Category: Feminism & Sexual Politics

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Jinx volume 1


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

This book includes Discriminatory Content produced during less enlightened times.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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Maids


By Katie Skelly (Fantagraphics Books)
ISBN: 978-1-68396-368-4 (HB/Digital edition)

This book includes Discriminatory Content included for dramatic and literary effect.

Illustrator Katie Skelly hails from Brooklyn by way of Bethlehem, Pennsylvania and caught the comics bug early, thanks to her newsstand owner dad. Her Barbarella inspired series Nurse, Nurse began after graduating from Syracuse University with a BA in Art History and becoming a postgrad at City College of New York. Thanks to her inquisitive insights, striking art style and potent narrative voice, Skelly has been the subject of many gallery shows and is a star on the global lecture circuit. She has been agonisingly quiet of late but hopefully there are more wonders in store (Sorry! No Pressure!)

Her first graphic novel – again inspired by Gallic trailblazer Jean-Claude Forrest but also with seductive scents and flavours of horror-meister director Dario Argento – was My Pretty Vampire (2017), supplemented by latter collections Operation Margarine and The Agency. All her works ask uncomfortable questions about the role and (permissible) position of women in society, as seen through exploitation genres of mass entertainment, and that’s never been more effectively explored than in this “semi-autobiographical” tome recounting the true-crime story of the Papin sisters.

History says that on February 2, 1933, former convent girls Christine and Léa (working as maids for the wealthy Lancelin family in Le Mans) bludgeoned and stabbed to death Madame Léonie and her daughter Genevieve. The case was manifestly open & shut, but became a Cause Celebre in France following reports of the killers’ early lives and years of service and physical abuse becoming public. Intellectuals championed the Papin sisters and the case was cited as a perfect example of the dangers of inequality and privilege…

In this graphic re-evaluation, Skelly brings her own incisive interpretation to the case, and it’s a little gem that you will find hard to put down and impossible to forget…

Verdict? Read this book.
© 2020 Katie Skelly. This edition © 2020 Fantagraphics Books, Inc. All rights reserved.

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High Soft Lisp


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

This book includes Discriminatory Content included for dramatic effect.

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

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

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

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

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

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

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

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

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

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

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

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Lucky Luke Volume 8 Calamity Jane


By Morris & Goscinny, translated by Pablo Vela (Cinebook)
ISBN: 978-1-905460-25-0 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Doughty, dashing and dependable cowboy “good guy” Lucky Luke is a rangy, implacably even-tempered do-gooder able to “draw faster than his own shadow”. He amiably ambles around the mythic Old West, having light-hearted adventures on his petulant and stingingly sarcastic wonder-horse Jolly Jumper. Over nine decades, his exploits have made him one of the top-ranking comic characters in the world, generating nearly 90 individual albums and spin-off series like Kid Lucky and Ran-Tan-Plan, with sales totalling upwards of 300 million in 30 languages. That renown has translated into a mountain of merchandise, toys, games, animated cartoons, TV shows and live-action movies and even commemorative exhibitions. No theme park yet, but you never know…

The brainchild of Belgian animator, illustrator and cartoonist Maurice de Bévère (AKA “Morris”), Lucky only truly expanded to global dominance via his 45-volume collaboration with superstar scripter René Goscinny (from Des rails sur la Prairie/Rails on the Prairie beginning August 25th 1955 to La Ballade des Dalton et autres histoires/The Ballad Of The Daltons And Other Stories in 1986).

On Goscinny’s death, Morris worked alone again and with others, inspiring a passel of legacy creators including Achdé & Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and more, all taking their own shots at the affable lone rider. Morris soldiered on both singly and with these successors before his passing in 2001, having drawn fully 70 adventures, plus numerous sidebar and spin-off sagebrush sagas.

Our taciturn trailblazer’s tales draw on western history as much as movie mythology and regularly interacts with historical and legendary figures as well as even odder fictional folk in tales drawn from key themes of classic cowboy films – as well as some uniquely European notions, and interpretations. As previously hinted, the sagebrush star is not averse to being a figure of political change and Weapon of Mass Satire… like this one…

Lucky Luke is a rangy, good-natured, lightning-fast quick-draw cowboy at home in any crisis; and generally unflappable. He’s probably the most popular Western star in the world today, but occasionally he meets someone even more confident than he.

First published continentally in 1967, Calamity Jane was the 30th European album and Goscinny’s 21st collaboration with Morris. It’s one of the team’s better tales, blending historical personages with the wandering hero’s action-comedy exploits and as such it’s a slice of Horrible Histories-tinged Americana you won’t want to miss. It all begins with our hero taking a welcome bath in a quiet river, only to be ambushed by Apaches spoiling for a fight. Their murderous plans are ruined by a bombastic lone rider who explosively drives off the raiders in a hail of gunfire before stopping to laugh at the embarrassed Luke. His cool, confidant rescuer is tough, bellicose, foul-mouthed, tobacco-chewing and infamous: born Martha Jane Cannery, apparently most folk just call her Calamity Jane…

She’s becomes more amenable after learning who Luke is, and, over coffee and a scratch meal, mutual respect develops into real friendship. Recounting her (remarkably well-researched) history, Cannery learns in return why Luke is in the region: someone has been supplying the Indians with guns just like the ones that almost killed him earlier…

Keen to help, Calamity joins Lucky and they ride into frontier town El Plomo and another minor crisis. The saloon prefers not to serve ladies – until Jane convinces them to change the policy in her own unique manner.

