Category: European Classics

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World War X book 1: Helius


By Jerry Frissen, Peter Snejbjerg & Delphine Rieu, translated by Edward Gauvin (Titan Comics)
ISBN: 978-1-78276-112-9

European comics have long been a bastion of big concept, high octane science fiction comics and in recent years have also taken on many of the faster-paced, viscerally emotional spectacles typifying modern movie blockbusters. A splendid new example of that marriage of thought and action can be seen in the English-language translation of World War X: Helius.

Belgian born Jerry/Thierry Frissen generally hangs out in Los Angeles writing comicbooks for Europe (Meurtres, Tequila, Les Tikitis, Luuna) and America (Luche Libre, The Zombies That Ate the World) or designing cool toys, whilst Danish illustrator Peter Snejbjerg (Tarzan, Hypernauten, Den Skjulte Protokol) is now a bona fide star of the US comicbook industry with impressive stints on a broad variety of classics like Abe Sapien, The Mighty, Starman, The Light Brigade, Books of Magic and many more.

Here they mash-up a number of genre styles to relate an astounding secret history of the world – and usher in its likely end – in a fast and vast tale which reassuringly mines familiar plot territory and fantasy memes to craft an engaging and addictive Armageddon thriller.

It dawns on the moon on February 17th 2017 where a team of scientists from Ralph Milne Farley Lunar Base are cautiously retrieving an oddly inscribed box. It looks like a coffin and when an accident causes it to fall open death is indeed inside…

The release of the thing inside awakens a most unique individual in Oregon, whilst a covert military archaeological dig in Papua, New Guinea goes into overdrive at news of the moon colony suddenly going off air.

Adesh Khan has no time to worry; he’s still working on the box uncovered at the bottom of a deep pit in these fetid jungles. Translator Antoine has made a breakthrough and thinks the hieroglyphics covering the Sarcophagi are warnings. He strenuously advises that every box be buried again and forgotten…

The remarkable individual in Oregon calls himself Helius and, as his team of heavily-armed and well-equipped enforcers efficiently ferry him by jet to another black site in Florida, they brief him on things you and I would consider common knowledge…

Adesh is arguing with the American President but PotUS isn’t listening. Project IX promises inexhaustible energy for the planet and he’s thinking about his legacy…

In Portugal, on November 1st 1755 the city of Lisbon was devastated and thousands of lives lost in what history records as a monumental earthquake. It wasn’t, but the hideous travesty that actually destroyed the metropolis looks awfully like the thing that came out of the box on the moon…

In the Everglades Tara Austin receives a frantic message from her colleague and ex-husband Adesh to stop working and get out of the state immediately. He can’t say much more because that’s when he’s arrested.

As Tara realises the Sarcophagus her team’s been working on is opening and rocking the entire area, in nearby Jackson, Helius and his minders are being quizzed by a pushy reporter who asks the strangest questions. Dodging her, the squad head to the Everglades but the base there seems totally devoid of life…

Deep within Columbus Airforce Base, Mississippi Adesh is being interrogated. He is still being cagy about what he now thinks the scattered Sarcophagi might be and responds badly when Lt. Erica McLyman lets slip that all contact has been lost with the Everglades due to a huge earthquake…

It’s not long before Adesh busts out of his cell, sneaks off base and heads for Florida…

In France in the Year of Our Lord 1248, a terrible upheaval shattered Mont Granier, releasing a monstrous devil which slaughtered peasants and a troop of knights. One of the noble survivors was severely maimed. He looked a lot like Helius…

In Greenville, Florida a reporter named Jen bums a ride with Adesh as he closes in on the Everglades site. They’re a rather conspicuous couple. Everybody else is headed in the opposite direction, spurred on by terror and enforced evacuation by the army. His destination is a raging battlefield, but a news blackout prevents anybody from learning who the army are fighting…

On the periphery of the furious struggle Helius and his unit are slowly closing in…

Adesh is a prisoner again. Jen has him chained to a steering wheel as he cautiously negotiates the road to the battle. She’s also pumping him at gunpoint for information on Project IX and doesn’t seem surprised by anything he reveals about the collection of 4-billion-year-old boxes his team had found deposited deep in the Earth.

At that antediluvian time all nine oddly-inscribed high-energy artefacts were placed equidistantly, but passing eons, geological upheaval and continental drift gradually shifted them. The troubles only really began after he convinced international authorities to move them back into their original positions…

At Everglades Ground Zero the army are losing the war against a legion of zombies. Helius explains their true enemy is the horror called Kharis, not his meat puppets, and advises his loyal squad on how best to deal with the myriad assaults of the thing.

Not far away Jen hears its call and changes her mind about killing Adesh. She does, however, reveal just how far from human she actually is…

As they observe Helius metamorphically confront Kharis, Adesh wonders if he might be the only normal creature left in Florida. That idle thought resonates as Jen suddenly joins the fight, every inch as terrifying, warped and inhuman as the original combatants…

And on February 11th 2017, in Mont Granier, Lisbon, the Azores, New Guinea and Greenland the world shakes. Horrendous beasts awake, causing incalculable death and destruction, heralding the end of the world…

To be Continued…

Snappy, fast paced and planting plenty of plot seeds for future spectacle and revelation, World War X: Helius promises to be a rousing rollercoaster ride of thrills, chill and spills. Get this and stick around for the main event. It promises to be a blast…
World War X and all contents are © Snejbjerg/Frissen/Éditions du Lombard (Dargaud-Lombard S.A.) 2013.

World War X: Helius will be released on April 14th 2015 and is available for pre-order now.

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Asterix & Obelix’s Birthday: The Golden Book


By R. Goscinny & A. Uderzo (Orion)
ISBN: 978-1-4440-0095-5

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 numerous animated and live-action movies, TV series, assorted toys and games and even their own tourist hotspot (Parc Astérix, near Paris). More than 325 million copies of the 35 canonical Asterix books have sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

The 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.

His last work on the feature was this compilation of new and old material which was designed to signify and celebrate 50 glorious years of his co-creation. 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 great, the core premise of the immortal series works on multiple levels: ostensibly, younger readers enjoy the action-packed, lavishly illustrated comedic romps where conniving, bullying baddies always 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 translator Anthea Bell 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 smack in the mush as much as a painfully swingeing string of bad puns and dry cutting jibes…

The eponymous hero is a smart, bold 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 50 BC.

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 weak-minded super-strong best friend…

Firmly established as a global brand and premium French export by the mid-1960s, Asterix 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.

Ren̩ Goscinny was one of the most prolific Рand remains one of the most-read Рwriters of strips the world has ever seen. A Parisian born in 1926, he was raised in Argentina where his father taught mathematics. From an early age the boy showed artistic promise. He studied fine arts, graduating in 1942, and while working as junior illustrator at an ad agency in 1945 was invited by an uncle to stay in the USA, where he found work as a translator.

After National Service in France Goscinny settled in Brooklyn and pursued a creative career, becoming in 1948 an art assistant for 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 Rene 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, Jean-Michel Charlier and Jean Hébrard formed the independent Édipress/Édifrance syndicate, generating magazines for general industry (Clairon for the factory union and Pistolin for a chocolate factory). Scripting for Uderzo he produced Bill Blanchart, Pistolet and Benjamin et Benjamine, whilst writing and illustrating Le Capitaine Bibobu.

