Category: Comedy

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Lucky Luke volume 47: Outlaws


By Morris, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-201-0 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Doughty, rangy,and dashingly dependable cowboy Lucky Luke is an implacably even-tempered do-gooder who can “draw faster than his own shadow”. He amiably ambles around the mythic, cinematically realised Old West, having light-hearted adventures on his petulant and stingingly sarcastic wonder-horse Jolly Jumper. Over nine decades, his exploits in Le Journal de Spirou (and from 1967, in rival periodica Pilote) have made the sharp shooter a legend of stories across all media and monument of merchandising.

Working solo with occasional script assistance from his brother Louis, Morris – AKA Maurice de Bévère – produced 10 albums worth of affectionate and thrilling sagebrush parody before formally uniting with René Goscinny, who became regular wordslinger with Des rails sur la Prairie (Rails on the Prairie), which commenced in Le Journal de Spirou on August 25th 1955.

They literarily rode together on another 44 albums as Luke attained the dizzying heights of superstardom. The partnership continued when the six-gun straight-shooter switched teams, transferring to Goscinny’s own magazine Pilote with La Diligence (The Stagecoach). After Goscinny died, Morris continued both singly and with fresh collaborators. The dream team’s last ride was 1986’s La Ballade des Dalton et autres histoires/The Ballad Of The Daltons and Other Stories.

Morris worked alone again before inviting an inspiring passel of legacy creators to step in. These included Achdé & Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and others, who all took their own shots at the lovable lone rider. Morris died in 2001, having drawn fully 70 adventures, plus many sidebar and spin-off sagebrush sagas. Since 2016 Julien Berjeaut, AKA Jul (Silex and the City) has handled the tall tale telling…

Lucky is one of the top-ranked comic characters in the world, having generated 94 albums (if you count spin-off series like Kid Lucky and Ran-Tan-Plan, and artist’s specials) with sales totalling north of 300 million in 33 languages. That renown has translated into a mountain of merchandise, toys, games, animated cartoons, TV shows and live-action movies and even commemorative exhibitions. No theme park yet, but you never know…

Our taciturn trailblazer’s travails draw on western history as much as movie mythology and regularly interacts with historical and legendary figures as well as even odder fictional folk re-exploring and refining key themes of classic cowboy films – as well as some uniquely European notions and interpretations. As previously hinted, the happy wanderer is not averse to being a figure of political change and Weapon of Mass Satire… but not this time…

We Brits first encountered Lucky Luke in the late 1950s, syndicated to weekly comic Film Fun, and again in 1967 in Giggle where he blazed trails as Buck Bingo. In all these venues – as well as numerous attempts to capitalise on  the English-language success of Tintin and Asterix albums from Brockhampton and Knight Books – Luke had his trademark cigarette hanging insouciantly from his lip, but in 1983 Morris – no doubt amidst both pained howls and muted mutterings of political correctness gone mad – substituted a piece of straw for the much-travelled dog-end, which garnered him an official tip of the hat from the World Health Organization. In this restored remastered edition, the dogend is restored, so if that’s a problem, stop here and seek out another, later Lucky lark…

First published continentally in December 1954, Hors-la-loi was the 6th European album and an all Morris affaire comprising two short serials. Eponymous lead strip ‘Outlaws’ originally ran in LJdS #701-731 from September 20th 1951 to April 17th 1952, with our hero hired by the railroad companies to end the depredations of Emmett Bill, Grat and Bob Dalton: real life badmen who plagued the region during the 1890s, imported into the strip and given a comedic, but still vicious spin.

A cat & mouse chase across the wildest of wests sees Luke constantly frustrated by close calls and narrow escapes in superbly gripping movie set-pieces until, inevitably, justice claims the killers. At the close of this yarn, Morris had Lucky end the gang forever, but they and the story itself were insanely popular with fans. The villains were comedy gold and ideal foils for Lucky, so eventually they returned in the form of their own cousins, but we’ll tell that tale another time and place.

Actually, lets do some of it right now…

A certified Christmas must-have item, Lucky Luke album Outlaws also carried ‘Return of the Dalton Brothers’ – as first seen in LJdS #755-764 (October 2nd – December 4th 1952). Here, fraudster Bill Boney campaigns to become sheriff of a prosperous frontier town by claiming to be the killer of those infamous owlhoots. He is an absolute “wrong ‘un” but seems utterly unstoppable… until Lucky orchestrates a brief and equally fake resurrection of the bandit brothers. A little rampage and faux lynching and Boney learns a lesson that the townsfolk will never forget…

From the response to that tale eventually came the aforementioned revival, as Goscinny’s third collaboration introduced Les Cousins Dalton in issues #992-1013 (1957) of Le Journal de Spirou. When this iteration of the appalling Dalton Brothers – Averell, Jack, William and devious, slyly psychotic, tyrannical diminutive brother Joe showed up, the course of the strip altered forever…

These youthful forays of an indomitable hero offer grand joys in the wry tradition of Destry Rides Again and Support Your Local Sheriff, superbly executed by a master storyteller: a wonderful introduction to a unique genre for modern kids who might well have missed the romantic allure of the Wild West that never was…
© Dargaud Editeur Paris 1971 by Morris. © Lucky Comics. English translation © 2014 Cinebook Ltd.

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Roy Crane’s Captain Easy, Soldier of Fortune: The Complete Sunday Newspaper Strips volume 4 (1941-1942)


By Roy Crane with Leslie Turner (Fantagraphics Books)
ISBN: 978-1-60699-677-5 (Tabloid HB)

This book includes Discriminatory Content produced in less enlightened times

The fourth and final collection of Roy Crane’s groundbreaking, trailblazing Sunday strip completes a quartet of comics compilations no lover of high adventure, action comedy and visual narrative excellence should be without.

Our industry and art form evolved from phenomenally popular newspaper strips born of the first four decades of the 20th century: monolithically powerful circulation-boosting features which could, until relatively recently, dictate success or failure in America’s cutthroat newspaper business. The daily cartoon stories were immensely addictive and thus regarded as invaluable by publishers who used them as a sales weapon to ensure consumer loyalty, increase sales and maximise profits. Many a pen-pushing scribbler became a millionaire thanks to their ability to draw pictures and spin a yarn…

With hundreds of 24-hour TV channels, streaming services, games and apps on demand now, it’s impossible for us to grasp the overwhelming allure of the comic strip in America and the wider world. From the Great Depression to the end of World War II, with no domestic television, radio coverage far from comprehensive and movie-shows a weekly treat at best for most, entertainment was generally garnered from those ubiquitous newspaper comic sections. Funny Pages were a universally shared, communal recreation for millions. Entire families were well-served by an astounding variety of features of spectacular graphic and narrative quality.

From the outset humour was paramount – that’s why they’re called “Comics” – but eventually anarchic baggy-pants clowning, cruelly raucous, racially stereotyped accent humour and gag-&-stunt cartoons palled, evolving into a thoroughly unique entertainment hybrid that was all about the dynamics of panels and pages. At the forefront of the transformation was Roy Crane’s Wash Tubbs. It utilised a blend of silent movie slapstick, outrageous movie serial antics, fabulous fantasy and old fashioned vaudeville shtick, but also added compellingly witty and authentically true dialogue and a breathtaking sense of day-to-day progression – in short, serial continuity. There were also plenty of lovely women; what we used to call “something for the dads”…

What separated Crane from his close contemporaries and competitors – who were making similar advancements in the new art form – was that he was blending the fun with stirring, contemporary rollercoaster, implausible heroic action…

Washington Tubbs II began as a typical gag-a-day strip on April 21st 1924, bearing marked similarities to confirmed family favourite Harold Teen (by Crane’s pal and contemporary Carl Ed). Young Wash was a short, feisty and fiercely ambitious shop clerk permanently on the lookout for fortune and fame, but cursed with an eye for the ladies. Gradually his peripatetic wanderings moved from embarrassing gaffes towards mock-heroics, into full-blown – but still light-hearted – action and ultimately rip-roaring, decidedly dangerous hazardous trials, ordeals and exploits. This graphic evolution eventually demanded the introduction of a he-man sidekick to handle the fights the kid was getting into but seldom won. Thus enter moody, swashbuckling heroic prototype Captain Easy in the landmark episode for May 6th 1929…

