Category: Fantasy

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Resurrectionists: Near Death Experienced


By Fred Van Lente, Maurizio Rosenzweig & Moreno DiNisio (Dark Horse)
ISBN: 978-1-61655-760-7 (TPB/Digital edition)

Surely everybody loves a cool crime caper yarn? If so, and yet still seeking a little something extra, here scripter Fred Van Lente (Action Philosophers, Archer & Armstrong, Cowboys & Aliens, X-Men: Noir, Brainboy, MODOK’s 11) delivers another riotously rewarding, big-picture concept to astound fans of films and funnybooks alike.

Illustrated by Italian team Maurizio Rosenzweig (Frontiersman, Laida Odius, Davide Golia, Clown Fatale) and colourist Moreno DiNisio (The Scumbag, Black Science, Dead Body Road), the tale is both frighteningly simple and terrifyingly complex…

Once upon a time 3000 years ago in ancient Egypt, an architect named Tao finished a tomb for a dangerously ambitious priest. Unfortunately, august cleric Herihor yearned to be Pharaoh instead of the Pharaoh (yeah, that’s an utterly unconnected Iznogoud reference!) and felt that the necessary precautions to ensure his ambitions in this life and the next should include killing everyone who worked on the project, …even Tao’s pregnant wife Maya…

Meanwhile in the present day, major thief Jericho Way is stealing relics to order for a mysterious client with big pockets and extremely fixed tastes. The disgraced former architect has no idea why the mystery man only wants Egyptian stuff, or that the so-shy client is technically someone he’s known for many centuries…

With brother-thief Mac, Jericho is planning to boost some scrolls from a museum, but has become aggravatingly distracted by dreams of himself in another time and place. The master planner is blithely unaware that a lot of very strange and dangerous people are somehow cognizant of the changes he’s going through – after all they’ve been there before innumerable times – and are now extremely concerned about the life-decisions he’s going to make over the next few days…

The first inkling that something is up comes after a particularly intense “dream” as Jericho realises that he can now read the ancient Egyptian scrawl on the scroll he’s just swiped…

Simultaneously, long ago, in Herihor’s tomb, Tao – having escaped his pursuers but now hopelessly lost – settles down to die. Soon he is shocked and astounded to see another face…

Tomb robbers – also called “Resurrectionists” – have already broken into his impregnable design but their triumph now offers him a way out …and opportunity for revenge…

And as Jericho shares his memories of those robbers with Mac, he notes the recurring resemblances to recent acquaintances, and it all becomes clear that he and his new co-crew have been working on that revenge and this robbery for a very long time indeed…

Revealing a mystic vendetta than spans millennia and an undying love affair, this supremely engaging supernatural saga sees a gang of archetypal thieves locked in an eternal duel of wits and wills against a monster who has co-opted the Afterlife through the most devious and patient methods ever conceived. However, since the ragtag band of rogues can call upon the experiences of every person they have ever been, maybe this time they’re going to pull off the Crime of the Ages and at last obtain vengeance and peace in equal measure…

A delicious melange of spooky reincarnation yarn, edgy conspiracy-thriller and all-action buddy-movie come heist-caper, this is a brilliantly conceived and executed tale with plenty of plot twists you don’t want me to reveal, but which will intoxicate and astound all lovers of devious and deranged dark fantasy.

…And where’s the movie of this masterpiece?
Resurrectionists © 2014, 2015 Fred Van Lente and Maurizio Rosenzweig. All rights reserved.

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Yakari volume 20: The Cloud Maker


By Derib & Job, coloured by Dominique and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-074-6 (Album PB/Digital edition)

In 1964 children’s magazine Le Crapaud à lunettes was founded by Swiss journalist André Jobin, who then wrote for it under the pseudonym Job. Three years later he hired fellow French-Swiss artist Claude de Ribaupierre AKA “Derib”. The illustrator had launched his own career as an assistant at Studio Peyo (home of Les Schtroumpfs): working on The Smurfs strips for venerable weekly Le Journal de Spirou.

Thereafter, together they created the splendid Adventures of the Owl Pythagore before striking pure comics gold a few years later with their next collaboration. Derib – equally au fait with enticing, comically dynamic “Marcinelle” cartoon style yarns and devastatingly compelling meta-realistic action illustrated action epics – went on to become one of the Continent’s most prolific and revered creators. It’s a crime that groundbreaking strips such as Buddy Longway, Celui-qui-est-nà-deux-fois, Jo (first comic to deal with AIDS), Pour toi, Sandra and La Grande Saga Indienne) haven’t been translated into English yet, but we still patiently wait in hope and anticipation…

Over the decades, much of Derib’s stunning works have featured his beloved Western themes: magnificent geographical backdrops and epic landscapes. Yakari is considered by fans and critics to be the strip which led him to his deserved mega-stardom.

Debuting in 1969, it traces the eventful, nomadic life of a young Oglala Lakota boy on the Great Plains – according to this tale, in the vicinity of the Great Lakes Basin. The stories are set sometime after the introduction of horses by the Conquistadores, but before the coming of modern Europeans.

The series – which also generated two separate animated TV series and a movie – is up to 42 albums thus far: a testament to its evergreen vitality and brilliance of its creators, even though originator Job moved on and Frenchman Joris Chamblain took on the writing in 2016.

Overflowing with gentle whimsy and heady compassion, little Yakari enjoys a largely bucolic existence: at one with nature and generally free from privation or strife. For the sake of our delectation, however, the ever-changing seasons are punctuated with the odd crisis, generally resolved without fuss, fame or fanfare by a little lad who is smart and brave – and can, thanks to a boon of his totem guide the Great Eagle, converse with all animals…

In 1995, Le souffleur de nuages was the 21st European album, but – as always with the best books – the content and set-up are both stunningly simple and sublimely accessible, affording new readers total enjoyment with a minimum of familiarity or foreknowledge required…

Here and now it is painfully topical as Yakari’s wandering people are stranded as springtime rains inundate the entire region. When the downpour finally stops, the land is devasted by flooding and the little wonder and his valiant pony decide to check on all their animal pals. Happily, Little Thunder is an excellent swimmer…

They don’t go far before meeting beaver patriarch Thousand-Mouths, whose frantic efforts to rally the clan for a major repair job to the lodge and dams is being hampered by bone idle slacker Wooden Bed. Just like any teenager, he just wants to sleep…

Water is everywhere, and the landscape is a sea broken by tiny islands. The prairie dog colony are marooned on one, waiting until it all recedes so they can clear out their great burrow. They are also nervously contemplating the ominously cloud-filled sky…

Pressing on, the horse and his boy reach a flooded forest and find raccoon Black Mask and his kin fractiously sharing a tree with grumpy owl. Nobody is happy, but all are resigned to waiting out the weather…

That night, back in camp and very much appreciating being warm and dry, Yakari has one of his special, prophetic dreams. It shows him more rains washing away his tipi (tent) until it is washed up onto a big white cloud…

Happily, morning brings better news. The waters have clearly receded, but – still perplexed by his vision – Yakari rides Little Thunder back along yesterday’s route just to check. Everywhere, industrious animals are clearing up and making good, and with so much to see and beasts to check on, the pair are far from home when the sun sets.

Bedding down under a large rock, they are later awakened by an odd cry coming from the river. Closer examination in the morning reveals the disturbance came from a pond linked to the swiftly flowing waters. Oddly, a small cloud is escaping from the turbulence. When Yakari dives in for a closer look, he is abruptly raised up into the air by a giant white fish surfacing under him!

The incredible snow-white monster turns out to be a chatty and gregarious beast calling itself a “white whale”. The curious Beluga had travelled along the swollen river from the “Great Water” Yakari had seen when travelling with spirit creature Nanabozho. Soon they are all trading life stories…

The boy names his new chum Peeleepee because of the cry it constantly utters, and discovers that despite living in the ocean, the newcomer needs air to live, water to support his weight and makes clouds from the top of his head…

In a remarkably short time they are all great friends and have learned lots of each other’s worlds. The boy and the beluga even trade tricks and acrobatic games, but the idyl is rudely shattered when a passing toad points out that, while they’ve been romping, the waters have further evaporated. The great white wonder is now trapped in an isolated pond far from the river it needs to live or get home by…

Snotty but smart, the amphibian then suggests a possible solution, but it takes all of Yakari’s friends working together, sheer luck, applied physics and the boy’s considerable negotiating skills to ensure the safety of the stranded newcomer before this ending turns out happy…

Yakari is one of the most unfailingly absorbing all-ages strips ever conceived and should be in every home, right beside Tintin, Uncle Scrooge, Asterix and The Moomins. It’s never too late to start reading something wonderful, so why not get back to nature as soon as you can?
Original edition © Derib + Job – Editions du Lombard (Dargaud – Lombard s. a.) – 2000. All rights reserved. English translation 2022 © Cinebook Ltd.

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Supergirl: Woman of Tomorrow


By Tom King, Bilquis Evely, Matheus Lopes, Clayton Cowles & various (DC Comics)
ISBN: 978-1-7795-1568-1 (TPB/Digital edition)

As a rule, superhero comics don’t generally do whimsically thrilling anymore. They especially don’t do short or self-contained. Modern narrative momentum concentrates on continuous extended spectacle, major devastation and relentless terror and trauma. It also helps if you’ve come back from the dead once or twice and wear combat thongs and thigh boots…

Although there’s nothing intrinsically wrong with that – other than a certain inappropriateness in striving to adjust wedgies during a life-or-death struggle – sometimes the palate just craves a different flavour…

Once upon a time, angsty in-continuity cataclysm was the rule, not the exception, but ever since DC readmitted all its past epochs into one vastly welcoming expansion multiverse via the Dark Night: Death Metal, Future State and Infinite Frontier mega-events, a spirit of joyous experimentation has resulted in some truly memorable storytelling.