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 scripted 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, debuted 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 Swedish-born Jean Tabary. A minor success, it was re-tooled as Iznogoud when it transferred to Pilote.

Goscinny died in November 1977.

In the post-war reconstruction 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 archival edition…).

Equally indefatigable, Uderzo’s subsequent creations included 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 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.

Both Jehan Pistolet and Luc Junior were created for La Libre Junior and they invented a spoof western starring a Red Indian (ah, simpler, if more casually racist, times…) who 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 Tintin debut 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 whilst working with Goscinny on a little something called Asterix…

Although the ancient Gaul was a massive hit from the start, Uderzo continued working on Tanguy et Laverdure, but as soon as epic 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, and in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. At the same time, after nearly 15 years as a weekly comic strip subsequently collected into compilations, 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…

When Goscinny passed away three years later, Uderzo had to be coaxed and convinced to continue the sagas as writer and artist. He produced a further ten volumes until his retirement in 2010.

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.

After the controversial reception to 2005’s Asterix and the Falling Sky, Uderzo’s 34th and last outing with his creations took four years to materialise and was once again not what was expected.

In the manner of a TV clip show or “roast”, the anniversary saga wove snippets and rarely seen ancillary material into a beguiling parade of gently surreal congratulation preceded by a Foreword from the doughty Gaul himself and a moving and laudatory recollection by Goscinny’s daughter Anne, after which the usual set-up pages lead into a strange scene…

It is the year 1 (or 0, depending on your grasp of arithmetic) AD. Fifty years after the heyday of the indomitable Gaulish resistance the regular characters are old but still as bellicose as ever. The world however is no longer a place of constant turmoil and adventure. Elderly Asterix has again dumped his horde of grandkids on aged uncle Obelix but both long for the days of having fun and bashing Romans.

Then as Uderzo physically injects himself into the tale the scene magically shifts, the heroes regain youth and vitality and in 50 BC the village is frantically getting ready for a big party. Asterix and Obelix were born on the same day and this year’s birthday party is going to be monumental…

As Vitalstatistix makes another speech Geriatrix‘s glamorous young wife interrupts with a prophetic clothes show allowing readers to see what Obelix would look like as a fashion plate in eleven coming eras. Her sole design for Asterix is just as radical…

When the big guy’s unrequitable (in fact, happily married and utterly unaware) love Panacea sends him a birthday missive, Obelix has to admit that he cannot read and Druid Getafix lends him an alphabet book he’s been working on. The intensive course of study does not end well…

Next follows a selection of birthday greetings from inept Egyptian architect Edifis and Redbeard‘s far from unsinkable pirates, after which a touch of character assassination from Geriatrix and introspection by Druid Psychoanalytix segues into an intriguing set of designs and sketches in the manner of Leonardo da Vinci and the first present: a text and prose book entitled ‘The Circumbendibus Travel Guide’ delineating many of the fascinating places the Gauls have visited (based on an article by Goscinny originally seen in Pilote #347 16th June 1966)…

Also included is vibrant infomercial ‘Put Your Travels on the Map’ hosted by Cacofonix which is followed by more creative anachronism in the form of parody record covers and a glimpse at the pan-European Imperiovision Song Contest (Bards Only) plus a little girlish table-talk as the village women express their hidden feelings and secret imaginings about the bombastic birthday boys, as well as who should marry them…

As young entrepreneur Squareonthehypotenus offers plans for a theme park dedicated to the wonderful warriors, his plans are eagerly embraced by the villagers and encourage Druid Valueaddedtax to invent new types of potion, whilst impresario Laurensolivius imagines a time of moving pictures and the great dramas the story of the villagers will inspire…

Finally a section on the great art which will one day be created because of Asterix and Obelix (augmented by faux reproductions of famous artworks by da Vinci, Rodin, Delacroix, Edvard Munch, Arcimboldo, Manet and David) before tension breaks out after Queen Cleopatra and Julius Caesar finally arrive for the party.

She might eternally be grateful to the Gauls but the Emperor bears grudges and takes the opportunity to have his apothecary Choleramorbus add a little something nasty to the amphora of wine he’s giving as a gift…

As ever, Roman duplicity is no match for Gaulish guile…

More a collection of themed gags than a singular saga and packed with posters and sly in-jokes this is a delicious addition – or perhaps perk – to the long and glorious career of two of France’s greatest heroes – both the real ones and their fictive masterworks.
© 2009 Les Éditions Albert René/Goscinny-Uderzo. English translation: © 2009 Les Éditions Albert René/Goscinny-Uderzo. All rights reserved.

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Melusine volume 1: Hocus Pocus


By Clarke (Frédéric Seron) & Gilson, coloured by Cerise and translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-905460-20-5

Teen witches have a long and distinguished pedigree in fiction and one of the most engaging of all first appeared in venerable Belgian magazine Spirou in 1992. Mélusine is actually a sprightly 119 years old and spends her days working as an au pair in a vast monster-packed chateau whilst studying to perfect her craft at Witches’ School…

The feature ranges from one-page gag strips on supernatural themes to short tales detailing her rather fraught life, the impossibly demanding master and mistress of the castle and her large circle of peculiar family and friends.

Collected editions began appearing in 1995, with the 18th published in 2010. Four of those have thus far made it into English translations thanks to the fine folk at Cinebook.

The strip was devised by writer François Gilson (Rebecca, Cactus Club, Garage Isidore) and top flight cartoon humorist Frédéric Seron, AKA Clarke whose numerous features for all-ages Spirou and the acerbic adult humour publication Fluide Glacial include Rebecca, Les Cambrioleurs, Durant les Travaux, l’Exposition Continue… and Le Miracle de la Vie.

Under the pseudonym Valda, Seron also created Les Babysitters and as Bluttwurst Les Enquêtes de l’Inspecteur Archibaldo Massicotti, Château Montrachet, Mister President and P.38 et Bas Nylo.

A former fashion illustrator and nephew of comics veteran Pierre Seron, Clarke is one of those insufferable guys who just draws non-stop and is sublimely funny. He also doubles up as a creator of historical and genre pieces such as Cosa Nostra, Les Histoires de France, Luna Almaden and Nocturnes and apparently is free from the curse of having to sleep…

Hocus Pocus was the seventh M̩lusine album, originally released in 2000, and offers a fine place for newcomers to start as the majority of the content is one or two page gags which Рlike a young, hot Broom Hilda Рmake play with fairy tale and horror film conventions and themes.

When brittle, moody Melusine isn’t being bullied for her inept cleaning skills by the matriarchal ghost-duchess who runs the castle, or ducking cat-eating monster Winston and frisky vampire The Count, she’s avoiding the attentions of horny peasants, practising her spells or consoling dreadfully unskilled classmate Cancrelune. Her boyfriend is a werewolf so she only sees him a couple of nights a month…

Her days of toil are occasionally spiced up with and put in perspective by sports days such as blindfolded broom-flying contests and there’s always dowager Aunt Adrezelle who is eager and happy to share the wisdom of her so-many centuries…

After a splendid succession of quick-fire japes and jests, things take on a touch of continuity and even tension when scandalous cousin Melisande pops in for an extended visit.

Spurning the dark, dread and sinisterly sober side of the clan, Melisande became a Fairy Godmother; all sparkles, fairy-cakes, pink bunnies and love. She’s simplicity, sweetness and light itself in every aspect, so what’s not to loathe…?

