Category: Historical

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Lafcadio Hearn’s The Faceless Ghost and Other Macabre Tales from Japan: A Graphic Novel


By Seán Michael Wilson & Michiru Morikawa (Shambhala Publications)
ISBN: 978-1-61180-197-2 (TPB/Digital edition)

If you read prose and love old stories you should really track down the works of Patrick Lafcadio Hearn, an Irish-Greek raconteur latterly renamed Koizumi Yakumo. They are wonderful and truly compelling. He was a pretty impressive character too, so you’d be best served to learn of his remarkable life too.

I’m not certain how the socially pioneering teacher, journalist, historian, translator and archivist would react to seeing some of his most engaging works translated into graphic narratives but as a renowned breaker of borders and flouter of taboos, I suspect he’d approve, even if this gleefully wry collation hadn’t been produced by such stellar luminaries as Scottish author Seán Michael Wilson (Breaking the Ten, Portraits of Violence – An Illustrated History of Radical Thinking, Ranald MacDonald: a manga of his adventures in Japan) and his frequent collaborator Michiru Morikawa.

Wilson’s life has some parallels with Hearn’s. The Japan-based writer, educator and dedicated Humanist has written political and philosophical tracts such as Goodbye God – An Illustrated Examination of Science Vs. Religion in graphic form and adapted Western and Eastern literary classics like Wuthering Heights, A Christmas Carol, Sweeney Todd, and Chinese classics Tao Te Ching and The Garden, as well as original genre pieces such as urban interracial romance The Story of Lee.

Illustrator and manga artist Michiru Morikawa won the 2005 International Manga and Anime Award before going on to illustrate Wilson’s books Buskers, Yakuza Moon, The Demon’s Sermon on the Martial Arts and Musashi, amongst numerous comics series.

Hearn visited Japan as a correspondent in 1890, and fell in love with the land and the culture. He ended his days there in 1904, after marrying, becoming a Japanese citizen, teaching in numerous schools and universities and introducing the western world to the exotic, enigmatic East through his writings and translations of its myths and legends.

Absurdly accessible, the tales here are gathered from the nation’s feudal period and open with a samurai yarn dubbed ‘Diplomacy’, wherein a highborn executioner performs his onerous task and plays a subtle and crafty trick upon the imminently departed to ensure that there will be no repercussions from beyond the grave…

That mordantly amusing distraction then gives way to a classic ghost story in ‘The Snow Woman’, wherein a young woodcutter survives an icy encounter with a mystical spirit at the cost of a simple promise. Tragically, in all such stories, keeping one’s word is always impossible and leads to appalling inescapable circumstances.

Vanity and dissatisfaction fuel the saga ‘Of a Mirror and a Bell’, after the priests of Mugenyama ask the local women to donate their bronze mirrors so they can be cast into a great bell. After complying, one farmer’s wife begins to bitterly regret her actions and so intense are her feelings that the mirror cannot be melted down.

Wracked with guilt for her shameful intentions and the spoiling of the bell, she takes her life, triggering a concatenation of unfortunate events…

After the history-making final clash between Heike (Taira) and Genji (Minamoto) clans, the rulership of Japan was decided for centuries to come. However, the consequent sea battle created thousands of ghosts and ‘Hoichi the Earless’ relates how a blind musician and bard is tricked and beguiled by these restless spirits until a Buddhist priest intervenes. The end result was not an unqualified success…

Pitiless, inescapable horror drives the brief yet potent tale of a luckless merchant who encounters ‘The Faceless Ghost’, whilst love and friendship inspire the story of a young man in need of a bride who prospers after he graciously saves a shark spirit and is uniquely rewarded by ‘The Gratitude of the Samebito’…

As recounted in the ‘Author’s Note’ – detailing the origins and source material of these adaptions – the stories are mostly taken from Hearn’s books Kwaidan: Stories and Studies of Strange Things (1903) and Shadowings (1900), and come packed with sleek, informative and delightfully rambling diversions which add fabulously engaging context to the stories.

Eerie, exotic and wonderfully compelling, these “yokai” stories are gems of unease, disquiet and wonder that no lover of the strange can fail to adore.
© 2015 by Sean Michael Wilson. Illustrations © 2015 by Michiru Morikawa. All rights reserved.

Today in 1894 Little Orphan Annie creator Harold Gray was born, as was George (Green Arrow, Superboy, Congo Bill) Papp in 1916 and Scots pen & pencil wizard John McLusky (James Bond, Secret Agent 13, Laurel and Hardy, Pink Panther, Look and Learn) in 1923. In 1944 Bill (Zippy the Pinhead) Griffith joined the world as did Keith Pollard (Thor, Fantastic Four, Vigilante) in 1950.

On the debit side the world lost caricaturist, cartoonist and father of French animation Émile Cohl in 1938 and in 2017, master draughtman, painter, educator, film production artist, comics star and thoroughly sound bloke John Watkiss (Sandman, Ring of Roses, Sandman Mystery Theatre, Deadman, Starman).

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Iznogoud volume 1: The Wicked Wiles of Iznogoud


By René Goscinny & Jean Tabary, translated by Anthea Bell & Derek Hockridge (Cinebook)
ISBN: 978-1-905460-46-5 (Album TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

It’s anniversary time again! Today in 1962 something smart and wildly wicked first appeared, and just hung around. Please read on…

For the greater part of his too-short lifetime (1926-1977) René Goscinny was one of (if not The) most prolific, most-read writers of comic strips the world had ever seen. He still is.

Among his most popular comic collaborations are Lucky Luke, Le Petit Nicolas and, of course, Asterix the Gaul, but there were so many others, such as the dazzling, dark deeds of a dastardly usurper whose dreams of diabolical skulduggery perpetually proved to be ultimately no more than castles in the sand…

Scant years after the Suez crisis, the French returned to those hotly-contested deserts when Goscinny teamed with sublimely gifted Swedish émigré Jean Tabary (1930-2011). He numbered Richard et Charlie, Grabadu et Gabaliouchtou, Totoche, Corinne et Jeannot and Valentin le Vagabond amongst his other hit strips but found a moment to detail the innocuous history of imbecilic Arabian (im)potentate Haroun el-Poussah. However, it was the strip’s villainous foil, power-hungry vizier Iznogoud who stole the show – possibly the conniving little imp’s only successful coup…

The notion of the series apparently came from a throwaway moment in Les Vacances du Petit Nicolas, but – once it was fully formed and independent – Les Aventures du Calife Haroun el Poussah was created to join the roster in Record, with the first episode appearing in the January 15th 1962 issue. An assured if relatively minor hit, the strip jumped ship to Pilote – a picture-packed periodical created and edited by Goscinny – where it was artfully refashioned into a starring vehicle for the devious little ratbag who had increasingly been hogging all the laughs and limelight.

Like all great storytelling, Iznogoud works on multiple levels: for youngsters it’s a comedic romp with adorably wicked baddies invariably hoisted on their own petards and coming a-cropper, whilst older, wiser heads revel in pun-filled, witty satires and astoundingly wry yet accessible episodic comic capers. Just like our Parliament today. That latter aspect is investigated in this collection of short episodes…

This same magic formula (no, I’m being figurative, not literal) made its more famous cousin Asterix a monolithic global success and – just like the saga of the indomitable Gaul – our irresistibly addictive Arabian Nit was originally adapted into English by master translators Anthea Bell & Derek Hockridge, who made those Franco-Roman Follies so very palatable to British tastes. Always, deliciously malicious whimsy is heavily dosed with manic absurdity, cleverly contemporary cultural critiques and brilliantly delivered creative anachronisms which serve to keep the assorted escapades bizarrely fresh and hilariously inventive. However, like so many comics inventions, the series grew beyond its boundaries…

The retooled series launched in Pilote in 1968, quickly growing into a massive European hit, with 31 albums to date (carried on by Tabary’s children Stéphane, Muriel & Nicolas after his passing in 2011); his own solo comic; a computer game; animated film, TV cartoon show and a live-action movie.

When Goscinny died in 1977, Tabary started scripting his own sublimely stylish tales (from the 13th album onwards), gradually switching to book-length complete adventures, rather than the compilations of short, punchy vignettes which typified the collaborations.