This decidedly backward-looking modern fable harks back to simpler days of clearly defined plots, solid, imaginative characterisation and suspensefully dramatic adventure, by way of an almost alternative take on redoubtable Kara Zor-El, late of Krypton’s Argo City and another illegal alien immigrant on Earth.

Supergirl first gained popularity as a back-up feature in Action Comics: a tag-along (and trademark protection device) to her more illustrious cousin. After years of faithful service, in 1985 she was killed as a sales gimmick in the groundbreaking Crisis on Infinite Earths. Since then, a number of characters have used the name – but none with the class or durability of the original.

This latest incarnation cunningly references much of the original’s trappings, but combines stellar whimsy, dark modern attitudes and an edgier twist, as befits today’s readership. Written by Tom King (Mister Miracle, The Vision, The Sheriff of Babylon, Omega Men, Strange Adventures, Batman) and delightfully illustrated by Brazilian artist Bilquis Evely (Wonder Woman, The Dreaming, Detective Comics, Shaft: a Complicated Man) in a deliriously addictive, retro-futurist pulp style, it examines the concepts of justice and power of reputation through the wide eyes of a worshipful child who is both outraged orphan and lonely sidekick/secret weapon in waiting…

After a few intriguing concept-tweaking test-runs, the first true Girl of Steel debuted as a future star of the ever-expanding Superman pocket universe in Action Comics #252 (cover-dated May 1959). Superman’s cousin had been born on a city-sized fragment of Krypton, hurled intact into space when the planet exploded. Eventually, Argo turned to Kryptonite like the rest of the detonated world’s debris, and Kara’s dying parents, observing Earth through their viewer scopes, sent their daughter to safety even as they apparently perished.

Crashlanding, she immediately and fortuitously met the Metropolis Marvel, who created a cover-identity: hiding “Linda Lee” in an orphanage in bucolic Midvale so that she could adjust to and learn about her new world whilst mastering her powers in secrecy and safety.

…And isolation. At no stage did anyone consider moving the recent orphaned newcomer in with her only surviving family. Kara reached her maturity without the closeness Clark Kent’s human parents provided …although she was eventually adopted by Earth couple Fred and Edna to become Linda Lee Danvers…

Supergirl experienced her own secret double life in the rear of Action Comics: gradually moving from Superman’s covert secret weapon to an independent star turn, and from minor player to acclaimed public celebrity. From the back of the book to the front of the house is always a reason to celebrate, right?

For decades, DC couldn’t make up their minds over Supergirl. I’ve actually lost count of the number of different versions to have cropped up over the years, and never been able to shake a queasy feeling that above all else she’s a concept that was cynically shifted from being a way to get girls to reading comic books to one calculated to ease young male readers over the bumpy patch between sporadic chin-hair outbreaks, voice-breaking and that nervous period of hiding things under your mattress where your mum never, never ever looks…

Her popularity waxed and waned until her attention-grabbing death during Crisis on Infinite Earths. However, in the aftermath – once John Byrne had successfully rebooted the Man of Steel and negated her existence along with all other elements of doomed Krypton – non-Kryptonian iterations began to appear: each accumulating a legion of steadfast fans. Ultimately, early in the 21st century, DC’s Powers-That-Be decided the real Girl of Steel should come back… sort of…

The New 52 company-wide reboot recast her as an angry, obnoxious distrustful teen fresh from Argo, before the 2016 DC: Rebirth event unwrote most of those changes: bringing back much of that original origin material whilst aligning the comic book iteration with the popular TV series broadcast from October 2015 to November 2021. Then under the aegis of the Infinite Frontier revolution, King, Evely, colourist Mat Lopes & letterer Clayton Cowles crafted 8-issue limited series Supergirl: Woman of Tomorrow (cover-dated August 2021-April 2022).

This focussed on a major moment in the hero’s life and how it changed everything…

King was inspired by Charles Portis’ 1968 novel True Grit – and both movie adaptations – to cast Supergirl as mentor to a vengeance-obsessed child: tracing how a united quest/journey reshaped both of them. Employing the latitude afforded by IF’s umbrella premise, he incorporated iconic characters and trappings from various iterations of Kara’s many super-lives. The result is pure magic, made real by Bilquis and her visual collaborators.

Wordy and wondrous, colours and calligraphy are key components of this space opera, which opens with youthful narrator Ruthye Marye Knoll disclosing how she first met an alien voyager after merciless bandit Krem of the Yellow Hills butchered her father…

Intent on rightful retribution, little Ruthye tracks the killer to a tavern in ‘Men, Women, and Dogs’, encountering a violent drunken woman from another world. Supergirl was on this unnamed backwater red sun world with frivolous intent: it was her 21st birthday and she wanted to get really, really drunk…

Things go bad when Supergirl tries to help her get justice. The intergalactic warrior seriously underestimates Krem, and nearly dies when he puts three arrows through her chest, before apparently killing her dog Krypto and stealing her spaceship…

Barely alive, Kara agrees to let Ruthye help her hunt Krem down: travelling so very slowly by commercial starship and encountering the full annoying range of sentient lifeforms – and a deadly space dragon – in ‘Wounded, Stranded, and Impotent’, before finally reaching a region of space where yellow suns can recharge her…

Stranded on tourist trap Coronn for weeks, they jointly expose appalling racist atrocity in ‘Modest, Calm, and Quiet’ and learn the quarry has joined Barbond’s Brigands: a marauding fleet of space plunderers who become Supergirl’s greatest concern after their latest raid exterminates an entire species in ‘Restraint, Endurance, and Passion’.

Repeated close encounters with them result in furious frustration as Krem has mastered a mystic banishment spell that deposits his pursuers all over the cosmos. Slowly, steadily, Supergirl and Ruthye close in, with the latter honing her skills in eager anticipation of bloody revenge, despite anything Kara can say to dissuade her. Repeatedly fighting a succession of colossal lizard beasts, and enduring a slow painful death and resurrection, does nothing to help their moods either in ‘The Lake, the Trees, and the Monsters’…

Finally – reinforced by magical superhorse Comet – the seekers capture Krem and spectacularly engage the brigands in ‘Home Family, and Refuge’ and ‘Hope, Help, and Compassion.’, but the outcome is shockingly unexpected …and tragic.

Final chapter ‘Ruthye, Supergirl, and Krem of the Yellow Hills’ delivers major emotional and conceptual payoffs as antagonists and protagonists take their vendetta to its foregone conclusion. The vengeful child fulfils her quest, but learns some adult truths…

Supplemented by a covers-&-variants gallery by Evely, Lopes, Gary Frank & Alex Sinclair, Lee Weeks, David Mack, Rose Besch, Amy Reeder, Steve Rude, Nicola Scott & Annette Kwok and Janaina Medeiros, this book includes a stunning swathe of character and costume designs, to augment a tale profoundly and consciously mythic in scope and execution.

The apparent maiming and deaths of beloved characters – and animals at that! – and epic transitions and evolutions of the twin leads are potently and evocatively depicted against a universe of inspirational wonders and casual horrors, allowing us to see how heroes are forged, and the device of using a childlike Boswell to define Supergirl’s humanity is both compelling and revelatory.

A cosmic odyssey in the grandly poetic idiom of Jack Vance and Samuel R. Delaney, realised via retro-futuristic visuals reminiscent of Roy G. Krenkel, Jack Katz and Michael William Kaluta, Supergirl: Woman of Tomorrow is a mesmerising mix of space opera and superhero drama exploring the mechanics of myths and power of storytelling on a multitude of levels.

It’s also a sublime rollercoaster ride of vivid, cathartic joy for old fans and newcomers alike: one every fantasy and adventure lover must see.
© 2022 DC Comics. All Rights Reserved.

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Tamsin and the Deep


By Neill Cameron & Kate Brown (David Fickling Books)
ISBN: 978-1-910200-77-3 (TPB)

In January 2012 Oxford-based David Fickling Books launched a traditional anthology comics weekly aimed at under-12s which revelled in reviving the good old days of picture-story entertainment intent whilst embracing the full force of modernity in style and content.

Each issue features humour, adventure, quizzes, puzzles and educational material in a joyous parade of cartoon fun and fantasy. Since that launch, The Phoenix has gone from strength to strength, winning praise from the Great and the Good, child literacy experts and the only people who really count – the astoundingly engaged kids and parents who read it…

Like the golden age of The Beano and The Dandy, the magazine is equally at home to boys and girls, mastering the magical trick of mixing hilarious humour strips with potently powerful adventure serials such as this one.

Here a wondrous seaside sorcerous saga with intriguing overtones of The Little Mermaid, by way of the darker works of Alan Garner, sails under the general title of Tamsin and the Days and leaves all the coping and crusading to a brilliantly capable lass who’s a match for any boy…

Written by Neill Cameron (Mega Robo Bros, Freddy, How to Make Awesome Comics, Pirates of Pangea) and beguilingly illustrated by Kate Brown (Manga Shakespeare: A Midsummer Night’s Dream, Young Avengers, Fish + Chocolate), our fishy tale opens with a ‘Prologue’ on the Cornish coast as a young girl berates her older brother Morgan.

He promised to teach her how to surf, but is just messing about with his mates, so – fed up and disappointed again – she leaves her dog Pengersek on the sands, swipes a bodyboard and paddles out alone. After all, how hard can it be?

When the big wave hits and she goes down for the final time, she’s sure she feels a grip on her foot and sees a green fishy face…

The story proper starts after ‘Tamsin’ – coughing and gasping – drags herself ashore. Somehow she’s drifted miles down the coast, and with nobody there to help has to make her own way home. Her leg hurts and the bus driver won’t let her on (she’s soaking wet and without cash) but at least she’s still got that old stick to lean on even if she can’t quite recall where she picked it up…

There are more surprises when she finally staggers home. Mum goes absolutely crazy and Morgan is clearly scared. Maybe it’s because their dad was lost at sea nine years ago, but it’s probably the fact that Tamsin vanished a month ago and has been officially declared dead and drowned…

The police have loads of questions she can’t answer, but as far as Tamsin knows she was only gone a few minutes. Eventually life settles back into a normal routine – apart from Morgan acting oddly and her own increasingly nasty dreams.

