grudge with Chief Toffy Teeth.

The ineffectual Captain Goodenough arrives with a division of cavalry to safeguard the white citizenry but matters soon worsen, painfully exacerbated when the folk of Calton Creek take advantage of Lobey’s absence (he’s trying to negotiate with both bunches of bellicose braves) to run Rank Bajin out of town and the hooded hoodlum starts freely peddling weapons to both sides…

…And then Bajin kills Lobey and takes over the town.

…And then…

The last yarn in this monochrome tome of tall tales is the most incredible of all as ‘The “Reform” of Rank Bajin’ sees the vile villain scooting around Calton Creek doing good deeds and selling off his astounding arsenal of wicked weapons and cunning contraband. Baffled, perplexed, confused and not sure what’s going on, Lobey asks Boot Hill haunter Rid Skwerr to spy on the no-longer reprehensible Rank and even love-struck Fairy Nuff gets in on the act.

The astounding truth finally emerges: Bajin has a boy who is growing up honest, so he is selling up and returning to the family he deserted in Borstal Bluffs, Iowa to sort the shameful lad out. Knowing the tremendous vacuum his absence will leave in Calton’s exciting landscape, however, he has a recommendation for a locum arch-enemy for his arch-enemy…

Can this possibly all be true or is the beastly Bajin executing his most sinister scheme yet?

Cunningly absurdist, socially aware, humorously harnessed insanity in the manner of Spike Milligan, Michael Bentine and the immortal Goon Show, the adventures of Lobey Dosser are a brilliant example of comic strips perfectly tailored to a specific time, place and audience which magically transcend their origins to become a masterpiece of the art form.

It’s also side-splitting, laugh-out-loud, Irn Bru spit-take hilarious and really needs to be recollected for today’s audiences.

And of course that’s what I really want: a complete reprinting of these sublimely perfect spoofs.

And once you read some so will you…
© Ranald MacColl 1992. All rights reserved.

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David, we’re PREGNANT!


By Lynn Johnston (Meadowbrook Press)
ISBN: 978-0-67176-018-2

I suspect the world’s about to go into Celeb-Baby Meltdown again so here’s how I shamelessly cash in, since we can’t send nippers up chimneys or down mines anymore…

As Shakespeare would have it “the world must be peopled”, but if we must there’s always room for a little sensible advice and preparation, so here’s an old cartoon book to provide a few laughs along with all the useful tips and calming, shared experiences.

Of course it’s all actually just another excuse for me to bemoan the loss of those once-ubiquitous cheap ‘n’ cheerful gag-packed paperbacks which are now all-but-forgotten fossils of a once mighty industry; pushed to extinction by the more palatable-sounding graphic novels and trade paperback collections.

Lynn Johnston (née Ridgway) is a national treasure of Canada where her cartooning and narrative talents first came to the fore. Born in 1947 in Collingwood, she was raised in North Vancouver, attending Vancouver School of Art before beginning her career as an animator.

In 1969 she married and was working as a medical artist at McMaster University when this project began in most unlikely circumstances. As described by Dr. Murray W. Enkin in his Introduction to David, we’re Pregnant!, whilst he was attending her in the early days of her first pregnancy, she was staring up – as you apparently do – at his blank ceiling and offered to draw some cartoons to comfort and entertain her fellow mums-to-be during such necessary but rather discommoding and undignified moments.

The result was a huge success in his surgery and was transferred in 1973 to a petite cartoon book which became a huge global sensation. It spawned two sequels (Hi Mom! Hi Dad! and Do They Ever Grow Up?) and led in 1978 to her being invited by the mighty Universal Press Syndicate to create a family comic strip.

Enticed by a twenty year contract, she began the still-running For Better or For Worse, based on her own family and soon fame, through massive syndication, best-selling books, and popular TV and movies soon came knocking…

She is one of the most gifted and celebrated cartoonists in the business, with awards including a Reuben from the National Cartoonists Society, Pulitzer nominations, a Gemini Award and a basketful of Honorary Degrees and Doctorates. Johnston holds both The Order of Canada and membership in The Order of Manitoba. She has her own star on Canada’s Walk of Fame and was elected in 2008 to The National Cartoon Museum Hall of Fame.

David, we’re Pregnant! is a solid example of a lost art form: mature-themed gag-collections which were the last commercial gasp in a tradition of pictorial entertainments that began with Punch and evolved into a publishing standby of British and American life for nearly a century before fading away to loiter around bargain bins, jumble sales and junk shops…

As much social satire as self-help, this deliciously addictive art-party traces the vicissitudes of trying to get pregnant, the idiocies of first-time-fathers, “helpful” family members who’ve been there, doctors in all their glory and the shock of realising you’re going to be PARENTS…

Also raising alarm and smiles are panels on the then-revolutionary Lamaze classes, the reactions of older kids to a new sibling, pregnancy clothes, finances, food crazes, quitting smoking and the horrors of getting fat…

Through morning sickness, name selection, waiting for the first kick, expectant mothers-in-law and partners who think they’re funny to delivery and those early times of loud noises, bad smells and no sleep, this splendid tome keeps the entertainment quotient at maximum whilst delivering a bunch of trenchant and even useful home truths…

Cartooning has been magnificently served over the centuries by masters of form, line, wash and most importantly smart ideas, repeatedly poking our funny bones, pricking our pomposities, stroking our happy places and feeding our fascinations. This sort of thing used to be bread ‘n’ butter in our game, so why not find a shy, alluring little bookshelf and start filling it with marvellous evergreen material like this…

David, we’re Pregnant! is a superb example of a major artist in fiendishly clever and beguiling form, generating warmth and fun with easy charm and utter aplomb. If you find this book (or indeed any cartoon compilation) give it a try. They’re a dying breed and you really will miss them once they’re gone…
© 1975 Potlatch Publications. All rights reserved.

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Asterix and the Secret Weapon


By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Books)
ISBN: 978-0-75284-716-0

The son of Italian immigrants, Alberto Aleandro Uderzo was born on April 25th 1927, in Fismes, on the Marne. As a child reading Mickey Mouse in Le Pétit Parisien he showed artistic flair from an early age but dreamed of becoming an aircraft mechanic. Albert became a French citizen when he was seven and found employment at 13, apprenticed to the Paris Publishing Society, where he learned design, typography, calligraphy and photo retouching.

When World War II broke out he spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix‘s idyllic village was being mooted, the region was the only choice.

In the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the recovering nation’s burgeoning comics industry.

His first published work, a pastiche of Aesop’s Fables, appeared in Junior and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own masterpiece The Beast is Dead is far too long overdue for a commemorative reissue…).

The tireless Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created the vertical comicstrip ‘Le Crime ne Paie pas’ for France-Soir.

In 1950 he illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the artistic prodigy met Rene Goscinny in 1951. Soon becoming fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or gracious living) for women’s weekly Bonnes Soirée, following which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they resulted in a western starring a “Red Indian” who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955, with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine and in 1957 added Charlier’s Clairette to his portfolio.