In October 1974, whilst the shifty shenanigans were unfolding to the delight of kids, its sand-struck star began moonlighting. Pulling double duty as a commentator and critic of real-world politics and social issues in French newspapers the little wart scored a side hustle with a sidebar series that began as a statement and grew into a separate second career for the vindictive viper. Some oiks, like sand, just get everywhere…

So, what’s it all about?

Iznogoud is Grand Vizier to Haroun Al Plassid, Caliph of Ancient Baghdad, but the conniving little shyster has loftier ambitions – or as he is always shouting it – “I want to be Caliph instead of the Caliph!”…

The vile vizier is “aided” – and that’s me being uncharacteristically generous – in his endeavours and schemes by bumbling assistant Wa’at Alahf, and in this first album they begin their campaign with ‘Kissmet’, wherein pandemonium ensues after a talking frog is revealed as an ensorcelled Prince who can only regain human form if smooched by a human being.

Iznogoud sees an opportunity if he can only trick the simple-minded Caliph into puckering up; unfortunately but typically, the little rotter forgets that he’s not the only ambitious upstart in Baghdad…

‘Mesmer-Eyezed’ finds him employing a surly stage hypnotist to remove the Caliph whilst ‘The Occidental Philtre’ sees him employ a flying potion obtained from a lost, jet-lagged western sorcerer, each with hilarious but painfully counter-productive results.

Tabary drew himself into ‘The Time Machine’ wherein a comic artist desperate to meet his deadlines falls foul of a mystical time cabinet. However, when he meets the vizier, that diminutive dastard can clearly see its Caliph-removing potential… to his eternal regret…

Soon after in ‘The Picnic’ Iznogoud takes drastic action, luring Haroun Al Plassid into the desert, but as usual his best-laid plans really aren’t, before we conclude with ‘Chop and Change’ as our indefatigable villain obtains a magic goblet that can switch the minds of any who drink from it, forgetting that Caliphs are important people who employ food-tasters…

Snappy, fast-paced slapstick and painfully delightful word-play abound in these mirthfully infectious tales and the series is a household name in France; said term has even entered French political life as a description for a certain type of politician: over-ambitious, unscrupulous – and usually short in stature…

Eight albums were originally translated into English during the 1970s and 1980s without really making any little impact here, but once Cinebook’s revival the vile Vizier finally caught on in a superb sequence of gloriously readable and wonderfully affordable comedy epics that found an appreciative audience among British kids of all ages. That said, it’s been a while since the last one, but perhaps that’s the setting not the stories…
© 1967 Dargaud Editeur Paris by Goscinny & Tabary. All Rights Reserved.

Today in 1905, the last episode of Gustave Verbeek’s The Upside Downs ran in the New York Herald and in 1924 writer Stan Kay (Casper the Friendly Ghost, Richie Rich, Sad Sack, Fraggle Rock, The Muppets) was born. Practically yesterday, writer Scott Snyder (American Vampire. Batman. Justice Leafue) was born in 1976 whilst ten years later we lost Alfred Bestall of Rupert Bear fame.

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Buster Brown: Early Strips in Full Color


By Richard F. Outcault with an introduction by August Derleth (Dover Publications)
ISBN: 978- 0-1-486-23006-1 (Album PB)

This book includes Discriminatory Content produced in less enlightened times.

You probably won’t agree, but tomorrow is a very special day for our industry and art form, marking the 1863 birth of the man who invented modern comics.

Although fans and historians are never going to stop debating this one, Richard F. Outcault is credited with being the father of the modern comic strip. His breakthrough came in 1895: a scandalous creation dubbed The Yellow Kid manifested for legendary newspaperman Joseph Pulitzer and debuting in the New York World – where the feature was actually entitled Hogan’s Alley. It shared cartoon shenanigans that captivated the reading public and even led to the coining of a new term… “Yellow Journalism”…

Outcault was notoriously fickle and quickly tired of his creation, and of subsequent features he created for William Randolph Hearst in the New York Journal during a particularly grave period of bitter newspaper circulation warfare.

In 1902, he created a Little Lord Fauntleroy style moppet called Buster Brown, but the angelic looks actually acted as camouflage for a little hellion perpetually wedded to mischief, pranks and poor decision making. Yet again Outcault quickly got bored and moved on, but this strip was another multimedia sensation, capturing public attention and thus spinning off a plethora of franchises.

Our boy Buster was a merchandising bonanza. By a weird set of circumstances, Buster Brown Shoes became one of the biggest chain-stores in America, and in later years produced a periodical comic book Premium (a giveaway magazine free to purchasers) packed with some of the greatest comic artists and adventure stories the industry had ever seen. Outcault may have dumped Buster, but the little devil darling never quit comics…

Way back in 1974 Dover Publications released this facsimile reproduction of an earlier collection from 1904, then entitled Buster Brown and his Resolutions, featuring 15 glorious full-colour strips from the first two years of the run, and it’s about time they or someone else thought about doing it again. Maybe even publishing a far more comprehensive collected edition?

Until then, though, let’s re-examine what we have here and meet the cherubic scion and his faithful dog Tige, and perhaps ponder that if indelicate or untoward happenstance doesn’t create another round of chaos in the ordered and genteel life of the well-to-do Mr. and Mrs. Brown, then little Buster is always happy to pitch in and lend a hand.

Each lavish page, rendered in a delightfully classical, illustrative line style – like Cruickshank or perhaps Charles Dana Gibson – ends with a moral or resolution, but one that is somehow subversively ambiguous.

As Buster himself is wont to comment, “People are usually good when there isn’t anything else to do”…

Historically pivotal, Buster Brown is also thematically a landmark in content, and a direct ancestor of the mischievous child strip that dominated the family market of the 20th century. Could Dennis the Menace (“ours” or “theirs”), Minnie the Minx, Cedric, Ducoboo or Bart Simpson have existed without Buster or his contemporary rivals The Katzenjammer Kids?

It’s pointless to speculate, but it’s no waste of time to find and enjoy this splendid strip.
© 1974 Dover Publications. All Rights Reserved.

Today in 1914 Belgian marvel Joseph Gillain aka Jijé was born, and in 1930 world changing strip Mickey Mouse debuted. Three years later so did creator/writer (Star Hawks)/historian Ron Goulart. You should read The Adventurous Decade – Comic Strips in the Thirties and see why I’m going on so.

In 1956 we lost The Kin-der-Kids creator Lyonel Feininger and Britain suffered double death blows in 1968 with the cancelation of Wham! and Giggle.

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The Squirrel Machine


By Hans Rickheit (Fantagraphics Books)
ISBN: 978-1-60699-646-1 (TPB/Digital edition) 978-1606993019 (HB)

This book includes Discriminatory Content produced in for dramatic effect.

Hans Rickheit was born in 1973 and has been producing skilfully crafted art in different arenas since the 1990s, beginning with self-published minicomics before graduating to full-sized, full-length epics such as Kill, Kill, Kill or The Gloaming. He has also worked in film, music, gallery works and performance art.

A Xeric award beneficiary, he came to broader attention in 2001 with controversial graphic novel Chloe, and has since spread himself wide contributing to numerous anthologies and periodicals such as The Stranger, creating webcomics and instigating the occasional anthology periodical Chrome Fetus.

An avid student observer of dreams, Rickheit has been called obscurantist, and indeed in all his beautifully rendered and realised concoctions meaning is layered, structured and open to wide interpretation. His most approachable and possibly preferred oeuvre is the recondite imagery and sturdily fanciful milieu of Victorian/Edwardian Americana which proved such rich earth for fantasists such as Edgar Allen Poe, H.P. Lovecraft, Clark Ashton Smith and August Derleth, whilst his fine, studied, meticulously clear line is a perfect, incisive counterpoint to the cloud of miasmic mystery and cosmic confusion engendered by the protagonists of his most successful book.

Brothers Edmund and William Torpor abide in an abode in a secluded 19th century New England town but they have never been part of their community. Raised alone by their artist mother, they are quite different from other children, with Edmund especially obsessed with arcane engineering and the assemblage of one-of-a-kind musical instruments from utterly inappropriate components.

Fantastic dream-like journeys and progressions mark their isolated existence, which is far more in tune with a greater metaphysical cosmos, but as puberty gradually moves them to an awareness of base human sexuality, they find the outside world impacting their private one in ways which can only end in tragedy and horror…

Moreover, just where exactly did the plans for the ghastly Squirrel Machine come from¦?