No sooner does the twinkling twit start to grow on everybody however than she falls victim to one of The Count’s periodic bite-fests and slowly metamorphoses into a true witches’ witch: skin-tight black leather, batwings and ready for wicked transformations and sorcery duels at the drop of a pointed hat…

The situation comes to a head and the cauldron boils over in the eponymous extra-long episode ‘Hocus Pocus’ as Melusine and Melisande finally face off to decide which witch is worst…

Clever, wry, sly, fast-paced and uproariously funny, this compendium of arcane antics is a great taste of the magic of European comics and a beguiling delight for all lovers of the cartoonist’s art…

Original edition © Dupuis, 2000 by Clarke & Gilson. All rights reserved. English translation 2007 © Cinebook Ltd.

 

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Spirou and Fantasio volume 7: The Rhinoceros’ Horn


By André Franquin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-224-9

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

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

The character 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 associates 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 assisted by Belgian artist Luc Lafnet until 1943 when Dupuis purchased all rights to the feature, after which comic-strip prodigy Joseph Gillain (“Jijé”) took the helm.

In 1946 Jijé‘s assistant André Franquin assumed the reins, gradually 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).

He crafted increasingly fantastic tales and absorbing Spirou sagas until he resigned in 1969.

He was succeeded by Jean-Claude Fournier who updated the feature over the course of nine stirring adventures which 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 feature, until it was at last revitalised by Philippe Vandevelde – writing as Tome – and artist Jean-Richard Geurts AKA 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 & Vehlmann took over the never-ending procession of amazing adventures…

Cinebook have been publishing Spirou & Fantasio’s exploits since October 2009, mainly translating Tome & Janry’s superb pastiche/homages of Franquin, but for the fifth episode (The Marsupilami Thieves), they reached all the way back to 1952 and the second appearance of the adorable wonder-beast by the great man himself.

With that brave experiment clearly having paid dividends they repeated the experiment here, but with times and taste having changed so radically felt the need to issue a heartfelt warning and carefully considered apologia regarding some content of The Rhinoceros’ Horn…

I’ll précis it here: it was sixty years ago and our attitudes to hunting, minorities and especially the modern obscenity of killing for ivory and horn have thankfully changed. Please read this book with that in mind. The publishers, of course, phrased it much better…

André Franquin was born in Etterbeek, Belgium on January 3rd 1924. Drawing from an early age, the lad only began formal art training at École Saint-Luc in 1943. When the war forced the school to close a year later, he 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 Peyo 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 tutored 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 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 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. This particular tale saw the debut of one of the first strong, capable female characters in European comics; rival journalist Seccotine (renamed Cellophine for this 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 Рaround the time this story was collected into an album Рcontractual conflicts with Dupuis forced Franquin to sign up with rival outfit Casterman on Tintin. Here he collaborated with Ren̩ 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 on, writer Greg and background artist Jidéhem assisted Franquin but by 1969 the artist had reached his Spirou limit and resigned, taking his mystic Marsupilami 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.

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 Rhinoceros’ Horn was originally serialised in two sequences in Spirou: #764-787 (Spirou et la Turbotraction) and #788-797(La corne de rhinocéros), spanning late 1952 and early 1953 before being united in hardback album La corne de rhinocéros in 1955.

The story begins with Spirou exulting over the success of Fantasio’s latest enterprise – personal helicopters worn as backpacks – but his pal is rather down in the dumps. He’s just been dressed down by his editor on The Mosquito and warned that the paper has hired a new reporter: a real go-getting hotshot…

Dejected and desperate Fantasio determines to revive his career by staging a publicity stunt: robbing the Good Bazaar Department Store…

As the rattled reporter draws up his plans and sends a warning to the store of his intentions, a colossal explosion shakes the town. Persons unknown have blown up the nearby Turbot car plant. With even more to prove now, Fantasio proceeds…

Dragged along for the ride to photograph the stunt, Spirou and Spip reluctantly join their pal in the hare-brained venture. Landing on the roof of the emporium courtesy of the petrol-powered “Fantacopters”, they deftly break in through the fire-door, Spirou recording everything with his gigantic flash camera.

Typically the lead-footed burglars make an appalling clatter and tremendous mess but no night-watchmen confront them. They’ve all been incapacitated and tied up by real robbers…

Hearing the villains approach, the lads take refuge in a wardrobe in the bedrooms department and discover an old acquaintance already there. Behring works for Turbot and was wounded in the explosion earlier. Moreover, he’s carrying blueprints for the company’s latest advancement and the burglars in the darkened store are actually bandits trying to finish him off to get them…

Handing the boys an envelope and begging them to get it to his employer Mr. Martin, the troubleshooter loses consciousness just as the nervous heroes are challenged by a shadowy figure demanding the precious prize. It’s not the bad guys however, but Fantasio’s new journalistic nemesis…

Cellophine is already streets ahead of them: she knows of the plot to steal Turbot’s revolutionary supercar. All she needs is the address Behring muttered to secure an interview with the in-hiding Martin and her next terrific scoop…

And that’s when the gun-toting bandits make their move, demanding blueprints and rendezvous address. Thankfully Spirou is still holding the camera and super-bright flashgun…

Hilariously and calamitously fleeing for their lives through the darkened store, the boys eventually make their escape via fantacopters from the top storey, allowing Cellophine to lock the bandits up on the roof before dragging Behring to safety.

The next morning the boys are in Whistleton but Martin has already fled. His note reveals nothing, but later a sinister stranger in a café advises them to surrender the blueprints and warns them not to join Martin in Bab-el-bled in North Africa.

Ignoring him and returning home, they encounter the distressingly persistent Cellophine and Spirou clues her in. Sadly the thugs have tracked them down and overhear the plans. When the boys catch a jet liner to Africa, the heavily disguised heavies are in the seats behind them…

They villains are on their tails all though the streets of Bab-el-bled, but a wig malfunction in the Souk warns Spirou they’re being followed and another hectic chase ensues.

Thinking they’ve at last shaken their pursuers our heroes go to Martin’s house only to learn he was ambushed by the bandits…

Happily the troubled Turbot exec escaped and fled further into North Africa. He’s rushing off to the M’saragba Animal Reservation but as the boys try to follow Cellophine appears and pips them to the last spot on the plane – stowed away in the baggage hold…

Forced to follow by train, it is eight days later when Fantasio and Spirou finally reach the Reserve and yet again – as the infinitely annoying Cellophine explains – they’ve just missed Martin. He was chased into the bush by the implacable bandits…

The youngsters go after him and, later that afternoon, find him just after the thugs do. Having shot Martin, the villains are smugly gloating when the sinister stranger from the café in Whistleton appears. He’s a cop and finally has enough evidence to arrest them for blowing up the factory…

They are all too late. The harassed entrepreneur has already got rid of his portion of the plans, giving them to a native friend to hide.

As Martin is carried to hospital, Spirou and Fantasio volunteer to retrieve the accursed documents but they have not reckoned on the quirky ingenuity of the chief of the Wakukus, the vastness of the reserve and the sheer bloody-mindedness of the local flora and fauna.

After days of unpleasant and painful adventures they finally locate the tribe and, following even more nerve-wracking moments convince the chief that they too are friends of Martin. That’s when the king delivers his bombshell.

