Small Press Sunday

I started out in this game when marks on paper were considered Cutting Edge, making minicomics, collaborating on fanzines and concocting stripzines with fellow weirdoes, outcasts and comics addicts. Even today, seeing the raw stuff of creativity in hand-crafted paper pamphlets still gets me going in ways that threatens my tired old heart…

With that in mind here’s a selection of tantalising treats that have landed in my review tray recently…

I’ve been collecting comics for more than fifty years now and my biggest regret is that for all the magnificent things I’ve read and enjoyed, only a pitifully fraction of the superb Alternative/Small Press/Self Published stuff I’ve seen has ever been collected in the online or graphic novel boom of this century.

I don’t know how to fix that problem – maybe a communal site where old stuff can be posted for readers to enjoy – but that means finding shy, lost or embarrassed creators and securing permissions and, most distressingly, so many of the creative folk I loved most are dead, vanished or cured now…

I’m not going to let such great material pass un-eulogized though, so whenever I feel like it I’m going to review something ancient, handmade and wonderful, and if the paper gods permit, perhaps you’ll find copies lurking in back-issue bins (do they still exist?) or at conventions or maybe the forgotten ones will re-emerge to take their long-deserved bows.

I’m going to start with a glorious prototype graphic novel compilation far ahead of its time, solely because creator Bob Lynch has already preserved it – and all of his other work – online. Skip my babblings and go right to his site if you wish.

Behold the Hamster

By Bob Lynch (Bob Comics)
No ISBN:

Most British comics devotees first noticed the self-effacing Bob Lynch through his contributions to the wonderfully eclectic self-publishing phenomenon Fast Fiction. From 1981 through 1990 Paul Gravett, Phil Elliott and Ed Pinsent’s Little Creative Co-operative That Could made conventions, comic-marts and monthly meetings of the Society of Strip Illustrators and Comics Creators Guild distractingly fun and bemusingly intoxicating with hand-crafted magazines of tiny print-runs yet immeasurably vast and broad comics entertainment.

Bob’s work first featured in the middle teens of the run (my memory is even more worn out than I am) and Behold the Hamster ran in #19, 20 and 22 – amongst other Bob bits such as Sav Sadness and rhymic slug Samantha – before being collected by your man himself in the book under discussion here and The Whirlpool of Disaster and Sadness in Space.

Lynch’s artwork is deceptively simple and astoundingly stylish, with puckish characterisations rendered in strong, bold black lines (sheer self-defence in an era where paper printing plates and public photocopiers were the acme of affordable reproduction technology for most of us). He was – hopefully still is – also one of the most surreal and simultaneously inviting story-men in the business; incorporating shared cultural icons from all vistas of the TV-watching, pub-going, comics-reading UK public into whacky whimsies and gently barbed observations on the human condition. You know: all the usual stuff…

This little A-5 64-page pamphlet has brightened my day on many occasions since I bought it in 1991, with its mad mash-up of time-travel, Frankensteinian science, detective mystery, true love and daft humour starring a star-crossed hamster named Behold who was brought back from beyond the grave to achieve an incredible destiny and save something or other…

Don’t take my word for it: check out –
https://www.flickr.com/photos/8424687@N08/sets/72157618049179283/

If I’ve piqued your interest you can catch a different flavour of Bob’s fantastic life at http://savsadness.blogspot.co.uk/

Hellboy volume 3: The Chained Coffin and Others


By Mike Mignola with James Sinclair, Matt Hollingsworth & Dave Stewart (Dark Horse Books)
ISBN: 978-1-59307-091-5

Hellboy is a creature of vast depth and innate mystery; a demonic baby summoned to Earth by Nazi occultists at the end of World War II before being intercepted and subsequently reared by parapsychologist Professor Trevor “Broom” Bruttenholm. After years of devoted intervention and education, in 1952 Hellboy began destroying unnatural threats and supernatural monsters as the lead agent for the Bureau for Paranormal Research and Defense.

This third epic collection gathers a number of shorter sagas: The Wolves of August originally serialised in Dark Horse Presents #88-91, Advance Comics/Hellboy: The Corpse and the Iron Shoes, Hellboy: Almost Colossus plus material from Dark Horse Presents 100 #2 and Hellboy: Christmas Special, communally spanning 1994-1997 and leads off with an enthusiastic appreciation from devoted fan P. Craig Russell in his Introduction. Mignola also offers directors’ notes on all the spooky stories contained herein…

The supernatural superstar was never conventional, especially in his publication schedule. Hellboy’s shorter adventures materialised in many different venues whilst his own title had the appearance of a succession of one-shots and limited series. Mignola, however, had a solid marketing plan from the start. The stories had an internal numbering system (if you’re that interested check it out on Wikipedia and leave them a donation while you’re at it) which allowed him to make stops back and forth along his proposed timeline and build years of continuity in mere months…

Thus this collection of brief, bold blockbusters opens with ‘The Corpse’ which first saw print in monochrome in Advance Comics catalog. Here an old Irish fairytale is expanded and remastered in full colour as Hellboy’s attempts to rescue a baby stolen by the Little People one night in 1959 results in the unlikely hero making a fool’s bargain.