Visually reminiscent of Rick Geary at his most beguiling, this is nevertheless a singularly surreal and mannered design; a highly charged, subtly disturbing delusion that will chill and upset and possibly even outrage many readers.

It is also compelling, seductive, sublimely quirky and nigh-impossible to forget. As long as you’re an adult and braced for the unexpected, expect this to be one of the best books you’ll read this century – or any other…

Out of print for decades, The Squirrel Machine has now been remastered and released in an accessible paperback edition, as well as that futuristic digital doings, just in time to disturb the sleep of a new generation of fear fans just as the winter nights draw in…
© 2013 Fantagraphics Books. Contents © 2009 Hans Rickheit. All Rights Reserved.

Today in 1991 Abbie an’Slats illustrator Raeburn van Buren was born; he shares the day with Ted (Metropol) McKeever, Joe (Daredevil) Quesada, Kala (Girl Genius) Foglio, Hans (The Squirrel Machine, Cochlea & Eustachia, Delia, Chloe) Rickheit and, I’m sure, many others.

However in 2001 we lost Italian mega maven Gian Luigi Bonelli, the man who gave the world Tex Willer.

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Jonah Hex: Welcome to Paradise


By John Albano, Michael Fleischer, Tony DeZuñiga, Doug Wildey, Noly Panaligan, George Moliterni, José Luis García-López & various (DC Comics)
ISBN: 978-1-4012-2757-9 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Western stories are shaped by an odd duality. The genre can almost be sub-divided into two discrete halves: the sparkly, shiny version that dominated kids’ books, comics and television for decades, as typified by Zane Grey stories and heroes such as Roy Rogers and Gene Autry… and the other stuff. That kind of cowboy tale – grimy, gritty, excessively dark – was done best for years by Europeans in such strips as Jean-Michel Charlier’s Lieutenant Blueberry or Bonelli & Galleppini’s Tex Willer which gradually made their way into US culture through the films of Sam Peckinpah and Sergio Leone. Jonah Hex is the USA’s greatest example of the latter sort…

DC (or National Periodicals as it then was) had generated a stable of clean-cut gunslingers since the collapse of the super-hero genre in 1949, with such dashing – and highly readable – luminaries as Johnny Thunder, The Trigger Twins, Nighthawk, Matt Savage and dozens of others in a marketplace that seemed insatiable in its voracious hunger for chaps in chaps. However, all things end, and by the early sixties, sagebrush stalwarts had dwindled to a few venerable properties. As the 1960s closed, thematic changes in the cinematic Cowboy filtered through to a comics industry suffering its second superhero sundown in twenty years. Although a critical success, the light-hearted Western series Bat Lash couldn’t garner a solid following, but DC, urgently pursuing a genre readers would warm to, retrenched and revived an old title, gambling once again on heroes who were no longer simply boy scouts with sixguns.

All-Star Western #1 was released with an August/September 1970 cover date, packed with Pow-Wow Smith reprints. It became an all-new anthology with the second bi-monthly issue. The magazine was allocated a large number of creative all-stars, including Robert Kanigher, Neal Adams, Gray Morrow, Al Williamson, Gil Kane, Angelo Torres and Dick Giordano, all working on such strips as Outlaw!, Billy the Kid and cult sleeper hit El Diablo, combining shoot-’em-up shenanigans with supernatural chills, in deference to the real hit genre that saved comics in those dark days: horror comics.

It wasn’t until the tenth issue and introduction of a grotesquely disfigured, irascible bounty hunter created by writer John Albano & Tony DeZuñiga that the company found its greatest and most enduring Western warrior.

This superb collection of the garish gunman’s early appearances has been around for a few years, with no apparent sign of a sequel yet, so consider this another heartfelt attempt to generate a few sales and more interest – especially as the company has recently released a collection of those aforementioned 70s western treats in its DC Finest range…

Our star is the very model of the modern anti-hero. Jonah Hex first appeared in All-Star Comics #10, a coarse and callous bounty hunter clad in shabbily battered Confederate Grey tunic and hat, half his face lost to some hideous past injury; a brutal thug little better than the scum he hunted – and certainly a man to avoid…

Collecting key stories from All-Star Western #10, Weird Western Tales #14, 17, 22, 26, 29, 30 and Jonah Hex #2 & 4 (ranging from March 1972 to September 1977), the grisly gunplay begins with Albano & DeZuñiga’s ‘Welcome to Paradise’ which introduced the character and his world in a powerful action thriller, with a subtle sting of sentimentality that anyone who has seen the classic western Shane cannot fail to appreciate.

From the first bullets blazing, blistering set-up Albano was constantly hinting at the tortured depths hidden behind Hex’s hellishly scarred visage and deadly proficiency. With the next issue the comic had been re-titled Weird Western Tales (aligning it with the company’s highly successful horror/mystery books) and adventures continually plumbed the depths of human malice and depravity…

Even at the very start the series sought to redress some of the most unpalatable motifs of old style cowboy literature and any fan of films like Soldier Blue or Little Big Man or familiar with Dee Brown’s iconoclastic book Bury My Heart at Wounded Knee will feel a grim sense of vicarious satisfaction and redress at most of the stories here. There’s also a huge degree of world-weary cynicism that wasn’t to be found in other comics until well past the Watergate Scandal, when America as nation lost its social and political innocence…

From Weird Western #14, ‘Killers Die Alone!’ (Albano & DeZuñiga) is a vicious tear jerker of a tale where Hex’s only friend valiantly dies to save him from the vengeance of killers who blame the bounty hunter for their brother’s death. Then comes a reckoning that is the stuff of nightmares. ‘The Hangin’ Woman’ (WWT #17) is a classy, gripping thriller wherein Hex runs afoul of a sadistic harridan ruling her hometown with hemp and hot lead before meeting an ending both ironic and much-deserved…

It was left to incoming writer Michael Fleisher (assisted at first by Russell Carley) to reveal Hex’s secrets, beginning with Weird Western Tales #22’s ‘Showdown at Hard Times’. A chance meeting in a stagecoach put a cabal of ex-Confederate soldiers on the trail of their ex-comrade for some unspecified earlier betrayal and it inevitably ended in a sixgun bloodbath, whilst creating an ominous returning nemesis for the grizzled gunslinger.

Train-robbers were the bad guys in the superb traditionally-informed caper ‘Face-Off with the Gallagher Boys!’ – scripted by Fleischer and illustrated by the inimitable Doug Wildey – after which further details of Jonah’s chequered past are revealed in #29’s ‘Breakout at Fort Charlotte’, limned by Noly Panaligan. It was the first chapter of a 2-part extravaganza that gorily concluded in #30 with ‘The Trial’ (illustrated by George Moliterni) as a battalion of Confederate veterans and former comrades-in-arms pass judgement on the man they believed to be the worst traitor in the history of the South…

Inevitably, Hex graduated from Weird Western Tales into his own solo title and the final brace of tales in this primal primer are both drawn by the magnificent José Luis García-López. In ‘The Lair of the Parrot!’, Fleischer has the doom-drenched demon-faced desperado sucked into a scheme designed by US Secret Service agent Ned Landon to infiltrate the gang of flamboyant Mexican bandit and border raider El Papagayo. Hex is none too happy when he finally realises Landon is playing both sides for personal gain, leaving the bounty hunter to the brigand’s tender mercies after framing him for murder in Texas…

The tale continues and concludes in ‘The Day of the Chameleon!’ as a disguise artist steals Hex’s identity to perpetrate even more brazen crimes at the behest of a rich and powerful man determined to destroy the bounty hunter at all costs…

Happily, Jonah has unsuspected allies determined to save him from the villain and his own prideful, stubborn nature…

With a cover gallery by DeZuñiga, Luis Dominguez and García-López, this outrageous assemblage of uncanny exploits proves Jonah Hex is the most unique character in cowboy comics: darkly comedic, riotously rowdy, chilling and cathartically satisfying. His saga is a Western for those who despise the form whilst being the perfect modern interpretation of a great storytelling tradition. No matter what your reading preference, this is a collection you don’t want to miss.
© 1972-1975, 1977, 2010 DC Comics. All Rights Reserved.