Slap-bang in the middle of a European war, fast-talking, garrulous Tubbs saved a taciturn, down-on-his-luck, enigmatic fellow American from a cell and a perfect partnership was formed. They became inseparable: comrades-in-arms, roving the globe in search of treasure, lambasting louts and fighting thugs to rescue a stunning procession of wondrous women in assorted modes of distress…

The edgily capable, utterly dependable “Southern Gen’leman” was something previously unseen in Funnies: a raw, square-jawed hunk played dead straight rather than as the mock-heroic buffoon/music hall foil cluttering strips like Hairsbreadth Harry or Desperate Desmond. Moreover, Crane’s seductively simple blend of cartoon exuberance, combining faux-straight illustration with “bigfoot” cartooning (here carefully mimicked and even surpassed by his assistant and creative successor Leslie Turner) was a far more accessible and powerful medium for fast-paced adventure story-telling than the beautiful but stagy style favoured by artists like Hal Foster on Tarzan or Prince Valiant and Alex Raymond with Flash Gordon and Jungle Jim. Tubbs & Easy were much closer to the surreal, absurdly action-packed Popeye or V. T. Hamlin’s comedy caveman Alley Oop: full of vim, vigour and vinegar and seldom sombre or serious for long…

The overall effect was electrifying – and a host of young cartoonists used the strip as their bellwether: Floyd Gottfredson, Milton Caniff, Jack Kirby, Will Eisner and especially an impressionably admiring Joe Shuster…

After several abortive attempts at a Sunday feature starring his little warrior, Crane eventually settled on the burly sidekick as his potential star and Captain Easy launched on July 30th 1933. The content was unflinching exotic action: blistering two-fisted yarns set before the two buddies’ first meeting.

This fourth and final fabulous volume covers December 22nd 1940 to July 11th 1943, bringing to a close Crane’s association with the strip. He had abandoned the feature to NEA, joining William Randolph Hearst’s King Features to produce Buz Sawyer – a strip he would own and have creative control over. Turner continued both the daily Wash Tubbs and Sunday Captain Easy (with his own assistants) until his retirement in 1969.

This blockbuster collection opens with an Introduction from Michael H. Price tracing potential candidates as basis for the surly Southerner in ‘Roy Crane and the Man Who was Easy’ before the increasingly eccentric and comedic final pages, a goodly proportion of which were produced during the critical period just before America finally entered WWII.

The material is significant for one salient point – Tubbs and especially Easy are scarcely seen after hostilities commenced. The reason was obvious: all true patriots wanted to defend their country and the heroes enlisted…

The hilarious action begins with the reintroduction of comedy foil Lulu Belle: a homely, cigar-chomping hillbilly lady who had been a circus strongwoman and undisputed Female boxing champion for fifteen years. She had married serial bigamist and all-round bounder C. Hollis Wallis before going home heartbroken to her family, but as they just saw her as a meal ticket too, she was overjoyed when Tubbs & Easy wandered by the old homestead.

Soon she was accompanying them to Guatemala, following an out-of-date advert for workers at a wildcat oil field. Arriving eight years too late, the trio are gulled into joining a bandit gang run by savage and sultry Teresa Grande; a Latin spitfire who’s the most dangerous killer in the country. She, however, is smitten with Easy’s manly charms, and redeems herself at terrible cost when her gang try to steal sacred relics from a remote village and its ancient temple.

Homeless and broke as usual, the plucky Americans then walk to the coast and find passage on a ship run an eccentric who keeps pet tigers. The voyage goes as you’d expect and the trio end up shipwrecked somewhere off Cuba, only to be stalked by a wild Wolf Girl: a lost child marooned and grown wild as she matured in the jungle…

After numerous close shaves and hilarious escapades, Easy captures and partially tames the bestial lass, entrusting her to the care of a vacationing American psychologist, whilst Lulu Belle secures a job as cook in a dingy waterfront dive. It’s there that she meets and is romanced by Easy’s brutal arch-enemy Bull Dawson, and inadvertently lures Wash and the Captain aboard the rogue’s ship. Brokering a tenuous peace, she convinces her friend to work on the “reformed” Dawson’s new job: a jungle reclamation project near the Panama Canal. It’s all a big con, though. The treacherous pirate is actually building a secret landing-field for agents of a certain foreign power and when Wash and Easy uncover the truth the fists and fireworks fly…

Returned to the USA, heartbroken, lovelorn Lulu is taken in by the ambitious schemes of a millionaire who somehow finds the unprepossessing lady irresistible. Of course Akron O. Spratly also has plans to boost the war effort by extracting much-needed rubber from frogs…

After much outrageous flummery and hilarious misadventure Lulu is left even sadder, if no wiser, just as the now partially civilised Wolf Girl returns. She has escaped her collegiate captors and is running wild in the big city: her immense physical strength and speed causing much unladylike chaos in Gentlemen’s clubs, the circus, on sports fields and at the Zoo. She also displays amazing talent for acquiring pretty sparkly items like watches and jewellery…

A very different type of girl appears next as obnoxious ten-time married billionaire Horatio Boardman swears off women again and hires Easy to make sure the pledge sticks. Sadly, local mobsters are determined to introduce the World’s Eighth Richest Man to Baby Doll, a sexily appealing ingénue with the rapacious heart of a viper…

That screwball set-up was good for three months-worth of laughs before Lulu again takes centre stage when a boastful beautician is suckered into a bet that he can make any woman so lovely that she will be photographed in the newspapers…

Reduced to simple straight man by Lulu, Easy soon took third place as the boxing broad accidentally acquired a manic and capacious ostrich named Lucille. The big bird’s astounding appetite led to Lulu becoming the indentured slave of a shady farmer who first had her work off the giant’s gannet’s destructive binges and then sold his guilt-wracked toiler on to other men in need of fields ploughed, clothes washed and chores done… until the outraged Easy came back and dealt with the vile trafficker…

Stony broke but free once more, Lulu then roped Easy in on a culinary affair as she opened a diner in the worst place possible, just as her ne’er-do-well family palmed off a young cousin onto her. Augustus Mervin Gasby was a locust in human form, and his astonishing appetite seemed fit to bust the desperate pair… until the former-soldier-of-fortune found something that the shambling oaf could do really well…

A panoply of ludicrous sporting endeavours eventually led Gus into the Navy whilst on the Home Front Easy and Lulu went fishing and subsequently exposed a huge dope-smuggling ring in one of the last rousing adventure episodes, after which the tone switched back to screwball comedy with the re-emergence of C. Hollis Wallis who weaselled into town in search of another woman to marry and fleece. He wasn’t particularly picky and despite Lulu keeping a weather eye – and occasionally a couple of clenched fists – on him, the louse breezed through a few options before settling upon one eminent prospect who lived in a mansion with many oil-wells attached.

He had no idea she was only the cook…

A secondary plot began mid-stream as Zoot-suit gangster William “Trigger Boy” Scramooch got out of the State Pen and moved into Lulu’s boarding house. Ever prey to poor judgement, she took a shine to him whereas for Easy it was disgust at first sight…

Horning in on Wallis’ potential windfall, Trigger Boy planned a kidnap and tricked Lulu into doing his dirty work. Big mistake…

More single page gags follow, including a clever patriotic sequence where Lulu buys a big gas-guzzling automobile and leads the nation by her sacrificial example after which Easy makes his last appearance (28th February 1943) serving to reintroduce another old pal.

Magician, ventriloquist and escapologist Lonny “the Great” Plunkett pops up once more, pranking the cops and again becoming a target of crooks in dire need of illicit safecracking expertise. Lulu is a natural partner for the sharp guy and together they scotch the hoods’ plan, after which romance blooms again when 600-pound gorilla Roy Boy decides only she can be his ideal mate. When he’s frustrated in his amorous endeavours he smashes out of his cage and rampages like a hairy tornado through town…

The comic capers conclude on a high humour note with a return to C. Hollis Wallis’ ongoing marital scam, which escalates into brilliant farce before the loathsome little Lothario gets what’s coming to him…

Ending this final titanic (with pages 380mm high x 270mm wide) luxury hardback tome is a full-colour correction from volume 3, another hand-painted colour-guide strip by Crane and Rick Norwood’s ‘Transition’: an illustrated article explaining just where Tubbs & Easy went when they faded from Turner’s Sunday pages…

Roy Crane’s Captain Easy, Soldier of Fortune: The Complete Sunday Newspaper Strips is a magnificent undertaking: gathering in a wonderfully accessible form one of the most impressive, funny, exciting and influential comic strips of all time, in books that cannot help but inspire awe and affection. Captain Easy is perhaps the most unsung of all great pulp heroes and his spectacular, rip-snorting, pulse-pounding, exotically racy adventures should be just as familiar to lovers of classic adventure as Tintin, Doc Savage, Allan Quatermain, Scrooge McDuck and even Indiana Jones.