The glitzy dive is owned and operated by unctuous, sleazily sinister August Oyster who instantly suspects legendary lawman Luke is there because of his own underhand, under-the-counter activities…

As the cowboy heads off to check in with the sheriff, Calamity indulges in games of chance and skill with the sleazy Oyster and his hulking henchman Baby Sam, swiftly causing an upset by winning his hotel and saloon. Happily, Lucky is back on the scene by the time the grudging grouse has to officially hand over his money-making venture. Flushed with success, the new proprietor starts making changes and no man cares to object to the Calamity Jane Saloon and Tearoom (Reserved for Ladies). They’ll happily buy her beer and whiskey too, but not even at gunpoint will they eat her crumpets…

Oyster and Baby Sam, however, are utterly frantic. The saloon was crucial to their side business selling guns to renegades and they have to get it back before the increasingly impatient Chief Gomino takes matters into his own bloodstained hands. Still hunting for the gunrunners and pretty certain who’s behind the scheme, Luke is constantly distracted by petty acts of sabotage and even arson plaguing Calamity, but even as he finds his first piece of concrete proof, Oyster instigates his greatest distraction yet: organising the haughtily strait-laced Ladies Guild of El Plomo to close down the insalubrious saloon and run its new owner out of town…

Never daunted, Luke eventually pacifies and placates his tack-spitting pal down before deftly counterattacking by sending for an etiquette teacher to polish rough diamond Jane enough to be accepted by the ferociously militant guildswomen. It is the greatest challenge urbane, effete Professor Robert Gainsborough (an outrageously slick caricature of British actor David Niven) has undertaken. His eventual (but only partial) success leaves him a changed and broken man.

Stymied at every turn, increasingly panicked August Oyster is soon caught red-handed by the vigilant vigilante, but it’s too late. Frustrated and impatient, Gomino has opted to raid the town in broad daylight and seize his long-promised guns and ammo from their hiding place. The marauders have not, however, reckoned on the steely fighting prowess of Lucky Luke and the devil woman they superstitiously call “Bang! Bang!”…

Cleverly barbed, wickedly witty and spectacularly playing with key tropes of classic sagebrush sagas, this raucous romp is a grand escapade in the comedic tradition of Destry Rides Again, Cat Ballou and Support Your Local Sheriff, superbly executed by master storytellers as a wonderful introduction to a venerable genre for today’s kids who might well have missed the romantic allure of an all-pervasive Wild West that never was…

Also included is a photo pin-up of the actual Martha Jane Cannery in her gun-toting prime and, in case you’re worried, even though the interior art still has our hero drawin’ on his ol’ roll-ups, there’s very little chance of any reader craving a quick snout (or crumpets wild west style), but quite a strong likelihood that they’ll be addicted to Lucky Luke albums.
© Dargaud Editeur Paris 1971 by Goscinny & Morris. © Lucky Comics.

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The Terror of St Trinian’s and Other Drawings


By Ronald Searle with Geoffrey Willans, Timothy Shy & others (Penguin Modern Classics)
ISBN: 978-0-141-91285-1 (PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Time for another Birthday Briefing as we exploit our month mostly mandated to mulling over women in and of comics – by celebrating the achievements of another old white guy. However this is truly one of the good ones and absolutely a true pioneer in male/female power relationships…

Britain has a fantastic and enviable history and tradition of excellence in the arts of graphic narrative and cartooning. Whether telling a complete story or simply making a point, much of the modern world’s most innovative, inspirational and trenchantly acerbic drawing has come from British pens powered by British hearts and minds.

If you’re quietly humming Rule Britannia or Jerusalem right now, or heavy breathing and fingering a flag, pack it in. This is not the tone we want. I’m just stating a few facts.

Ronald William Fordham Searle was one of a very gifted few (in modern times I’d number Ken Reid, Leo Baxendale, Murray Ball and Hunt Emerson among them) who can actually draw funny lines. No matter how little or how much they need to say, they can imbue the merest blot or scratch of ink with character, intent and wicked, wicked will.

Born in Cambridge on March 3rd 1920, Searle studied at Cambridge School of Art before enlisting in the Royal Engineers when WWII broke out. When he was captured by the Japanese in 1942 he ended up in the infamous Changi Prison. The second St Trinian’s cartoon was drawn in that hell-hole in 1944 and it survived – along with his incredible war sketches – to see print once peace broke out. Searle was a slave-worker on the Siam-Burma Railroad (a story for another time and place) and risked his life daily both by making pictures and by keeping them.