Tasked with keeping safe the plans – now contained on a spool of microfilm – the wily Wakuku had his men capture a live rhino before drilling a hole in its horn and sealing the container within. He then released it back into the wild. He has no idea where it is now or even which of the 200 in the park it might be…

Determined to complete their mission, the lads spend months tracking and capturing the assorted beasts. The task becomes only slightly easier after they find a dipsomaniac white trader who sells them hunting gear and latterly, yellow paint so that they can tell the rhinos they’ve already checked from the ones so cunningly evading them…

It’s a backbreaking, heartbreaking and increasingly pointless task but only when their resolve crumbles and they brokenly give up and head for home do they find the prize in the very last place they looked…

Even the trip back is a tribulation, and eventually they collapse only to awake in a nice clean hospital with Martin and Cellophine offering to fill in the blanks on this baffling case…

Six weeks later the lads are recuperating at home when Behring shows up. He’s got a little reward for them from the grateful Turbot Company but, as usual, Cellophine is on hand to spoil it for Fantasio…

Stuffed with superb slapstick situations, riotous keystone kops chases and gallons of gags, this exuberant yarn is a true celebration of angst-free action, thrills and spills. Easily accessible to readers of all ages and drawn with all the beguiling style and seductively wholesome élan which makes Asterix, Lucky Luke, The Bluecoats and Iznogoud so compelling, this is another enduring comics treat 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, 1955 by Franquin. All rights reserved. English translation 2014 © Cinebook Ltd.

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Masked volume 1: Anomalies


By Serge Lehman, Stéphane Créty, Julien Hugonnard-Bert & Gaétan Georges translated by Edward Gauvin (Titan Comics)
ISBN: 978-1-78276-108-2

It’s a great time for comics science fiction, and here’s one of the best examples of the bande dessinée take on tomorrow’s worlds, courtesy of Titan Comics’ ever-expanding line of stellar European translations.

Serge Lehman is the main nom de plume of prolific and multi award-winning author Pascal Fr̩jean (F.A.U.S.T., Thomas Lestrange, Metropolis, The Chimera Brigade) whilst mercurial illustrator St̩phane Cr̩ty came relatively late to comics Рvia stints as archaeologist, warehouseman and storyboard artist Рbut has been making up for it ever since.

With Sylvain & Sandrine Cordurié he created – between 2003 and 2004 – Salem le Noire and followed up with Acriborea. He has since lent his considerable skills to graphic serials Les Fleaux d’Enharma, Hannibal Meriadec et les larmes d’Odin amongst others, replaced Guy Michel on Le Sang du Dragon and produced stellar work on assorted Star Wars titles for Dark Horse in America.

In 2011 he united with Lehman to craft a cunning and captivating chronicle set just a bit ahead of Now: a world getting progressively stranger day by day…

It all begins with a patrol of peacekeepers in the Caucasus, policing a flash-war between Russia and Georgia. When they come across a devastating robotic combat drone only Sergeant Frank Braffort and Gunner Melissa Taleb survive the staggering assault of the kill-machine. They have no idea how: twin beams of red light simply blazed down out of an empty sky to destroy it…

The event was recorded as “incident 41” and filed away in army reports to be forgotten. It wasn’t…

Now, years after being hung out to dry by his superior officers for the inexplicable debacle, Braffort is back in Greater Paris. It’s December 23rd in District One of the XIII Arrondissment and strange mechanical trinkets keep turning up on the streets to grow and die like metal flowers or plastic mayflies. The blasé natives have grown used to them and dismiss the little widgets as mere “anomalies”…

Young science student Raphaelle Braffort is mildly intrigued by the phenomenon but is more concerned by her recently returned brother’s inability to accept the changes that have occurred during his six-year absence.

Back in town for twenty-four hours and all he can focus on is anomalies, the pirate media broadcasts of the enigmatic Lightning Network and the colossal ghostly hologram of legendary masked serial killer Fantoma manifesting all over the city. What Frank should be worried about are real issues like the growing political unrest, riots, repression and the swiftly boiling-over vendetta between District One Mayor Michelle Caprice and domineering, overreaching Joel Beauregard, Special Prefect of Greater Paris…

A quiet night in is interrupted when old army buddy Victor “Rocket” Duroc pays a call and drags Frank to a job interview that will be to his advantage…

As they cruise across town in Rocket’s municipally-owned flying Renault, the former sergeant cannot believe how much has changed: street riots, anomalies, a flying skateboarder, robot giants in the Seine…

The meeting is with Beauregard himself, who has an awful lot of ex-military in his entourage for someone whose official job is modernising the city and turning it into a global capital. However, before they can get started, a terrifying new type of Anomaly savagely attacks the Special Prefect before suddenly and inexplicably turning “her” sights on Braffort…

Most disturbing of all, the assault and its brutal conclusion are broadcast live by the Lightning Network. When the dust and cogs settle Frank finally meets the big man and is offered a job on the already formidable security team, but Beauregard is holding something back and asks Braffort to meet him at a secret location later.

The ex-sergeant has no idea how closely he’s being monitored, nor the unique role he’s being groomed for, and spends the day visiting Melissa Taleb. She’s in jail for “visiting” their old commanding officer and rather physically explaining why he shouldn’t have blamed his tactical screw-up on the men who died because of it…

Later that evening Braffort arrives at a deserted building in Montmartre and is ushered into an incredible basement complex which was once the lair of super-criminal Fantoma. There Beauregard and his scientific advisor Cleo Villanova – an expert on the clearly evolving and escalating Anomalies – reveal how research into the mechanoid plague uncovered this fortress, the history of a previously unknown superhero active from 1925-1940 and an even more incredible secret: one that has been kept by every government since De Gaulle liberated the city in World War II…

The Anomalies stem from an incredibly old technological temple hidden beneath Paris, and the mysterious motivating force reacts whenever Braffort is near. It wants something from him and the ruthless politicos are going to find out what by feeding him to it…

Braffort’s transformation is sudden, explosive and astonishing, but as the reaction sets the sky afire and alerts other clandestine elements in an ancient struggle Beauregard cannot help but gloat…

To Be Continued…

Fast-paced, suspenseful, imaginative and utterly compelling, this stunning opening salvo is supplemented by faux news article ‘Metrology: All Things in (im)Moderation by Zoe Kader’ offering a potted history and technical overview of the Anomaly phenomenon complete with illustrations of the rapid evolution of the intruding artefacts.

Complex, challenging and supremely enticing, Masked promises to be an outstanding addition to the annals of unmissable French science fiction classics.
Masked and all contents © Guy Delcourt Productions 2012. Masqué volumes 1, 2, 3, 4, Lehman-Créty © Editions Delcourt -2012-2013.

Masked: Anomalies will be released on March 30th 2015 and is available for pre-order now.

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The Chronicles of Legion volume 2: The Spawn of Dracula


By Fabien Nury, Mario Alberti, Zhang Xiaoyu & Tirso translated by Virgine Selavy (Titan Comics)
ISBN: 978-1-78276-094-8

The epic war between immortal blood-drenched brothers continues in the second translated volume of Fabien (Once Upon a Time in France, I Am Legion) Nury’s inspired reinvigoration of the Dracula legend, with illustrators Mario Alberti, Zhang Xiaoyu and Tirso Cons each allocated a separate epoch of the centuries-spanning and intertwined vendetta.