Things get bad again a few nights later. Awakening from a particularly vivid nightmare, Tamsin discovers she’s clutching that stick and riding a surfboard… hundreds of feet above the town! Moreover, from her shocking vantage point, she can see Morgan. He’s slowly walking into the sea…

Instantly, she zooms into the roaring brine to yank the sleepwalker out, blithely unaware that hostile, piscatorial eyes are angrily watching…

Morgan is shattered. He’s been having nightmares too, and the sleepwalking is not a new phenomenon. It’s probably from guilt but every time he wakes up he’s been heading for the sea…

‘A Nice Day Out’ sees Tamsin taking a little “me time”. Finding a secluded spot to practise flying with the aid of what is clearly a magic stick, she revels in her new gifts, but from high above she notices that Morgan is still unsettled. He’s sworn not to go near the water and has even quit the local surfing competition; and is clearly scared of something. Later, to cheer up her kids, Mum drags them to the beachside amusements where Morgan meets an enigmatic girl. She easily convinces him to re-enter the event…

Tamsin meanwhile has had another strange encounter. After having her ice cream stolen by a pixie thing, she meets a cocky Blackbird (he says he’s a Chough) who snidely and loquaciously tells her the newcomer was an Undine …before warning her to keep Morgan well away from water.

She’s almost too late: Morgan has wiped out in the contest’s early heats and is now being pulled under by a gloating mermaid. Tamsin blasts into the depths on her board, explosively ripping him free of her clawed clutches, and hurling them both high into the sky before landing in a terrified heap on the beach…

With the sorcerous she-wight fuming below the waves and scheming further mischief, in the sunshine Tamsin shares her secret with traumatised big brother before discovering a little ‘Family Mythology’ after that smug bird returns…

Deeper knowledge comes at a steep price, however, and her learning curve involves an awful lot of fighting against many more awful creatures before Tamsin is ready to save Morgan from a dread destiny and horrible fate hundreds of years in the making…

Apprised of a fantastic family heritage and now fully prepared to combat a generational curse that has seen all the males of her line swallowed by ‘The Deep’, Tamsin prepares herself for fantastic battle against a finned demon, but the foe is impatient: launching her own monstrous invasion of the surface-world which quickly reduces the entire town to panic and uproar…

Once the foam settles, triumphant Tamsin tries to ease back into a normal routine but that ill-omened bird returns for an ‘Epilogue’, explaining that she now has a mission for life – protecting Cornwall from all mystic threats – and that the next crisis has already begun…

This yarn is a fabulous blend of scary and fabulous, introducing a splendid new champion for kids of all ages to cheer on, with the certain promise of more to come, beginning with second mission Tamsin and the Dark…

Boisterous, bold and bombastically engaging, this is a rollicking supernatural romp of pure, bright and breezy thrills just the way kids love them, leavened with brash humour and straightforward sentiment to entertain the entire family.
Text © Neill Cameron 2016. Illustrations © Kate Brown 2016.

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The Quest for the Time Bird


By Serge Le Tendre & Régis Loisel, translated by Ivanka Hahnenberger (Titan Comics)
ISBN 978-1-78276-362-8 (HB/Digital Edition)

Like much European art and culture, French language comics (I’m controversially including Belgium and Swiss strips in this half-baked, nigh-racist, incomprehensibly sweeping statement) often seem to be a triumph of style over content.

That doesn’t mean they’re bad – far from it – simply that sometimes the writing and plotting isn’t as important to the creators and readers as the way it looks on a page and in a book, and complex characterisation isn’t always afforded the same amount of room that scenery, players, fighting or sex gets.

When you combine that with their reading public’s total refusal to be shocked by nudity or profanity, it becomes clear why so few of the 80-odd years of accumulated, beautifully rendered strips ever got translated into English – until now…

Beginning in the mid-1980s and having exhausted most of the all-ages options like Tintin, Asterix, Lucky Luke and Iznogoud, there was a concerted effort to bring a selection of the best mature-targeted European comics to an English-speaking (but primarily American) audience, with mixed results. Happily, that paucity of anglicised action and adventure has been relegated to the dust-bin of history in this century and we’ve all wised up a bit since then.

One of the most beguiling and intriguing of those bande dessinée serials was released by NBM between 1983 and 1987 as a quartet of splendidly fanciful fantasy albums (Ramor’s Conch, The Temple Of Oblivion, The Reige Master and The Egg Of Darkness) under the umbrella title Roxanna and the Quest for the Time Bird.

These eye-catching albums merrily married sword-&-sorcery in the manner of Jim Henson’s Dark Crystal with the sly raciness and wry wit of early Carry On films and unmatchable imagination of top-rank artists with no artificial restrictions.

Eventually, the entire saga was retranslated, remastered and re-released in a humongous (246 x 325 mm) full colour hardback packed with pulchritudinous peril, astonishingly exotic locales and vast variety of alien races all mashed together killing time until the end of the world…

That imminently endangered orb is the eccentric realm of Akbar; first glimpsed in French as La Quête de l’oiseau du temps: integrale cycle principal by writer Serge Le Tendre (Les Voyages de Takuan, Mister George, TaDuc) & Régis Loisel (Peter Pan, Le Grand Mort, Magasin General). However, before that there was also a pithy prototype version crafted by the collaborators in 1975 for the magazine Imagine and that’s also included in this splendid compilation in all its stark monochrome glory – but only in the original French so keep your phrase book or translation App handy…

The mystique and mystery open with Ramor’s Conch, introducing us to a land of many cultures, creatures and magics as the astonishingly adept and confidant Pelisse (restored to her original Gallic appellation) struggles through hostile territory to reach and recruit Bragon, the Greatest Knight in the World (and quite possibly her father) to capture the mystically mythic Time-Bird.

Opting to ignore the obviously still sore subject of the affair between the aged warrior and her mother, Pelisse wants to concentrate on preventing the destruction of the planet at the hands of a legendary mad god imprisoned within the Conch. The dark deity is prophesied to escape millennia of imprisonment in nine days’ time but there’s still a chance to save everything…

Crotchety aged Bragon takes a lot of persuading, even though he once loved Pelisse’s mother. Sorceress-Princess Mara is the only chance of holding back onrushing Armageddon. She has a spell from an ancient book that will rebind Ramor but it requires more than nine days to enact. What she needs is more time, and if she can use the fantastic fowl to mystically extend her deadline, all Akbar will be saved.

…But someone has to fetch it for her…

Of course, the noble knight eventually acquiesces, but is utterly unable to prevent the annoying teenager from accompanying him. Whether it’s because she may be his daughter or simply because this rather plain-faced lass has the sexiest body on the planet and the mind of a young girl (which here translates as a devastating blend of ingénue maiden and tart-in-training) and not one whit of a sense of self-preservation, he can’t decide…

Despite and not because of her constant cajoling, he “decides” to keep her with him as they set out on their desperate quest, the first step of which is to steal the Conch itself from a teeming desert city of lusty religious maniacs who haven’t even seen a woman in months.

After much derring-do and snide asides they succeed, acquiring a breast-obsessed inept masked young warrior in the process. It’s a comic, so you’ll probably notice anyway, but Pelisse’s chest is unfeasibly large and inviting and heaves most continually and quite distractingly according to almost everyone she meets…

Even though he’s clearly hopeless, Pelisse has formed a peculiar romantic attachment to him – but only as long as he never shows his face and remains an object of enticing, enigmatic mystery…

Bragon too is keeping a very close eye on him and their surroundings as they have also attracted a relentless stalker in the burly shape of deadly Bulrog: a former squire and pupil of the old knight, employed by fanatical cultists to ensure Ramor is liberated…

Second chapter The Temple of Oblivion sees a rather fraught reunion between Bragon and Mara as the knight deposits the painfully-recovered Conch and takes a party to the aforementioned temple to translate runic clues which will lead to the location of the Time-Bird.

With the chronal creature safely in custody they can literally stop the clock until Mara is able to re-confine the nearly-free mad god, but the arduous trek pushes the questers to their emotional and physical limits and a dark edge creeps into the tale as they again succeed, but only at the cost of their latest companion…

Sorely troubled, Bragon, Pelisse and her masked warrior head to their next destination, with only seven days remaining…

Riga finds them slogging through jungles strikingly similar to French Indo-China, gradually nearing their goal but unknowingly stalked by weird vulture-like beings. The scabrous, rapacious beasts are led by a puissant warrior of indeterminate vintage who has honed his phenomenal combat skills for decades. He has become an obsessive hunter, dedicated to dealing out death as a spiritual experience.

Over the course of four days much is revealed about Bragon and Bulrog – now a (dis)trusted member of the team – and confirmation comes that everything is not as it seems with the irresistible (and so-off-limits) Pelisse or her far-distant, ever-more-impatient mother.

Most worrisome is the fact that strange magical trickster Fol of Dol has attached himself to the group, frustrating everybody with tantalising clues and erratically endangering all their lives whenever the whim takes him…

Of course, there’s an unspoken connection between deadly butcher Riga and Bragon, and their ultimate confrontation is shocking and final. Then, without ever feeling like the creators are treading water, the chapter closes with three days to doomsday, as our weary pilgrims uncomfortably unite with the path to the Time-Bird wide open before them…

The Egg of Darkness plays hob with synchronicity and chronology, opening many years after the events of the previous chapters, with an old man relating these adventures as a bedtime story for his grandchildren. The fantastic action is overtaken by a metaphysical detour and explosive revelations about the quest and participants, providing a spectacular shock-ending.