Today in 1886 Bud Fisher’s Mutt and Jeff “ghost” Arthur “Bugs” Baer was born, as was Blondie’s originator Chic Young in 1901. In 1908 picture story pioneer Wilhelm Busch, creator of Max and Moritz died. In 1915 the inimitable Dick Breifer was born – and you should go look at Frankenstein: The Mad Science of Dick Briefer – for what you need to know there. Writer-Artist for The Heap, GI Joe and other Golden Age standards, Ernie Schroeder was born in 1916 and in 1938 Raggedy Ann & Raggedy Andy and Mr Twee Deedle creator Johnny Gruelle died.

In 1953, Hugo Pratt & Héctor Germán Oesterheld’s Sergeant Kirk debuted in Argentinian weekly comic Misterix #225.

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The Rise and Fall of the Trigan Empire volume 1


By Mike Butterworth & Don Lawrence & various (Rebellion Studios)
ISBN: 978-1-78108-755-8 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

For British – and Dutch – readers of a certain age and prone to debilitating nostalgia, The Trigan Empire (or The Rise and Fall of the Trigan Empire to give it its ponderous full title) was only ever about two things: boyish wish-fulfilment and staggeringly beautiful art.

The strip was created by Senior Group Editor Leonard Matthews and given to the editor of Sun and Comet to develop and continue. A trained artist, Mike Butterworth became writer of many historical strips such as Buffalo Bill, Max Bravo, the Happy Hussar, Battler Britton and Billy the Kid – and latterly a crime and gothic romance novelist with more than 20 books to his pen names.

Based in equal part on cinematic Sword & Sandal/Biblical epics and the space age fascination of a planet counting down to a moonshot, for the saga Butterworth combined his love of the past, a contemporary comics trend for science fiction and that long-established movie genre of manly blockbusters to construct a vast sprawling serial of heroic expansionism, two-fisted warriors, wild beasts, deadly monsters and even occasionally the odd woman.

The other primary influence on the series was the fantasy fiction of Edgar Rice Burroughs (especially John Carter of Mars and Pellucidar) but without his concentration on strong and/or blatantly sexy women – usually as prizes for his heroes to save. In the formative days of the Trigan Empire, ladies dressed decorously, minded their manners and were dutiful wives or nurses… unless they were evil, vindictive or conniving…

The compellingly addictive, all-action thematic precursor to Warhammer, Civilisation and Warcraft might have been a short run venture had it not been for the art. The primary illustrator was Don Lawrence (Marvelman, Wells Fargo, Billy the Kid, Karl the Viking, Fireball XL5, Maroc the Mighty, Olac the Gladiator, The Adventures of Tarzan, adult comedy strip Carrie and his multi-volume Dutch magnum opus Storm), who painted each weekly instalment.

Initially he used watercolours before switching to quicker-drying gouaches, rendered in a formal, hyper-realistic style that still left room for stylistic caricature and wild fantasy, and one that made each lush backdrop and magnificent cityscape a pure treasure. Other, later artists included Ron Embleton, Miguel Quesada, Philip Cork, Gerry Wood and Oliver “Zack” Frey, as the strip notched up 854 weekly instalments, beginning in September 1965 and only ending in 1982. Along the way, it had also appeared in Annuals and Specials and become a sensation in translated syndication across Europe.

Even after it ended – and, thanks to these collections, it has recently resumed! – the adventure continued: in reprint form, appearing in the UK in Vulcan and across the world; in two Dutch radio plays; collected editions sold in numerous languages; a proposed US TV show and numerous collected editions from 1973 onwards. Surely someone must have a movie option in process: if only Kirk Douglas, Burt Lancaster and Tony Curtis were still around, we could completely close the creative circle…

Lawrence (17th November 1928 – 29th December 2003) inspired a host of artists such as Brian Bolland and Dave Gibbons, but as he worked into the 1990s, his eyesight was increasingly hindered by cataracts and he took on and trained apprentices such as Chris Weston and Liam Sharp (who offers his own potent reminiscences in the Introduction to this first archival volume from Rebellion Studios’ Treasury of British Comics). Sharp collaborated with the venerable artist on his last Storm stories…

Inescapably mired in powerful nostalgia, but also standing up remarkably well on its own merits, this first collected volume re-presents the series from its enigmatic opening in high-end tabloid weekly magazine Ranger, combining comics with a large selection of factual features. The fantasy soon began to steal the show and was the most noteworthy offering for the entirety of the publication’s 40 week run, spanning 18th September 1965 to 18th June 1966. It then carried over – with a few other choice strips – into Look and Learn, beginning with #232: remaining until the magazine closed with #1049 (April 1982).

Ranger had been a glossy, photogravure blend of traditional comic anthology strips and educational magazine, and when it folded, the only publication able to continue The Trigan Empire in its full grandeur was Look and Learn…

One of our most missed publishing traditions is the educational comic. From science, history and engineering features in the legendary Eagle to a small explosion of factual and socially responsible boys and girls papers in the late 1950s to the heady go-getting heydays of the 1960s & 1970s, Britons always enjoyed a healthy sub-culture of comics that informed, instructed and revealed – and that’s not even counting all the pure sports comics!

Amongst many others Speed & Power, Treasure, World of Wonder, Tell Me Why, and Look and Learn spent decades making things clear, illuminating understanding and bringing the marvels of the changing world to our childish but avid attentions with wit, style and – thanks to the quality of the illustrators involved – astonishing beauty. Look and Learn launched on 20th January 1962: brainchild of Fleetway Publications’ then Director of Juvenile Publications Leonard Matthews. The project was executed by editor David Stone (almost instantly replaced by John Sanders), sub-editor Freddie Lidstone and Art Director Jack Parker.

For 20 years it delighted children, and was one of the country’s most popular children’s weeklies. Naturally there were many spin-off tomes such as The Look and Learn Book of 1001 Questions and Answers, Look and Learn Book of Wonders of Nature, Look and Learn Book of Pets and Look and Learn Young Scientist as well as utterly engrossing Christmas treat tradition The Look and Learn Book and – in 1973 – The Look and Learn Book of the Trigan Empire: the serial’s very first hardback compilation.

Strangely, many, many kids learned stuff they didn’t think they cared about simply because it filled out the rest of that comic that carried the Trigan Empire…

In this tome we review 25th June1966 through 17th May 1968, encompassing Ranger #1-40 and Look and Learn #232-331: subdivided for your convenience into 13 chapter plays of what we oldsters absorbed as one continuous unfolding procession of wonder…

Depicted with sublime conviction and sly wit, it begins with ‘Victory for the Trigans’ (18th September 1965 – 29th January 1966) as fishermen in the Florida swamps witness a spaceship crash. All aboard are dead, and after, the global news cycle wearies of the story, the craft is reduced to a sideshow attraction whilst scholars meticulously investigate its technology, dead voyagers and a huge set of journals written in an indecipherable language. No one succeeds and eventually, no one cares…

All except student Richard Peter Haddon, who spends the next half century looking for the key and – at age 70 – cracks the code, subsequently translating the history of a mighty race of aliens so very like earthmen…

From then on the scene switches to distant twin-sunned world Elekton, where numerous kingdoms and empires-in-waiting jostle for dominance. In many ways it’s like Earth a few thousand years before the birth of Christ… except for all the monsters, skycraft and ray guns…

In the wilds and wastes between the nations of Loka, Tharv, Davelli and Cato, brutish far-ranging tribes of nomadic Vorg hunt and clash and live brief free lives, until three brothers decide existence could be so much more…

Driven, compelling and charismatic, notional leader Trigo has a dream and convinces his siblings Brag and Klud to ask their people to cease following roving herds of beasts and settle by a river where five hills meet. Before long they have raised a city and begun the march to empire. Of course, all those defiant libertarians were initially resistant to becoming civilised, but that ended after the more advanced Lokans began hunting them for sport from their flying ships…

By the time Loka’s King Zorth finally gets around to conquering Tharv and formally annexing the lands of Vorg in his plan to become global dictator, Trigo has begun building his city and invited refugees from Tharv to join him. Amongst the many displaced survivors of Lokan atrocity is Peric – an architect and philosopher generally acclaimed as the smartest man alive. He is cared for by his daughter Salvia. Both will play major roles in the foundation of the Trigan Empire…

When Zorth at last turns to consolidation by taking Vorg, his air, sea and land forces are met by an unbeatable wall of death and history is rewritten. It comes at great cost, most notably to Trigo as victory is almost snatched from him when brother Klud attempts to murder him, seize power and betray their people to the Lokans…