The following year, he made his debut in Tintin, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959 Uderzo was a major creative force for the new magazine collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Asterix…

Although the gallant Gaul was a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first hilarious historical romp was collected in an album as Ast̩rix le gaulois in 1961 it became clear that the series would demand most of his time Рespecially since the incredible Goscinny never seemed to require rest or run out of ideas.

By 1967 Asterix occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until 2010 when he retired.

After nearly 15 years as a weekly comic serial subsequently collected into book-length compilations, in 1974 the 21st (Asterix and Caesar’s Gift) was the first to be published as a complete original album before serialisation. Thereafter each new release was an eagerly anticipated, impatiently awaited treat for the strip’s millions of fans…

More than 325 million copies of 35 Asterix books have sold worldwide, making his joint creators France’s best-selling international authors, and now that torch has been passed and new sagas of the indomitable are being created by Jean-Yves Ferri and Didier Conrad…

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut, with twelve animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, naturellement)…

Like all the best stories the narrative premise works on more than one level: read it as an action-packed comedic romp of sneaky and bullying baddies coming a-cropper if you want or as a punfully sly and witty satire for older, wiser heads. We Brits are further blessed by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable little Gaul so very palatable to English tongues.

Many of the intoxicating epics are set in various exotic locales throughout the Ancient World, with the Garrulous Gallic Gentlemen reduced to quizzical tourists and bemused commentators in every fantastic land and corner of the civilisations that proliferated in that fabled era. The rest – more than half of the canon – take place in Uderzo’s beloved Brittany, where, circa 50 B.C., a little hamlet of cantankerous, proudly defiant warriors and their families resisted every effort of the mighty Roman Empire to complete the conquest of Gaul.

The land is divided by the notional conquerors into provinces of Celtica, Aquitania and Amorica, but the very tip of the last just refuses to be pacified…

Whenever the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus the little seaside hamlet was permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls couldn’t care less, daily defying and frustrating the world’s greatest military machine simply by going about their everyday affairs, protected by the miraculous magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny and latterly Uderzo toiled ever onward, crafting further fabulous sagas and building a stunning legacy of graphic excellence and storytelling gold.

The 29th volume was Asterix and the Secret Weapon (originally titled Astérix: La Rose et le Glaive); released in 1991 and Uderzo’s fifth as a solo creator. It began in the boisterous and far from idyllic little hamlet with a multi-generational battle of the sexes in full swing…

The perpetual jockeying for position between males and females comes to a head when Chief’s wife Impedimenta and the village matrons fire the Bard Cacofonix from his role as teacher of the children and bring in a new educator more to their liking.

The Bard Bravura is a woman – and someone who knows how to get things done properly. With the village men reluctant to get involved Cacofonix has no choice but to resign in high dudgeon and go live in the forest…

The situation worsens when the mothers demand a party to welcome their new Bard and Chief Vitalstatistix is bullied into arranging it. At the feast Bravura sings and is discovered to be just slightly less awful than Cacofonix ever was. At least her bellowing doesn’t result in instant thunderstorms…

Meanwhile in Rome Julius Caesar is listening to another bright spark with an idea to defeat and destroy the Gallic Gadflies who won’t admit they are part of his empire. Wily Manlius Claphamomnibus however is convinced he has discovered a fatal chink in the rebels’ indomitable armour…

Bravura is rapidly becoming unwelcome to at least half the village: enflaming the women with her talk of “masculine tyranny”, and aggravating the men by singing every morning before the sun comes up. She even manages to offend easygoing Obelix by refusing to let him bring canine wonder Dogmatix to the kindergarten class he attends every day…

Most shocking of all, the Bard has convinced the women to wear trousers rather than skirts and Impedimenta has taken to being carried around on a shield just like a proper Chief…

With the situation rapidly becoming intolerable, outraged Vitalstatistix orders his top troubleshooter to sort it out but Bravura won’t listen to the diminutive warrior. She thinks Asterix is an adorable little man and bamboozles him into giving her his hut.

… And at sea a band of phenomenally unlucky pirates attack a Roman ship filled with Claphamomnibus’ secret weapons and quickly wish it had been the Gauls who usually thrash and sink them instead of these monsters sending them to the bottom of the sea…

Relations have completely broken down in the village. The Bard’s suggestion that Impedimenta should be chief has resulted in a massive spat and Vitalstatistix too has repaired to the forest for the foreseeable future. It’s not long before every man in town has joined him…

In an effort to calm the seething waters Druid Getafix had organised a referendum to decide who should rule, but whilst all the women naturally voted for Impedimenta, no men except Asterix and Obelix dared to vote for Vitalstatistix. After all, they weren’t married…

When the little warrior confronts Bravura she again belittles him and even suggests that if they get together they could rule the village jointly. Incensed beyond endurance the furious hero slaps her when she kisses him and immediately crumbles in shock and horror.

He has committed the unpardonable sin. The Gaulish Code utterly forbids warriors to harm women or maltreat guests and in his rage he has betrayed his most sacred principles…

He’s still in shock when Getafix defends him at a trial where Bravura even angers the wise old sage to the point that he also storms off to join Cacofonix and Vitalstatistix…

Before day’s end the entire male contingent – overcome by a wave of masculine solidarity and “Sod This-ery” – is living a life of carefree joy under the stars and Impedimenta is rightly concerned with how they village can be defended without the Druid’s magic potions.

Bravura has an answer to that too: an infallible peace plan to present to the besieging Romans…

Meanwhile on the dock at Aquarium, the Secret Weapons are disembarking to the amusement and – quite quickly – sheer terror and consternation of the weary garrison. From the safety of some bushes Asterix and Obelix watch in astonishment as an army of ferocious women – a female Legion of lethal warriors – take over the running of the fort and prepare for total war….

Extremely worried the spies quickly report back to the men in the trees. The situation is truly dire for no honourable Gaul could possibly fight a woman. Despite the ongoing domestic situation Vitalstatistix decides the women of the village must be warned and despatches the horrified Asterix and still-bewildered Obelix to carry the message.

Worried and nervous at their potential reception the unlikely lads wander into a rather embarrassing fashion show and are greeted with a wave of questions from the women who are missing their men more that they realised…

Bravura arrogantly refuses the offer to provide the women with their own magic potion, confident in her peace plan, but when she meets with Claphamomnibus she is beaten, abused and humiliated by the cocky Roman but finds a sympathetic ear and keen collaborator in Asterix who has a scheme to take vengeance and send the notionally irresistible female furies packing…

It will, of course, mean the men and women of the village working closely together…

Although quite heavy-handed by today’s standards, this is at its core a superb topical lampooning of the endlessly entertaining “Battle of the Sexes”, combining swingeing satire, broad slapstick and surreal comedy in a delicious confection of sexual frisson and eternally evergreen “The Wife…” jokes.