As with all great myth tales, the heroes triumph and fade but still leave something for imagination to chew at, as well as wiggle-room for a return…

You’ll be delighted to learn – I know I was – that Le Tendre & Loisel did indeed periodically revive their amazing creations and hopefully we’ll be seeing those sagas if time permits…

Although plotted with austere, even spartan simplicity and a dearth of subtext, the stylish worldliness of Loisel & Le Tendre in the sparse and evocative script; the frankly phenomenal illustration and sheer inventiveness of the locales of astonishing Akbar are irresistible lures into a special world of reading magic that every comics lover and fantasy fanatic should experience.

It’s not Tintin, it’s not Asterix, it is foreign and it is very good.

Go questing for it, and offer bounties to whatever gods you favour that someone will re-release, and add to this cosmic canon.
© DARGAUD 2011 by Le Tendre, Loisel.

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Corpse Talk: Groundbreaking Women


By Adam & Lisa Murphy (David Fickling Books)
ISBN: 978-1-910989-60-9(Digest PB)

The educational power of comic strips has been long understood and acknowledged: if you can make the material memorably enjoyable, there is nothing that can’t be better taught with pictures. The obverse is also true: comics can make any topic or subject come alive… or at least – as in this delightful almanac of inspiration – outrageously, informatively undead…

The comical conceit at play in Corpse Talk is that your scribbling, cartooning host Adam Murphy (ably abetted off-camera by Lisa Murphy) digs up famous personages from the past: all serially exhumed for a chatty, cheeky This Was Your Life talk-show interview that – in Reithian terms – simultaneously “elucidates, educates and entertains”. It also often grosses one out, which is no bad thing for either a kids’ comic or a learning experience…

Another splendid release culled from the annals of British modern wonder The Phoenix (courtesy of those fine saviours of weekly comics at David Fickling Books) this collection -regrettably still unavailable in digital editions – quizzes a selection of famous, infamous and “why-aren’t-they-household names?” women from history, in what would probably be their own – post-mortem – words…

Be warned, as you absorb these hysterical histories, you may say to yourself again and again “but… that’s not FAIR…” over and over again.

Catching up in order of date of demise, our fact-loving host opens these candid cartoon conferences by digging the dirt with ‘Hatshepsut: Pharaoh 1507-1458 BCE’, tracing her reign and achievements …and why her name and face were literally erased from history for millennia.

As ever, each balmy biography is accompanied by a side feature examining some crucial aspect of their lives, such as here where ‘Temple Complex’ diligently details the controversial pharaoh’s astounding and colossal “Holy of Holies”: the Djeser-Djeseru Mortuary Temple of Hatshepsut.

‘Hypatia of Alexandria: Mathematician & Philosopher 360s-415’ sketches out the incredible accomplishments, appalling treatment and tragic fate of a brilliant teacher and number-cruncher, supplemented here by a smart lesson in the almost-mystical concept of ‘The Golden Ratio’.

Throughout all civilisations, (mostly male) historians have painted powerful women with extremely unsavoury reputations and nasty natures. Just this once, however, the facts seem to confirm that ‘Irene of Athens: Empress of Byzantium 752-803’ was every bit as bad as detractors described her. Her atrocious acts against friends, foes and her own son Constantine are offset in the attendant fact-feature ‘Spin Class’, revealing how Irene employed religious industrial espionage to break China’s millennial monopoly on silk production, and comes complete with a detailed breakdown of how the Byzantine silk trade worked…

Every comic reader or fantasy fan is familiar with the idea of women warriors, but a real-life prototype for them all was the great-granddaughter of Genghis Khan. ‘Khutulun: Wrestling Princess 1260-1300s’ refused to be married off unless a suitor could defeat her in the Mongolian grappling martial art Bökh. So effective a fighter, archer and strategist was she, that the Khan appointed her his Chief Military Advisor and even nominated her his successor on his deathbed – an honour and can of worms she wisely sidestepped to become a power behind the throne.

Her incredible account is backed-up by an in-depth peek into the ferocious wrestling style she dominated in ‘Mongolian Moves’, after which ‘Joan of Arc: Saint 1412-1431’ explains how it all went wrong for her in asks-&-answers feature ‘How Do You Become a Saint?’

On more traditional and familiar ground, ‘Elizabeth I: Queen of England 1533-1603’ recounts her glorious reign and explains the how and why of her power dressing signature appearance in ‘A Killer Look!’ whilst transplanted near-contemporary ‘Pocahontas: Powhattan Princess 1596-1617’ shares the true story of her life before ‘Sad Ending, Continued…’ discloses the ultimate fate of her tribe at the hands of English Settlers.

Another astonishing character you’ve presumably never heard of is ‘Julie D’Aubigny: Swashbuckler 1670-1707’. She was a hell-raising social misfit who scandalised and terrorised the hidebound French Aristocracy. Daughter of a fencing teacher, she fought duels, broke laws, travelled wherever she wanted to, enjoyed many lovers – male and female – and even sang with the Paris Opera (now that’s a movie biopic I want to see!). What else could she offer as a sidebar but a lesson on duelling for beginners in ‘Question of Honour’?

‘Granny Nanny: Resistance Fighter 1686-1755’ started life as an Ashanti Princess, taken to Jamaica as a slave. However, once there she organised the ragtag runaways known as Maroons into an army of liberation. The workings of her rainforest citadel Nanny Town (now Moore Town) are explored in ‘Fortresses of Freedom’ after which a more sedate battle against oppression is undertaken with the interrogation of ‘Jane Austen: Novelist 1775-1817’, complete with cartoon precis of her subversive masterpiece ‘Pride & Prejudice (The Corpse Talk Version)’…

‘Ching Shih: Pirate Queen 1775-1844’ tells of another woman who beat all the odds but has since faded from male memory: a young girl kidnapped by China Seas pirates who rose to become their leader. Ravaging the Imperial coast, the corsair created an unshakable pirate code that benefitted the poor, outsmarted the Chinese Emperor and ultimately negotiated a pardon for herself and all her men to live happily ever after!

That salty sea saga is accompanied by the lowdown and technical specs on ‘Punks in Junks’ and followed by another bad girl with a good reputation.

‘Princess Caraboo: Con-Artist 1791-1864’ was never the Malayan royal refugee British High Society was captivated by, but rather a Devonshire serving maid who made the most of outrageous fortune via her quick wits. Her story is backed up by a delightful opportunity to forge your own faux identity with ‘Caraboo’s Character Creation Course!’…

Far more potent and worthy exemplars, ‘Harriet Tubman: Abolitionist 1822-1913’ ferried more than 300 of her fellow slaves from Southern oppression to freedom in northern American states and what we now call Canada: supplemented here by a detailed breakdown of ‘The Underground Railway’ before emancipation martyr ‘Emily Wilding Davison: Suffragette 1872-1913’ shares her brief, troubled life and struggle to win women the right to vote and participatory roles in society. The history is backed up by an absolutely unmissable graphic synopsis of the long struggle in ‘A Brief History of Women’s Rights’…

Someone who made every use of those hard-won concessions was ‘Nellie Bly: Journalist 1864-1922’, whose sensational journalistic feats and headline-grabbing stunts made her as newsworthy as her many, many scoops. One of the most impressive was beating Jules Verne’s fictional miracle of modernity by voyaging for ‘72 Days Around the World’ – as seen in the gripping sidebar spread – whereas the career of ‘Amy Johnston: Aviator 1903-1941’ was cut tragically short by bad luck and male intractability. Her flying triumphs are celebrated through a fascinating tutorial on her preferred sky-chariot. The ‘De Havilland Gypsy Moth’.

The short, tragic life of ‘Anne Frank: Journalist 1864-1922’ follows, accompanied by a detailed breakdown of the secret hideout and necessary tactics employed to conceal Anne, her family and friends in ‘The Secret Annex’.

Closing on an emotional high note, the rags to riches/riches to rags to riches account of dancer, comedian, freedom fighter and social activist ‘Josephine Baker: Entertainer 1906-1975’ details the double rollercoaster life of a true star and ends this book on a big finish with her teaching the secrets of how to ‘Dance the Charleston’.

Clever, moving, irreverently funny and formidably factual throughout, Corpse Talk: Ground-Breaking Women cleverly yet unflinchingly handles history’s more tendentious moments: personalising the great, the grim and the good in ways certain to be unforgettable. It is also a fabulously fun read no parent or kid could possibly resist.

Don’t take my word for it though, just ask any reader, spiritualist or dearly departed go-getter…
Text and illustrations © Adam & Lisa Murphy 2018. All rights reserved.

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Shazam!: The World’s Mightiest Mortal volume 3


By E. Nelson Bridwell & Don Newton, with Gil Kane, Kurt Schaffenberger, Dave Hunt, Joe Giella ,Bob Smith, Steve Mitchell, Frank Chiaramonte, Dan Adkins, Larry Mahlstedt, John Calnan & various (DC Comics)
ISBN: 978-1-7795-0946-8 (HB/Digital edition)

One of the most venerated and beloved characters in American comics was devised by Bill Parker & Charles Clarence Beck as part of the wave of opportunistic creativity that followed the debut of Superman in 1938. Although there were many similarities in the early years, the Fawcett Comics character moved swiftly and solidly into the realm of light entertainment – and even broad comedy – whilst, as the 1940s progressed the Man of Steel increasingly left whimsy behind in favour of action and drama.

Homeless orphan and thoroughly good kid Billy Batson was selected by an ancient wizard to battle injustice: granted the powers of six gods and mythical heroes. By speaking aloud the mage’s name – an acronym for the six patrons Solomon, Hercules, Atlas, Zeus, Achilles and Mercury – Billy transformed from scrawny boy to brawny adult Captain Marvel.