These astounding masterpieces are quite unforgettable: fanciful, entertaining and utterly irresistible. How can you possibly pass up the chance to experience the stories that inspired the giants of action adventure?

Captain Easy strips © 2013 United Feature Syndicate, Inc. This edition © 2013 Fantagraphics Books, all other material © the respective copyright holders. All rights reserved.

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Bluecoats volume 18: Duel in the Channel


By Willy Lambil & Raoul Cauvin, with Leonardo & translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-152-1 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times but also emphasised for dramatic effect.

Devised by Louis “Salvé” Salvérius & Raoul Cauvin – who scripted the first 64 volumes until retirement in 2020 – Les Tuniques Bleues (or Dutch iteration De Blauwbloezen) began as the 1960s ended: created to soften the blow of losing Lucky Luke when that mild-mannered maverick megastar defected from Le Journal de Spirou to arch-rival periodical Pilote. From the start, the substitute strip was popular: swiftly becoming one of the most-read bande dessinée series in Europe. Following stints by the Jose-Luis Munuera and BeKa writing partnership it is now scribed by Kris and up to 68 volumes…

Salvé was a cartoonist in the Gallic big-foot/big-nose humour manner, and after his sudden death in 1972, successor Willy “Lambil” Lambillotte gradually moved towards a more realistic – but still overtly comedic – tone and look. Born in 1936, Lambil is Belgian and, after studying Fine Art in college, joined publishing giant Dupuis in 1952 as a letterer. Arriving on Earth two years later, scripter Cauvin was also Belgian and – prior to entering Dupuis’ animation department in 1960 – studied Lithography. He soon discovered his true calling was comedy and began a glittering, prolific writing career at Le Journal de Spirou. In addition, he scripted dozens of long-running, award winning series including Cédric, Les Femmes en Blanc and Agent 212: clocking up more than 240 separate albums. Les Tuniques Bleues alone has sold over 15 million copies… and counting. Cauvin died on August 19th 2021, but his vast legacy of barbed laughter remains and – as of ten minutes ago – Lambril, at 87, is still drawing the Boys in Blue…

The Bluecoats are long-suffering protagonists Sergeant Cornelius Chesterfield and Corporal Blutch: worthy, honest fools in the manner of Laurel & Hardy; ill-starred US cavalrymen defending a vision of a unified America during the War Between the States – well, at least one of them is…

The original format offered single-page gags set around an Indian-plagued Wild West fort, but from second volume Du Nord au Sud, the sad-sack soldiers were situated back East, perpetually fighting in the American Civil War. Subsequent exploits are set within the scant timeframe of the Secession conflict, but – like today’s tale – occasionally range far beyond the traditional environs of the sundered USA, dipping into and embracing actual events (also like today’s tale), tackling genuine, thoroughly researched moments of history…

Blutch is an everyday, whinging little-man-in-the street: work-shy, mouthy, devious and ferociously critical of the army and its inept orchestrators and commanders. Ducking, diving, deserting at every opportunity, he’s you or me – except at his core he’s smart, principled, loyal and even heroic… if no easier option presents itself. Chesterfield is a big, burly professional fighting man: a proud career soldier of the 22nd Cavalry who devoutly believes in patriotism and esprit-de-corps of The Army. Brave, bold, never shirking his duty and hungry to be a medal-wearing hero, he’s quite naïve and also loves his cynical little pal. Naturally, they quarrel like a married couple, fight like brothers and simply cannot agree on the point and purpose of the horrendous war they are trapped in. That situation again stretches their friendship to breaking point in this cunningly conceived instalment, in which both find themselves pretty much fish out of water…

Coloured by Vittorio Leonardo, Les Tuniques Bleues Duel ans la Manche was serialised continentally in Le Journal de Spirou #2967-2976, before becoming the 37th album in 1995, and Cinebook’s 18th translated Bluecoats book. Once more it diverges from the majority of tales, which tread a fine line between comedy and righteous anger, so if you share these books with younger kids, read it first. However the trenchant wit and sardonic comedy are unleashedly full bore as the tale explores a triumphant maritime moment in US history with the lads hapless witnesses.

It begins in the port of Amsterdam on June 10th 1864, where Blutch and Chesterfield have just debarked from US navy vessel USS Kearsarge. However, unlike the rest of their crewmates, shore leave holds no joy for them. They – even Blutch – would much rather be back in the army, but that’s currently impossible.

Following a disastrous attack by new commander General McLellan, the northern land forces were responsible for the deaths and wounding of many of their own troops and, seeking scapegoats, the big boss arbitrarily blamed it all on the boys…

Disgusted by the whole face-saving process, their immediate superior General Alexander secretly arranges for their transfer to the sea borne services and, after a period stoking boilers and hating water, they fetch up in the beguiling city of a thousand pleasures. Chesterfield wants none of it and yearns to be on a horse of the 22nd Cavalry, charging into fusillades of hot lead, but his little pal can see the upside, even as they both fall foul of sharpers, merchants and good time girls who don’t even speak English let alone what these Yankee louts are spouting…

Unluckily for them the Kearsarge is in the midst of a vendetta with Confederate Navy ship CSS Alabama: a seagoing marauder that has already sunk many Union vessels. Captain John Ancrum Winslow has sworn to sink the Alabama and has trailed her to Cherbourg where she is undergoing repairs. Winslow has sworn to destroy her or not return. Everywhere it seems is filled with madmen resolved to cause Blutch’s doom…

Of course, the odd couple are well-versed in making enemies too, and it’s almost a relief when the recall comes and the rowdy crew are mustered to go into battle again. Nevertheless, when they reboard the Kearsarge, an alarmingly determined Dutch vendor follows them…

Battle is joined on June 19th but by then Blutch and Chesterfield have so incensed the Captain that when the cataclysmic clash occurs they are chained to the floor of the brig with no chance of escape if their despised ship sinks…

Somehow surviving the historic victory, the boys are soon on burial duty and ready to make more trouble when word comes from America that they can return… if they want to…

Again highlighting not only divisions and disparities of officers and enlisted men but also of the American class structure – particularly the inherent racism driving the rich and poor players on all sides – Duel in the Channel is another edgy epic based on a true incident, but if you can refrain from looking up the history until you finish, it will be to your benefit.

Devastatingly exploiting history to make a point, Duel in the Channel proves how much stranger than fiction is truth and reveals how war costs everybody, but only profits a few of the very worst, by making moments of shocking verity doubly powerful and hard-hitting. Funny, thrilling, beautifully realised and eminently readable, Bluecoats is the best kind of war-story and Western: appealing to the best, not worst, of the human spirit. And this one is really, really sad…
© Dupuis 1995 by Lambil & Cauvin. All rights reserved. English translation © 2024 Cinebook Ltd.

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Bunny vs Monkey: The Whopping World of Puzzles!


By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-350-9 (Digest HB)

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

Concocted with gleefully gentle mania by cartoonist, comics artist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Max and Chaffy, Flember), his trendsetting, mindbending multi award-winning yarns have been wisely retooled as graphic albums available in digest editions such as this one.

The tail-biting tension and animal argy-bargy began yonks ago after an obnoxiously annoying little anthropoid plopped down in some serene British woodland, in the wake of a disastrous local space shot. Crashed down in Crinkle Woods, scant miles from his launch site, lab animal Monkey reckoned himself the rightful owner of a strange new world… despite every effort to dissuade him by reasonable, rational, sensible, genteel, contemplative forest resident Bunny. No amount of patience, propriety or good breeding on the part of the laid-back lepine could curtail, contain or control the incorrigible idiot ape.