Bravura is one of Uderzo’s most enigmatic caricatures, bearing resemblances to a number of high profile female public figures of the time, including then French Prime Minister Edith Cresson, Belgian tele-journalist Christine Ockrent and even German operatic star Diana Damrau, but the grievances of both male and female combatants are as unchanging and perennial as the characters here who enact and – for a short time at least – embody them…

Stuffed with light-hearted action, good-natured joshing, raucous, bombastic, bellicose hi-jinks and a torrent of punishing puns to astound and bemuse youngsters of all ages, this tale again celebrates the spectacular illustrative ability of Uderzo and proves that the potion-powered paragon of Gallic Pride will never lose its potent punch.
© 1991 Les Editions Albert René, Goscinny/Uderzo. Revised English translations © 1991, 2002 Les Editions Albert René, Goscinny/Uderzo. All rights reserved.

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Usagi Yojimbo book 8: Shades of Death


By Stan Sakai (Dark Horse Comics)
ISBN: 978-1-56971-259-7

Usagi Yojimbo (which translates as “rabbit bodyguard”) first appeared as a background character in anthropomorphic comedy The Adventures of Nilson Groundthumper and Hermy, which premiered in 1984 amongst the assorted furry ‘n’ fuzzy folk in Albedo Anthropomorphics #1. He subsequently graduated to a solo act in Critters, Amazing Heroes, Furrlough and the Munden’s Bar back-up series in Grimjack.

In 1955, when Stan Sakai was two years old, his family moved to Hawaii from Kyoto, Japan. He left the University of Hawaii with a BA in Fine Arts, and pursued further studies at Pasadena’s Art Center College of Design in California.

His early forays into comics were as a letterer – most famously for the inimitable Groo the Wanderer – before his nimble pens and brushes found a way to express his passion for Japanese history, legend and the filmic works of Akira Kurosawa and his peers, and transformed a proposed story about a human historical hero into one of the most enticing and impressive fantasy sagas of all time.

And it’s still more educational, informative and authentic than any dozen Samurai sagas you can name…

Although the deliriously peripatetic and expansive period epic stars sentient animals and details the life of a Lord-less wandering Samurai eking out as honourable a living as possible by selling his sword as a Yojimbo (bodyguard-for-hire), the milieu and scenarios all scrupulously mirror the Feudal Edo Period of Japan (roughly the 17th century AD by our reckoning) whilst simultaneously referencing other cultural icons from sources as varied as Zatoichi and Godzilla.

Miyamoto Usagi is brave, noble, industrious, honest, sentimental, gentle, artistic, empathetic, long-suffering and conscientious: a rabbit devoted to the spiritual tenets of Bushido.  He simply cannot turn down any request for help or ignore the slightest evidence of injustice. As such, his destiny is to be perpetually drawn into an unending panorama of incredible situations.

The title was as much a nomad as its star. This guest-star stuffed eighth monochrome masterpiece marshals yarns released by Mirage Publishing as Usagi Yojimbo volume 2, #1-6, and also offers some short tales from #7-8.

Following an evocative Introduction from legendary illustrator and Dean of dinosauria William Stout, the medieval mystery play continues with the 3-part crossover epic ‘Shades of Green’ wherein Usagi and his crusty companion Gennosuké (an irascibly bombastic, money-mad bounty-hunter and conniving thief-taking rhino with a heart of gold) are recruited by Kakera: a ratty shaman in dire need of protection from the dwindling remnants of the once-mighty Neko Ninja clan.

The former imperial favourites have fallen upon hard times since they and the Ronin Rabbit crushed the Dragon Bellow plot of rebel Lord Takamuro. Now, the bat assassins of the Komori Ninja clan are constantly harrying, harassing and actively trying to replace them in patron Lord Hikiji‘s service…

Chunin (deputy leader) Gunji believes the rodent wizard would make a mighty slave, and is scheming to usurp the new – female – clan chief Chizu whilst acquiring him…

With the Neko’s trap closing around them all, the sensei summons the spirits of four fantastic fighters to aid Usagi and Gen. The phantoms promptly posses a quartet of little Kamé (tortoises) and are reshaped into adolescent amphibian Ninja Turtles, identifying themselves as Leonardo, Raphael, Michelangelo and Donatello.

Usagi has fought beside one of their number before…

The subsequent battles go badly and eventually Gunji’s forces make off with Kakera-sensei. As Usagi leads the remaining heroes in relentless pursuit, the conniving chunin makes his move. Gunji’s attempt to assassinate Chizu is bloodily and efficiently ended by the late-arriving Rabbit Ronin who is astounded to be told by the lady he has saved that the Neko’s lethal interest in him is now at an end…

With the shaman rescued and Gunji dead, the adventure closes with the turtle spirits returned to their own place and time, leaving Gen and Usagi to follow their own (temporarily) separate roads…

‘Jizo’ then offers a delightful interlude as a grieving mother dedicates a roadside shrine to her murdered child and mysterious Karma places the killers in the path of a certain justice-dispensing, long-eared wanderer before 2-part tale ‘Shi’ leads Usagi to the assistance of a valley of poor farmers under constant attack by bullies and brigands seeking to make them leave their impoverished homes.

The thugs are secretly employed by a local magistrate and his ruthless brother who have discovered gold under the peasants land and want to extract it without attracting the attention of the local Lord’s tax collectors.

When the Ronin’s formidable opposition stalls the brothers’ scheme they hire a quartet of assassins whose collective name means “death”, but the killers are far less trouble than the head farmer’s daughter Kimie who has never seen someone as glamorous or attractive as the soft-spoken samurai…

Although there are battles aplenty for Usagi, the remorseless greed of the brothers finishes them before the yojimbo can…

A delightful silent comedy follows as ‘The Lizard’s Tale’ sees the Ronin play unwilling Pied Piper and guardian to a wandering flock of tokagé lizards (ubiquitous, omnivorous reptiles that populate the anthropomorphic world, replacing scavenger species like rats, cats and dogs in the fictitious ecosystem). The rambunctious trouble-magnets then repay the favour when the wanderer is ambushed in the snow-drowned mountains by an army of vengeful bandits…

The remainder of the stories offer elucidating glimpses of the rabbit’s boyhood. Once, Miyamoto Usagi was simply the son of a small-town magistrate sent to spend his formative years learning the Way of Bushido from a gruff and distant leonine hermit named Katsuichi.

The stern sensei taught not just superior technique and tactics, but also an ironclad creed of justice and restraint which would serve the Ronin well throughout his turbulent life.

In ‘Usagi’s Garden’ the pupil rebels against the arduous and undignified task of growing food until the lion delivers a subtle but life changing lesson, whilst in ‘Autumn’ a painful fall propels the lad into a nightmare confrontation with a monster who has trapped the changing of the seasons in a bamboo cage…

The 3-chapter fable ‘Battlefield’ then discloses a key moment and turning point in the trainee warrior’s life.

It begins when a mind-broken, fleeing soldier shatters the boy’s childish dreams of warrior glory. The fugitive is a survivor of the losing side in a mighty battle and his sorry state forces Usagi to rethink his preconceptions of war.

Eager to ram home the lesson, Katsuichi takes his student to the battlefield where peasants and scavengers are busy snatching up whatever they can from the scattered corpses. Usagi is horrified. To take a samurai’s swords is to steal his soul, but even so a little later he cannot stop himself picking up a fallen hero’s Wakizashi (short sword).