The dread duel began in 2011 as Les Chroniques de Legion: a generational saga which put a new spin on the monster-myth, and The Spawn of Dracula further unravels a triptych of mysteries…

What You Need to Know: Vlad Tepes Dracula and his brother Radu possess the power to extend their lives beyond apparent death. Their consciousnesses are carried in their blood and by transferring the potent ichor to other living beings they can possess and dominate any number of victims infinitely.

Both have lived for centuries and for all that time they have hated each other…

Here the story expands in three theatres of war with their unceasing attempts to destroy each other centred in three separate eras, but rather than disparate clashes over time and space these duels are all part of an extended and never-ending campaign of terror with mere mortals their callously disposable tools, weapons and cannon fodder…

The opening act occurs in 1885 as gambling addict and thorough swine Victor Douglas Thorpe enters the palatial home of reclusive immensely wealthy aristocratic Lord Byron Cavendish. Should the upcoming interview go well the impoverished cad will soon be heir to the largest fortune in the Empire…

The conference goes exactly as the unseen benefactor intends. When the successful applicant returns to London, he bears a strange red mark and is no longer Victor Douglas Thorpe…

Centuries earlier in 1521, Gabriella, Doña Del La Fuente bore the same scarlet sigil as she was escorted through the green hell of the New World to a meeting with powerfully placed future husband Hernan Torres.

Guided by the conquistador’s enticingly masculine mulatto bastard Martin, the Doña’s party – rough soldier, cloying Spanish priests, avaricious self-important dignitaries and her loyal bodyguard Carlos – slowly make their way through the jungles until an uncanny sense warns of danger ahead.

Seconds later they are attacked by a horde of natives who seem immune to pain and mortal harm, fighting on even after holed by musket fire or even beheaded.

Moments before her body’s imminent demise Gabriella recognises her brother’s bloodmark on an attacker’s neck and, even as faithful, steadfast Carlos comes to her rescue, Vlad realises Radu has beaten her to this new continent and made himself at home.

Miles away, seeing through the dying eyes of his puppets, the other undying scion of Transylvania screams in fear and fury…

With daylight the much-diminished party struggles on towards Torres’ citadel and half-constructed cathedral with the bride-to-be increasingly succumbing to lust as she cares for her wounded and septic future son-in-law.

Once inside the Mission she is forced back into the role of diffident contract-bride, but Hernan Torres is no easy man to love. His thoughts are solely of preserving a legacy and creating a legitimate dynasty, and her bringing more grasping priests and fanatical Inquisitors to plague him has not endeared her to the Great Man.

Reduced to the status of closeted brood-mare, Gabriella has Carlos capture a huge eagle and, by allowing it to bite her, gains a mighty avian frame from which to view the world and survey her own inexorable rise to power…

As he slowly recovers Martin too falls under her spell, but this bewitching has nothing to do with her blood…

In late 19th century England an aristocrat’s estate burns in a vast and deliberate conflagration but the new Lord has no regrets and looks only forward, never back.

In 1812 a band of deserters from Napoleon’s army have reached Targovishte. Armand Malachie has led his faithful subordinates Kholya, Stern, Hartmann and Feraud to the Wallachian Mountains in search of the Lost Treasure of Vlad Dracula Tepes but the long-suffering peasants there quickly recognise who the dashing French Hussar is carrying inside him…

When an innkeeper passes on a message from Radu, arrogant Vlad disregards it but later engages in a pointless clash with a band of Cossacks which leads to the death of his mortal host…

As his men abandon his corpse to the snows, the embarrassed immortal summons his fading strength to reanimate the cadaver and follow in search of a new meat-home…

And in 1887 Victor Douglas Thorpe attends the funeral of his so-suddenly and suspiciously deceased benefactor and is accosted by the woman who carries his unborn child. Her entreaties go unacknowledged and, as he is driven away in his livered carriage, she bitterly damns him…

To Be Continued…

Unfolding in a luxurious oversized (211 x 282mm) full-colour hardback, superbly illustrated and beguiling told, this intoxicatingly absorbing jigsaw of terror and tragedy is a stunning and ambitious treat for all fans of fang and fear…
The Chronicles of Legion and all contents © Éditions Glénat 2011. Translated edition © Titan Comics, 2015

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Long John Silver volume II: Neptune


By Xavier Dorison & Mathieu Lauffray, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-072-6

British and European comics have always been far more comfortable with period-piece strips than our American cousins and much more imaginative when reinterpreting classical fiction for jaded comicbook audiences. The happy combination of familiar exoticism, past lives and world-changing events blended with drama, action and, most frequently, broad comedy has resulted in a uniquely narrative art form suited to beguiling readers of all ages and tastes.

Our Franco-Belgian brethren in particular have made an astonishing success out of repackaging days-gone-by but this particularly enchanting older-readers yarn forgoes the broad bellylaughs whilst extending the adventures of literature’s greatest rogue into a particularly engaging realm of globe-girdling thriller.

Robert Louis Stevenson’s Treasure Island was originally serialised from 1881-1882 in Young Folks magazine as Treasure Island or, the mutiny of the Hispaniola, pseudonymous penned by one “Captain George North”.

It was collected and published as a novel in May 1883 and has never been out of print since. A landmark of world storytelling, Treasure Island has been dramatised too many times to count and adapted into all forms of art. Most significantly, the book created a metafictional megastar – albeit at best an anti-hero – as immortal as King Arthur, Robin Hood, Sherlock Holmes, Tarzan or Superman. Almost everything the public “knows” about pirates devolves from the book and its unforgettable, show-stealing one-legged star…

Writer Xavier Dorison was born in Paris in 1970 and graduated business school before moving into storytelling. He works as an author, film writer, lecturer and movie script doctor. He began the award-winning Long John Silver in conjunction with preferred collaborator Mathieu (Prophet) Lauffay in 2006, with the last volume released in 2013.

Lauffay is also a Parisian born in 1970. He spends his days illustrating, drawing comics, crafting RPGs and working as a concept designer for movies. His art has graced such international items as Dark Horse Comics’ Star Wars franchise, games like Alone in the Dark, the album Lyrics Verdun, February 21, 1916 – December 18, 1916, Tarzan and many more…

Their continuation of the piratical prince is a foray into far more mature arenas set some years after the affair of the Hispaniola and ranges far and wide: from foggy, oppressive England to the vast, brooding inner recesses of the Amazon.

What has Gone Before: 1785 and treasure-hunting Lord Byron Hastings has finally found the lost city of Guiana-Capac but now needs further funds to exploit this promising City of Gold.

In England, his profligate and wanton wife Lady Vivian has been enjoying herself too much and is with child by lecherous neighbour Lord Prisham. With a baby in her belly and a husband gone three years, she is considering having Byron declared dead and undertaking a hasty remarriage…

Suddenly shattering those plans is her despised brother-in-law who turns up with an old native named Moxtechica bearing a message and map from her long-lost husband. Prudish and cruel Royal Naval officer Edward Hastings delights in telling the scheming strumpet he abhors that his brother has succeeded and now orders her to sell everything… including all the treasured family possessions, manor house and lands she brought to the marriage…

Byron has named Edward sole Proxy and the martinet delights in giving the high-born trollop Vivian her marching orders. He strongly urges her to confine herself to a convent and save them all further shame and disgrace…

Raging in front of her conniving maid Elsie, the Lady considers a number of retaliatory tactics before settling upon the most bold, dangerous and potentially rewarding. After announcing to the stunned Edward that she will accompany him to South America and reunite with her beloved husband, the fallen noblewoman seeks out a doctor to take care of the “problem” she is – for the moment at least – still secretly carrying…

Dr. Livesay is a decent, god-fearing soul who has led a quiet, prosperous life since his adventures on Flint’s Island. However, it is not her current condition which has brought Vivian to the physician’s door, but rather persistent tales of a scurrilous former acquaintance; a formidable, peg-legged rogue with a reputation for making life’s difficulties disappear…

Against his better judgement, Livesay capitulates to Lady Vivian’s urgings, introducing her to retired sea-cook John Silver. Amidst the (alleged) ex-pirate’s inner circle of scary-looking confederates she relates the story of the Spaniard Pizarro‘s discovery of a City of Gold and how, centuries later, her husband has reclaimed it.