A keen rivalry arose between them, as the ape intruder crudely made himself at home, and to this day Monkey remains a rude, noise-loving, chaos-creating, troublemaking lout intent on building his perfect “Monkeyopia” – with or without the aid of evil supergenius ally Skunky or their “henches” Metal Steve and Action Beaver. Problems are exacerbated by other unconventional Crinkle creatures, like Pig, Weenie, Ai, Lucky, Le Fox. Mad scientist Skunky’s intellect and cavalier attitude to life presents as a propensity for building extremely dangerous robots, Brobdingnagian bio-beasts and sundry other super-weapons…

Here the mundane multi-coloured – albeit rendered here in multifarious shades of mystifying monochrome tones – manic war of nerves and mega-munitions is pettishly paused for a session of traditional entertainment and activities as the entire cast amble ‘To the Woods’ and into a fun-filled framing comic tale. Exploring and ending up somewhere never seen before, our cuddly combatants mutually discover and take charge of a ramshackle and abandoned “lost” fun-fair. Their ingrained competitive lunacy sees all involved revive old rides but also -and this is where you come in – refit and revamp games and puzzles stalls, seeking to make it a holiday fun ride for all…

Cue a selection of character-themed quizzes, puzzles, tests of skill and imagination and other pen and paper activities, Part One of which focuses on reconditioned ‘Games Stalls’. We open with the titular attention-seeking simian lout. His odd-one-out conundrum ‘I am Monkey’ leads to self-explanatory ‘Bunny’s Cross Words’ and more esoteric wordplay in ‘Action Beaver’s Bibblesearch’, ‘Weenie’s Wall of Words’, and ‘Ai’s Speedy Wordswitches’ before naughty wordsearch ‘Monkey’s Too Rude!’ brings us to pencil-driven ‘Metal E.V.E.’s Hall of Mirrors’, ‘Spaces for Faces’ and ‘Embiggening for Beginners’…

Riddles and enigmas abound next in ‘Codewords with Le Fox’ after which traversing the ‘Amazing Mud Maze’ will afford a pause to assess ‘Who Will Win? Only You Can Decide’ prior to Part Two commencing with ‘Costume Conundrums!’ and paper-folding foolishness for ‘Fortune-Telling Monkey’ and his ‘Laugh of Truth’ before ‘Bunny’s Would You Rather?’ poses challenging questions in advance of really AARRRRD! stuff in ‘Name That Pirate with Weenie and Pig’ and ‘Talk Like a Pirate’, before again asking ‘Who Will Succeed? Only you can decide!’

Part Three contains culinary calamities and chewy comestibles aplenty, all bedecking assorted ‘FoodStalls’. Learn how to deal with ‘Candyfloss Quiffs’ and identify ‘Weenie’s Cake a Difference’ whilst cowering in glee over ‘Cookery Corner: Wobbleberry Buns’. Having cooked but not burned, we wonder ‘What’s That Smell?’, ‘What’s That Noise?’ and ‘Who’s in the Loo?’ and reassess how ‘Only One Will Succeed!’ before Part Four brings us to a House of Horror uncovering Skunky’s private lab wherein lurks ‘Skunky’s Monster Maker’, ‘House of Horror’, and ‘The All-Seeing Eye!’

Should you need to take breath ‘Skudoku’ and ‘Badgoku’ are available as are ‘Metal E.V.E.’s Hints and Tips’ and ‘Skunky’s Number Puzzle’ just before a barrage of life-challenging decisions await those tackling adventure quiz ‘None of the Fun of the Fair’…

The comic story resumes and concludes in traditional shocking vulgar fashion before the last survivors stagger up to the bit with all the ‘Answers’…

Daft, compulsively addictive, dangerously read-out-loud-able and fearfully unputdownable, this cutting edge retro-treat is the perfect gift for anyone with crayons, paper and too many kids.
Text and illustrations © Fumboo Ltd. 2024. All rights reserved.

Bunny vs Monkey: The Whopping World of Puzzles! will be published on March 27th 2025 and is available for pre-order now.

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Jinx volume 1


By J. Torres, Rick Burchett & Terry Austin (Archie Comics)
ISBN: 978-1-93697-500-6 (HC/Digital edition) 978-1-87979-491-7 (PB)

This book includes Discriminatory Content produced during less enlightened times.

Despite tremendous advances in the last couple of decades, for most people, when we say comic books, thoughts STILL either turn to outrageously buff men and women in garish tights or leather hitting each other and lobbing cars about, or stark, nihilistic crime, horror or science fiction sagas aimed at an extremely mature and sophisticated readership of already-confirmed fans. For mainstream American comics that remains the norm. Over the years though (and throughout the rest of the world long ago), other forms and genres continue to wax and wane.

One US company steadfastly that held its ground against the tide for decades – supported by a thriving spin-off TV and movie franchise – was a teen-comedy powerhouse which created a genre through the exploits of carrot-topped Archie Andrews and the two girls he could never choose between – Betty Cooper and Veronica Lodge. For so many years, other companies largely ignored the fact that girls read comics too and, in their slavish pursuit of the spandex dollar, lost half their potential audience. Girls simply found other ways to amuse themselves until, in the 1990s, the rise of manga painfully proved to comics publishers what Archie Comics had always known.

Ever since that pivotal moment Editors have attempted to recapture that vast missing market: creating many worthy titles and even entire imprints dedicated to material for teen/young adult audiences (since not all boys thrive on a steady diet of cosmic punch-ups and vengeful vigilantes) which had embraced European classics like Tintin and Asterix, manga material, momentous comics epics like Maus and Persepolis or abundant and prolific prose serials which produced a never-ending wave of passionate fans for everything from The Absolutely True Diary of a Part-Time Indian to Twilight to The Hunger Games.

Archie thrived by never abandoning its female readership and by constant reinvention of its core characters, seamlessly adapting to the changing world outside its bright, flimsy (or digitally unbreakable) pages: shamelessly co-opting pop music, youth culture and fashion trends into its infallible mix of slapstick and romance. Each and every social revolution has been painlessly assimilated into the mix (the company has managed to confront a number of major issues affecting the young in a manner both even-handed and tasteful over the years), and the constant addition of timely characters such as African-American Chuck and his girlfriend Nancy, fashion-diva Ginger, Hispanic couple Frankie & Maria and a host of others – like over-privileged home-wrecker-in-waiting Cheryl Blossom – all contributed to a broad and refreshingly broad-minded scenario. They also lead in non-sensationalised interracial romances, and in 2010 Archie jumped the final hurdle for a family-entertainment medium with the rapturously well-received introduction of Kevin Keller; an openly gay and proud young man who was a clear-headed advocate capably tackling and dismantling the last major taboo in mainstream kids’ comics.

Where once cheap, prolific and ubiquitous, comics magazines in the 21st century are extremely cost-intensive and manufactured for a highly specific – but dwindling – niche market. Moreover the improbably beguiling and bombastic genres that originally fed and nurtured comic books were increasingly being supplanted by TV, movies and assorted interactive games media.

Happily, old-school prose publishers and the graphic novel industry have different business models and more sustainable long-term goals, so the magazine makers’ surrender has been turned into a burgeoning victory, as solid and reassuringly sturdy Comics-as-Books still buck the slowly perishing pamphlet/papers trend. Publishers like Archie…

Back then Jinx was another barely-noticed landmark which saw one of the company’s venerable and long-lived child-stars given a stunning makeover and refit courtesy of a multi award-winning creative team. Writer J. Torres (Teen Titans Go!, Alison Dare, Degrassi: the Next Generation, Days Like This, Lola – a Ghost Story and others) in conjunction with celebrated artists Rick Burchett (Batman Adventures, American Flagg!, Blackhawk, Black Hood) & Terry Austin (X-Men, Superman, Batman, Cloak and Dagger) are responsible for turning adorable but venerable 1950’s 6-year old tomboy Li’l Jinx into a genuine icon of, if not role-model for, modern teenaged girls in a style and manner at once astonishingly accessible and classically captivating.

If you qualify as an Ancient One like me, you might be familiar with precocious, feisty Li’l Jinx who debuted in Pep Comics #62 (cover-dated July 1947). Created by Joe Edwards, she debuted as the publisher began dropping superheroes such as The Shield and Black Hood to specialise in kid-friendly humour features. Over the coming decades she appeared in her own title, as well as Li’l Jinx Giant Laugh-Out and assorted anthologies including Pep and Archie Giant Series Magazine. Like auteur Edwards’ own son, her birthday was on Halloween and the writer/artist put much of himself into the strip. A boisterous, basically decent, sports-loving, mischievous tyke (in the manner of our Minnie the Minx), when not romping, cavorting and tussling with other kid pals Gigi, Greg, Charley Hawse, Russ, Roz and Mort the Worry Wart, Jinx almost exclusively interacted with her long-suffering dad Hap Holliday.