However, after concealing the blade in safe place, the boy is haunted by visions of the unquiet corpse and sneaks off to return the stolen steel soul.

He is caught by soldiers who think him a scavenger and looter. About to lose his thieving hands he is only saved by the intervention of victorious Great Lord MifunÄ—.

The noble looks into the boy’s face and sees something honest, honourable and perhaps, one day, useful…

This medieval monochrome masterwork also includes a gallery of covers to charm and delight one and all.

Despite changing publishers a few times the Roaming Rabbit has been in continuous publication since 1987, with more than 30 collections and books to date. He has guest-starred in many other series (most notably Teenage Mutant Ninja Turtles and its TV incarnation) and even almost made it into his own small-screen show.

There are high-end collectibles, art prints, computer games and RPGs, a spin-off sci-fi comics serial and lots of toys. Sakai and his creation have won numerous awards both within the Comics community and amongst the greater reading public.

Fast-paced yet lyrical, informative and funny, the saga alternately bristles with tension and thrills and often breaks your heart with astounding tales of pride and tragedy.

Simply bursting with veracity and verve, Usagi Yojimbo is a perfect comics experience: a monolithic, magical saga of irresistible appeal that will delight devotees and make converts of the most hardened hater of “funny animal” stories.

Sheer comicbook poetry by a sublime Comicbook Sensei…
Text and illustrations © 1993, 1994, 1997 Stan Sakai. All other material and registered characters are © and™ their respective owners. Usagi Yojimbo is a registered trademark of Stan Sakai. All rights reserved.

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Death Sentence


By Montynero & Mike Dowling (Titan Comics)
ISBN: 978-1-78276-008-5

For most of us Sex Sells.

If that’s not you and you’re easily shocked or offended, stop Right Here, Right Now and come back for a less grown up review tomorrow…

As for the salacious, tawdry, vulgar rest of humanity, however, fornication is a force that cannot be resisted and we’re always gagging for it.

One outrageous potential result of that inescapable biological imperative was recently examined and scathingly lampooned in a dark and decadent fable from scripter, artist and games designer Montynero and sublime illustrator Mike Dowling. Death Sentence – after an initial and truncated appearance in Clint Magazine in 2012 – was retooled and completed in a breakthrough 6-issue miniseries which took the comics world by storm when it was released in October 2013.

Now the entire sordid episode has been compiled – along with a scintillating selection of irresistible extras – in a stout and sturdy hardcover collection that promises to be one of the most talked about books of the year…

The author’s own Introduction kicks everything off (and is complemented by another from Rob Williams) before the seductively apocalyptic tale begins with ‘I Wanna Be Adored’ wherein frustrated artist Verity Fette is getting some very distressing news in a Camden doctor’s surgery.

She’s just been diagnosed with G+: a new, universally fatal sexually transmitted disease that has a rather peculiar side-effect.

Although this STI kills in six months, for the length of that time the victim “suffers” from increased vigour, stamina, sex drive and even develops some form of super power…

Over in Primrose Hill, disgraced, shambolic and rapidly fading rock star Daniel Waissel AKA Weasel awakes from another unspecified period of debauched excess and tries to make sense of what his A&R man Russ is saying.

Apparently having G+ might be the only thing to revive his failing career and, if his power is music-related, perhaps he can still get all six of the albums he’s contracted for finished before he joins all the other dead legends going out in a blaze of lucrative glory…

Whilst Verity is quitting her meaningless job, over the river in a South Bank TV studio comedian, media darling, affirmed libertine and G+ carrier David “Monty” Montgomery is charmingly, charismatically, shockingly titillating the nation again; avowing that his final months on Earth won’t alter his pleasure-seeking behaviour or sensuous attitudes…

Later, Weasel’s powers at last manifest when a couple of irate drug dealers turn up, wanting payment for the prodigious amount of pharmaceuticals the creatively blocked musician has consumed, but neither he nor the other two G+ sufferers are aware that a shady government agency is keeping tabs on them.

Unfortunately, when the spooks decide to “acquire” Verity the result is spectacular and very messy…

Determined to keep the populace in the dark, the Department of National Security goes into utter bastard mode: blaming the gory fiasco on fictitious terrorists whilst covertly hunting the terrified ‘Dissolved Girl’ through the seedy streets of London.

Weasel is – as always – an emotional wreck, avoiding decisions – or making rock & roll – via a constant flurry of sex and drugs. His wake-up call comes when he realises his new normal has ended his latest bedmate in a most unsavoury manner…

Monty, however, is completely in control: aware of what he’s doing and not about to let a few interfering coppers get in his way.

Appalled and guilt-ridden, Verity regains consciousness on a remote Scottish island, where a very nice old lady makes her an intriguing offer before inviting the still-frustrated artist into the huge secret base beneath the heather…

‘Royals‘ finds bored and increasingly irresistibly Monty pondering how to top his already prodigious and unsurpassed career of licentious excess before heading off to Buckingham Palace…

North of the border Verity is beguiled by talk of a cure and agrees to let Dr. Lunn train her in the use of her rapidly-expanding abilities whilst on a quiet London street fugitive Weasel sneaks into the bedroom of his son.

Leaving Mickey with his mother might well be only good thing he’s ever done in his whole wasted life…

This sentimental act is a big blunder though, as a flotilla of copters leads a blistering military ambush which, after a spectacular chase, finally leads to the capture of the musical rebel without a clue…

When he arrives on the island, the nice doctors are keen on helping Weasel learn about himself and sexy fellow inmate Verity. They happily provide space, time, tuition, medical grade drugs…

Down South, Monty, having crowned himself King of Britain, is barely able to contain his self-absorbed glee. ‘In the City’ sees him really stretching himself, and after a psionic flexing of his mental muscle, bloodily destroying a division of the army as well as the ruling elite of Britain, he declares London a city free from all laws.

Influenced as much by a sense of wild liberty as Monty’s surging mental influence, the population descends into gory debauchery, prompting the American President and NATO to take matters into their own hand before the seditious super-maniac works himself up into becoming a global threat…

In Scotland Dr. Lunn is helpless to prevent the DNS frantically turning her research subjects into weapons to use against the rogue G+ victim who has turned London into a sex-fuelled charnel house. Their main concern is to end the affair before the full NATO fleet steaming ominously towards Britain takes the matter into their own terrified, remorseless, thermonuclear hands…

‘This Woman’s Work’ ratchets up the tension as Monty increasingly opts for slaughter over sex whilst Verity and Weasel have no choice but to grudgingly accept that they might be the only way to stop him. The crisis then reaches a catastrophic climax in ‘To the End’…but not in a way you’d suspect or be comfortable with…

Each chapter is bolstered by a series of faux news articles and public service features ranging from ‘Pop goes the Weasel’ to a medical advice website page for potential G+ sufferers, and this lewdly lavish hardback tome also includes a fifteen-strong covers-&-variants gallery, a fulsome, informative and frequently hilarious ‘Death Sentence Commentary’ from Montynero and Mike Dowling, and more.