The rest of her sorry tale tumbles out. She plans to travel there with a few capable men – and the far-from-willing Elsie – to make those riches her own. She needs Silver and his colleagues to infiltrate Edward’s crew, seize the ship he has chartered and complete the voyage under her command…

Unable to convince Vivian to desist or Silver to reject her offer, Livesay reluctantly joins them in vain hopes that he can keep the debased woman from mortal harm. Silver is hiding a debilitating and soon-to-be-fatal case of malaria, but still orchestrates his own hiring before packing the Neptune with suitable scoundrels and compelling Lady Vivian to sign a sacrosanct Pirates Contract. With all the various schemers believing their own plans are proceeding satisfactorily, the Neptune sets off for the Americas, but at the last moment Silver suffers a major setback when rival rogue Paris inveigles his way into the crew…

Volume two commences with the voyage well under way and the crew – Silver’s men, Paris’ contingent and even Captain Edward Hastings’ innocent hires – all slowly succumbing to the Sea Cook’s glib tongue and fascinating tales of the Red Brotherhood. Only Hastings’ lieutenants Dantzig and Van Horn have any inkling of the battle of wills occurring below decks, but the shaky détente is shattered after duplicitous Elsie tries to expose Lady Vivian’s plans only to suffer a tragic “accident” when a huge load of storage barrels falls upon her.

Hastings knows all too well that his ship is filled with men just waiting for him to pilot them to the mouth of incomprehensible wealth. Thus he rules with a rod of iron and full naval discipline just to stay alive.

Boy seaman Jack O’Kief is a protégé of Paris, but Silver has developed a fondness for the lad. That relationship is tested to the limit when Hastings declares Jack responsible for the maid’s death and has him brutally flogged to force the Sea Cook’s hand.

A vicious and prolonged battle of wills follows, pushing the crew to the edge of mutiny as Hastings stalls in making final landfall and Jack’s life slowly ebbs away…

Tensions come to a tragic head as a colossal storm pushes the Neptune inexorably towards its foregone destination and another death sparks the inevitable mutiny, appalling bloodshed and a red-handed settling of many scores…

Literally above it all, the shaman Moxtechica rides out the tempest above and the savage battle of the white men below, patiently waiting to see what the calm of dawn will bring…

To Be Continued…

Tense, evocative, suspenseful and shockingly powerful, these further exploits of Long John Silver are a modern masterpiece of adventure fiction worthy of Stevenson’s immortal adventure which should even convince a few more folks to actually read the original novel. © Darguad, Paris, 2008 by Dorison & Lauffray. All rights reserved. English translation © 2011 Cinebook Ltd.

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Jesse James: Lucky Luke volume 4


By Morris & Goscinny, translated by Frederick W. Nolan (CineBook)
ISBN: 978-1-905460-14-4

It’s hard to think of one of Europe’s most beloved and long-running comics characters being in any way controversial, but when changing times caught up with the fastest gun in the West (“so fast he can outdraw his own shadow”) and the planet’s most laconic cowboy moved with them, the news made headlines all over the world.

Lucky Luke is a rangy, good-natured, lightning-fast cowboy who roams the fabulously mythic Old West, having light-hearted adventures with his horse Jolly Jumper and interacting with a host of historical and legendary figures of the genre.

His continued exploits over nearly seventy years have made him one of the best-selling comic characters in Europe (81 collected books and more than 300 million albums in 30 languages thus far), with spin-off toys, computer games, animated cartoons and even a plethora of TV shows and live-action movies.

He was created in 1946 by Belgian animator, illustrator and cartoonist Maurice de Bévère (“Morris”) for the 1947 Annual (L’Almanach Spirou 1947) of Le Journal de Spirou, before launching into his first weekly adventure ‘Arizona 1880’on December 7th 1946.

Prior to that, while working at the CBA (Compagnie Belge d’Actualitiés) cartoon studio, Morris met future comics super-stars Franquin and Peyo, and worked for weekly magazine Le Moustique as a caricaturist – which is probably why (to my eyes at least) his lone star hero looks uncannily like the young Robert Mitchum who graced so many memorable mid-1940s B-movie Westerns.

Morris quickly became one of “la Bande des quatre” – The Gang of Four – which comprised creators Jijé, Will and his old comrade Franquin: the leading proponents of the loose and free-wheeling artistic style known as the “Marcinelle School” which dominated Spirou in aesthetic contention with the “Ligne Claire” style used by Hergé, EP Jacobs and other artists on Tintin Magazine.

In 1948 said Gang (all but Will) visited America, meeting US creators and sightseeing. Morris stayed for six years, meeting fellow traveller René Goscinny, scoring some work from the newly-formed EC sensation Mad whilst making copious notes and sketches of the swiftly vanishing Old West.

That research would resonate on every page of his life’s work.

Working solo until 1955, Morris produced another nine albums worth of affectionate sagebrush parody before reuniting with Goscinny, who became the regular wordsmith as Luke attained the dizzying heights of superstardom, commencing with ‘Des rails sur la Prairie’ (Rails on the Prairie), which began in Spirou on August 25th 1955.

In 1967 the six-gun straight-shooter switched sides, transferring to Goscinny’s own magazine Pilote with ‘La Diligence’ (The Stagecoach). Goscinny eventually produced 45 albums with Morris before his death, from whence onwards Morris continued both singly and with fresh collaborators.

Morris himself died in 2001 having drawn fully 70 adventures, plus spin-off sagas of Rantanplan (“dumbest dog in the West” and a charming spoof of cinema canine Rin-Tin-Tin), with Achdé, Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and others all taking a crack at the evergreen franchise…

Moreover, apart from that very first adventure, Lucky (to appropriate a quote applied to the thematically simpatico TV classic Alias Smith and Jones) “in all that time… never shot or killed anyone”…

Lucky Luke first appeared in Britain syndicated to weekly comic Film Fun in the late 1950s and again in 1967 in Giggle where he was renamed Buck Bingo. In all these venues – as well as the numerous attempts to follow the English-language successes of Tintin and Asterix albums from Brockhampton and Knight Books – Luke had a 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.

The most recent attempt to bring Lucky Luke to our shores and shelves comes from Cinebook (who have rightly restored the foul weed to his lips on the interior pages if not the covers…) and Jesse James was the fourth of 50 albums (and counting) currently available both on paper and as e-book editions.