Mother was seldom seen. The kid’s Christian name is lost to history: apparently so screamingly embarrassing in-world that to utter it was to invite battered ear drums and mangled limbs…

Li’l Jinx faded away gradually during the 1980s as fashionista-teenagers and Mutant Turtles supplanted pesky kid characters in Archie’s increasingly “young adult” oriented stable. However, Jinx Holliday was revived and given a thorough 21st century upgrade for a new serial in Life With Archie (#7-11, March-June 2011): a growing girl just starting big school. The former tomboy hadn’t lost all her rough edges though…

This initial volume collects the serialised story of her beginning the inescapable if deplorable process of becoming responsible – with all the scary changes that entails. After a handy ‘Cast of Jinx’ page, the dramatic comedy opens with 4-part tale ‘Little Jinx Grows up’ – as serialised in anthology title Life With Archie, with the nervous 14-year old Californian kid starting over at Rose Valley High School where she immediately falls foul of draconian martinet Principal Mr. Vernon. At least many of her oldest friends are starting too, but they all seem so changed and grown up since summer vacation…

As all attendees settle in, Jinx is oblivious to the fact that more than one of the boys she used to wrestle and play football with now considers – and treats – her very differently. She’s just starting to hate the place and its stupid rules when Greg points out the final straw: Freshman Baseball – in fact all her favourite sports – are for boys only. Former child model Gigi is typically smug about it, hinting again that it’s time Jinx began acting like a girl, but that only provokes the incensed and outraged tomboy to break another rule…

Everybody is talking about Jinx after she most publicly signs up for Football Tryouts, and neither a barracking from Mr. Vernon or some heavy-handed bullying of Greg by the senior Football squad can change her mind.

The Principal thinks he has the final word after making Jinx take a permission slip home to her dad, but after Hap Holliday absolutely refuses to let his little girl get crippled by teenaged Neanderthals, Jinx simple forges his signature…

Tryouts are a disaster, but at least Greg is honestly trying to help her. Surly Charley, however, delivers a tackle that results in her being stretchered off, and when dad is called to school all hell breaks loose. While she’s grounded and recovering, BFF Roz starts dropping hints about Greg and romance, promptly going into snoopy overdrive when a mystery caller leaves a large bouquet of flowers…

For the first time Jinx realises High School is just one big stew of frustrated hormones which only add to her worries. So preoccupied is she that, when Greg timidly asks her to a dance, she doesn’t realise what he’s saying and shoots him down without even noticing. The mystery flower-sender – covertly watching – does, however, and seethes…

Flustered, confused and determined to end the turmoil in her head, Jinx ambushes and pre-emptively kisses Greg, but the result is something neither of them nor their secret stalker expected…

The grand gesture completely destabilises Jinx who goes into a spiral of angry depression and tetchy acting-up. Baffled Hap is hopeless to cope, and – with Halloween approaching – throws himself into organising her birthday costume party: a tradition they’ve enjoyed since she was a toddler. He has no idea how much his little girl has changed and that the prospect of a party sounds like torture to her. And thus the scene is set for a showdown nobody will ever forget…

All dramatic foreboding aside, this clever, warm tale ends well and promises much more for the future. Smart, witty and intoxicatingly engaging, Jinx is a superb example of what can be accomplished in comics if you’re prepared to portray modern kids on their terms and address their issues and concerns.

Without ever resorting to overblown soap melodrama or angst-ridden teen clichés, Torres delivers a believable cast of young friends who aren’t stupid or selfish, but simply seeking to find their own tentative ways to maturity. The art by Burchett & Austin is semi-realistic and astoundingly effective.

This terrific turbulent tome includes bonus features such as a ‘Football Pinup’, J. Torres’ thoughts and commentary on the story as described in ‘The Voice of Jinx’ plus a fascinating, picture-packed peek behind the scenes in ‘The Concept Art of Jinx’. More production secrets are revealed by Editor Suzannah Rowntree, describing the project’s conception and creation in ‘The Story of Teen Jinx’, and there’s even a smart selection of one-page Short Comics treats to wrap up the fun.

‘Fitting In’, ‘It’s Complicated’, ‘Frenemy of the State’, ‘The Dating Game’ and ‘Chat Fight’ combine to prove that although they might be growing up, the cast are still kids at heart…

Compellingly funny, gently heart-warming and totally absorbingly, this book will resonate with kids and parents, offering genuine human interactions rather than repetitively manufactured atom-powered fistfights to hold your attention. It especially gives women a solid reason to give comics another try.

Sheer exuberant fun; perfectly crafted and still utterly irresistible nearly a generation later…
© 2012 Archie Comics Publications, Inc. All rights reserved.

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The Complete Peanuts volume 9: 1967-1968


By Charles M. Schulz (Fantagraphics Books/Canongate Books UK)
ISBN: 978-1-56097-826-8 (US HB) 978-085786-213-6 (UK HB)

This book includes Discriminatory Content produced in less enlightened times.

Peanuts is unequivocally the most important comic strip in the history of graphic narrative. It is also the most deeply personal. Cartoonist Charles M Schulz crafted his moodily hilarious, hysterically introspective, shockingly surreal philosophical epic for half a century: 17,897 strips spanning October 2nd 1950 to February 13th 2000. He died – from complications of cancer – the day before his last strip was printed.

At its height, Peanuts ran in 2,600 newspapers, in 21 languages and75 countries. Many of those venues still run it in perpetual reprints, as they have ever since his death. During his lifetime, book collections, a merchandising mountain and television spin-offs had made the publicity-shy doodler an actual billionaire at a time when that really meant something…

None of that matters. Peanuts – a title Schulz loathed, but one the syndicate forced upon him – changed the way comics strips were received and perceived: proving cartoon comedy could have edges and nuance and meaning as well as soon-forgotten pratfalls and punchlines.

We begin with an effusive foreword from film icon John Waters expressing his utter support of the mighty Lucy Van Pelt and all who sail in range of her, drawing references and similarities to actor/personality Divine I never saw before, but now can’t shift…

Notionally, our focus and point of contact remains quintessential, inspirational loser Charlie Brown who, beside fanciful, high-maintenance mutt Snoopy, remains squarely at odds with a mercurial supporting cast, hanging out doing what at first sight seems to be Kids Stuff and an increasingly hostile universe of perverse happenstance.

Always, gags centre on play, varying degrees of musicality, pranks, interpersonal alignments, the mounting pressures of ever-harder education, mass media lensed through young eyes and a selection of sports in their season, leavened by agonising teasing, aroused and crushed hopes, the making of baffled observations and occasionally acting a bit too much like grown-ups. However, in this tome, themes and tropes that define the entire series (especially in the wake of many animated TV specials) become mantra-like yet endlessly variable, but focus less on Charlie Brown and more on those around him. One deliciously powerful constant that remains and grows more abundant is his inability to fly a kite. Here the war with wind, gravity and landscape reaches absurdist proportions, as a certain tree pursues his adored pastime with vicious violent and malicious venom…

Human interactions still find the boy a pitiable outlier. Mean girl Violet, musical prodigy Schroeder, self-taught psychoanalyst and dictator-in-waiting Lucy, her brilliantly off-kilter little brother Linus and dirt-magnet “Pig-Pen” are fixtures honed to generate joke-routines and gag-sequences around their signature foibles, but some early characters have faded away in favour of fresh attention-attracting players joining the mob. Newcomers sidle in and shuffle off without much flurry or fanfare but in our real world the debut of “Minority” characters José Peron of New Mexico and African American Franklin attracted much attention and drew controversy – because, I guess, there will always be gits and arseholes…

A little girl Lila also debuted, but another white kid wasn’t much of shock to the system, even if she shared a fantastic life-changing secret with Snoopy…

At least the Brown boy’s existential crisis/responsibility vector/little sister Sally has grown enough to become just another trigger for relentless self-excoriation. As she grows, pesters librarians, forms opinions and propounds steadfastly authoritarian views, Charlie is relegated to being her dumber, but eternally protective, big brother…

Resigned to – but far from uncomplaining about – life as a loser in the gunsight of cruel and capricious fate, the boy Brown is helpless meat in the clutches of openly sadistic Lucy. When not sabotaging his efforts to kick a football, she monetises her spiteful verve via a 5¢ walk-in psychoanalysis booth (although supply and demand economics also affects this unshakeable standard), ensuring that whether at play, in sports, kite-flying or just brooding, the round-headed kid truly endures the character-building trials of the damned. She’s so good at it that a certain dog opens up a rival concern…