At the height of his popularity, “the Big Red Cheese” significantly outsold Superman – even being published twice a month. However, as the decade progressed tastes changed and sales slowed. An infamous court case begun in 1941 by National Comics contesting copyright infringement was settled. Like many other superheroes, Cap disappeared, becoming a fond memory for older fans. A big syndication success, he was missed all over the world…

In Britain, where an English reprint line had run for many years, creator/publisher Mick Anglo had an avid audience and no product, and so reimagined the Captain Marvel franchise into atomic age hero Marvelman and Co., continuing to thrill readers well into the 1960s.

Then, as America lived through another superhero boom-&-bust, the 1970s dawned with a shrinking industry and wide variety of comics genres servicing a base that was increasingly founded on collectors and fans rather than casual or impulse buyers. DC Comics needed sales and were prepared to look for them in unlikely places.

Following a 1953 court settlement with Fawcett, DC ultimately secured the rights to Captain Marvel, his spun-off extended Family and attendant strips and characters. Despite the actual name having been taken by Marvel Comics (via a circuitous route and quirky robotic hero published by Carl Burgos and M.F. Publications in 1967), the monolithic publishing home of Superman opted for tapping into that discriminating, if aging, fanbase.

In 1971, they licensed the dormant rights to the character stable (only fully buying them out in 1991) and two years later, riding a wave of national nostalgia on TV and in movies, DC resurrected and relaunched the entire beloved cast in their own kinder, weirder, completely segregated and separate universe.

To circumvent intellectual property clashes, they named the new/old title Shazam! (‘With One Magic Word…’): the unforgettable trigger phrase used by the majority of Marvels to transform to and from mortal form and a word that had entered the American language thanks to the success of the franchise (especially an excellent movie serial) the first time around.

Issue #1 carried a February 1973 cover- date and featured ‘In the Beginning’: relating, in a wittily engaging, grand old self-referential style, the classic origin, after which ‘The World’s Wickedest Plan’ related how the Captain, his super-powered family and all the supporting cast had been trapped in a timeless state for 20 years by the invidious Sivana Family… who had subsequently been trapped in their own Suspendium device too.

I can’t think of any better reason for you to grab the first volume of this series, or the second for that matter…

The series received mixed reviews and unconvincing sales results, but was pushed hard by DC. It even briefly scored the big prize in the publisher’s eyes: being adapted to television as live action Saturday morning series Shazam!, which ran for three season (28 episodes) from September 7th 1974 to October 16th 1976…

The comic book continued until #35, June 1978 before commercial pressures killed it – and many other DC titles. Happily, the series had enough fans – in the marketplace and amongst creators and editors – to be thrown a lifeline…

The stories and milieu had already begun course correction by then. Radical change and darker, “more realistic” adventures had started in Shazam! #33, and more mainstream artists heralded a metamorphosis via action and drama-heavy battles against Nuclear robotic menace Mister Atom, sadistic super-fascist Captain Nazi, murderous primordial “Beastman” King Kull and infernal foe Sabbac…

This third stylish compendium spans cover-dates November 1978 to October 1982, collecting material from World’s Finest Comics #253-270 and 272-282, plus one final fling from Adventure Comics #491-492. Mostly unseen since first release, all the stories were ritten by unsung legend E. Nelson Bridwell, and mostly pencilled by supremely gifted, gone-far-too-soon Don Newton. The latter was born in 1934 and came up through the burgeoning fan press of the 1960s and 1970s. In his too-short career, Newton distinguished himself on The Phantom, The Avengers, The New Gods, Star Hunters, Aquaman and especially Batman, but was clearly at his happiest with Fawcett’s Captain Marvel Family – now and forevermore grouped under the electrical umbrella of Shazam!

Newton was a huge fan of the Captain and his clan, having studied under originator C.C. Beck. The gifted prodigy had been drawing Batman since 1978 and his version was well on the way to being the definitive 1980s look, but Newton’s tragically early death by heart attack in 1984 cut short what would surely have been a superlative and stellar career.

Author Bridwell (Super Friends; Secret Six; Inferior Five; Batman; Superman; The Flash; Legion of Super-Heroes and fill-ins absolutely everywhere) was another devout Captain Marvel acolyte. His day job and secret identity was as editorial assistant/continuity coordinator at DC, where – thanks to an astoundingly encyclopaedic knowledge of publishing minutiae and almost every aspect of history, myth, popular trends and general knowledge plus the ability to instantly recall every damn thing! – he was justly famed as Keeper of Lore and top Continuity Cop.

Bridwell & Newton had just begun collaborating on their dream project when the title was cancelled. Happily, the Shazam Family were moved lock, stock and barrel to experimental giant-sized anthology World’s Finest Comics just as tone and content seamlessly shifted from whimsy to harder-edged contemporary superhero stories.

The wonderment resumes here moments after that final Shazam! issue, wherein King Kull tried to reverse history and re-establish his extinct race and empire. In the rubble-strewn aftermath, WFC #253 opens with ‘The Captain and the King!’ wherein Bridwell, Newton & inker Kurt Schaffenberger recount how Billy, his sister Mary Marvel and their teenage ally Freddy Freeman – AKA Captain Marvel Junior – set off after the brute, blithely unaware that an alliance of the Sivana family and Captain Nazi has faltered.

Despite the fascist now acting on his own, he had inadvertently – and unsuspectedly – gained the power of mind control, and accidentally defeated himself by having the Marvels, science-hero Bulletman and villainous Kull and Sivana attack him…

Meanwhile, wicked Ebeneezer Batson (who had embezzled Billy and Mary’s inheritance) had his soul claimed by Satan, prompting an heroic rescue mission to Hell in #254’s ‘The Devil and Capt. Marvel’, after which Mary takes centre stage as the boys and Bulletman join the enslaved army of irresistible sorcerous seductress ‘Dreamdancer’, leaving only his wife Bulletgirl and the Shazam sister to save the city…

A wry change of pace tinged WFC #256 as the Marvels foil the schemes of a time-travelling swindler in ‘The Gamester’s Death Wager!’, before Billy employs the wisdom of Solomon to defeat ‘The Invincible Man’ threatening Earth – and foiling the masterplan of wicked worm Mister Mind – before backing up Junior when he goes after his Aryan archnemesis.

It’s an extremely personal and delicate case since the lovesick monster has abducted Beautia Sivana (a family black sheep who isn’t evil!): subjecting her to ‘The Courtship of Captain Nazi’. Frankly, she really doesn’t need any help stopping the lech, and the beating CM Junior delivers is just an afterthought…

In these yarns Bridwell assiduously filled in backstory and origins of a world largely unfamiliar to new and younger readers, and for WFC #259 focused on the urbane talking tiger who is the Family’s great ally as a scientist solves ‘The Secret of Mr. Tawny’ and derives an evolutionary process to become futurised, enhanced, all-conquering dictator The Superior …until the Captain and the big cat strike back…

Inked by Dave Hunt, ‘There Goes the Neighborhood!’ deposits a delicious dose of whimsy and contemporary politicking as citizens furiously protest weird strangers moving into their area. The immigrant newcomers are mythologicals – satyrs, centaurs, siren, lamia and mermaids – but even Captain Marvel can’t fight human prejudice and nimbyism …until a geological crisis makes allies of everyone…

Mary flies solo in #261, defeating an old foe by solving ‘The Case of the Runaway Sculpture’, before Billy enjoys a revelatory history lesson after meeting ‘The Captain Marvel of 7,000 B.C.’ and helping set the universe on its true cosmic course whilst Freddy again faces octogenarian outlaws when ‘The Greybeard Gang’ unleash a taste of the bad old days…

Fawcett invented big fight stories and multi-part serial epics at the dawn of the Golden Age and for World’s Finest Comics #264 Bridwell, Newton & Hunt celebrated the tradition with Mister Mind getting his old gang back together. ‘The Monster Society Strikes Back!’ sees the alien worm, Sivana, Mr. Atom, King Kull, IBAC (combining the awesome “Evil” of Ivan the Terrible, Borgia, Attila and Caligula in one weedy nerd with his own acronymic magic word), Oggar (“World’s Mightiest Immortal”) and evil antithesis Black Adam united in a scheme to kill the hero kids and conquer everything.

First to strike are Oggar and Adam, but their resurrected Egyptian armies are no match for Mary and Billy, and the focus falls on the human-hating beastman and atomic automaton who trigger ‘The Plot Against the Human Race’ (inked by Frank Chiaramonte) but just can’t outsmart Billy and Freddy…

Joe Giella applied his classical inking to WFC #266’s as murderous mystic malcontent IBAC joins ‘Sivana’s Space Armada’, recruiting aliens from everywhere to attack Earth, yet once again failing to get past mighty Captain Marvel. Bob Smith then inked #267’s concluding chapter as the ghastly gang regroup to perpetrate an ‘Assault on the Rock of Eternity!’, sparking the return of part-timers The Three Lieutenant Marvels to help save creation…

Like Philip Jose Farmer, Bridwell was one of those creators who always sought links between heroes and villains, and he indulged himself via a trick of fortuitous continuity in #268’s ‘A Sleep and the Deep’ (Steve Mitchell inks) as Freddy Freeman’s origins were re-examined via some very nasty nightmares…

In brief: Captain Marvel Jr. and his originating antithesis Captain Nazi sprang out of a crossover experiment in 1942, starting in the Bulletman feature of Master Comics. The Ballistic Wonder was undoubtedly Fawcett’s runner-up attraction: hogging the cover spot there and even winning his own solo comic book. That all changed with #21 and Captain Nazi. Hitler’s unholy Übermensch made manifest, the monstrous villain was despatched to America to spread terror and destruction and kill all its superheroes.

Nazi stormed in, battling Bulletman and Captain Marvel, who naturally united to stop the Fascist Fiend razing New York City. The clash ended inconclusively and restarted in the Captain Marvel portion of Whiz Comics #25 with the Nazi trying to wreck a hydroelectric dam. Foiled again, he sought to smash a fighter plane prototype.