On the continent it was the 35th comic cowboy chronicle and Goscinny’s 26th collaboration with Morris, originally appearing in 1969 and featuring an engaging overlapping of real world history and fantastic fiction. You have been warned…

After an informative and funny graphic reintroduction to our splendid stars and their impressive capabilities, the saga commences as a recuperating gentleman named Jesse reads a book about Robin Hood and decides that he too is going to rob from the rich and give to the poor.

His first foray as a gun-toting social worker goes well except for the moral quandary resulting from giving a poor man all the money he’s just liberated and making him a rich one. Shakespeare-quoting brother Frank has a clever solution: if they keep the money, but keep passing it back and forth to each other, they can take from the rich and give to the poor at the same time and keep it in the family too…

To make sure nobody stays rich for too long they bring hulking practical joking cousin Cole Younger into the pact and set about making themselves the most feared and unwelcome bandits in Oklahoma, Arkansas and Missouri. After robbing banks and derailing trains throughout the region the gang heads for Texas where events are already unfolding to their eventual detriment.

In sleepy, prosperous Nothing Gulch two of the least undercover detectives ever employed by the Pinkerton Agency approach lean, laconic Luke. Agents Smith and Jones (not their real names) want his aid in apprehending the most wanted men in America, but our hero can only promise that since they’ve committed no crimes in Texas he will watch them and act accordingly if they do…

Satisfied with the compromise, the very Public Eyes retire to their camp outside town whilst Lucky proceeds to warn the locals of their impending guests. He is greeted with a wave of Texan bombast and bravado but realises the people are not-so-secretly terrified by the prospect of the James Boys…

The subjects of all that apprehension have just crossed the border into Texas and, after much pleading, foolishly allowed Cole to try his hand at derailing a train. The big lunk simply doesn’t have the knack for it however and soon Main Street is torn up as a runaway locomotive and still-attached carriages – having careened across county without benefit of rails – plough to a halt outside the saloon…

The spectacular event is the trigger for every citizen to pull their cash out of the town bank before the bandits do and spurs Luke into riding off and intercepting Jesse and Co to deliver a friendly warning.

Unfortunately Jesse is too proud to be told and the gang hit town only to discover the residents have taken even more extreme measures, donating enough cash to the town drunk to make him – comparatively – the richest man in Nothing Gulch…

With Lucky Luke watching and pickings slim, the James Boys begin a sly charm offensive to put everybody at ease but once the townsfolk calm down enough to put their money back in the bank all bets are off. Luring Luke away Jesse goes to work, raiding the Bank whilst Cole has another go at derailing, unaware that Lucky has second-guessed him and turned the gold-carry train into a trap…

However, on dragging the owlhoot back to town he finds the citizens so cowed that they organise a quick sham trial just so they can clear Younger of all charges and get him out of the district. Utterly disgusted, our hero and Jolly Jumper abandon the yellow Texans and Cole rides off to tell his cousins that the town is wide open for another raid…

In the shameful night time the citizens gather and something strange happens. Disgusted with themselves the ordinary folk talk themselves into a froth of righteous indignation and seek out Lucky. They need to redeem themselves and humbly beg the disgusted hero to join them as they prepare for Jesse James’ inevitable return…

Fast-paced, seductive slapstick and wry cynical humour colour this splendidly mad ride, making it another grand old hoot in the tradition of Destry Rides Again and Support Your Local Sheriff (perhaps Paint Your Wagon, Evil Roy Slade or Cat Ballou are more your style?), superbly executed by master storytellers and a wonderful introduction to a unique genre for today’s kids who might well have missed the romantic allure of an all-pervasive Wild West that never was…

And in case you’re worried, even though the interior art still has our hero chawin’ on that ol’ nicotine stick, trust me, there’s very little chance of anyone craving a quick snout – especially since Jolly Jumper is acting like a Greek chorus warning of the hazards of the evil weed – but quite a high probability that they’ll be addicted to Lucky Luke Albums…
© Dargaud Editeur Paris 1969 by Goscinny & Morris. © Lucky Comics.
English translation © 2006 Cinebook Ltd.

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The Chronicles of Legion volume 1: Rise of the Vampires


By Fabien Nury, Mathieu Lauffray, Mario Alberti, Zhang Xiaoyu & Tirso , translated by Virgine Selavy (Titan Comics)
ISBN: 978-1-78276-093-1

We’ve all been in love with vampires since the golden age of Victorian Gothic and it’s taken the undead in some extremely odd directions (I personally draw the line at sparkly, immortal kissy-face boy-toys, but to each his own)…

Thankfully our European cousins have a more sanguine view of such matters and innate respect for tradition even when they reinterpret the old classics. Prolific writer Fabien Nury (Stalin’s Death: A Real Soviet History, Once Upon a Time in France, The Master of Benson Gate, Necromancy as well as the epic Je Suis Légion with John Cassaday) began in 2011 a generational saga which put a new spin on the legend whilst keeping a steady eye on the tone of what has gone before…

Les Chroniques de Legion was illustrated by round-robin art-team Mathieu (Star Wars, Long John Silver) Lauffray, Mario (Nathan Never, Morgana, assorted DC covers) Alberti, the enigmatic Zhang Xiaoyu & Tirso Cons (Eye of the Devil, Le Manoir murmurs) and opens here (in good old English) in 1476 as barbaric warlord Vlad Tepes finally falls before the overwhelming armies of the invading Moslem horde.

His stubborn Transylvania a crushed and broken province, the infamous leader had been dragged from the arms of his favourite concubine and beheaded by exultant general Selim Bey. Working for the invaders, Vlad’s despised and treacherous brother Radu knew that the story was not over yet…

As the victorious Turk ravished his despised enemy’s beloved, Dracula’s implacable sibling rival was too late to stop his brother’s malign blood invading the Moslem’s body and eating his devout mind. In an instant Selim Bey’s was gone, overwritten by the undying Impaler…

Nor could Radu not stop the horror escaping and after “Selim” murdered the Sultan and vanished, the Transylvanian turncoat endured all the anger and hatred of the Ottomans. Of course since his blood was just as accursed as Vlad’s, Radu’s story didn’t end with his body’s death either…

In 1521 Vlad was on the move once more, inhabiting the body of Gabriella Del La Fuente. This recent orphan was travelling to the New World, contracted to marry the audacious conquistador Hernan Torres. A flower of the aristocracy, her perfect beauty was only marred by the strange red mark on the back of her neck – a blemish shared with her recently-departed father Victor and a long-dead Turk named Selim Bey…

She had no idea Radu had reached the Americas first and transformed them to a hell of his own devising. The other brother had sustained his own arcane life by equally esoteric means, only in his case the intellect was scattered and diminished by the swarm of rats who consumed him for the longest time…

In Russia in 1812, an undying warrior sprit was wearing French Hussar Armand Malachie. As Napoleon’s broken armies fled before the vengeful Cossacks, he convinced his faithful subordinates Kholya, Stern, Hartmann and Feraud to desert with him. Detouring to the Wallachian Mountains they hunted for valuable loot Armand had heard about: the Lost Treasure of Vlad Dracula Tepes…

It was all a lie. The true reason for the diversion was that Dracula sensed far-distant Radu had allowed an unprecedented atrocity to be created and the time had come to end their infinitely extended vendetta forever…

London, 1887: elderly lawyer Morris Webster contacts friendless, antisocial clerk and gambling addict Victor Douglas Thorpe with an offer that will forever liberate the morose wastrel and ne’er-do-well from the drudgery of his impoverished Whitechapel life.