With an empire established, one translated book ends, and Professor Haddon’s life’s work moves on to what we’ll call ‘Crash in the Jungle’ (5th February – 19th February 1966), introducing young warrior/pilot Janno. The son of Brag, he is childless Trigo’s nephew and heir apparent: enjoying many dynamic adventures as an imperial troubleshooter whilst being groomed for rule. Here, still wet behind the ears, the lad crashes in the plush rainforests of Daveli, befriends Keren – son of a formerly antagonistic aboriginal chieftain – and facilitates their alliance with the ever-expanding Trigan Empire. When Janno returns to pilot training, Keren is beside him and will be his constant companion in all further exploits…

Planetary chaos erupts next as ‘The Falling Moon’ (26th February – 28th May 1966) reshapes Elekton’s political map. When Gallas impacts sister moon Seres, the cosmic collision sends the satellite smashing into Loka where – forewarned – Zorth seeks to relocate his power base and entire populace by seeking sanctuary in Trigo’s city. Once admitted and welcomed, the Lokans bite the hand that shelters them by seizing the city. Valiant Brag manages to save wounded Trigo, but they are captured and enslaved by desert raiders of the Citadel…

As Janno and Keren escape to mount a futile resistance to the Lokans, slave worker Trigo foils an assassination and earns the gratitude of the Citadel king, who lends him a band of warriors to retake his own city. When they link up with Janno & Keren, Zorth’s defeat and doom are assured…

Time moves differently on Elekton and many events seem telescoped, but as the strip jumps to a new home, continuity manifests in ‘The Invaders from Gallas’ (4th June – 18th June) in Ranger before continuing in Look and Learn #232-237 from 25th June to 30th July 1966. As the fallen moon cools, aliens dwelling inside emerge to attempt the conquest of their new world via their mind control techniques. With the Trigans crazed and killing each other, only a deaf man holds the key to their survival…

Look and Learn #238-242 (6th August – 3rd September 1966) featured ‘The Land of No Return’ – which sees Janno accidentally sent along the River of Death (a rather cheeky “tribute” to Burroughs’ Mars stories), debunking an insidious religious belief that had for millennia curtailed life for Elekton’s elderly whilst ending a cult of elder-abusing slavers…

‘The Revolt of the Lokans’ (L&L #243-255, 10th September – 3rd December 1966) returns to the exiled former-conquerors who poisoned and deranged Trigo before retaking his city. Thankfully, Keren and Peric find a way to restore order to the city and its ruler, after which #256-264 (10th December 1966 – 4th February 1967) detail ‘War with Hericon’ as Trigo marries Lady Ursa, sister of King Kassar: ruler of the aloof, distant empire (a visual melange of Earth’s Persian and Byzantine kingdoms).

The diplomatic love match is soured by a single sinister malcontent when Yenni – a vengeful criminal outcast of both Hericon and Trigan – foments racial unrest in both realms and lets human nature do its worst…

Janno & Keren took the lead again in ‘Revolution in Zabriz’ (#265-273, 4th February – 8th April 1967), when despatched to survey a distant mountain outpost only to uncover a plot by its governor. He uses captive labour to finance a coup to oust Uncle Trigo and take over the empire, after which ‘The Lokan Invasion’ (L&L #274-279, 15th April – 20th May) sees the brothers-in-arms stumble into a devious scheme by chemist Vannu to destroy the Trigans by contaminating their water with amnesia-inducing potions…

Vengeful retaliation is once more the pivotal factor as ‘The Revenge of Darak’ (#280-290, 27th May – 5th August) reveals how Trigan’s greatest pilot betrays his emperor and is punished with slavery in the mines. After a year, he escapes and uses his insider knowledge to drive a wedge between Trigo and Brag, poison Peric and embroil Hericon in war. Thankfully, brotherly love trumps hurt feelings and justice conquers all…

A taste of horror comes with ‘The Alien Invasion’ L&L #291-297 (13th August – 23rd September) as energy beings land on Elekton. Able to possess organic brains, the intruders work their way up the planet’s food chain until Keren, Kassar and Trigo are fully dominated, but the cerebral tyrants have not reckoned on Peric’s wit or Janno’s cunning…

The first major role for a woman comes in ‘The Reign of Thara’ (L&L #298-316, 30th September 1967 – 3rd February 1968) as the royal family is ousted by deceit and a secret society of soldiers instals the daughter of Klud in Trigo’s place. Vain, haughty and imperious, she is intended to be a puppet of secret manipulators, but proves to possess too much pride and backbone to allow the empire to fall to mismanagement and enemy incursions. Happily, the actual Royal Family have survived their well-planned dooms and returned, leading an army of liberated slaves and a fleet of pirates sworn to Trigo’s service…

During the campaign, Kern & Janno befriend a rural bumpkin, obsessed with flying, and clownish Roffa becomes their third “musketeer”, playing a major role in the concluding tale here.

Spanning Look & Learn #317-331 (10th February – 17th  May 1968), ‘The Invasion of Bolus’ sees the trio captured by rogue scientist Thulla and pressganged into joining his mission to build a ship and conquer Elekton’s inhabited moon. Unable to defy or escape, they become unwilling members in his army, before defecting to the super-advanced but pacifistic Bolans. At least the lads left a warning before lift-off: one that – eventually – reaches Trigo & Peric.

As the Trigans rush to construct a rescue vessel, Thulla brutally seizes the moon people’s city and commences the second part of his plan: building a colossal ray cannon to destroy all life on Elekton. As Trigo’s ship takes off – too late to stop devasting blasts from Bolus – Janno & Keren are forced to desperate measures to save their people from the murderous madman…

Incorporating a tantalising teaser for the next volume and creator biographies, this spectacular visual triumph is a monument to British Comics creativity: one that simultaneously pushes memory buttons for old folk whilst offering a light but beautiful straightforward space opera epic readily accessible to the curious and genre inquisitive alike.

Is that you or someone you know?
The Rise and Fall of the Trigan Empire is ™ Rebellion Publishing IP Ltd. © 1965, 1966, 1967 & 2019 Rebellion Publishing IP Ltd. All Rights Reserved.

Literally born yesterday in 1928 Stanley Lieber – AKA Stan Lee – did a whole lot and appears many times in this blog. You should go look. In 1967 groundbreaking Acme Novelty Library cartoonist Chris Ware arrived, followed two years later by sound fella P.J. Holden (2000 AD, Judge Dredd, Warhammer) who we last covered in Bad Magic – A Skullduggery Pleasant Graphic Novel.

However, TODAY in 1946, Milton Caniff’s last Terry and the Pirates episode appeared. Whilst he rose to even greater heights with Steve Canyon, George Wunder carried Terry, Pat & Co. until 1973.

In 1963 Dave McKean was born, but otherwise today is one for the “loss” column, with Raeburn van Buren dying in 1987, Disney artist Tony Strobl in 1991, Barbarella creator Jean-Claude Forest in 1998 and wonderful Don Lawrence in 2003. As always you can search our engine or find one of your own preference for more…

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Yakari and the Ghost Bear (volume 23)


By Derib & Job, coloured by Dominique and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-173-6 (Album PB/Digital edition)

Win’s Christmas Gift Recommendation: The World We All Want … 9/10

In 1964 children’s magazine Le Crapaud à lunettes was founded by Swiss journalist André Jobin (25/10/1927 – 08/10/2024), who then wrote for it under the pseudonym Job. Three years later, he hired artist and fellow Swiss Francophone Claude de Ribaupierre, AKA “Derib”.

The illustrator had launched his own career as an assistant at Studio Peyo (home of Les Schtroumpfs): working on Smurfs strips for venerable weekly Le Journal de Spirou. Thereafter, together they created the splendid Adventures of the Owl Pythagore prior to striking pure comics gold a few years later with their next collaboration.

Born in Delémont, Jobin split his time between bande dessinées – 39 Yakari albums and 3 for Pythagore – and his other writing, editing and publishing briefs: an admirably restrained and outstandingly effective legacy to be proud of.