By this time, the beagle is the true star of the show, with his primary quest for more and better food playing out against an increasingly baroque inner life, wild encounters with birds, skateboarding, dance marathons and skating trysts with a “girl-beagle”, philosophical ruminations, and ever-more-popular catchphrases. Here, the burgeoning whimsy leads to constant glimpses of the dog’s WWI other life, peppered with classic dogfights against the accursed Red Baron, but also focuses on his side hustles: running for civic office, competing as arm wrestler The Masked Marvel and brief but intense time as an Olympic ice skater…

Snoopy also indulges in a protracted period impersonating a vulture, but pickings seem to have been quite slim…

As always, timeless episodes of play, peril, peewee psychoanalysis and personal recrimination are beards for some heavy topics. Rendered in marvellous monochrome, there are crucial character introductions, more plot developments and creation of even more traditions we all revere to this day. Of particular note is confirmation of the soft revolution leaving the wonder beagle and Lucy Van Pelt in the driving/pilot’s seat and head of the table/analyst’s couch…

Health and status became increasingly important at this time and the collection opens with a painfully relevant sequence of gags as Linus and Lucy get their measles vaccinations. It was played for laughs then and all ended well, but the way today’s parental moron sector are playing Russian roulette with kids’ lives is still no bloody joke…

Another trenchant continued gag-series follows Lucy attempts to “cure” Linus of his blanket dependency by playing him off against grandma who will give up smoking if he gives up clutching fabric and sucking thumb…

Snoopy is the only force capable of challenging if not actually countering Lucy. Over these two years, her campaign to curb that weird beagle, cure her brother of his comfort blanket addiction and generally reorder reality to her preferences reaches astounding heights and appalling depths, but the dog keeps trying and scores many minor victories. As always volumes open and close with many strips riffing on snow, food, movie-going and television – or the gang’s responses to it – become ever more pervasive. As aways, Lucy constantly and consistently sucks all the joy out of the white wonder stuff and the astounding variety offered by the goggle-box. Perpetually sabotaged, and facing abuse from every female in their life, Brown and Snoopy endure casual grief from smug, attention-seeking Frieda, championing shallow good looks over substance. Linus is still beguiled by the eerie attractions of his teacher Miss Othmar and Lucy’s amatory ambitions for Schroeder grow ever more chilling and substantive…

Schulz established way points in his year: formally celebrating certain calendar occasions – real or invented – as perennial shared events: Mothers and Fathers’ Days, Fourth of July, National Dog Week strips accompanied in their turn yearly milestones like Christmas, St. Valentine’s Day, Easter, Halloween/Great Pumpkin Day and Beethoven’s Birthday were joined this year by a return to another American ritual as many of the cast return to summer camp. This heralds a greater role for old pal Patricia Reichardt AKA tomboy Peppermint Patty (who debuted in the previous collection on August 22nd 1966); this time around, she becomes a counsellor to younger girls, ousts Charlie Brown from his own baseball team and even replaces him as manager with the beagle…

More endless heartbreak ensues as Charlie Brown fruitlessly pursue his ideal inamorata the “little red-haired girl”: a fascination outrageously exploited by others whenever he doesn’t simply sabotage himself. The poor oaf still has no idea how to respond to closer ties with his dream girl or why even Patty cares…

Sports loom large and terrifying as ever, but star athlete Snoopy is more interested in his new passions than boring old baseball or hockey. Even Lucy finds far more absorbing pastimes but still enjoys crushing the spirits of her teammates in whatever endeavour they are failing at. Anxiety-wracked Brown even steps down from the baseball team to ease his life, but being replaced by Linus only intensifies his woes. It also does nothing to help his kite wielding or paper plane folding…

Linus endures more disappointment in two Great Pumpkin seasons and before you know it, there’s the traditional countdown to Christmas and another year filled with weird, wild and wonderful moments…

Neatly interspersed with the daily doses of gloom, the Sunday page first debuted on January 6th 1952: a standard half-page slot offering more measured fare than the 4-panel dailies. Thwarted ambition, sporting failures, crushing frustration – much of it kite/psychoanalysis related – abound, alternating with Snoopy’s inner life of aviation and war stories, star gazing, shooting the breeze with bird buddies, weather woes and food fiascos. These and other signature sorties across the sabbath indulgences afforded Schulz room to be his most imaginative, whimsical and provocative…

Particular tentpole moments to relish include as always, the sharply-cornered romantic triangle involving Lucy, Schroeder & Beethoven; Snoopy v Lucy deathmatches; Charlie Brown’s food feud with the beagle, and assorted night terrors, Lucy’s unique solutions to complex questions; Valentines’ card coup counting, doggy dreams; the power of television; sporting endeavours; and more…

To wrap it all up, Gary Groth celebrates and deconstructs the man and his work in ‘Charles M. Schulz: 1922 to 2000’, preceded by a copious ‘Index’ offering instant access to favourite scenes you’d like to see again…

Readily available in many formats, this volume guarantees total enjoyment: comedy gold and social glue metamorphosing into an epic of spellbinding graphic mastery that still adds joy to billions of lives, and continues to make new fans and devotees long after its maker’s passing.
The Complete Peanuts: 1967-1968 (Volume Nine) © 2008 Peanuts Worldwide, LLC. The Foreword is © 2008, John Waters. “Charles M. Schulz: 1922 to 2000” © 2008 Gary Groth. All rights reserved.

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High Soft Lisp


By Gilbert Hernandez (Fantagraphics Books)
ISBN: 978-1-60699-318-7 (TPB/Digital edition)

This book includes Discriminatory Content included for dramatic effect.

Please pay attention: this book contains stories and images of an adult nature, specifically designed for adult consumption, employing the kind of coarse, vulgar language most kids are fluent in by the age of ten. If reading about such things is likely to offend you, please stop now and go away. Tomorrow I’ll write about something with violence and explosions, so come back then.

In addition to being part of the graphic and literary revolution that is Love and Rockets (where his astonishingly compulsive tales of Palomar and the later stories of those characters collected as Luba gained such critical acclaim), Gilbert Hernandez has produced compelling stand-alone tales such as Sloth, Grip and Girl Crazy. They are all marked by his bold, simplified line artwork and a mature, sensitive use of the literary techniques of Magical Realist writers Carlos Fuentes and Gabriel García Márquez: techniques which he has added to and made his own.

Love and Rockets is an anthology comics publication featuring slick, intriguing, sci fi-ish larks, heart-warming, terrifying, gut-wrenching soap-opera fantasy and bold experimental comic narratives that pretty much defy classification. The astounding Hernandez Bros still captivate with incredible stories that sample a thousand influences conceptual and actual – everything from Archie Comics and alternative music to German Expressionism and luchadores.

Palomar was the conceptual and cultural playground “Beto” devised for extended serial Heartbreak Soup: a dirt-poor Latin-American village with a vibrant, funny and fantastically quotidian cast. Everything from life death, adultery, magic, serial killing and especially gossip could happen in Palomar’s meta-fictional environs – and did – as the artist explored his own post-punk influences: comics, music, drugs, comics, strong women, gangs, sex, family and comics, and all in a style somehow informed by everything from Tarzan comics to Saturday morning cartoons and The Lucy Show.

Happily, Beto often returns to Palomar, frequently for new tales involving the formidable matriarch Luba, who ran the village’s bath house, acted as Mayor (and sometimes police chief) as well as adding regularly to the general population. Her children, brought up with no acknowledged fathers in sight or ever looked for, are Maricela, Guadalupe, Doralis, Casimira, Socorro, Joselito and Concepcion.

Luba eventually migrated to the USA and reunited with her half-sisters Petra and – the star of this volume – Rosalba “Fritz” Martinez. This collection was compiled from assorted material that first appeared in Love and Rockets volume II and Luba’s Comics and Stories, with new pages and many others redrawn and rewritten.

Fritz is a terrifyingly complex creature. She is a psychiatrist and therapist, former B-Movie actress, occasional belly dancer, persistent drunk and ardent gun-fetishist, as well as a sexually aggressive and manipulative serial spouse. Beautiful, enticingly damaged, with a possibly-intentional and affected speech impediment, she sashays from crisis to triumph and back again.