He became a jobbing freelance cartoonist when he got home, acerbically detailing British life. Perhaps that why he moved to France in 1961 and became a globe-girdling citizen of the wider world. By the 1980s he was established – everywhere but here – as not only a cartoonist and satirist but as a film-maker, sculptor, designer, travel-writer and crafter of fascinating reportage. This man was a capital “A” artist in the manner of Picasso or Hockney and,  Scarfe and Steadman notwithstanding, he was the last great British commentator to use cartooning and caricature as weapons of social change in the caustic manner of his heroes Hogarth, Gillray, Rowlandson, Cruikshank and the rest.

This magnificent volume includes selections from assorted previous collections and includes political illustration, social commentary, arcanely mordant whimsy and some of the most surreal, sardonic and grotesque funny pictures of the 20th century. I won’t spend too much time on his other achievements as his work should be seen and his thoughts and opinions should be understood in his chosen language: Art. At least, he still has enough fans to fill the internet with all the information you could need, so go search-engining after you read this if you wish. You’ll probably be offered a digital copy of this archive there. Do yourself a big favour and buy it…

Why his creations are so under-appreciated I do not know. Why this book is physically out of print: ditto. That he will remain a relative unknown despite the clutch of movies about his St Trinian’s girls… Not if I can help it…

Anyone who considers themselves a devotee of the arts of graphic narrative should know of Searle’s work, even if not necessarily love – although how could you not? Just be aware of the tremendous debt we all owe to his vision, dedication and gifts.

This compilation traces the rise of his star following his POW years. Post-war, his mordantly funny cartoons appeared in venues such as Punch, Lilliput and The Sunday Express, and in hugely successful collections like Hurrah for St. Trinian’s!, The Female Approach, Back to the Slaughterhouse, The St. Trinian’s Story, Which Way Did He Go?,Pardong m’sieur, In Perspective and The Non Sexist Dictionary.

Searle’s work has influenced an uncountable number of other cartoonists too. His unique visualisation and darkly comic satirical cynicism in the St. Trinian’s drawings as well as his utterly captivating vision of boarding school life as embodied in the classically grotesque Nigel Molesworth quartet: influencing generations of children and adults, and even playing its part in shaping our modern national character and language.

And have I mentioned yet that his drawings are really, really funny?

This superb collection of monochrome cartoons samples choice cuts from a number of his book collections, all delivered with stunning absurdist candour and the peculiarly tragic passive panic and understated warmth that only Searle could instil with his seemingly wild yet clearly-considered linework.

Fronted by an impassioned Introduction from fan and proper grown up journalist/columnist Nicholas Lezard, this paperback and digital collection offers a sweet taste of dark design in haunting and hilarious images culled from a number of sources, opening (un)naturally with macabre treats from St Trinian’s: blending the comforting traditional bonhomie of a girl’s boarding school with the accoutrements of a sex dungeon, the atavists of a charnel house and the fragrant atmosphere of The Somme two days after all the shooting stopped.

Having proved that for some crime Does pay, focus shifts to Merry England, etc., where class, toil, occupations, hobbies, and the ardours of life are ferociously scrutinised before diverting into mirthful metaphysics with a damning disembodied judge dubbed The Hand of Authority…

More satirical body-blows from Souls in Torment lead delightfully to a montage of misspelled madcap moments of terror-tinged nostalgia as Molesworth extracts snippets of sheer genius from the books he co-created with Geoffrey Willans for Punch and which were subsequently released to enormous success as Down With Skool!, How to be Topp!, Whizz For Atomms! and Back in the Jug Agane.

Having fully gripped our last dose of ghastly goblin-esque girl power and brutal boy-moulding, our review of a master of graphic assassination moves on the far less solid ground of politics and satire. As I said previously, Searle was a devotee of satirist William Hogarth and in 1956 adapted the old master’s series of condemnatory cartoons (painted in 1732-34 and released as staggeringly popular engraved prints in 1735) to modern usage and characterisation. Included here in its entirety to conclude our fun, The Rake’s Progress follows the rise and fall of a number of contemporary figures – The Athlete, The Girlfriend, The Soldier, The Poet, The Trade Union Leader, The Actor, The Painter (he based this one on himself), The Don (English academic, not an American gangster but such confusion is easy to understand), The Dramatic Critic, The Doctor, The MP, The Clergyman, The Novelist, The Humourist, The Master of Foxhounds and The Great Lover – with all the excoriating venom and wit you’d expect from a master of people-watching…

Brilliant, Brilliant, Brilliant stuff! See for yourself, whatever side of the battle lines you cower behind.
© 1948, 1951, 1952, 1953, 1954, 1955, 1956, 1959 by Ronald Searle.
This selection © Ronald Searle 2000, 2006. Introduction © Nicholas Lezard, 2000. All rights reserved.

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Veils


By Pat McGreal, Stephen John Phillips, José Villarrubia & Rebecca Guay (Vertigo)
ISBN: 978-1-56389-355-1 (HB): 978-1-56389-561-6 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

This book includes Discriminatory Content included for dramatic effect.