Bold, slick, immensely engrossing and intoxicatingly enjoyable, Death Sentence is a black, uproarious fairytale for adults that blends superhero tropes with outrageous cheek, deliriously shocking situations and in-your-face irreverence, making it one of the most notable and unmissable comics tales of the last half century…

Buy it, read it and spread it around to everyone…

Death Sentence ™ and © 2014 Montynero, Mike Dowling and Titan Comics. All rights reserved.

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Asterix and the Magic Carpet


By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Books)
ISBN: 978-0-75284-776-4

The son of Italian immigrants, Alberto Aleandro Uderzo was born on April 25th 1927, in Fismes, on the Marne. As a child reading Mickey Mouse in Le Pétit Parisien he showed artistic flair from an early age but dreamed of becoming an aircraft mechanic. Albert became a French citizen when he was seven and found employment at 13, apprenticed to the Paris Publishing Society, where he learned design, typography, calligraphy and photo retouching.

When World War II broke out he spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix‘s idyllic village was being mooted, the region was the only choice.

In the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the recovering nation’s burgeoning comics industry.

His first published work, a pastiche of Aesop’s Fables, appeared in Junior and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own masterpiece The Beast is Dead is far too long overdue for a commemorative reissue…).

The tireless Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created the vertical comicstrip ‘Le Crime ne Paie pas’ for France-Soir.

In 1950 he illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the artistic prodigy met Rene Goscinny in 1951. Soon becoming fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or gracious living) for women’s weekly Bonnes Soirée, following which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they produced a western starring a “Red Indian” who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955, with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine and in 1957 added Charlier’s Clairette to his portfolio.

The following year, he made his debut in Tintin, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959 Uderzo was a major creative force for the new magazine collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Asterix…

Although the gallant Gaul was a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first hilarious historical romp was collected in an album as Ast̩rix le gaulois in 1961 it became clear that the series would demand most of his time Рespecially since the incredible Goscinny never seemed to require rest or run out of ideas.

By 1967 Asterix occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until 2010 when he retired.

After nearly 15 years as a weekly comic serial subsequently collected into book-length compilations, in 1974 the 21st (Asterix and Caesar’s Gift) was the first published as a complete original album before serialisation.

Thereafter each new release was a long anticipated, eagerly awaited treat for the strip’s millions of fans…

According to UNESCO’s Index Translationum, Uderzo is the tenth most-often translated French-language author in the world and the third most-translated French language comics author – right after his old mate René Goscinny and the medium’s grand master Hergé.

More than 325 million copies of 35 Asterix books have sold worldwide, making his joint creators France’s best-selling international authors. Now the torch has been passed and new sagas of the indomitable are being created by Jean-Yves Ferri and Didier Conrad…

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut, with twelve animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, naturellement)…

Like all the best stories the narrative premise works on more than one level: read it as an action-packed comedic romp of sneaky and bullying baddies coming a cropper if you want or as a punfully sly and witty satire for older, wiser heads. We Brits are further blessed by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable little Gaul so very palatable to English tongues.

More than half of the canon takes place in Uderzo’s beloved Brittany, where, circa 50 B.C., a little hamlet of cantankerous, proudly defiant warriors and their families resisted every effort of the mighty Roman Empire to complete the conquest of Gaul. The land is divided by the notional conquerors into provinces of Celtica, Aquitania and Amorica, but the very tip of the last just refuses to be pacified…

The remaining epics occur in various locales throughout the Ancient World, with the Garrulous Gallic Gentlemen often quizzical tourists and bemused commentators in every fantastic land and corner of the civilisations that proliferated in that fabled era…

Whenever the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus the little seaside hamlet was permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls couldn’t care less, daily defying and frustrating the world’s greatest military machine simply by going about their everyday affairs, protected by the miraculous magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold.

By the time this edition was released Goscinny had been gone for a decade and Uderzo was slowly but surely finding his own authorial voice…

Asterix and the Magic Carpet (originally and quite ponderously entitled Astérix chez Rahàzade ou Le compte des mille et une heures – which translates as Asterix meets Orinjade or the 1001 Hours Countdown) was released in 1987 and once again saw Asterix and Obelix undertake a long voyage into the unknown: one packed with exotic climes, odd people and bold adventure, all deliciously underpinned by topical lampooning and timeless swingeing satire.

Before the Arabian adventure begins, a delightful in-character portrait of Goscinny and Uderzo as their greatest creations Asterix and Obelix whets the appetite for the fun to come, after which the 28th saga begins with a friendly feast, suddenly ruined twice over by the singing of the Bard Cacofonix.

Firstly there’s the plain fact that he is singing at all, but the real problem is that his newly discovered vocal style summons up storms and creates violent downpours.

The thunderous deluge also brings a surprised visitor to the village. Watziznehm the Fakir was passing by far above on his flying carpet when the tempest tossed him to earth. It was a painful but happy accident since the Indian wise man was on a mission to find some miraculous Gauls and a certified rainmaker…

Soon Asterix, Obelix and canine wonder Dogmatix are heading Due East to save beautiful princess Orinjade from the machinations of Guru Hoodunnit, who wants to sacrifice her to end a terrible drought and seize the reins of power from her father Rajah Watzit. When the flying wizard left it was with a countdown of 1001 hours to doom…

Our heroes are only accompanying the real star of the Fakir’s quest: with a deadline looming to execute the princess, Watziznehm needs to get Cacofonix there in time to sing up a storm – or rather a monsoon…

Travel aboard the flying carpet is swift and comfortable but ever-hungry Obelix is continually holding up proceedings with many pit-stops to refuel his cavernous stomach, whilst the Bard’s practising frequently leads to stormy weather and unnecessary diversions…

After the usual dalliance with pirates, a bird’s eye tour of Rome and a brief voyage on a Greek trading ship, the tourists soar over Athens and get shot at above Tyre before a natural storm sets the carpet alight and they crash-land in Persia.

Despite being in the land of carpets, the travellers are unable to secure a replacement until a band of Scythian raiders attack the village and Asterix and Obelix negotiate a trade deal: hundreds of pummelled plunderers for a freshly unbeatable new rug…

As the heroes plunge ever eastward, in the Valley of the Ganges Hoodunnit and his creepy mystic crony Owzat gloat at their impending takeover, even as poor Orinjade’s stout defiance begins to weaken.

When the Gauls and their Fakir chauffeur arrive with only a day to spare, it all seems over for the ghastly guru, but as the Bard begins his song he discovers that the arduous journey has given him laryngitis.

For the first time ever somebody wants him to sing and he has lost his voice…

With time running out the Rajah’s doctors’ diagnosis seems crazy: immersion in various unwholesome by-products of sacred elephants. Rather than settle for half-measures the Gauls decide to take Cacofonix to the jungle abode of Howdoo the Elephant Trainer and bury him in the curative well away from civilised senses…

This only gives the villains the opportunity they have been waiting for. When Watziznehm and the Gauls go to collect the Bard in the morning, Owzat engages the Fakir in a magical duel. Leaving them to their tricks Asterix and Obelix press on and find that the storm-singer has been kidnapped…

Happily, dashing Dogmatix is on hand to track down the Bard, an especially easy task as he now smells like he sings…

Hoodunnit is mirthfully preparing the stage for Orinjade’s sacrifice when, after the usual Gallic fisticuffs from our heroes, Cacofonix makes his Asian debut and sets everything – including the skies – to rights in the very nick of time…

Stuffed with light-hearted action, good-natured joshing, raucous, bombastic, bellicose hi-jinks and a torrent of punishing puns to astound and bemuse youngsters of all ages, this tale again celebrates the spectacular illustrative ability of Uderzo and proves that the potion-powered paragon of Gallic Pride is in safe and steady hands.