This moving, shocking, funny chronicle uses the rambling recollections of one of her past husbands – sleazy motivational speaker Mark Herrera – to review her life from High School punkette outsider through her various career and family ups and downs…

Under the umbrella title of ‘Dumb Solitaire’, what purports to be the memoir of Senor Herrera reveals in scathing depth the troubled life of a woman he just cannot stay away from in an uncompromising and sexually explicit “documentary” which pulls no punches, makes no judgements and yet still manages to come off as a feel-good tale.

High Soft Lisp is the most intriguing depiction of feminine power and behaviour since Flaubert’s Madame Bovary – and probably just as troubling and controversial – with the added advantage of intoxicating drawing adding shades of meaning mere text cannot impart.

Extremely funny and powerfully moving, remarkable and unmissable: no fan of the medium, student of humanity or lover of life in the raw should deprive themselves of this treat.
© 2010 Gilbert Hernandez. All Rights Reserved.

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Madame Cat


By Nancy Peña, translated by Mark Bence (Life Drawn/Humanoids)
ISBN: 978-1-59465- 813-6 (Album PB/Digital edition)

Churlish men have joked about women with cats for eternity. Here’s a superbly irrepressible cartoon collection BY a woman about her own cat. It’s hilarious, extremely addictive and among the top five strips about feline companions ever. Laugh that off, guys…

Toulouse-born Nancy Peña probably caught the comics bug off her father: a dedicated comics collector. She studied Applied Arts and became a teacher while carving out a sideline as a prolific creator of magazine strips and graphic novels such as her Medea series, Le Cabinet Chinois, Mamohtobo, Le Chat du kimono and many more. She also illustrates books such as the award winning Les Guerriers de glace, Quelle épique époque opaque! or Oh Pénélope.

Hectic as all that sounds, she still found time to invite a companion animal to share her life… by which I mean a cat not a man. He’s just there for shelves, jar lids and sarcasm…

Madame is a cute little kitty who shares Peña’s place and converses with her. The be-whiskered treasure (Madame, right?) has a remarkably vivid interior life – probably swiped from any number of deranged mad scientists and would-be world conquerors – and is the mischievous stuff of nightmares all those of us legally responsible for a pet know and dread. There is nothing the tiny tyke won’t attempt, from drinking artists ink to exorcising the artist’s long-suffering and utterly unwelcome boyfriend.

Madame knows what she is and what she wants and will baulk at nothing – not even the laws of physics – to achieve her aims…

The engaging bombshell bursts of manic mirth are rendered in engaging duotone (black & blue, but I’m sure that’s not symbolic of anything) with titles such as ‘Madame flirts’, ‘Madame suggests’, ‘Madame insists’ and ‘Madame smells’, as the wee beast moves in, makes allies of the other felines in the area and promptly takes charge: wrecking the life and house of her carer, and only gives in return permission to be adored. Every cat person alive will identify with that.

There are four collections to date but only the first is available in English editions, but Madame Cat is a sparking example of domestic comedy and will surely find someone to continue the translations. Conversely you can catch new adventures every week at the website of newspaper Le Monde…

Mixing recognisably real events with potent imagination and debilitating whimsy, Peña has devised a classic cartoon character who is charming, appalling and laugh-out-loud funny. If you’ve been thinking of getting a cat, along with all the medical and pet-care books, get this too. You won’t be sorry. Well, not with the book, at least…

“Madame” © 2015-2016 La La Boîte à bulles & Nancy Peña. All rights reserved.

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Toby and the Pixies: volume 2: Best Frenemies!


By James Turner & Andreas Schuster with Kate Brown, Austin Boechle & Leanna Daphne (David Fickling Books)
ISBN: 978-1-78845-338-7 (TPB)

Way back in January 2012, Oxford-based David Fickling Books made a rather radical move by launching a traditional anthology comics weekly aimed at under-12s. It revelled in reviving the good old days of picture-story entertainment intent whilst embracing the full force of modernity in style and content.

To this day each issue features humour, adventure, quizzes, puzzles and educational material in a joyous parade of cartoon fun and fantasy. The Phoenix has successfully established itself as a potent source of children’s entertainment because, like The Beano and The Dandy, it is equally at home to boys and girls, and mastered the magical trick of mixing amazingly action-packed adventure series with hilarious humour strip serials such as this one. Most of the strips have also become graphic collections just like this one…

Crafted by the astoundingly clever James Turner (Star Cat, Super Animal Adventure Squad, Mameshiba, The Unfeasible Adventures of Beaver and Steve) and Canadian cartoonist/designer/animator Andreas Schuster (KLARA AND ANTON in PRIMAX Magazine), Toby and the Pixies began in January 2020 (as I Hate Pixies) and, once out of the compost bag of creative wonders, just wouldn’t stop.

Those first forays were remastered and released as Toby and the Pixies: Worst King Ever! where the unwary and unwise learned how one nerdy boy at a Surburbiton high school – 12-year old overachiever Toby Cauldwell – really began fitting in. After all, it was hard enough enduring overbearing popular classmates like smarmy trendy “online influencer” Joe and snarky bully Steph but at least fellow style exile Mo was in the same boat. Everything changed – generally for the worst – after Toby’s electric toaster-obsessed Dad ordered the little wastrel to sort out the unruly back garden…

That’s when Toby discovered the wild, suburban jungle was, unknown to any mortal, a screen for a fabulous fey realm. This ethereal yet rather mucky enclave had endured unseen in the green shambles of the Cauldwell backyard for countless ages. However – due to an inept and inadvertent act of emancipation sparked by Toby kicking an unfortunately placed plaster garden gnome – the status quo forever altered and the reluctant lad was inadvertently elevated to the position of supreme overlord. It was only for a hidden kingdom of magical morons but they were really happy to be shot of their previous mad mean magical master.

As interpreted by the former King’s advisors Mouldwarp (Royal Druid), wise(ish) Gatherwool (Lore Keeper/Potion Master) and Toadflax (she eats stuff); deliberate or not, despatching King Thornpickle made Toby new absolute monarch. Pixie law also stated said ruler could do anything they wanted… a prospect so laden with responsibility that it made Toby weep with terror…

Just coming to terms with magic actually existing and that freaky, anarchic little imps can do it whilst still being absolute idiots and morons was awful enough, without also still having to survive school’s normal and traditional horrors. Thankfully, as the little odds and sods increasingly impinged and impacted on Toby’s life, education and prospects, they also turned school upside on a daily basis, and Toby’s fellow outcast Mo soon discovered the shocking secret. In the short term, it actually made things worse but now, apart from constant teasing and perpetual whining pleas to visit the magic kingdom, there is a fellow human King Toby can moan at.

… And then succession problems kicked off as magic-slime wielding Princess Sugarsnap – daughter of Thornpickle and rightful heir to a job Toby really, really doesn’t want – started her war to take back the throne…

This second commodious compendium opens with a chance to meet key regulars Toby, Mo, Steph, advisors Toadflax, Gatherwool & Mouldwarp and evil usurper-in-waiting Princess Sugarsnap in a comprehensive double page intro. Then it’s back to school and off the deep end in ‘Chapter 1: Bully’ wherein the pestiferous advisors gear up to look (nothing) like a normal person. The plan is to sort out mean girl Steph, but only serves to amplify suspicions she never used to have, leading to revelation and a well-deserved détente. ‘Chapter 2: Steph Meets the Pixies’ sees her forcibly brought up to speed on the incredible truth of Toby’s life when Sugarsnap launches a slime invasion, ensuring the strictly minor league abuser gets a peek at real stinky evil and, maybe, her own potential future…

Now, still obnoxious and bossy but part of the team, Steph helps contain the chaos when Toadflax trades identities with Toby (without asking permission) and inadvertently deals attention-addict Joe a reputation-ruining life lesson in ‘Chapter 3: Body Swap’ prior to an official invitation to the magic kingdom in ‘Chapter 4: Steph Joins the Team’. The state visit gives her and Toby time to bond over a shared passion – TV sleuth Inspector Humps – and even solve a uniquely fairy felony when someone steals Farmer Haydrizzle’s stinkworms…

Idle playground chatter about wasted time and pointless tasks leads to ‘Chapter 5: Double Trouble’ after Gatherwool unleashes a harvest of doppelgangers by sowing a crop of double seeds. The school is pretty used to weirdness by now, and only unlikable geography teacher Mr. Morris doesn’t make it back next day…