Although at first glance more exercise than exposition, this undemanding and inarguably prurient tale of the Seductive East is also a very readable exercise in genre fiction. Victorian gentlewoman Vivian Pearse-Packard is late in marrying, and her eventual “better half” is a ne’er-do-well wastrel. Now her father-in-law has brought them with him as he resumes his post as British Consul to a Far Eastern Sultanate.

The new and exotic land is shocking to Vivian, and husband Harry remains a possessive and loveless beast, but her life changes when a visit to the Sultan’s seraglio leads to a friendship with one of the ruler’s odalisques. Vivian’s need for companionship initially draws her into the luxuriously seductive world but soon she becomes subtly aware of a hidden agenda among some of the women. Specifically, she is told the ancient tale of Rosalind, a white woman stolen from her father and given to a Sultan, only to rise to the second most powerful position in the land.

How the fable impacts on the increasingly desperate and repressed Englishwoman, and the choices she is subsequently compelled to make in her own life, provide a predictable but enjoyable spin on a most clichéd plot. Moreover, the combination of Phillips stagy yet compelling photography, augmented by Villarrubia’s digital enhancement, imbues the tale with a static theatricality verging on abstraction in places. Rebecca Guay provides classic pen-&-watercolour art for those sections involving Rosalind’s story, imparting the strangest inversion as her contribution is warm, sensitive, deeply alive and approachable, in contrast to the cold, distant and passionless fumetti walling it all in.

All that aside, this is a worthy effort to escape to traditional boundaries of our medium and serves well as a bridge to the wider public.
© 2001 Pat McGreal, Stephen John Phillips & Rebecca Guay. All Rights Reserved.

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Kill My Mother


By Jules Feiffer (Liveright/W.W. Norton)
ISBN: 978-0-87140-314-8 (HB/Digital edition)

This book includes some Discriminatory Content included for comedic and dramatic effect.

After years as cartoonist, illustrator, pundit and educator, at age 85 Jules Feiffer returned to his primary role of comics storyteller with an intense, sublimely gripping and innovative graphic novel. Spanning 10 turbulent years, Kill My Mother is a supremely classy, passionately heartfelt tribute to Film Noir, Hollywood Babylon, sexual politics and family secrets, blending trappings of Dashiell Hammett with the tone, pacing and spark of Preston Sturges and Billy Wilder to tell an extended story of love, murder, jealousy and revenge.

It all begins in ‘Bay City Blues’. It’s 1933 and times are tough all over. At 15-years old, Annie Hannigan is cutting up, constantly leading poor, gullible sap Artie Folsom into trouble, whilst the mother she despises works all hours for dissolute, dipsomaniac, exceedingly cheap private investigator Neil Hammond. The odd arrangement developed after the shamus agreed to investigate the murder of Elsie Hannigan’s husband, whom he constantly refers to as the wrong sort of honest cop. Events take a dark turn when stylish, exceedingly tall maneater Mae Longo walks in, offering outrageous sums if the gumshoe can track down a certain someone. The photo she gives Hammond shows a woman remarkably similar to his coolly aloof new client…

Eddie “the Dancing Master” Longo is a rising star of the fight game who usually employs shady but capable gorilla Tiny Tim Gaffney to handle the more unsavoury problems in his life but Neil claims to know just how to handle him. In the course of her mean-spirited, casual rebellions, Annie gets poor Artie into real trouble when a shoplifting binge results in pursuit by a store detective far faster than he looks. A very nasty beating is only avoided when an exceptionally tall derelict in an alley lays out the private cop with her carefully concealed baseball bat. The rattled teen takes the tramp back to the dump of an apartment and cleans her up, even as Elsie – very much against her will and better judgement – is dragged by soused-as-ever Neil to the Big Fight to see the Dancing Master.

The escapade almost costs her everything…

Her drunken boss’ plan to draw his tall target out of the woodwork also involves poor Elsie and leads to a lot of pain, trouble and strife, whilst Hammond, clearly a dipsomaniac with a death wish, starts dogging mysterious client Mae instead of doing the job he was hired for.

The result is a murder unsolved and unexplained for a decade…

The concluding half of the story resumes in 1943 with ‘Hooray for Hollywood’ as we return to our cast and find them all greatly advanced. Goonish Artie is a Captain of Marines, successfully battling the Japanese in the Green Hell of the Pacific whilst Annie Hannigan is a writer and media darling. Her sensational hit comedy “Shut Up, Artie” is the most popular radio show in America and is broadcast wherever Yanks are posted. Eddie Longo made the transition to B-Movie star and Ellen, when not babysitting obstreperous grandson Sammy, is Executive Vice President of Pinnacle Studios in charge of Image Security and Maintenance. The scary indigent little Annie met in an alley has also cleaned up and moved on. Now she sings torch songs in the Reno Roost as the enigmatic Lady Veil…

Eddy hates his life. The former hard-man boxer is trapped as a song-&-dance hoofer in big, morale-boosting musicals but dreams of major stardom like glamorous He-Man Hugh Patton or even an Academy Award… but is typecast and more under the thumb of the formidable Mae than ever.