Full of Eastern Promise, this sublime slice of French polish and graphic élan is all you need to make any holiday excursion or comfy staycation unforgettable.

© 1987 Les Editions Albert René, Goscinny/Uderzo. Revised English translations © 1988, 2003 Hachette. All rights reserved.

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Asterix Versus Caesar and The Twelve Tasks of Asterix


By Goscinny and Uderzo, translated by Anthea Bell & Derek Hockridge (Hodder/Dargaud, Hodder and Stoughton, Orion Books)
ISBN: 978-0-34039-772-0 & 978-0-34027-647-1

One of the most-read comics series in the world, the chronicles of Asterix the Gaul have been translated into more than 100 languages; with eight animated and four live-action movies, TV series, assorted toys and games and even a theme park (Parc Astérix, near Paris, naturellement).

More than 325 million copies of the 35 canonical Asterix books have sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

Their diminutive, doughty hero was created in 1959 by two of the art-form’s greatest proponents, René Goscinny & Albert Uderzo; masters of strip narrative then at the peak of their creative powers. Although their perfect partnership ended in 1977 with the death of prolific scripter Goscinny, the creative wonderment continued with Uderzo writing and drawing the feature until his retirement in 2010.

In 2013 a new adventure – Asterix and the Picts – opened a fresh chapter in the annals as Jean-Yves Ferri & Didier Conrad began their much anticipated and dreaded continuation of the franchise.

Like everything good, the core premise works on multiple levels: ostensibly, younger readers enjoy the action-packed, lavishly illustrated comedic romps where conniving, bullying baddies get their just deserts, whilst more worldly readers enthuse over the dry, pun-filled, slyly witty satire, enhanced for English speakers by the brilliantly light touch of translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable Gaul so palatable to the Anglo-Saxon world. (Personally I still thrill to a perfectly delivered punch in the bracket as much as a painfully swingeing string of bad puns and dry cutting jibes…)

Asterix the Gaul is a cunning underdog who resists the iniquities, experiences the absurdities and observes the myriad wonders of Julius Caesar‘s Roman Empire with brains, bravery and a bit of magic potion.

The stories were alternately set on the tip of Uderzo’s beloved Brittany coast, where a small village of redoubtable warriors and their families resisted every effort of the Roman Empire to complete their conquest of Gaul or throughout the expansive Ancient World circa 50BC.

Unable to defeat this last bastion of Gallic insouciance, the mostly victorious invaders resorted to a policy of cautious containment. Thus the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix the Gaul continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold.

René Goscinny was one of the most prolific, and remains one of the most read, writers of comic strips the world has ever seen. Born in Paris in 1926, he was raised in Argentina where his father taught mathematics. From an early age the boy showed artistic promise, and studied fine arts, graduating in 1942.

While working as junior illustrator in an ad agency in 1945 an uncle invited him to stay in America, where he found work as a translator. After his National Service in France Goscinny settled in Brooklyn and pursued an artistic career, becoming in 1948 an art assistant in a little studio which included Harvey Kurtzman, Will Elder, Jack Davis and John Severin as well as a couple of European giants-in-waiting: Maurice de Bévère (“Morris”, with whom he produced Lucky Luke from 1955-1977) and Joseph Gillain (Jijé).

He also met Georges Troisfontaines, head of the World Press Agency, the company that provided comics for the French magazine Spirou.

After contributing scripts to Belles Histoires de l’Oncle Paul and ‘Jerry Spring’ Goscinny was made head of World Press’ Paris office, where he first met his life-long creative partner Albert Uderzo (Jehan Sepoulet, Luc Junior) as well as creating Sylvie and Alain et Christine (with “Martial”- Martial Durand) and Fanfan et Polo (drawn by Dino Attanasio).

In 1955 Goscinny, Uderzo, Charlier and Jean Hébrard formed the independent Édipress/Édifrance syndicate, creating magazines for general industry (Clairon for the factory union and Pistolin for a chocolate factory). With Uderzo he produced Bill Blanchart, Pistolet and Benjamin et Benjamine, whilst himself writing and illustrating Le Capitaine Bibobu.

Goscinny seems to have invented the 9-day week. Under the pen-name Agostini he wrote Le Petit Nicholas (drawn by Jean-Jacques Sempé) and in 1956 began an association with the revolutionary comics magazine Tintin, writing stories for many illustrators including Signor Spagetti (Dino Attanasio), Monsieur Tric (Bob De Moor), Prudence Petitpas (Maréchal), Globule le Martien and Alphonse (both by Tibet), Modeste et Pompon (for André Franquin), Strapontin (Berck) as well as Oumpah-Pah with Uderzo.

He also wrote strips for the magazines Paris-Flirt and Vaillant.

In 1959 Édipress/Édifrance launched Pilote and Goscinny went into overdrive. The first issue starred his and Uderzo’s instant masterpiece Asterix the Gaul, began Jacquot le Mousse and Tromblon et Bottaclou (drawn by Godard) and also re-launched Le Petit Nicolas and Jehan Pistolet/Jehan Soupolet.

When Georges Dargaud bought Pilote in 1960, Goscinny became editor-in-Chief, but still found time to add new series Les Divagations de Monsieur Sait-Tout (Martial), La Potachologie Illustrée (Cabu), Les Dingodossiers (Gotlib) and La Forêt de Chênebeau (Mic Delinx).

He also wrote frequently for television. In his spare time he created a little strip entitled Les Aventures du Calife Haroun el Poussah for Record (first episode January 15th 1962) illustrated by a Swedish-born artist named Jean Tabary. A minor success, it was re-tooled as Iznogoud when it transferred to Pilote.

Goscinny died – probably of well-deserved pride and severe exhaustion – aged 973, in November 1977.

In the post-war rebuilding of France, Albert Uderzo returned to Paris and became a successful artist in the country’s burgeoning comics industry. His first published work, a pastiche of Aesop’s Fables, appeared in Junior, and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own masterpiece The Beast is Dead is long overdue for a new edition…).

The tireless Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created the vertical comicstrip ‘Le Crime ne Paie pas’ for France-Soir. In 1950 he even illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the prodigy met Rene Goscinny in 1951. Soon fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or gracious living) for women’s weekly Bonnes Soirée, after which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they produced a western starring a Red Indian (ah, simpler, if more casually racist, times…) who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955 with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine and in 1957 added Charlier’s Clairette to his portfolio.