Derib – equally au fait with enticing, comically dynamic “Marcinelle” cartoon style yarns and devastatingly compelling meta-realistic action illustrated action epics – became one of the Continent’s most prolific and revered creators with such groundbreaking strips as Buddy Longway, Celui-qui-est-nà-deux-fois; Jo (first comic to deal with AIDS): Pour toi, Sandra and La Grande Saga Indienne. They haven’t been translated into English yet, but still we patiently wait in hope and anticipation…

Yakari is considered by fans and critics to be the strip which led Derib to his deserved mega-stardom. Debuting in 1969, self-contained episodes trace the eventful, nomadic life of an Oglala Lakota boy on the Great Plains, with stories set sometime after the introduction of horses (by colonising Conquistadores) but before the coming of modern Europeans. The series – which also generated two separate animated TV series and a movie – has notched up 42 albums thus far: a testament to its evergreen vitality and brilliance of its creators, even though originator Job moved on in 2016, replaced by Frenchman Joris Chamblain.

Abundant with gentle whimsy and heady compassion, Yakari’s life is a largely bucolic and happy existence: at one with nature and generally free from privation or strife. For the sake of dramatic 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 who can – thanks to a boon of his totem guide the Great Eagle – converse with all the beasts of the field and birds of the air…

In 1998, Yakari et l‘Ours fantôme became the 24th European album, but as always, content and set-up are both stunningly simple and sublimely accessible, affording new readers total enjoyment with a minimum of familiarity or foreknowledge required…

It’s high summer and life is slow, easy and comfortable. Yakari’s chores are few and there’s time to canoe on the river and catch up with old pals like the beaver Linden. Suddenly, however, a sudden glimpse of something unusual in the overgrown riverbank undergrowth intrigues the little wise man and leads to a fresh adventure and more new friends…

Tracking the strange sight, Yakari is disturbed at its abrupt disappearance and fears he’s found a ghost. Sleep that night is hard to find and in the morning he’s up early to seek the mystery, much to the annoyance of young chums Rainbow and Buffalo Seed, who are quite content to stay home and snooze more. A little consideration has convinced the beast-speaker that what he encountered was a polar bear far, far from home. It wouldn’t be his first…

Resolved to meet and greet the visitor, Yakari sets off by canoe, as his valiant pony Little Thunder is still asleep too and does not like early calls…

Gifted and schooled in many vital skills, the wilderness lad soon tracks his quarry, but a tense first encounter accidently leaves the spectral bruin fully exposed but totally unconscious. Plagued with guilt, Yakari fetches honeycombs and waits to formally apologise. On the big beast’s awakening, the boy realises this is no lost far-north denizen, but something even stranger…

Gradually warming to each other, the “ghost” explains that he is actually a Black Bear who was born with white fur. His mother called him Snowball, and he was alternatively teased and picked on or chased by vacuous impressionable females dazzled by his glamourous differences. Thus, fed up and impatient, Snowball left home, crossing the Rocky Mountains and following the river ever southwards…

Soon the adventurous pair are best pals, loafing, fishing and having fun, and when Yakari returns to camp he’s anticipating much more to come. He even puts off Rainbow and Buffalo Seed when they enquire if he found his ghost bear, but sadly, they are all unaware that someone else has overheard the conversation.

Taut Bow is a professional hunter who services many local tribes, but he has a problem. As he later proudly shows Yakari, the inveterate, infallible stalker adores white fur. He has killed and preserved the hides of countless animals all the “colour of winter”. Moreover, with what he’s overheard, the travelling butcher can finally complete his collection by adding a white bear skin to it. Of course, he will need Yakari’s help…

Unable to dissuade, defect or deter the fervent tracker, Yakari devises a devious scheme that is not without risk and involves some nasty sticky business with caves and bats, before ultimately finding a way to deflect Taut Bow’s obsessive attentions and move him on to other hunting grounds.

… And in the peaceful aftermath of a riotous night, spirit raven Venerable Beak delivers a telling lecture pointing out the duty and purpose of those animals chosen to live in white livery: one that changes Snowball’s attitude, destiny and future destinations…

Yakari is one of the most unfailingly absorbing and entertaining all-ages comics strips ever conceived. It should be in every home, right next to Tintin, Uncle Scrooge, Asterix, Calvin and Hobbes 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.) – 2002. All rights reserved. English translation © 2025.

In 1904 the magnificent “Marge” (Marjorie Lyman Henderson Buell) was born. Did her childhood in any way affect or drive her cartoon classic Little Lulu? Sixteen years later Steve Canyon inheritor Dick Rockwell arrived himself followed by Wee Pals creator Morrie Turner in 1923.

In comic books, John Buscema was born in 1927 and Mary Marvel debuted in Captain Marvel Adventures #18, cover-dated December 11th 1942. Hate-filler Peter Bagge was born in 1957 and in 2011 the astounding Jerry Robinson died.

If you don’t fear foreigners you might care to celebrate Argentinian Carlos (Cybersix) Meglia’s natal arrival in 1957 and 1964’s auspicious advent of Frenchman Laurent Chabosy who becomes Lewis Trondheim to build bande dessinée magic such as Little Nothings volumes 1-4: The Curse of the Umbrella, The Prisoner Syndrome, Uneasy Happiness, My Shadow in the Distance.

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Orient Gateway


By Vittorio Giardino (Catalan Communications/NBM)
ISBN: 978-0-87416-041-3 (Catalan PB Album) 978-1-56163-184-1 (NBM PB Album)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Pure Unobtainable Wonder… 9/10

It’s time again for me to whine about how and why some of humanity’s most impressive comics tales continually languish in English-language limbo as my loutish people seemingly refuse to open themselves to the wonders of the world. This time – AGAIN! – it’s a truly wonderful period spy drama you would think was the height of taste and fashion right now…

Born on Christmas Eve 1946, Vittorio Giardino was an electrician who switched careers at age 30. He initially worked for a number of comics magazines before his first collection – Pax Romana – was released in 1978. Giardino toiled, slowly but consistently, on both feature characters such as detective Sam Pezzo, saucy Winsor McKay homage Little Ego and cold-war drama Jonas Fink, as well as general fiction tales, producing 46 albums to date.

In 1982 he began relating the career of a quiet, bearded fellow recalled by the Deuxieme Bureau (the French Secret Service) to investigate the slaughter of almost every agent in the cosmopolitan paradise of Budapest.

The series ran in four parts in the magazine Orient Express before being collected as Rhapsodie Hongroise – Giardino’s thirteenth book… and one in no way unlucky for him. Reluctant spy Max Fridman (transliterated as Max Friedman for the English-speaking world) was dragged back into the “Great Game” in the years of uneasy peace just before the outbreak of WWII: a metaphor for the nations of Europe. Every day and with every fresh headline that becomes more relevant than ever right now…

Over the course of ten years, the masterful Italian graphic novelist crafted two more individual tales and in 1999 added a stunning triptych of albums. The three volumes of No Pasaràn! detailed a key moment during the on-going conflict in what became Republican Spain and the dying days of the Civil War which revealed many clues into the life of the diffident and unassuming hero. Three further volumes have been added to the canon (Max Fridman: Rio de Sangre in 2002, Max Fridman: Sin ilusión in 2008, and just this year Max Fridman: I cugini Meyer) so I’m declaring they are all now long past due to be revived and revisited, and revered…

Back then though, it took three years for Giardino to resume this subtly addictive pre-war drama with follow-up La Porta d’Oriente… Orient Gateway to you and me…

Summer 1938: All espionage agencies in the world know war is coming and nothing can stop it. Frantically jockeying for the most favourable position, all are seeking any infinitesimal advantage for when the balloon goes up. Recently Soviet engineer Mr. Stern has become just such a preferred asset of far too many rival organisations, so he runs, losing himself in the teeming, mysterious city of Istanbul.

Once again diffident, canny operative Max is drawn into the murky miasma of spycraft, but now, beside exotic, bewitching Magda Witnitz, is he the only one to ask why so many dangerous people want to “acquire” Stern?

…And why are they so willing to kill for him?

Subtle, entrancing and magnificently illustrated, this is a mesmerising, slow-boil thriller with all the beguiling nostalgic panache of Casablanca or Topkapi and labyrinthine twists and turns of Tinker, Tailor, Soldier, Spy or even Slow Horses, which no fan of the genre, let alone comics aficionado, can afford to miss.

Giardino is a smart and confident writer who makes tone and nuance carry a tale and his art – a more representational derivation of Hergé’s Ligne Claire (clean line) – makes the lovingly rendered locations as much a character as any of the stylish operatives in a dark, doomed world on the brink of holocaust.