The fraught status quo changes after Annie meets the dashing Patton at the Hollywood Canteen, but her romantic elation is crushed soon after, when the sponsors call her in to discuss a crisis. A genuine war hero is suing the show, claiming his life is being made a mockery. Unless she can fix things up with her old pal Artie, the show and her career are over…

Eddie is also near breaking point and Mae calls in thuggish Gaffney as a minder. Events begin to spiral to a shocking conclusion when Longo joins a USO tour to the war-torn Pacific Islands. Patton is going too, and Annie takes the opportunity to join him, as does her mother in the role of “image maintainer”…

The first port of call is Tarawa; the hellhole where Captain Arthur Folsom is almost single-handedly repulsing the Jap advance. On the island, Artie is overseeing the building of a stage for the visiting stars whilst marvelling at the stupidity of putting on a show in a battleground still hotly contested by enemy forces. In the air above him, Ellen has a sharp confrontation with Mae Longo and “bodyguard” Gaffney. The events of ten years ago are still painfully fresh in every participant’s mind. By the time all the players debark on the island, a devious and supposedly foolproof plan to commit another perfect murder has been hatched, using the Japanese as ideal scapegoats. However, an intimate killing is far harder than mass slaughter and the scheme soon starts to unravel…

Complex, beguiling, smartly sophisticated, devastatingly witty and peppered with shockingly casual violence (as every noir thriller must be) this spectacular yarn is packed with twists and surprises, where nobody tells the truth and no one is playing on the side of the angels.

A masterpiece of cool suspense, mature ingenuity and graphic dexterity, Kill My Mother was winner of the Eisner Prize for Best New Graphic Album, took the National Cartoonist Society Reuben Award for Best Graphic Novel 2014 and was named one of the Best Books of the Year by Vanity Fair, Kirkus Reviews and Library Journal. It remains a timeless, hearty slice of bravura storytelling that gets better with every re-reading and a fitting tribute to the talents of one of graphic narrative storytelling’s greatest masters. If you love crime yarns, comic tales, nostalgia and having your intelligence respected, this is the book for you.
© 2014 Liveright Publishing Corporation.

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Lucky Luke volume 59 – Bride of Lucky Luke


By Morris & Guy Vidal, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-305-5 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Doughty, dashing and dependable cowboy “good guy” Lucky Luke is a rangy, implacably even-tempered do-gooder able to “draw faster than his own shadow”. He amiably ambles around the mythic Old West, having light-hearted adventures on his petulant and rather sarcastic wonder-horse Jolly Jumper. Over nine decades, his exploits have made him one of the top-ranking comic characters in the world, generating nearly 90 individual albums and spin-off series like Kid Lucky and Ran-Tan-Plan, with sales totalling upwards of 300 million in 30 languages. That renown has translated into a mountain of merchandise, toys, games, animated cartoons, TV shows and live-action movies and even commemorative exhibitions. No theme park yet, but you never know…

Originally the brainchild of Belgian animator, illustrator and cartoonist Maurice de Bévère (AKA “Morris”) Lucky only truly expanded to global dominance via his 45 volume collaboration with superstar scripter René Goscinny (from Des rails sur la Prairie/Rails on the Prairie beginning August 25th 1955 to La Ballade des Dalton et autres histoires/The Ballad Of The Daltons And Other Stories in 1986).

On Goscinny’s death, Morris worked alone again and with others, founding a posse of legacy creators including Achdé & Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and more, all taking their own shots at the venerable vigilante. Morris soldiered on both singly and with these successors before his passing in 2001, having drawn fully 70 adventures, plus numerous sidebar and spin-off sagebrush sagas.

The taciturn trailblazer draws on western history as much as movie mythology and regularly interacts with historical and legendary figures as well as even odder fictional folk in tales drawn from key themes of classic cowboy films – as well as some uniquely European notions, and interpretations. As previously hinted, the sagebrush star is not averse to being a figure of political change and Weapon of Mass Satire…

Cinebook’s 59th Lucky Luke album was officially the frontier phenomenon’s 54th individual European exploit, originally seen au continent in 1985 as La Fiancée de Lucky Luke by Morris and jobbing scripter Guy Vidal – journalist, screenwriter, Editor-in-Chief of Pilote and author of books and comics such as Les Gringos, Une Éducation algérienne, Médecins sans frontières and many more.

Regrettably, in many places this yarn is a painfully dated monument to the sexist attitudes of the era it was written in. The book has been translated as Bride of Lucky Luke (occasionally Lucky Luke’s Fiancée) and here comes with an apologetic preface from the editors asking for a little understanding and forbearance.