The following year later, he made his debut in Tintin, as Oumpah-Pah finally found a home and a rapturous, devoted audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959 Uderzo was a major creative force for the new magazine collaborating with Charlier on Les Aventures de Tanguy et Laverdure and launching with Goscinny a little something called Asterix…

Although Asterix was a massive hit from the start, Uderzo continued working on Tanguy et Laverdure, but soon after the first adventure was collected as Ast̩rix le gaulois in 1961 it became clear that the series would demand most of his time Рespecially as the incredible Goscinny never seemed to require rest or run out of ideas.

By 1967 the strip occupied all Uderzo’s attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until he retired.

That year, after nearly 15 years as a weekly comic strip subsequently collected into compilations, the 21st tale (Asterix and Caesar’s Gift) was the first to be published as a complete original album before being serialised. Thereafter each new release was a long anticipated, eagerly awaited treat for the strip’s millions of fans…

According to UNESCO’s Index Translationum, Uderzo is the tenth most-often translated French-language author in the world and the third most-translated French language comics author – right after his old mate René Goscinny and the grand master Hergé.

As one of the most popular comics on Earth, Asterix has naturally become something of a celluloid star too and, the business being what it is, some of those movie megaliths have been recycled into intriguing – if non-canonical – graphic albums in their own right.

Although technically apart from the accepted legend, those filmic tomes are well worth a look too…

In 1976 The Twelve Tasks of Asterix (originally entitled Les Douze travaux d’Astérix) was the very first theatrical release: an animated feature written, created, Directed and Produced by Goscinny & Uderzo’s own company Studios Idéfix.

Like the albums which inspired it, the tale saw Asterix and Obelix undertake a long voyage into the unknown: one packed with exotic climes, odd people and boldly surreal adventure – although the topical lampooning and satire were subtly dialled back.

More a studio-produced illustrated prose storybook than a comic strip, this “book of the film” naturally introduces our bucolic cast before diving into the rather clever plot wherein the perennially bashed-up Roman Legions surrounding the village of Indomitable Gauls come to the scary conclusion that their devil-may-care foes must be gods…

When the rumours reach the Roman Senate, Julius Caesar is livid. Determined to quell the deadly talk before his power crumbles, he personally travels to the little village and challenges the Gallic resistors. If they can accomplish twelve labours as arduous as those undertaken by Hercules, they will have proved themselves gods and he will give them the entire empire and retire…

Enthralled more by the challenge than the possible outcome, chief Vitalstatistix nominates Asterix and Obelix to travel to Rome and tackles Caesar’s challenge. With diminutive scribe Caius Tiddlus accepted as official referee and recorder, the easy-going competitors set about the cunning list of labours devised by Caesar’s devious Councillors, beginning with ‘Running Faster than Asbestos, Champion of the Olympic Games‘.

Thanks to a sip of magic potion Asterix humiliatingly and hilariously outdistances the racer after which Obelix ‘Throws a Javelin Farther than Verses the Persian’.

Although the sportsman’s best effort lands in faraway undiscovered America (at the feet of Oompah-pah), Obelix’ javelin never lands at all but goes into a very, very low orbit around the Earth…

The third task – ‘Beating Cilindric, the German’ – is far harder to handle. The tiny warrior is a master martial artist who easily lobs Obelix all over the landscape but his stiff-necked formality makes him easy prey for Asterix’ guile…

Task four is to ‘Cross a Lake’ but in the centre is an Isle of Pleasure inhabited by beguiling Sirens where the affable lads are quickly enchanted. They would be there still if the lovely ladies had served Wild Boar instead of just Nectar and Ambrosia…

In short order the Gauls ‘Survive the Hypnotic Gaze of Iris the Egyptian’ and ‘Finish a Meal made by Calorofix the Belgian’, infamous for cooking huge meals for the godly progenitors known as The Titans.

Obelix eagerly tackles the mountain of nosh and breaks the culinary wizard’s spirit by consuming every morsel and innocently asking what the main course is…

The going gets tough and weird when the pair have to ‘Survive the Cave of the Beast’ and then battle bureaucracy gone wild by ‘Finding Permit A38 in “The Place That Sends You Mad”’, thereafter ‘Crossing a Ravine on an Invisible Tightrope, over a River full of Crocodiles’, ‘Climbing a Mountain and Answering the Old Man’s Riddle’ (a task which so impresses the actual gods that Jupiter causes a thunderstorm) before the weary contestants move on to their final task of the day by ‘Spending a Night on the Haunted Plains’.

Tragically for the restless spirits, the Gauls aren’t afraid of Roman soldiers, living or dead…

Next morning Asterix and Obelix awaken outside Caesar’s Palace in Rome and learn that their Twelfth Task is simply to ‘Survive the Circus Maximus’. The emperor is taking no chances however, and has gathered all the other Gaulish villagers to share what he thinks will be their spectacular demise at the hands of his gladiators and the fangs and claws of every savage beast in the city.

It seemed such a perfect plan, but Caesar’s soldiers really should have made sure that Druid Getafix couldn’t whip up some magic potion…

 

Astérix et la surprise de César was an animated feature released in 1985, the fourth film in a burgeoning franchise. The story was cobbled together from elements of the albums Asterix the Legionary and Asterix the Gladiator by Goscinny & Uderzo’s great friend screenwriter Pierre Tchernia.

I’m not sure if the translated Asterix Versus Caesar had a full cinema release in this country, but the book certainly seemed to be everywhere in 1986: a lovely large full colour hardback wedding another peerless prose adaptation to a wealth of stills (and a few fascinating design and models sheets) from the movie into a splendid, rollicking rollercoaster romp…

When Vitalstatistix’ beautiful niece Panacea visits the village, everybody is astonished to find that oafish Obelix is off his food. The colossal simpleton is hopelessly in love with the charming girl, who typically only has eyes for hunky Tragicomix, son of neighbouring chief Dramatix.

The hopeless situation takes a turn for the very worst though when the happy couple are kidnapped by the Romans. After the enraged, potion-powered villagers register their protests in the usual manner, a battered centurion informs them Panacea and Tragicomix have already been shipped to Condatum where the boy will be sent to fight in a Foreign Legion unit.

Hard on their heels Asterix and Obelix (accompanied by noble if diminutive canine wonder Dogmatix) beat, bully and trick their way into the Roman army, following the kidnapped lovers to Arabia as full-fledged legionaries. On arrival they discover that Panacea and Tragicomix have already escaped, been captured by Bedouins and sold to unctuous functionary Caius Flabius Obtus for a proposed ceremonial Triumph for Julius Caesar.

In Rome!

As the separated lovers languish in dank Roman dungeons, Asterix and Obelix hot-foot it for the Eternal City and, after contriving to become slaves, managed to get themselves into Obtus’ Gladiatorial School before their plans suffer a setback when Asterix mislays his flask of magic potion.