Although still largely an agent unknown in the English-speaking world, Max Friedman is one of espionage literature’s greatest characters, and Giardino’s work is like honey for the eyes and mind. This is another graphic novel every fan of comics or the Intelligence Game should know.
© 1986 Vittorio Giardino. All rights reserved.

Today in 1921 veteran Golden Age creator Charles Nicholas Wojtkoski (Blue Beetle and so much more) was born, He shares the date with cartoonist Joe Edwards whom we mostly know for Archie Comics series including Jughead, Betty & Veronica, Super Duck, Captain Sprocket and his private brainchild Li’l Jinx.

In 1929, jack of all trades Frank Spinger joined the party. He drew almost everything, but you must read The Adventures of Phoebe Zeit-Geist as well as Dazzler, Nick Fury, Friday Foster, Rex Morgan, M.D. or Secret Six…

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Krampus: The Devil of Christmas


By various, edited by Monte Beauchamp (Last Gasp)
ISBN: 978-0-86719-747-1 (HB)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Horrid Holiday Cheers… 8/10

In the spirit of the times, I thought I’d get some Christmas fare in early – or even pre-emptively. Oddly, that’s also the way I like my retaliation…

When I lived in New York, the morning after Thanksgiving was when retailers committed Christmas. Staggering out into chilly morning air (I wonder if they still have that?) after a surfeit of absolutely everything, one’s eyes would boggle at a profusion of tinsel, glitter and lights with entire buildings done up like stockings or giant parcels. These utterly mindboggling tributes to understatement would make any stolid Englander quail with disquiet and I still get tremors occasionally around postmen bearing packages…

Another way to bring on Christmas chills is with a good book, and this delightfully engrossing celebration from artist, historian and designer Monte Beauchamp (a welcome expansion on his 2004 book The Devil in Design) is a lost classic, focusing on a long-sidelined aspect of the Season of Good Will that’s found renewed interest in modern times thanks to a film franchise and the general malaise affecting increasing glum and despondent humans…

For decades Monte Beauchamp’s iconic, innovative narrative and graphic arts magazine Blab! highlighted the best and most groundbreaking trends and trendsetters in cartooning and other popular creative fields. Initially published through the auspices of much-missed Kitchen Sink Press, it moved first to Fantagraphics and carried on courtesy of Last Gasp as snazzy hardback annual Blabworld. Here however Beauchamp looks not forward but back, revelling in the lost exuberance and dark creativity of a host of anonymous artists whose seasonal imaginings spiced up the Winter Solstice for generations of guilty-until-proven-innocent tots & tykes.

In Western Europe – especially the German-speaking countries but also as far afield as Northern Italy and the Balkans – St Nicholas used to travel out with gifts for good children, but was accompanied by a goat-headed, satanic servant. Fur-covered, foul, furtive, chain-bedecked, sinister and all-knowing, the beast-man with a foot-long tongue and one cloven hoof wielded a birch switch to thrash the unruly and a copious sack to carry off disobedient kinder.

The Krampus was a fixture of winter life in Austria, Switzerland and German Principalities, with his own special feast-day (December 5th,  just before St. Nikolaus’ Day so brace yourselves and batten down any wayward hatches!); parades; festivals and highly enjoyable – for parents, at least – ceremonial child-traumatising events. Back then, we really knew how to reward the naughty and the nice…

This compelling and enchanting tome – still readily available but still not as a digital delivery – celebrates the breathtaking dark edge of the Christmas experience as depicted through the medium of the full-colour postcards that were a crucial facet of life in Europe from 1869 to the outbreak of World War I.

However, even with fascinating histories of the character and art-form related in ‘Greetings From Krampus’, ‘Festival of the Krampus’ and ‘Postal Beginnings’, the true wide-eyed wonder and untrammelled joy of this compendium is its glorious cacophony of paintings, prints, drawings collages – and even a few primitive and experimental photographic forays – depicting the delicious debilitating dread of the legendary deterrent as he (it?) terrifies boys and girls, explores the new-fangled temptations of airplanes and automobiles and regularly monitors the more mature wicked transgressions of courting and cavorting couples..

A feast of imagination and tradition ranging from the wry, sardonic and archly-knowing to the outright disturbing and genuinely scary, this magical art book is a treasure not just for Christmas but for life – as long as you have it…

And it’s not nearly as environmentally harmful as coal…
© 2010 Monte Beauchamp. All rights reserved.

Today in 1924 superstar illustrator Jack Davis was born so go look for his stuff here and elsewhere. You won’t regret it, and the same applies to Sergio (Tex Willer, Zagor) Bonelli born in Italy in 1932. Author/Editor Andy (Gay Comics) Mangels was born in 1966 and in 1971, Frank Cho joined the party. You can see his non-superhero oeuvre in action by checking out Liberty Meadows: Sundays Book One . In 1994 we lost UK strip master Tony Weare. One day SOMEONE will collect his masterful western Matt Marriott… and I’ll be waiting…

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Lucky Luke: The Complete Collection volume 4


By Morris & René Goscinny, with Christelle & Bertram Pissavy-Yvernault: translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-169-9 (Album HB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Win’s Christmas Gift Recommendation: Family Thrills and Frolics No Movie Can Match… 8/10

On the Continent, the 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 art form. Whilst tracing the lost origins of a true global phenomenon, this hardback and digital compilation celebrates the formulative early triumphs of a fictional hero who is certainly a national treasure for both Belgium and France, and it’s also timely in that this worldwide western wonder celebrates his 80th anniversary next year.

As we know him now, Lucky Luke is a rangy, good-natured, lightning-fast cowboy roaming the fabulously mythic Old West, having light-hearted adventures with his horse Jolly Jumper and interacting with archetypes, historical figures and mythic icons. His ongoing exploits have made him one of the best-selling comic characters in Europe (83 collected books plus around a dozen spin-offs and specials, totalling over 300 million albums in at least 33 languages thus far). That has generated all the usual spin-off toys, computer games, puzzles, animated cartoons, TV shows and live-action movies that come with that kind of popularity. It has also spurred a bunch of academicians to steer studies his way and garnered a lot of learned words. Some of those you can read here, if you’re keen…

Lucky debuted in 1946, courtesy of Belgian animator, illustrator and cartoonist Maurice de Bévère (“Morris”). For decades we all believed his first appearance was in autumn release Le Journal de Spirou Christmas Annual (L’Almanach Spirou 1947) prior to being catapulted into his first weekly adventure ‘Arizona 1880’ on December 7th 1946. However, the initial volume in this superb archival series proved the value of scholarship by revealing that the strip actually premiered earlier that year in the multinational weekly comic, albeit sans title banner and only in the edition released in France.

This fourth curated outing presents – in strict chronological order – strips published between February 2nd 1956 through September 1957 with all the art and pages fully restored, rejiggled and remastered to achieve maximum contemporary authenticity and synchronicity with the original weekly serialisation. Those stories were subsequently gathered as albums The Bluefeet are Coming!, Lucky Luke vs Joss Jamon and The Dalton Cousins and there’s even a few little extras scattered about for fascinated completists.

Before all that, though, there’s a wealth of background and unseen other works to enjoy, beginning with a lost cartoon gem as an old goldminer waggishly details ‘The Thousand Uses… of a Hat’…

A precocious, westerns-addicted, art-mad kid, well off and educated by Jesuits, Maurice de Bevere was born on December 1st 1923 in Kortrijk, Belgium. A far from illustrious or noteworthy scholar – except in all the ways teachers despise – Maurice sought artistic expression in his early working life via forays into film animation before settling into his true vocation. While working at the CBA (Compagnie Belge d’Actualitiés) animation studio, “Morris” met future comics superstars Franquin & Peyo, and worked as a caricaturist for weekly magazine Le Moustique. Morris quickly became one of la Bande des quatre (Gang of Four) comprising Jijé, Will and old comrade Franquin. Each was a leading proponent of a loose, free-wheeling artistic style known as the “Marcinelle School” which came to dominate Le journal de Spirou in aesthetic contention with the “Ligne Claire” style of Hergé, E.P. Jacobs and others in Le Journal de Tintin.