I suspect these will become increasingly common in future with long-lived stars, as modern sensibilities clash with social and culturally outmoded material crafted for popular consumption over everchanging decades…

While we’re carping there’s an odd frisson of campaigning change throughout reviving a barely cooled hot button of the era. From inception, Luke laconically puffed on a trademark roll-up cigarette which hung insouciantly and almost permanently from his lip. However, in 1983 Morris – amidst pained howls and muted mutterings of “political correctness gone mad” –  substituted a piece of straw for the much-travelled dog-end, thereby garnering for himself an official tip of the hat from the World Health Organisation. Here however, although Lucky still chaws that barley stalk, most other characters still abuse tobacco in its assorted forms, drawing pointed remarks from one of the tale’s most powerful characters, primly dragging her reformist civilising nonsense into the land of unreconstructed, unsavoury he-men…

In scenes reminiscent of the Navy’s pleas in South Pacific, the tale opens in typical frontier town Purgatory where they ain’t got dames women are absent and pioneers are reverting to loutish, unwashed barbarism.

In St Louis – where US civilisation officially ends – the situation is exacerbated by an oversupply of single, marriageable women, compelling civic authorities to organise wedding wagon trains to ship willing wives-to-be to eager, not particularly picky bachelors. The process is fraught with peril and takes a terrible toll on wagon-masters and guides, so these powers that be want Lucky Luke to lead the next trek out…

Teaming up with old pal Hank Bully (The Stagecoach), Luke eventually agrees: ferrying fifteen spinsters of variable vintage – one of whom is not what they seem – across the prairies: overcoming natural hazards, the country’s previous occupants, freshly-imported villainy and a multitude of stereotypical him-versus-her cliches (especially about cooking, clothes, “queer fear” and driving) before some moments of novelty appear.

Strident Jenny O’Sullivan might want a husband, but she also has ironclad principles and spends much time lecturing anyone who can’t get away on the perils of strong drink and tobacco. That zeal even persists after she’s kidnapped by the nefarious Daltons. However, when the wagons arrive in Purgatory, one of the prospective husbands is unavailable – having been arrested – and Lucky is gulled/compelled to step in and agree to wed her. It’s that or take her back to St Louis…

Grasping the wrong end of the stick, Averell, Jack, William and devious, diminutive yet dominant Joe swoop and snatch, but soon learn they have saved their greatest enemy from a life of domestic drudgery, startling cooking and daily uplifting lectures. Happily for them, Lucky always puts duty before everything and rescues the most vicious and feared outlaws in America before finding a solution to his own dilemma and reuniting Jenny and her contracted spouse/consort…

Then he can go back to being as lonesome a cowboy as humanely possible…

Happily Lucky Luke also cherishes the old ways and is ready to set things right his way…

Augmented by a reproduction of an actual certificate of Holy Matrimony stemming from the widespread historical practise of catalogue weddings, Bride of Lucky Luke vacillates between being a wickedly wry exploration of the battle of the sexes and cheap misogyny, which can work for most readers but isn’t ideal for young readers to absorb unquestioningly. Nevertheless, the art and many of the gags do work on more mature levels so bear in mind that in Europe, this series is not strictly kids’ stuff. The yarn revels in classic set-piece slapstick and witty wordplay: poking fun at the fundamental components of the genre and relationships, whilst successfully embracing tradition with wild action.

Fine for older kids possessing some perspective and social understanding – and probably still safer than most Laurel and Hardy films or whatever TikTok clip the waifs of the coming generation can still access, these early exploits follow the grand old tradition of Destry Rides Again or Cat Ballou, superbly executed by a master visualist, commemorating the romantic allure of a Wild West that never was…
© Dargaud Editeur Paris 1985 by Morris & Vidal. © Lucky Comics. English translation © 2016 Cinebook Ltd.

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Surrounded – America’s First School for Black Girls, 1832


By Wilfrid Lupano & Stéphane Fert, translated by Montana Kane (NBM)
ISBN: 978-1-68112-348-6 (HB) eISBN: 978-1-68112-349-3

This book includes Discriminatory Content included for dramatic effect.

As and when we actually get to hear it, history is an endlessly fascinating procession of progress and decline playing out eternally at the behest of whoever’s in power at any one time. However, don’t be fooled. It’s never about “opinions” or “alternative facts”: most moments of our communal existence generally happened one way with only the reasons, motivations and repercussions shaded to accommodate a preferred point of view.

The best way to obfuscate the past is to tell everyone it never happened and pray nobody goes poking around. So much you never suspected has been brushed under a carpet and erased by intervening generations proceeding without an inkling. Entire sections of society have been unwritten in this manner but always there have been pesky troublemakers who prod and probe, looking for what’s been earmarked for forgetting and shining a light on the history that isn’t there.