Captain Marvel countered him, but was not quick enough to prevent the Hun killing an old man and brutally crushing the young boy beside him. Freddy Freeman seemed destined to follow his grandfather into eternity, but guilt-plagued Billy brought the dying lad to Shazam and the wizard saved his life by granting him access to the power of the ancient gods and heroes. Physically cured – except for a permanently maimed leg – the process generated a secondary effect: whenever he uttered the phrase “Captain Marvel” Freeman transformed into a super-powered version of his mortal self.

The epic concluded in Master Comics #22 when the teen titan joined the Bullets in stopping Captain Nazi, victoriously concluding with a bold announcement that from the very next issue he would be starring in his own solo adventures…

In our modern age, the net result was that Freddy experienced a portentous dread that the seas which had taken all his family had not done with him and something evil was coming…

Before that though, Bridwell, Newton & Dan Adkins reveal how composite demon host Timothy Karnes (carrying infernal icons Satan, Any, Belial, Beelzebub, Asmodeus & Craeteis) is revealed as the cruel cause of those nightmares in #269’s ‘SABBAC Strikes Back!’ but is unable to survive when CMJ deduces the plot and turns the tables…

It’s smiles all around – eventually – when Billy’s alter ego convinces hideous extraterrestrials to take back their well-meaning gift of transforming his landlady’s offspring into ‘Our Son, the Monster!’ (Larry Mahlstedt inks) whilst Mary Marvel confronts a deadly new foe in #272. As inked by Mitchell, ‘Chain Lightning’ can divert and absorb the magic bolts that bestow godlike power, but she can’t think as quickly as the Shazam girl…

Adkins returned for #273 as the World’s Wickedest Scientist writhes in shame after being awarded ‘Sivana’s Nobel!’ for the discarded and despised benevolent devices he invented before turning evil. To restore his own pride, the batty boffin tries to trigger World War III, but thanks to Captain Marvel only makes himself eligible for next year’s Peace Prize…

Billy Batson steals the show next, solving a baffling murder mystery in the Mahlstedt inked ‘Silence, Please’ and Adkins embellishes a compelling kidnap drama as the Marvel family seek a temporary replacement following ‘The Snatching of Billy Batson!’

Inked by Chiaramonte, weird war and magical mystery inform WFC’s #276 pan-dimensional invasion saga, but the last stand of ‘Magicians and Mercenaries’ – and the Marvel Family – proves but a simple prelude to Junior tackling ‘The Menace of the Moon-Tree!’ when fairy tales come true and magic beans link Earth to Luna…

A glimmer of understanding comes in #278 as satanist Dora Keane accepts ‘The Power of Darkness!’ from Satan, and as Darkling defeats the Shazam- powered champions. Saved by another enigmatic magical manifestation, the heroes are set on the trail of an unknown operator acting anonymously from the shadows…

His identity is revealed in #279 as a ruthless plutocrat blackmails the world into finding a cure for his fatal illness, or else ‘When Bancroft Fisher Dies, Everybody Dies!’…

As the Marvels race to find the global boobytrap endangering life on Earth, they are assisted by beings impossible to believe or comprehend and a boy Freddy recognises…

The truth emerges in ‘The Secret of the Freeman Brothers!’ and the return of Kid Eternity…

Way back in Shazam! #27, Bridwell had revived a Quality Comics character DC had also acquired when the Golden Age ended. The ghostly child and his spiritual advisor (that’s a pun, sons & daughters) fitted perfectly into what Silver Age fans dubbed Earth-S continuity, despite previously only being seen in reprint tales…

Devised by Otto Binder & Sheldon Moldoff, the Kid had debuted in Hit Comics #25 (cover-dated December 1942): an innocent boy machine-gunned by Nazis on a U-Boat, and taken to the heavenly realm of Eternity by a hapless soul collector years before his actual due date. Bureaucracy being the ultimate force of Creation, the lad was unable to simply return to life, but was granted compensation in the ability to temporarily walk the Earth, and power to summon any person, myth or legend from literature or history.

Aided by bumbling but beneficent spirit Mr. Keeper, the Kid fought crime and injustice until all the really good Golden-Age comic books were cancelled, but now was revealed as Freddy’s brother Christopher “Kit” Freeman, who had died on the same day Freddy had been attacked by Captain Nazi and both grandfathers had been killed…

As the boys compare origins it’s revealed that Mr. Keeper’s original mistake was taking Kit instead of Freddy and that the wizard was deeply involved in setting the situation right…

Having at last made contact with his sibling and saving Earth from mystic menaces, Kid and Junior are at the forefront of the next crisis as Mister Mind steals ultimate power in #281 to become ‘The One-Worm Monster Society!’ (John Calnan inks). Once that catastrophe cataclysmically concluded, the spooks silently stuck around, helping scupper the schemes of con artists Silk and Her Highness in the final World’s Finest outing.

Illustrated by Gil Kane, ‘Charity Begins…’ (#282 August 1982) was set in a circus and featured everyone – even charismatic charlatan/honorary Marvel Uncle Dudley – but was not the intended last hurrah. That had been delayed and only appeared in DC Digest-series Adventure Comics #491 & 492 (September and October 1982, illustrated by Newton, Chiaramonte & Calnan).

It began with ‘The Confederation of Hell’ as Satan assembled former failed agents IBAC, Darkling, SABBAC and old Kid Eternity enemy Master Man who attacked the heroes in their human forms, and unleashed primordial deities to do their dirty work. However, with Kit and Keeper turning the tide the Marvels easily won their ‘Battle with the Gods!’ to fade safely into comics limbo until the next reboot…

Although still controversial amongst older fans like me, the 1970’s incarnation of Captain Marvel/Shazam! has a tremendous amount going for it. Gloriously free of breast-beating angst and agony (even at the end) these adventures are beautifully, compellingly illustrated and charmingly scripted: clever, rewarding, funny and wholesome superhero yarns to appeal to any child and positively promote a love of graphic narrative. There’s a horrible dearth of exuberant superhero adventure these days, so isn’t it great that there is still somewhere to go for a little light action?

Just say the word…
© 1978, 1979, 1980, 1981, 1982, 2021 DC Comics. All Rights Reserved.

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Represent!


By Christian Cooper, Jesse J. Holland, Regine Sawyer, Nadira Jamerson, Tara Roberts, Dominike “Domo” Stanton, Onyekachi Akalonu, N. Steven Harris, Justin Ellis, Frederick Joseph, Gabe Eltaeb, Dan Liburd, Keah Brown, Camrus Johnson, Alitha E. Martinez, Mark Morales, Doug Braithwaite, Eric Battle, Brittney Williams, Yancey Labat, Valentine De Landro, Travel Foreman, Keron Grant, Koi Turnbull, Don Hudson, Tony Akins, Moritat & various (DC Comics)
ISBN: 978-1-77951-419-6 (HB/Digital)

Originally published digitally in 14 chapters from September 2020 to June 2021, Represent! was – in the words of Executive Editor Marie Javins – “designed to showcase and introduce creators traditionally underrepresented in the mainstream comics book medium.” As such it was part of a greater effort by that mainstream – which contemporaneously sparked a similar project from the House of Ideas that became a string of one-shot anthologies known as Marvel Voices…

Operating in conjunction with writers, artists and other creatives of colour (both In- and especially Out-Industry) allowed greater leeway and by displaying editorial willingness to address issues, themes and opinions – and even formerly entirely-ignored and marginalised sectors of society – the series was not dictated to by commercial economics and a militant fanbase addicted to continuity.

The results were admittedly mixed, but generally the freedom elevated the material to the levels of the best of adult European comics…

Here, the result is an engaging trek through history, studied observation, personal anecdote and even fantasy, with perspectives seldom – if ever – seen in your everyday funnybook. It could not possibly all be to everyone’s taste, but this weary, aged, comfortably privileged-yet broken English white boy found plenty to enjoy and much to ponder…

Exploring all aspects of the non-white American experience, from inner-imaginative landscapes and escapes to personal ideologies, each literary-leaning comics tales comes with a brief bio of the writer (sometimes that’s also the illustrator) and unless stated otherwise is lettered by the tireless Deron Bennett.

Not so Chapter 1:‘It’s a Bird’, which sees Robert Clark put words to a heartwarming tale of family and generational birdwatching written by 1990s comics creator Christian Cooper (Star Trek, The Darkhold, Excalibur and Marvel’s first openly gay writer/editor). The modern day rights activist is here supported by illustrated by Alitha E. Martinez (Heroes, World of Wakanda, Iron Man, Mighty Crusaders, Batgirl) & Emilo Lopez.