Toby’s perpetually disappointed grandmother and grandfather are compelled to expose their long-suppressed true natures after ‘Chapter 6: Grandparent Grumblings’ sees an unwelcome duty go utterly off the rails when the magically tooled-up advisors come along for the ride, after which the reluctant ruler joins Mo on a birthday jaunt to see the animals in ‘Chapter 7: Zoo’s There?’ Typically unwilling to be left behind, the advisors don’t really get the point of “animal prison” and their mystic meddling has lasting repercussions. At least Mo, Steph and Toby get to become their spirit animals in the vain efforts to fix the carnage…

A terrifying human rite of passage comes next as a school landmark looms for Toby and Mo. Maybe the mania and mayhem happened because he admitted liking pretty blonde Deborah, or perhaps it was just the cursed dancing shoes the King stupidly accepted from the advisors that led to leads to ‘Chapter 8: Disco Discombobulation’…

Rampant capitalism hits the magic kingdom hard and without mercy next, as a property boom is manufactured by cunning cove and self-appointed loan-shark/banker Tricksy the Pixie in ‘Chapter 9: Boom and Bust’. It wasn’t so much all the ugly flimsy new builds, rampant unheeding greed of the elfin borrowers or even the million percent interest rates that caused the inevitable collapse as putting their faith in a base currency that was water soluble and biodegradable…

As the King dealt with the fallout of that crisis Mo and Steph applied tried & trusted narrative principles to a potential pixie couple experiencing romantic frustration in ‘Chapter 10: Fairy Fail!’ – with typically revolting results, and a human fancy dress party (plus irate, interfering advisors) triggers a riot of fanciful manifestations in ‘Chapter 11: Princess-pocalypse’ before the magical misery tours stumble to a pause when a day choosing instruments and performers for the school orchestra only generates a spontaneous wave of despondency in ‘Chapter 12: The Glooms!’ Typically, the talent search degenerates into a cacophony of sadness and woe with magically mutagenic effects even young King Cauldwell and his court are affected: all but Steph who has to do something truly unwelcome to save the day…

Wrapping up the fey foolishness is an activity section detailing ‘How to Draw Steph Expressions’ and  ‘Steph’s Body’ and thereafter closing with the now-standard Special Preview feature focusing on what other word-&-picture wonderment awaits in the periodical Phoenix…

Toby and the Pixies is a joyous concatenation of nonsense no lover of laughs and lunacy should deprive themselves of and a feast of yuckky yoks all kids will gleefully consume.
Text and illustrations © The Phoenix Comic 2025. All rights reserved.

Toby and the Pixies: volume 2: Best Frenemies! is published on March 13th 2025 and available for preorder now.

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Henry Speaks for Himself


By John J. Liney, edited by David Tosh (Fantagraphics Books)
ISBN: 978-1-60699-733-8 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Created by veteran cartoonist Carl Anderson as a silent, pantomimic gag-panel first seen on March 19th 1932, Henry was one of the most venerated and long-lived of US newspaper comics strips. The feature was developed for The Saturday Evening Post before being picked up by legendary strip advocate and proponent William Randolph Hearst. He brought it and the then-69-year-old Anderson to his King Features Syndicate in 1934 after which the first comic strip appeared on December 17th, with a full colour Sunday half-page following on March 10th 1935. The Saturday Evening Post had to content and console itself with a new feature entitled Little Lulu by Marjorie Henderson Buell. I wonder how that worked out?

Being a man of advanced years, Anderson employed Don Trachte to assist with the Sundays whilst John J. Liney performed the same role for the Monday to Saturday black and white iteration. This continued until 1942 when arthritis forced Anderson to retire. Trachte and Liney became de facto creators of the feature – although the originator’s name remained on the masthead for the next twenty years.

Liney (1912-1982) had started as a staff cartoonist on the Philadelphia Evening Ledger and began selling gag ideas to Anderson in 1936 before landing the full-time assistant’s job. After assuming the illustrator’s role in 1942, Liney took over sole writing responsibilities for the daily in 1945, continuing Henry until 1979 when he finally retired. His own name had been adorning the strip since 1970. He was also a passionate teacher and educator on comics and cartooning, with a position at Temple University. Nevertheless, he still found time to write and draw a comic book iteration of the mute and merry masterpiece from 1946 to 1961.

Major licensing monolith Western Publishing/Dell Comics had been successfully producing comic books starring animation characters, film icons and strip heroes since the mid-1930s, and when they launched their Henry – first in Four Color Comics #122 and #155 (October 1946 and July 1947) prior to his own 65 issue title from January 1948 – they successfully argued for a radical change in the boy’s make-up.

The newspaper strip had always been a timeless, nostalgia-fuelled, happily humour-heavy panoply of gags and slapstick situations, wherein the quite frankly weird-looking little bald kid romped and pranked in complete silence, with superb cartooning delivering all the communication nuance its vast international audience needed.

Now though, with children seen as sole consumers, the powers-that-be felt that little lad should be able to speak and make himself understood. Liney easily rose to the challenge and produced a sublime run of jolly, wild, weird if not often utterly surreal, endlessly inventive adventures – many of which approached stream-of-consciousness progressions that perfectly captured the ephemeral nature of kids’ concentration. He also introduced a captivating supporting cast to augment the boy, and his appealingly unattractive, forthright and two-fisted inamorata Henrietta.

This splendid collection gathers some of the very best longer tales from the comic book run in the resplendent flat primary colours that are so evocative of simpler days, beginning after a heartfelt reminiscence in the Foreword by Kim Deitch. Another pause before the comics commence comes from Editor, compiler and devotee David Tosh who outlines the history of the character and his creators in ‘Henry – the Funniest Living American’. He then goes on to explain ‘The Dell Years’ before offering some informative ‘Notes on the Stories’.

The vivid viewing portion of this collection is liberally augmented with stunning cover reproductions; all impressively embracing to the quiet lad’s silent comedy roots, a brace of which precede a beautiful double-page spread detailing the vast and varied cast Liney added to the mix. Then, from #7 (June, 1949), we discover ‘Henry is Thinking Out Loud!’ as the kid keeps his non-existent mouth shut and explores the medium of first person narrative, inner monologues and thought-balloons, all whilst getting into mischief seeking odd jobs to do…

October’s edition, Henry #9, introduced good-natured, cool but increasingly put-upon Officer Yako in ‘You Can’t Beat the Man on the Beat!’ via an escalating succession of brushes with the law, bullies, prospective clients… and darling Henrietta.

That bald boy still hadn’t actually uttered a sound, but by #14 (August 1950) had found his voice, much to the amusement of his layabout Uncle (rather suspiciously, he never had a name) who eavesdropped on the assorted kids comparing their ‘Funny Dreams’. After a quartet of covers, Henry #16 (December 1950) finds Liney playing with words as ‘Rhyme Without Reason’ reveals the entire cast afflicted with doggerel, meter, couplets and all forms poetic, with Liney even drawing himself into the madcap procession of japes and jests, whilst ‘A Slice of Ham’  #22, December 1951) cleverly riffs on Henry’s ambitions to impress Henrietta by becoming an actor. This yarn offers a wealth of Liney caricatures featuring screen immortals such as Chaplin, Gable, Sinatra and more, whilst introducing a potential rival contender for Henry’s affections in cousin Gilda…

In #24 (April 1952) Henry ‘Peeks into the Future’ by outrageously pondering on his possible careers as an adult, before plunging into Flintstone or Alley Oop territory – complete with cave city and dinosaurs – as a result of studying too hard for a history test in ‘The Stone Age Story’ from #29, February 1953.

After four more clever funny covers, growing up again features heavily with ‘Choosing Your Career’ (#45, March 1956) as the little fool road-tests a job as a home-made cab driver and accidentally slips into law enforcement by capturing a bandit. Henry #48 (December 1956) sees him attend a fancy dress party and become ‘The Boy in the Iron Mask’, before this completely charming compilation closes by reprising that sojourn in the Stone Age ‘Rock and Roll’ (#49 March 1957). Concluding the comedy capers is fond personal reminiscence ‘Henry and Me’ by David Tosh; a man justifiably delighted to be able to share his passion with us and hopefully proud that this book gloriously recaptures some of the simple straightforward sheer joy that could be found in comicbooks of yore.

Henry Speaks for Himself is fun, frolicsome and fabulously captivating all-ages cartooning that will enthral anyone with kids or who has the soul of one.
Henry Speaks for Himself © 2014 Fantagraphics Books Inc. All comics and drawings © 2014 King Features, Inc. All other material © its respective creators. This book was produced in cooperation with Heritage Auctions.