With Asterix and Obelix – mostly Obelix – defeating all combative comers at Caesar’s Triumph, everything tensely culminates in a grim showdown at the Colosseum with Tragicomix about to die under the claws of massed lions until valiant Dogmatix dashes into the arena, dragging that gourd of potion…

After literally bringing the house down, the quartet of Gauls confront Caesar, who has no choice but to allow them to return to their own land and a traditional welcome home feast…

Although eschewing the sly pokes and good-natured joshing, famous caricatures and wry commentary, these gentle all-ages tales will easily charm younger readers into the raucous, bombastic, bellicose hi-jinks and fast-paced action which never fails to astound and bemuse fans of those Fantastic French Fellows who always prove that potion-powered Gallic Pride is safe in steady hands whether you’re operating a video remote or merely turning perfect pages…

The Twelve Tasks of Asterix © Dargaud Editeur 1976 Goscinny-Uderzo. English translation © 1978 Hodder and Stoughton Ltd. All rights reserved.
Asterix Versus Caesar © 1985 Editions Albert René, Goscinny & Uderzo. English translation © 1986 Hachette. All rights reserved.

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Buddy Buys a Dump: the Complete Buddy Bradley Stories from “Hate” volume III


By Peter Bagge with Joanne Bagge (Fantagraphics Books)
ISBN: 978-1-60699-745-1

Peter Bagge is best regarded these days as a fiery, cauldron-mouthed, superbly acerbic and well-established award-winning cartoonist, animator and musician, responsible for incredibly addictive, sharply satirical strips examining contemporary American life, through a small but memorable cast of sharply defined characters compellingly reflecting his views.

Born in Peekskill, Westchester County, New York in December 1957, he was one of four kids in a ferociously Catholic military family. Like esteemed colleague Robert Crumb a generation earlier, Bagge escaped that emotionally toxic, fight-filled environment as soon as possible, moving to New York City in the mid-1970s to study at the celebrated School of Visual Arts.

He soon dropped out and began working in the vibrant alternative publishing field, producing strips and panels for Punk Magazine, Screw, High Times, East Village Eye, World War Three and others.

Meeting like-minded artists he began self- and co-publishing comics, and when Crumb saw copies of Comical Funnies (produced with new chum John Holstrom in 1981 and the birthplace of the unsavoury star of this collection), Bagge was offered space in and eventually the Editorship of the seminal commix magazine Weirdo in 1983.

He augmented his 3-year tenure there with various paying gigs at Screw, Swank, Video X, Video Games Magazine, The Rocket, Bad News and elsewhere.

In 1984 Bagge relocated to Seattle, Washington State and began his association with alternative/Independent publisher Fantagraphics. The following year his spectacularly idiosyncratic cartoon magazine Neat Stuff launched as a thrice-yearly vehicle of outrageous personal expression and societal observation.

His stark, manic, topically surreal strips, starring old creations like Studs Kirby, Junior, Girly Girl and quintessential ineffectual rebel Buddy Bradley swiftly turned the cartoonist into a darling of the emerging West Coast Grunge scene, and before too long Neat Stuff and its successor Hate made Bagge a household name… at least in more progressive households…

As the 90’s became the next century, Bagge’s quasi-autobiographical Buddy starred in a succession of titles and strips (collected in Buddy Does Seattle and Buddy Does New Jersey); the cartoon character’s excitable existence mirroring typical life in that chaotic lost decade. In 2001 the author began releasing Hate Annuals wherein, amongst other strident graphic treats, middle-aging Buddy was seen having fully transitioned from angry teen slacker to working dad with a family to support…

This deliciously hilarious and painfully uncompromising full-colour collection gathers those traumatic middle years of Harold “Buddy” William Bradley Jr.– originally seen in Hate Annual #1-9, 2001-2011 – and opens with ‘Are You Nuts?’ as the irascible everyman is almost beguiled by crazy friend and occasional co-worker Jay Spano into buying a dilapidated aquabus and going into the guided-tour business in scenic New Jersey.

Naturally, his certifiably crazy wife Lisa has a few opinions on the matter…

A year later ‘A-Rod Goes to the Moon’ featured the catastrophic day when the Bradley women go for a “Ladies weekend” and leave Buddy in charge of not only his own baby boy, but sister Bab’s maladjusted brood. Soon however with half the kids in the neighbourhood tagging along, Buddy realises the depths of his folly and opts for a tried and true solution to his unwanted responsibilities…

‘The Domestication of Lisa Leavenworth-Bradley’ focuses on the little woman’s obsession with homemaking and search for a way to occupy her dull, dire days which translates to Buddy having to look for a better place for them to dwell, whilst in ‘Buddy Bradley gets a “Real” Job’ the old collectibles shop gets so stale that our hero takes gainful employment as a UPS delivery man.

However the shocking scams and appalling attitudes of his fellow honest workers soon drive him back to the relatively honourable profession of trading in junk, nostalgia and dreams…

‘Fuddy Duddy Buddy’ saw a drastic change in the visual aspect of the family man as, after a medical scare, he shaved his head, began sporting an eye-patch and took to wearing a naval captain’s cap. He also made a move to the nastier part of Jersey to fulfil his lifelong dream of running a rubbish dump…

With Lisa and toddler Harold safely if reluctantly ensconced in the big house attached to the tip, ‘Skeletons in the Closet’ then focuses on Buddy and Jay’s shift into the surprisingly lucrative scrap metal business, and the resurfacing of the most unsavoury of Buddy’s siblings and their childhood hoodlum friends. It seems folks are asking unwelcome questions about old Stinky Brown (a pal of Buddy’s who disappeared years ago), prompting gun-nut brother Butch Bradley and his cronies to move the body… but only finding that someone had already taken it…

‘The Future’s in Scrap!’ surprisingly finds Buddy and Jay prosperous if shabby partners in an exponentially expanding business, whilst ‘Lisa Leavenworth-Bradley Discovers her Creative Outlet’ details how the bored mother seeks out a fresh hobby and new friends only to finds herself embarrassingly embroiled in an all-girl band with strip club ambitions…

With things looking pretty sweet and stable in ‘Heaven’, the abrasive, raucous comedy takes a darkly observational turn in ‘Hell’ when Lisa drags the family back to Seattle to meet her ferociously religious mom and obnoxious dad.

It transpires that the parents she despises are both in dire health and legal straits and, after meeting her creepy fundamentalist foster brother and sex offender cousin, Buddy realises why his wife became the neurotic mess she is.

When Buddy and Harold return to the East Coast Lisa isn’t with them…

Everything wraps up without really ending in ‘Fuck it’ as, whilst Lisa struggles to cope with her folks’ decline in Seattle, back in the Garden State the man and his boy make big dramatic and definitely felonious changes to their lives…

Just like the eponymous star character, the hopefully still unfolding story of Buddy Bradley has slowly matured from razor-edged, broadly baroque, comedically clamorous observations and youthful rants into sublimely evocatively enticing treatises on getting by and getting older, although the deliciously fluid drawings and captivating cartoon storytelling remains as fresh and innovative as ever.

Bagge has always been about skewering stupidity, spotlighting pomposity and generally exposing the day-to-day aggravations and institutionalized insanities of modern life, but the strips in Buddy Buys a Dump also offer a beguiling view of passion becoming, if not wisdom, certainly shrewd appreciation of the unchanging verities of life: a treat no cartoon-coveting, laughter-loving rebel should miss…
© 2013 Peter Bagge. This edition © 2013 Fantagraphics Books. All rights reserved.