Previous volumes detailed Morris’s life, career, and achievements, and here Christelle & Bertram Pissavy-Yvernault augment past pictorial essays with ‘Wanted: Lucky Luke’ exploring life after returning to Belgium after his American holiday. It was May 1955 and the artist and his family had been gone for seven years…

Back home and back at work, Morris added to his output by illustrating novels, adding editorial content like quizzes to his Lucky workload and tasting new styles with a vast range of magazine covers, an inordinate number of which were ‘Sappy Moments’ for romance magazines and periodicals…

For Flemish readers he did cartoon sports columns and generally traded as a jobbing commercial artist, but all the while, he was still watching westerns and producing cowboy wonders and other comics stuff, such as the ‘Wild West Journalism’ article he wrote and included here in full. He was also constantly chatting with one of the Europeans he’d met in the US: cartoonist and scripter René Goscinny…

Accompanied by published cartoons, covers, script pages, contemporary ads, family photos and tons of original art, the in-depth treatise focuses on artistic development and the team building that resulted in one of comics’ most fruitful double acts Goscinny.

Morris had taken nearly a decade to craft nine albums of affectionate sagebrush parody and action. Now, with Goscinny as regular wordsmith, Luke would attain dizzying heights of super swift superstardom, commencing with Des rails sur la Prairie (Rails on the Prairie), in Le Journal de Spirou in August 1955. Before that though we enjoy a lost treat that first appeared in Risque Tout #11 (February 2nd 1956) prior to inclusion in Under A Western Sky. ‘Androcles’ details animal lover Luke’s interactions with a mistreated circus bear and proves that western justice applies equally to all…

Then the main event begins with all-Morris action as originally serialised in LJdS #938-957 (April 5th – August 16th and released in 1958 as Alerte aux Pied-Bleus/The Bluefeet are Coming!) It’s seen here with original French cover, editorial material and even ads.

A procession of linked gags sees Morris pile on and kick hard familiar themes and scenarios as the town of Rattlesnake Valley welcomes wanderer Lucky. The lone rider is just in time to save super-superstitious sheriff Jerry Grindstone from sneaky gambler/professional card cheat Pedro Cucaracha. His plans to fleece the old codger result in his painful and shameful eviction from civilisation; so naturally, the scoundrel tries to rob and blow up the bank on his way out. Chased into the surrounding desert, the scurvy Mexican then gulls the alcoholic Great Chief of the local Bluefeet Indians into laying siege to the town, tempting the old warrior with promises of unlimited booze…

Old Parched Bear is happy to oblige, and soon the town is forming a militia, telegraphing for the cavalry and erecting barricades. As food and water grow scarce profiteering proliferates, with Lucky and Jerry battening down the hatches and bolstering morale for a protracted and perilous defence of their lives and loved ones…

Against that framework of classic movie moments there are rich slapstick pickings as spies, crossdressers, raids & counter-raids and devious secret weapons all build to a bombastic finale, with Pedro and Parched Bear attempting all manner of nefarious invention to get respectively vengeance and more “firewater”…

… And then, when it’s almost too late, the Cavalry arrive… just after the deployment of late arriving support from Greenfeet and Yellowfeet branches of the family of First Nations. It can only end in catastrophe unless Lucky can contrive a solution…

Daft and Spectacular in equal amounts, this is perhaps a tale for older kids who have gained a bit of historical perspective and social understanding, although the action and slapstick situations are no more contentious than any old movie – as if that’s any help or comfort…

Rushing right on, Le Journal de Spirou #966-989 (October 18th 1956 – March 28th 1957) offered an uncredited Goscinny script as La bande de Joss Jamon and/or Lucky Luke contre Joss Jamon pitted our laconically lanky hero against a very different kind of bad guy. Again on view with original cover and ads, what we know as Lucky Luke vs Joss Jamon finds our happy wanderer facing guns, lynching, slander, a diabolical frame-up and political office, after Confederate soldiers turn their wartime skills to garnering personal profit in the years of Reconstruction that followed the American Civil War.

However, as vile as sly conman Pete the Wishy-washy, brutish Jack the Muscle, murderous Indian Joe, ruthless trickster Sam the Farmer and cardsharp Bill the Cheater may be, their combined villainy cannot match that of their ambitious scheming leader Joss Jamon. He has a dream of running the state if not the country and enough drive to make it happen…

How that doesn’t happen sees Luke battle them singly and in a wild bunch as Jamon moves into Los Palitos and frames Luke for robbery. Barely escaping the neck-stretching, Luke swears to bring back the real culprits in six months or surrender himself for the waiting noose…

The trail finds Jamon in bustling metropolis Frontier City where, after taking over businesses by making offers nobody dares to refuse, Jamon is running for Mayor. Despite physically a match for his enemies, Luke now needs to change tactics to unseat the entrenched plutocrat. That means a menace-packed war of nerves and even running as a rival candidate…

Even though election day is the farce you’d expect, and Lucky is branded an outlaw, he has one last card to play… civil dissatisfaction and unrest…

Witty, wry and cynical, this yarn is actually more socially relevant mow than it ever was when politicians at least feared the repercussions of being caught doing wrong…

Still anonymous, Goscinny also wrote closing inclusion. The Dalton Cousins was first enjoyed in LJdS #992-1013 (April 18th to September 12th 1957) and reappears here with original cover and ads. For this manic mirth-fest Goscinny performed a much-demanded act of necromancy, resurrecting a quartet of killers Lucky had already dealt with, but whom readers want not dead but alive…

Published back in December 1954 Hors-la-loi was Morris’ 6th album and included a strip which saw our hero meet and beat Emmett Bill, Grat & Bob Dalton: real life badmen who had plagued the west during the 1890s. On those funny pages, Lucky was hired by railroad companies to end the depredations of the desperados who had been imported into the strip, but given a comedic, yet still vicious spin. A cat & mouse chase across the wildest of wests saw Luke constantly frustrated by close calls and narrow escapes in superbly gripping movie set-pieces until, inevitably, justice claimed the killers. At the close, Morris had Lucky end the gang forever, but they and the story itself were insanely popular with fans. These owlhoots were comedy gold and ideal foils, so eventually they returned in the form of their own cousins…

From the response to that tale eventually came this aforementioned revival, as Goscinny’s third collaboration. When this iteration of the appalling Dalton Brothers – now and forever after Averell, Jack, William & devious, slyly psychotic, tyrannical diminutive brother Joe – showed up, the course of the strip altered forever…

It opens on a remote farm in Arizona where four brothers mourn the loss of the murderous bandits they resemble and are related to. They know they aren’t nearly good enough to fill the dead men’s boots or kill their killer Lucky Luke… but they are willing to try their hardest to change all that…

The replacement Daltons’ first attempt to settle the score is frankly embarrassing, but fortune and persistence gradually harden and hone them. They even at one stage have the happy wanderer train them…

Ultimately, however, after they besiege a town and regularly succeed in theft and terrorism, Lucky is forced to take action before they become as great a menace as their dearly departed favourites ever were…

Sadly, he leaves it too late and is forced to resort to tricky tactics of dividing to conquer. It either that or be hunted down like a dog: a role he’s just not suited for…

As much thriller as comedy romp, this yarn proved how crucial great villains are to any hero and started a western showdown that fruitfully persists and thrives to this day…

Graced with biographies of Morris and Goscinny and peppered with contemporaneous extras this is perfect for kids with a smidgen of historical perspective and social understanding, although the action and slapstick situations are no more contentious than any Laurel and Hardy film – perfectly understandable as Morris was a huge fan of the duo. These formative forays are a grand old hoot in the tradition of Destry Rides Again or Support Your Local Sheriff, superbly executed by master storytellers, and a wonderful introduction to a unique genre for anyone who might well have missed the romantic allure of the Wild West that never was…
Original edition © Lucky Comics 2022. English translation © 2025 Cinebook Ltd.
All pages & illustrations relating to The Thousand Uses of a Hat, Androcles and The Bluefeet are Coming! © Morris/Goscinny/Dupuis 2022.
All pages & illustrations relating to Horse Thieves, Lucky Luke vs Joss Jamon and The Dalton Cousins © Morris/Goscinny/Dupuis 2022.
All documents relating to Morris are © Morris/Dupuis 2022.
All documents relating to René Goscinny are © Anne Goscinny 2022 barring cited exceptions.

Today in 1948 Underground Commix cartoonist and proud pornographer Larry Welz (Yellow Dog, Captain Guts, Cherry PopTart) was born, whilst in 1992 epically long-running UK adventure weekly The Victor published its last issue.