Editor, Educator, broadcaster, historian and author Jesse J. Holland (Black Panther: Who is the Black Panther?, Star Wars: The Force Awakens – Finn’s Story, The Invisibles: The Untold Story of African American Slaves in the White House) unites with British born Doug Braithwaite (Hulk, Captain America, Justice, Judge Dredd, The Punisher) & colourist Trish Mulvihill to relate a true tale. In disjointed yet carefully tailored flashbacks, a saga of endurance on a farm in rural Mississippi from 1980 to now unfolds: tracing the lives of the Hollands – a family still working land secured by ancestor and freed slave Conklin Holland in 1899…

‘Food for Thought’ comes courtesy of award-winning writer, small press publisher, essayist and journalist Regine Sawyer, with Eric Battle (Kobalt, Hardware, Batman, Wonder Woman, Spider-Man, Green Arrow, Green Lantern, Flash, Walking Dead) & Bryan Valenza rendering joyous reminiscences of a daughter shopping, cooking, talking and learning with her father in Queens, NYC, after which journalist Nadira Jamerson joins Brittney Williams (Goldie Vance, Betty & Veronica, Rugrats, Shade the Changing Girl, Lois Lane and the Friendship Challenge, Patsy Walker, A.K.A. Hellcat) & Andrew Dalhouse on the harrowing, but ultimately triumphant, journey of a black mother fighting a hostile medical system to secure an accurate diagnosis of a mystery ailment. Sometimes, all that’s necessary is to find someone to ‘Believe You’…

Chapter 5 declares ‘My Granny Was a Hero’ as Tara Roberts – educator, writer, editor and fellow of both MIT’s Open Documentary Lab and the National Geographic Storytelling project – unites with Yancey Labat (DC Superhero Girls, Legion of Super-Heroes) & colourist Monica Kubina as a little girl in 1983 changes her idol from Wonder Woman to someone far closer to home after learning how her own family unwillingly “came to America” from Cameroon in 1860…

Coloured by Emilio Lopez, ‘The Lesson’ is otherwise an all-Dominike “Domo” Stanton (Moon Girl & Devil Dinosaur, Starbrand & Nightmask, Nubia & the Amazons) affair about violent high school days and one crucial path to escape, before writer/journalist Onyekachi Akalonu connects with Valentine De Landro (Bitch Planet, Marvel Knights: 4, X-Factor, Silver Surfer: Ghost Light, Black Manta) & Marissa Louise to offer social context on repressed young black lives by advocating ‘Fight Fires with Spray Cans’…

Coloured by Walt Barna, Chapter 8 stands ‘In Defense of Free Speech’ as 20-year comics veteran N. Steven Harris (Aztek: The Ultimate Man, Batman: Officer Down, Deadpool, X-Force, Generation X, The Wild storm: Michael Cray, Indigo Clan) recalls a time when college lectures on black culture and experience required volunteer security teams to be heard at all…

‘Weight of the World’ – by writer/editor/media producer Justin Ellis (Problem Areas, How to Fix a Drug Scandal, The Cruelty of Nice Folks), Travel Foreman (Cla$$war, Doctor Spectrum, Immortal Iron Fist, Star Wars, Black Cat) & Rex Lokus – explores the pressures family can innocently inflict on a black kid graduating high school… and how the right librarian at the right moment can turn the page on the future…

For ‘The Flightless Bird’, prominent activist, philanthropist and bestselling author Frederick Joseph collaborates with Keron Grant (Fantastic Four, Kaboom, Son of Vulcan, Spider-Man/Doctor Octopus, New Mutants) on a tale of introspection and hope when a young man is diagnosed with a killer disease.

Gabe Eltaeb (Aquaman, Batman, Star Wars) then exposes an ‘American Mongrel’ with middle school kid Abdul learning some painful truths in 1991 as his mixed Hispanic/Iraqi heritage make him an instant and easy target during the first Iraq war. Thankfully, his grampa has seen all this before…

Celebrated sports science specialist Dan Liburd asks Koi Turnbull (Fathom, Wolverine: Dangerous Games, Superman Confidential) & Tony A?ina to join him at ‘The Water’s Edge Within Reach’; exploring the assumed limits of human aspiration and physical achievement via a career in “ironman” eventing, before journalist, actor, screenwriter and author Keah Brown (The Pretty One, Sam’s Super Seats) luxuriates in superhero excess with Don Hudson (Nick Fury/SHIELD, Forever Amber, Scalped, Curse of Brimstone) & Nick Filardi. They enquire ‘Who Hired the Kid?’: debuting a sheer escapist delight in time-travelling, monster-fighting schoolgirl adventurer “The Vet”…

The wonderment concludes by going out big with actor, director, animator and comics writer Camrus Johnson joining Tony Akins (Terminator, Star Wars, Hellblazer: Papa Midnight, Fables, Jack of Fables, House of Mystery, Wonder Woman), Moritat (Harley Quinn, The Spirit, Elephantmen, All Star Western, Hellblazer, Batman, Sheena: Queen of the Jungle, Transmetropolitan) & colourist Dee Cunniffe for ‘I’ll Catch up’. It finds the author in painful nostalgia mode, recalling how his big brother Mo used to visit in New York every summer, teaching the kid all the tricks of staying alive and protesting in a white world whilst still making his voice heard and his opinions count…

The stories are augmented by Darran Robinson’s iconic ‘Cover Gallery’ and supplemented by fascinating ‘layouts’ of various stories as crafted by Braithwaite, Harris & Akins…

Visually compelling, extremely well-executed, imaginative, purely poetic and operating with a degree of allegory seldom seen in regular comics whilst offering a wide and disparate use of the medium, Represent! is stunning, intriguing and entertaining but still feels something of a mixed bag… but then, it’s not really meant for me, is it?

If you’re like me, get it read and learn something…
© 2021 DC Comics, All Rights Reserved.

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Krazy & Ignatz 1916-1918: The George Herriman Library volume 1


By George Herriman (Fantagraphics Books)
ISBN: 978-1-68396-255-7 (HB/Digital edition)

In a field positively brimming with magnificent and eternally evergreen achievements, Krazy Kat is – for most cartoon cognoscenti – the pinnacle of pictorial narrative innovation: a singular and hugely influential body of work which shaped the early days of the comics industry whilst elevating itself to the level of a treasure of world literature.

Krazy & Ignatz, as it is dubbed in these gloriously addictive archival tomes from Fantagraphics, is a creation which must always be appreciated on its own terms. Over the decades the strip developed a unique language – simultaneously visual and verbal – whilst delineating the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding…and without ever offending anybody. Baffled millions certainly, but offended? …No.

It certainly went over the heads and around the hearts of many, but Krazy Kat was never a strip for dull, slow or unimaginative people: those who can’t or simply won’t appreciate complex, multilayered verbal and cartoon whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy narrative art has ever produced.

Think of it as Dylan Thomas and Edward Lear playing “I Spy” with James Joyce amongst beautifully harsh, barren cactus fields whilst Gabriel García Márquez types up shorthand notes and keeps score…

George Joseph Herriman (August 22, 1880-April 25, 1944) was already a successful cartoonist and journalist in 1913 when a cat and mouse who’d been noodling about at the edges of his domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature.

Mildly intoxicating and gently scene-stealing, Krazy Kat debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913: a 5-day-a-week monochrome comedy strip. By sheer dint of the overbearing publishing magnate’s enrapt adoration and direct influence and interference, it gradually and inexorably spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (such as Frank Capra, e.e. Cummings, Willem de Kooning, H.L. Mencken and more) adored the strip, many local and regional editors did not; taking every potentially career-ending opportunity to drop it from those circulation-crucial comics sections designed to entice Joe Public and the general populace.

The feature found its true home and sanctuary in the Arts and Drama section of Hearst’s papers, protected there by the publisher’s unshakable patronage. Eventually enhanced (in 1935) with the cachet of enticing colour, Kat & Ko. flourished unhampered by editorial interference or fleeting fashion, running generally unmolested until Herriman’s death on April 25th 1944 from cirrhosis caused by Non-alcoholic fatty liver disease. Eschewing standard industry policy of finding a substitute creator, Hearst decreed Krazy Kat would die with its originator and sole ambassador.

The premise is simple: Krazy is an effeminate, dreamy, sensitive and romantic feline of variable gender, hopelessly smitten with venal, toxically masculine everyman Ignatz Mouse. A spousal abuser and delinquent father, the little guy is rude, crude, brutal, mendacious and thoroughly scurrilous.

Ignatz is a proudly unreconstructed male and early forerunner of the men’s rights movement: drinking, stealing, fighting, conniving, constantly neglecting his wife and many children and always responding to Krazy’s genteel advances of friendship (…or more) by clobbering the Kat with a well-aimed brick. These he obtains singly or in bulk from local brick-maker Kolin Kelly. The smitten kitten always misidentifies these gritty gifts as tokens of equally recondite affection, showered upon him/her/they in the manner of Cupid’s fabled arrows…

Even in these earliest tales, it’s not even a response, except perhaps a conditioned one: the mouse spends the majority of his time, energy and ingenuity (when not indulging in crime or philandering) launching missiles at the mild moggy’s mug. He can’t help himself, and Krazy’s day is bleak and unfulfilled if the adored, anticipated assault fails to happen.

The final critical element completing an anthropomorphic emotional triangle is lawman Offissa Bull Pupp. He’s utterly besotted with Krazy, professionally aware of the Mouse’s true nature, but hamstrung by his own amorous timidity and sense of honour from permanently removing his devilish rival for the foolish feline’s affections. Krazy is – of course – blithely oblivious to the perennially “Friend-Zoned” Pupp’s dolorous dilemma…

Secondarily populating the mutable stage are a large, ever-changing supporting cast of inspired bit players including relentless deliverer of unplanned babies Joe Stork; unsavoury Hispanic huckster Don Kiyoti, hobo Bum Bill Bee, self-aggrandizing Walter Cephus Austridge, inscrutable, barely intelligible (and outrageously unreconstructed by modern standards!) Chinese mallard Mock Duck, portraitist Michael O’Kobalt, dozy Joe Turtil and snoopy sagacious fowl Mrs. Kwakk Wakk, often augmented by a host of audacious animal crackers – such as Krazy’s niece Ketrina – all equally capable of stealing the limelight and supporting their own features…

The exotic, quixotic episodes occur in and around the Painted Desert environs of Coconino (patterned on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, cunningly designed, wildly expressionistic (often referencing Navajo art forms) whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language. This last is particularly effective in these later tales: alliterative, phonetically, onomatopoeically joyous with a compellingly melodious musical force and delicious whimsy (“Ignatz Ainjil” or “I’m a heppy, heppy ket!”).

Yet for all our high-fallutin’ intellectualism, these comic adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerily idiosyncratic, outrageously hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick. Herriman was also a master of action: indulging in dialogue-free escapades as captivating as any Keystone Kop or Charlie Chaplin 2-reeler. Kids of any age will delight in them as much as any pompous old git like me and you…

Collected in a comfortably hefty (257 x 350 mm) hardcover edition – and available as a suitably serendipitous digital edition, this cartoon wonderment is bulked up with a veritable treasure trove of unique artefacts: plenty of candid photos, correspondence, original strip art and astounding examples of Herriman’s personalised gifts and commissions (gorgeous hand-coloured artworks featuring the cast and settings), as well as a section on the rare merchandising tie-ins and unofficial bootleg items.