If I live long enough, I can’t wait to see what will be written about the next four years, but that’s a topic for another time…

One such team of intrepid histographic investigators are Wilfrid Lupano & Stéphane Fert. In 2020 they produced a sequential graphic narrative account of a remarkable moment of opportunity that was quashed by entrenched bigotry, selfish privilege and despicable intolerance. After far too long as a digital-only English-language edition (White All Around from Europe Comics), Blanc autour is now available in a lavish oversized hardback and new digital edition from those fine people at NBM. It opens with a context-filled Foreword before we meet servant girl Sarah Harris as she is tormented by ruffian child Feral, reading to her from an infamous new book…

Set one year after Nat Turner’s doomed black uprising of August 21st 1831 (which occurred in Southampton County, Virginia), this true tale took place in a land still reeling and terrified. Freshly minted preventative measures to control and suppress the slave population included banning black gatherings of three or more people, an uptick in public punishments like floggings, lynchings and ferocious policing – if not outright outlawing – of Negro literacy. The posthumous publishing of Thomas R. Gray’s The Confessions of Nat Turner had created a best seller that further outraged and alarmed Americans. Even in 1832, and hundreds of miles north in genteel Canterbury, Connecticut, black people were careful to mind their place. It might be a “Free State” where slavery was illegal, but even here Negros were an impoverished underclass…

Sarah, however, is afflicted with a quick, agile and relentlessly questioning mind. She craves knowledge and understanding the way her fellow servants do food, rest and no trouble from white folk. One day, fascinated by the way water behaves, Sarah plucks up her courage and asks the local school teacher to explain. Prudence Crandall is a well-respected, dedicated educator diligently shepherding the young daughters of the (white) citizenry to whatever knowledge they’ll need to be good wives and mothers, but when the brilliant little servant girl quizzes her, the teacher is seized by an incredible notion…

When the new term starts Sarah is the latest pupil, and despite outraged and increasingly less polite objections from the civic great and good – all proudly pro-Negro advancement, but not necessarily here or now – Miss Crandall is adamant that she must remain. When parents threaten to remove their children, the schoolmarm goes on the offensive, declaring her establishment open for the “reception of young ladies and little misses of color”…

Her planned curriculum includes reading, writing, arithmetic, geography, natural and moral philosophy, history, drawing and painting, music on the piano, and the French language, and by sending it along with her intentions to Boston Abolitionist newspaper The Liberator, Crandall declares war on intolerance and ignorance in her home town. Sadly, her proud determination unleashes an unstoppable wave of sabotage, intimidation, sly exclusion, social ostracism and naked hatred against herself and her unacceptable student. She even tries to defend the move at the Municipal Assembly, before learning that only men were allowed to speak there…

Crandall’s response is to make her Canterbury Female Boarding School exclusively a place for a swiftly growing class of black girls. All too soon, politicians and lawmakers get involved and harassment intensifies to the point of terrorism and murder. Connecticut even legislates that it is illegal to educate “colored people” from out of State…

The school becomes another piece in the complex political game between abolitionists and slave-owing states but still manages to enhance the lives and intellects of its boarders, until 1834 when Prudence Crandall stands trial for the crime of teaching black children. When she is exonerated, the good people of Canterbury take off the kid gloves…

Although this war was never going to be won, Crandall’s incredible stand for tolerance, inclusivity and universal education was a minor miracle of enlightenment, attracting students from across America and countering the long-cherished “fact” that blacks and females had no need – or even capacity – for learning. Moreover, though the bigots managed to drive her out, Crandall and her extraordinary pupils retrenched to continue the good work in another state: one more willing to risk the status quo…

This amazing story is delivered as a fictionalised drama made in a manner reminiscent of a charming and stylish Disney animated feature, but surface sweetness and breezy visuals are canny subterfuge. Scripter Wilfred Lupano (Azimut; Little Big Joe; Valerian & Laureline: Shingouzlooz Inc.; The Old Geezers; Vikings dans la brume) and illustrator Stéphane Fert (Morgane; Axolot; Peau de Mille Bêtes) deftly deploy a subtle sheen of beguiling fairy tale affability to camouflage their keen exposure of a moving, cruel and enraging sidebar to accepted history: one long overdue for modern reassessment.

The creators wisely leaven the heavy load with delightful, heart-warmingly candid moments exploring the feelings and connections of the students, and balance tragedy with moments of true whimsy and life-affirming fantasy: but please beware – it does not end well for all…

The book includes an Afterword by Joanie DiMartino – Curator of the Prudence Crandall Museum – tracing in biographical snippets, the eventful lives, careers and achievements of eleven of the boldly aspirational scholars of the Crandall School’s first class.

Surrounded – America’s First School for Black Girls, 1832 is a disturbing yet uplifting account every concerned citizen should read and remember. After all, learning is a privilege, not a right… unless we all defend and advance it…
© 2020 Dargaud Benelux, (Dargaud-Lombard S. A.) – LUPANO & FERT. All rights reserved.

Surrounded – America’s First School for Black Girls, 1832 will be published on February 11th 2025 and is available for pre-order now. For more information and other great reads see NBM Graphic Novels.

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Lucky Luke volume 45: Tying The Knot


By Achdé & Laurent Gerra, in the style of Morris and coloured by Anne-Marie Ducasse: translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-188-4 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times, although if you were of a mean-spirited mien or read recent news you might as easily say “This book includes Discriminatory Content produced by French men of a certain age and disposition”.