For reasons inexplicable, Thorpe has been selected by immensely rich aristocratic recluse Lord Byron Cavendish to inherit all his lands and properties… upon successful conclusion of a personal interview, of course…

To Be Continued…

Lavishly presented in an oversized (211 x 282mm) full-colour hardback, evocatively illustrated and told through contiguous strands in many concurrent times, this epic, intoxicatingly absorbing horror mosaic depicts a constant battle between two remorseless foes inextricably linked by blood to grip and delight lovers of all things dark and demonic…
The Chronicles of Legion and all contents © Éditions Glénat 2011. Translated edition © Titan Comics, 2014.

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Valerian and Laureline book 8: Heroes of the Equinox


By Méziéres & Christin, with colours by E. Tranlé; translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-213-3

Valérian and Laureline is the most influential science fiction comics series ever created; an innovation-packed, Big-Ideas bonanza stuffed with wry observation, knowing humour, intoxicating action and underpinned throughout by sardonic sideswipes at contemporary mores and prejudices.

Val̩rian: Spatio-Temporal Agent debuted in weekly Pilote #420 (November 9th 1967) and was an instant hit. It swiftly evolved into its current designation as his feisty, fire-headed female sidekick developed into the equal partner Рand eventually scene-stealing star Рof light-hearted, fantastically imaginative, visually stunning, time-travelling, space-warping fantasies.

Nevertheless the so-sophisticated series always found room to propound a satirical, humanist ideology and agenda, launching telling fusillades of political commentary and social satire to underpin the astounding imagination of the space opera.

At first the tough, bluff, taciturn affably, capable – if unimaginative – by-the-book space cop just did his job: tasked with protecting official universal chronology (at least as per Terran Empire standards) by intercepting or counteracting paradoxes caused by incautious time-travellers.

When Valérian landed in 11th century France during debut tale ‘Les Mauvais Rêves (‘Bad Dreams’ and infuriatingly still not translated into English), he was rescued from doom by a capable young woman named Laureline. He brought her back to the 28th century super-citadel and administrative capital, Galaxity, where the indomitable firebrand took a crash course in spatiotemporal operations and began accompanying him on his missions.

Heroes of the Equinox was originally serialised in the monthly Pilote (issues #M47 to M50 from 21st March to June 27th 1978) before being collected later that year as eighth album Les héros de l’équinoxe: a sparkling, over-the-top spoof of superheroes and political ideologies which also found time and space to take a good-natured, gentle poke at the eternal battle of the sexes.

Spectacularly visual and imaginatively designed, the story starts as a quartet of vastly disparate planetary champions depart for the distant and distressed world of Simlane, where an ancient and cultivated civilisation is experiencing a uniquely tragic crisis…

The heroes comprise three dedicated – almost fanatical – supermen whilst Galaxity – far more concerned with courting public opinion than actually helping – have packed off a handy and presently unoccupied Spatio-Temporal agent named Valerian, just to show willing…

With Laureline mocking him for the entire trip, Earth’s Prime Champion touches down on Simlane to be greeted by a crowd of effusive oldsters from a glorious city of once magnificent but now crumbling edifices with an incredible story to tell.

The inhabitants of the derelict tourist trap are uniformly old and sterile and desperately need a new generation of children to repopulate the world, but their manner of achieving their goal is unique. For the lifetime of their civilisation, every hundred equinoxes the best and bravest males of Simlane venture to isolated Filine, Island of Children in a fierce and often deadly competition. The winner then somehow spawns a whole new generation who sail back on little boats to re-people the world.

That didn’t go entirely according to plan last time so the planetary leaders have invited four prime specimens from other worlds to do the necessary this time – much to the anger and dismay of a creaky host of crotchety, doddering indigenous old would-be sire-heroes…

At the packed but painfully weathered Great Theatre the assembled geriatrics are treated to a destructive floor show as the brazen alien warriors display their prowess. Bombastic Irmgaal of Krahan is a godlike superman wielding a flaming sword whilst proletarian technological wonder Ortzog of worker’s paradise Boorny reveals the power of a united people through his blazing, flailing chains. Mystic nature boy Blimflim of elysian, arcadian Malamum calmly displays the gentle irresistibility of the spirit harnessed to willpower. Each couldn’t be more different yet the result of each display is catastrophic destruction.

When eager eyes turn to Galaxity’s representative, Valerian simply shoots a chip off a distant stone cornice with his blaster… to tumultuous disinterest…

Dwarfed by the Herculean alien supermen, he shambles off to prepare for the great contest and dawn finds him with his fellow contestants ready to brave the stormy skies for the grand prize and glory…

This is one of the most visually extravagant and exuberant of all the albums, with a huge proportion of the book dedicated to the fantastic foursome overcoming their particular challenges and monstrous foes in astounding demonstrations of bravura puissance and awesome might… well, three of them anyway. The earthman’s travails are generally nasty, dirty smelly and ingloriously dangerous…

Eventually however all the warriors prove themselves a credit to their particular lineage and system before facing one final test. It’s in the form of a simple question: “If you sired the next generation how do you envision their future?”

Each strange visitor propounds a glorious agenda of expansion according to the customs and principles of his own culture but it’s the rather diffident and lacklustre vision of the Terran slacker that wins the approval of the incredible being who is the eternal mother of Simlane’s repopulation…

When the trio of failed supermen wash up on the shores of the city, the people realise who has fathered their soon-to-arrive new sons and daughters and patiently wait for the equinox tide to bring them over.

Laureline, horrified to discover that each successful father is never seen again, quickly sails to the Island of Children and navigates the trials which so tested the wonder men with comparative ease. She arrives at the misty citadel atop Filine in time to see an army of disturbingly familiar-looking toddlers tumble into little sailboats…

Broaching the idyllic paradise further she finally meets the Great Mother and sees what the breeding process has made of her reprehensible, sleazy, typically male partner…

Reaching an accommodation with the gargantuan progenitor, Laureline negotiates the release of her partner and they are soon winging home to Terra, with him having to listen to just what she thinks of him whilst praying Galaxity’s medical experts can make him again the man he so recently was…

Sharp, witty and deliciously over-the-top, this tale is a wry delight, spoofing with equanimity human drives, notions of heroism and political and philosophical trendiness with devastating effect. Whether super-heroic fascism, totalitarian socialism or even the woolly mis-educated, miscomprehendings of new age eco-fundamentalists who think aromatherapy cures broken legs or that their kids are too precious to be vaccinated and too special to share herd immunity, no sacred cow is left soundly unkicked…

However, no matter how trenchant, barbed, culturally aware and ethically crusading, Valerian and Laureline stories never allow message to overshadow fun and wonder and Heroes of the Equinox is one of the most entertaining sagas Méziéres & Christin ever concocted, complete with a superb sting in the tale…

Between 1981 and 1985, Dargaud-Canada and Dargaud-USA published a number of selected albums in English (with a limited UK imprint from Hodder-Dargaud) under the umbrella title Valerian: Spatiotemporal Agent and this was the fourth, translated then by L. Mitchell.

Although this modern Cinebook release boasts far better print and colour values plus a more fluid translation, total completists might also be interested in tracking down the 1983 edition too…
© Dargaud Paris, 1978 Christin, Méziéres & Tran-Lệ. All rights reserved. English translation © 2014 Cinebook Ltd.