These marvels are supported by fascinating insights and crucial history in Bill Blackbeard’s essay ‘The Kat’s Kreation’: detailing the crackers critters’ development and their creators’ circuitous path to Coconino, via strips Lariat Pete, Bud Smith, The Boy Who Does Stunts, Rosy’s Mama, Zoo Zoo, Daniel and Pansy, Alexander, Baron Mooch and key stepping stone The Dingbat Family…

From there we hie straight into the romantic imbroglio with ‘The Complete Krazy Kat Sunday Strips of 1916’ beginning with the full-page (17 panels!) episode for April 23rd wherein the Kat rudely absconds from a picnic to carry out a secret mission of mercy and sweet sentiment…

The peculiar proceedings were delivered – much like Joe Stork’s bundles of joy and responsibility – every seven days, ending that first year on December 31st. Across that period, as war raged in Europe and with America edging inexorably closer to joining in the Global Armageddon, the residents of Coconino sported and wiled away their days in careless abandon: utterly embroiled within their own – and their neighbours’ – personal dramas.

Big hearted Krazy adopts orphan kitties, accidentally goes boating and ballooning, saves baby birds from predatory mice and rats, survives pirate attacks and energy crises, constantly endures assault and affectionate attempted murder and does lots of nothing in an utterly addictive, idyllic and eccentric way. We see nature repeat itself with the introduction of our star’s extended family in “Kousins” Krazy Katbird and Krazy Katfish…

Always our benighted star gets hit with bricks: many, variegated, heavy and forever evoking joyous, grateful raptures and transports of delight from the heartsore, hard-headed recipient…

Often Herriman simply let nature takes its odd course: allowing surreal slapstick chases, weird physics and convoluted climate carry the action, but gradually an unshakeable character dynamic was forming involving love and pain, crime and punishment and – always – forgiveness, redemption and another chance for all transgressors and malefactors…

In ‘The Complete Krazy Kat Sunday Strips of 1917’ – specifically January 7th to December 30th – the eternal game plays out as usual and with an infinite variety of twists, quirks and reversals. However, there are also increasingly intriguing diversions to flesh out the picayune proceedings, such as recurring explorations of terrifying trees, grim ghosts, two-headed snakes and obnoxious Ouija Boards. Amidst hat-stealing winds, grudge-bearing stormy weather, Kiyote chicanery and tributes to Kipling we discover why the snake rattles and meet Ignatz’s aquatic cousins, observe an extended invasion of Mexican Jumping Beans and a plague of measles, discover the maritime and birthday cake value of “glowerms”, learn who is behind a brilliant brick-stealing campaign, graphically reconstruct brick assaults, encounter early “talkies” technology, indulge in “U-Boat diplomacy”, uniquely celebrate Halloween and at last see Krazy become the “brick-er” and not “brickee”…

With strips running from January 6th to December 29th, ‘The Complete Krazy Kat Sunday Strips of 1918’ finds Herriman fully in control of his medium, and kicking into poetic high gear as America finally entered the War to End All Wars.

As uncanny brick apparitions scotch someone’s New Year’s resolutions, cantankerous automobiles began disrupting the desert days, fun of a sort is had with boomerangs and moving picture mavens begin haunting the region. There are more deeply strange interactions with weather events, the first mentions of a “Spenish Influenza”, and a plague of bandit mice alternately led by or victimizing Ignatz. Music is made, jails are built and broken, Mrs Hedge-Hogg almost become a widow and criminal pig Sancho Pansy makes much trouble. Occasional extended storylines begin with the saga of an aberrant Kookoo Klock/avian refuge and invasive species of bean and “ko-ko-nutts”, and Krazy visits the Norths and Souths poles, foot specialist Dr. Poodil and Madame Kamouflage’s Beauty Parlor…

More surreal voyages are undertaken but over and again it’s seen that there is literally no place like Krazy & Ignatz’s home. There was only one acknowledgement of Kaiser Bill and it was left to the missile-chucking mouse to deliver it with style, stunning accuracy and full-blooded venom…

And then it was Christmas and a new year and volume lay ahead…

To complete the illustrious experience and explore an ever-shifting sense of reality amidst the constant visual virtuosity and verbal verve we end with splendidly informative bonus material.

Curated by Blackbeard, ‘The Ignatz Mouse Debaffler Page’ provides pertinent facts, snippets of contextual content and necessary notes for the young, potentially perplexed and historically harassed. Michael Tisserand’s ‘“The Early Romance between George Herriman’s Krazy Kat and William Randolph Hearst’s ‘City Life”’ explores the strip’s growing influence on the world around him, and it’s supported by an article of the period.

‘A Genius of the Comic Page’ is an appreciation and loving deconstruction of the strip – with illustrations from Herriman – by astoundingly perspicacious and erudite critic Summerfield Baldwin and originated in Cartoons Magazine (June 1917) and is followed by Blackbeard’s biography of the reclusive creator in ‘George Herriman 1880-1944’.

Herriman’s epochal classic is a genuine Treasure of World Art and Literature. These strips shaped our industry, galvanised comics creators, inspired auteurs in fields as disparate as prose fiction, film, sculpture, dance, animation and jazz and musical theatre whilst always delivering delight and delectation to generations of devoted, wonder-starved fans.

If however, you are one of Them and not Us, or if you still haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon carefully thrown together by Herriman from the dawn of the 20th century until the dog days of World War II, this glorious parade of cartoon masterpieces may be your last chance to become a Human before you die…

That was harsh, I know: not everybody gets it and some of them aren’t even stupid or soulless – they’re just unfortunate…

Still, for lovers of whimsy and whimsical lovers “There Is A Heppy Lend Furfur A-Waay” if only you know where and how to look…
© 2019 Fantagraphics Books, Inc. All contents © 2019 Fantagraphics Books, Inc., unless otherwise noted. “The Kat’s Kreation”, “The Ignatz Mouse Debaffler Page”, and Herriman biography © 2019 Bill Blackbeard. “The Early Romance between George Herriman’s Krazy Kat and William Randolph Hearst’s ‘City Life”’ © 2019 Michael Tisserand. All other images and text © 2019 their respective copyright holders. All rights reserved.

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The Complete Love Hurts – Horrifying Tales of Romance


By Kim W. Andersson with Sara B. Elfgren & various (Dark Horse Books)
ISBN: 978-1-61655-859-8 (TPB) eISBN: 978-1-63008-152-2

Internationally acclaimed and award-winning, Kim W. Andersson began his comics career in fanzines, and after studying at the Serieskolan School of Art in Malmö began his professional life with contributions to Sweden’s broad and varied comics industry. His first hit series was Love Hurts which began in 2009.

Wry, creepy, mordant and ironically funny, the series appeared in numerous venues before serialisation in anthology series Dark Horse Presents, for us English speakers. In 2015 Dark Horse Books re-presented the entire shebang in one titanic, trenchant tome…

Collecting Love Hurts #1-22, Love Hurts: Anastasia from Nemi, and #23-32 as seen in Utopi Magasin, also included here is one-shot Love Hurts: Dead End courtesy of Johnossi Comics – which you would already know if you read more stuff published in Scandinavia…

Since then, Andersson has returned to school thematically in chiller Alena (made into a movie) and Astrid: Cult of the Volcanic Moon. When not lecturing, creating gallery shows or making comics, the auteur works as an illustrator of book, magazines and for TV.

Following Peter Snejbjerg’s barbed Introduction ‘It was a Dark and Stormy Night’, what follows is a rapid-fire, smartly sarcastic and cunningly pilfered and plundered tribute to all aspects of mass entertainment and popular fiction from EC Comics to slasher movies, manipulating relationships as a trigger for jabs, pokes and broadsides at how and why people (and related beings) want, need and use other people…

The result is a nonstop procession of gags and incidents starring serial killers, domestic abusers, needy girlfriends, procurers, and wayward teens all encountering endings they might not deserve but certainly should have been expecting…

Sexy, gory yet remarkably not salacious, pastiches of screen shockers are supplemented by surreal and metaphysical moments, historical fantasies, ghostly encounters or sci fi and monster moments: all leavened by a darkly childish sense of the absurd and all illustrated with fetching style…

From spoofs starring 50-foot girlfriends to perplexing prom night pranks; from western showdowns and manga cautionary tales to lovingly irreverent myths mauled and manipulated, the marriage of amour and peril is dissected, with demons, devils, doctors, dweebs and dolly-birds re-examined via a puckish contemporary lens. There’s even a murky nod to superheroes and – just when you’re off guard – genuine tragedy amidst the crimson-spattered comedy…

Here love comes in all sizes, shapes and kinds with nothing barred or forbidden but with precious little in the way of happy endings…

The short punchy vignettes are bolstered by two longer tales: frenzied fairy tale Love Hurts: Anastasia darkly riffs on the tale of Bluebeard and 1001 Arabian Nights by way of Puss in Boots and Night of the Living Dead whilst Love Hurts: Dead End depicts a deadly pan-dimensional trip to the bad places and a celebrity La-la-land after one poor guy “wins” ‘The Lottery’…

Scary, hilarious, mordant, and in wickedly Bad Taste, these tales for culturally savvy appetites are augmented by a bonus section of Sketches and Extras offering ‘Happy Valentine’s Day!’ cards; working sketches of the models used to create the strips; cover designs; previous collection covers; layouts; original pages in various stages of completion, tattoo art and a biography.

Dark, doom-swept, daft, deranged and delightful, this may be the most appropriate appreciation of the annual emotional event yet conceived…
Love Hurts™ © 2015 Kim W. Andersson. All rights reserved.