On the Continent, the general populace has a mature relationship with comics: according them academic and scholarly standing as well as meritorious nostalgic value and the validation of acceptance as an actual art form. That frequently means that what we English-speakers too-readily define and dismiss just by depending on art style and first glance as For Kids or Not For Kids can contain material and themes many parents are not keen on their spawn knowing too soon… or even ever. In their mother tongues, attitudes and even snarky political and social commentary are all over children’s icons like Asterix or Lucky Luke: just another reason parents should read these gems with and during their offsprings’ formative years. Just a friendly warning…

Doughty, dashing and dependable cowboy “good guy” Lucky Luke is an even-tempered do-gooder able to “draw faster than his own shadow”. He amiably ambles around the mythic Old West, having light-hearted adventures on his petulant and rather sarcastic wonder-horse Jolly Jumper. For nearly 80 years, his exploits have made him one of the top-ranking comic characters in the world.

Originator Morris crafted enough material for nine albums before allying with René Goscinny (Asterix, Iznogoud, Le Petit Nicolas, Oumpah-Pah) to co-craft 45 albums before the writer’s untimely death. Thereafter Morris soldiered on both singly and with other collaborators, going to the Last Roundup in 2001, having drawn fully 70 adventures, plus numerous sidebar sagebrush sagas with Achdé & Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and more: all taking their own shot at the venerable vigilante with writer Jul, taking on the storytelling role from 2016.

Lucky Luke has a long history in Britain, at first pseudonymously amusing and enthralling young readers in the late 1950s, syndicated to weekly anthology Film Fun. He rode back into comics-town in 1967 for comedy paper Giggle, using nom de plume Buck Bingo. And that’s not counting the numerous attempts to establish him as a book star, beginning in 1972 with Brockhampton Press and continuing via Knight Books, Hodder Dargaud UK, Ravette Books and Glo’Worm, until Cinebook finally found the right path in 2006.

The taciturn trailblazer regularly interacts with historical and legendary figures as well as even odder fictional folk in tales drawn from key themes of classic cowboy films – as well as some uniquely European notions, and interpretations. As previously hinted, the sagebrush star is not averse to being a figure of political change and Weapon of Mass Satire.

Cinebook’s 45th Lucky Luke album was officially the 74th individual exploit of the frontier phenomenon, originally appearing au continent in 2006 as La Corde au cou by Achdé & Laurent Gerra. It’s been translated as From the Gallows to the Altar or, as here, the comfortably ambiguous Tying the Knot…

In what looks now like a moment of timely prescience, this tale simultaneously addresses issues of executive expedience, jurisprudence and imbalanced sexual politics as the incoming US President instantly settles the overwhelming problem – and cost – of overcrowded jails by arbitrarily commuting prison full life tariffs into death sentences. With their consecutive time calculated as a further 387 years, appalling arch-bandits the Dalton (Averell, Jack, William and devious, slyly psychotic, dominant diminutive Joe) are the most vicious and feared outlaws in America, and promptly moved to death row with 14 days to wait until they stop being a problem to decent citizens…

Old adversary Lucky is astounded by the news and heads straight for the prison, where the panicked siblings are seeking any means of escape. Thanks to corrupt, incarcerated Judge Portly, they find it in matrimony. An old law states that if any woman will wed a gallows bird, the sentence is quashed, prompting ruthless Ma Dalton to undertake a frantic hunt for a quartet of desperate idiots willing, lonely or bribe-able women to hitch to her horrible boys. The task proves near-impossible – especially as most of the boys would rather die than “settle down” – but when the noose tightens and absolutely no woman (no matter how fallen) can be found, salvation comes from the Flat Heads tribal reservation where the daughters of wily Chief Cheerful Eagle (grotesquely formidable Little Moon, Hissing Viper, Clairvoyant Mole and adopted gamin Prairie Flower) are quite coincidentally all hunting for husbands and prepared to not look too closely…

Suspecting a trick and expecting a double cross, PotUS appoints Lucky Luke as watchdog (accompanied by dopey mutt Rin Tin Can) to ensure the treacherous villains stay faithful to their vows and out of trouble. Thus the gunslinger is a gleeful witness to a different kind of penal servitude as the Daltons daily learn the downsides of matrimony in a somewhat inappropriate and unnecessary barrage of unreconstructed gags redolent of 1970s UK sitcoms disparaging “’Er Indoors…” whilst depicting acts of battleaxe/tartar/harridan schtick…
The horrible things the Daltons endure soon have repercussions for the entire country, when Cheerful Eagle’s true intentions are exposed. Soon the bandits are schooling Flat Heads in the arts of robbery, plundering and terrorism, advancing a bold scheme to destroy America’s devotion to and dependence upon money. With the nation’s economy and true god existentially endangered, Lucky must swing into action again, just like he always knew he would have to…

Best suited to older kids with some historical perspective and social comprehension – and although the excellent action and slapstick situations constantly war with sexist undercurrents – this is an episode that could divide purist fans and those with modern sensibilities, although anyone not offended by movies like Seven Brides for Seven Brothers or Paint Your Wagon won’t have too much to moan about.
© Dargaud Editeur Paris 2006 by Achdé & Gerra. © Lucky Comics. English translation © 2014 Cinebook Ltd.