All the graves are full but he must find a final and proper resting place for a very vocal cadaver before the sun rises…

The action-packed errand leads to confrontations with ghosts, devils and worse before our scarlet champion parks the body and gets back the bairn…

Immediately following is thematic epilogue ‘The Iron Shoes’ which rapidly relates another Celtic saga set two years later when Hellboy drags a goblin out of the holy site it’s defiling before laying it at the feet of Father Edward Kelly…

‘The Baba Yaga’ was created specially for this compilation and describes in dire detail how the legendary Russian witch lost her eye to Hellboy in their first confrontation. Thereafter, ‘A Christmas Underground’ (from 1997’s Hellboy: Christmas Special) offers eerie and ethereal miasmic horror in the best seasonal manner. England, Christmas Eve, 1989 and Hellboy is on a death-watch. Aged and ailing Mrs. Hatch talks of her long-lost baby girl Annie. Leaving her, the un-horned hero follows a trail to a graveyard and down beneath it. Soon he is attending a dark soiree to rescue the child, now the restless bride of a prince of the Pit. After a most brutal struggle Hellboy celebrates the nativity by setting two souls to rest…

In 1995 Dark Horse Presents 100 #2 debuted ‘The Chained Coffin’. Here Mignola has partially redrawn the tale and Dave Stewart has added colour to the story of Hellboy’s return to the English church where he first arrived on Earth in 1943. Fifty years of mystery have passed, but as the demon-hunter observes ghostly events replay before his eyes and learns the truth of his origins, Hellboy devoutly wishes he had never come back…

‘The Wolves of Saint August’ ran in Dark Horse Presents #88-91 during 1994 before being reworked a year later for the Hellboy one-shot of the same name. Set in 1994 it sees the red redeemer working with BPRD colleague Kate Corrigan, investigating the death of Hellboy’s old friend Father Kelly in the Balkan village of Griart. It’s not long before they realise the sleepy hamlet is a hidden den of great antiquity where a pack of mankind’s most infamous and iniquitous predators thrive…

Mignola has a sublime gift for setting mood and building tension with great economy. It always means that the inevitable confrontation between Good and Evil has plenty of room to unfold with capacious visceral intensity. This clash between unfrocked demon and alpha lycanthrope is one of the most unforgettable battle blockbusters ever seen…

The story-portion of this magnificent terror-tome concludes with the 2-part miniseries ‘Almost Colossus’ from 1997 wherein traumatised pyrokinetic BPRD agent Liz Sherman awaits test results.

During her mission to Castle Czege (Hellboy volume 2: Wake the Devil) her team uncovered a hidden alchemy lab with a stony homunculus inside. When she touched the artificial man Liz’s infernal energies rushed uncontrollably into the creature and brought it to life…

Now as her own gradually slips away, Hellboy and Corrigan are back in the legend-drenched region, watching a graveyard from which 68 bodies have been stolen…

Elsewhere the fiery homunculus is undergoing a strange experience: he has been abducted by his older “brother” who seeks through purloined flesh, blackest magic and forbidden crafts to perfect their centuries-dead creator’s techniques.

Before the curtain falls, Hellboy, aided by the ghosts of repentant monks and the younger homunculus, is forced to battle a metal giant determined to crown itself the God of Science and save the world if he can and Liz because he must…

Wrapping up the Grand Guignol show is another splendid and whimsical ‘Hellboy Gallery’, featuring stunning efforts from Kevin Nowlan, Matt Smith, Duncan Fegredo, Dave Johnson, Thierry Robin and B.C. Boyer…

Bombastic, lightning-paced, moody and astonishingly addictive, this will delight adventure and horror fans in equal amounts: an arcana of thrills and chills no comics fan should be without.
™ and © 1994, 1995, 1996, 1997, 1998 and 2003 Mike Mignola. Introduction © 1998 P. Craig Russell. Hellboy is ™ Mike Mignola. All rights reserved.

Archie vs. Predator


By Alex de Campi, Fernando Ruiz, Rich Koslowski, Jason Millet & various (Dark Horse Books)
ISBN: 978-1-61655-805-5

For nearly three-quarters of a century Archie Andrews has epitomised good, safe, wholesome fun, but inside the staid and stable company which shepherds his adventures there has always hidden an ingenious and deviously subversive element of mischief.

Family-friendly iterations of superheroes, spooky chills, sci-fi thrills and genre yarns have always been as much a part of the publisher’s varied portfolio as the romantic comedy capers of America’s cleanest-cut teens since they launched as MLJ publications in the Golden Age’s dawning.

As you probably know by now, Archie has been around since 1941, spending most of those seven-plus decades chasing both the gloriously attainable Betty Cooper and wildly out-of-his-league debutante Veronica Lodge whilst best friend Jughead Jones alternately mocked and abetted his romantic endeavours and rival Reggie Mantle sought to scuttle his every move…

As crafted over the decades by a legion of writers and artists who’ve skilfully logged innumerable stories of teenage antics in and around the idyllic, utopian small-town Riverdale, these timeless tales of decent, upstanding, fun-loving kids have captivated successive generations of readers and entertained millions worldwide.

To keep all that accumulated attention riveted, the company has always looked to modern trends with which to expand upon their archetypal brief. In times past they have strengthened and cross-fertilised their stable of stars through a variety of team-ups such as Archie Meets the Punisher, Archie Meets Glee, Archie Meets Vampirella and Archie Meets Kiss, whilst every type of fashion-fad and youth-culture sensation have invariably been accommodated into and explored within the pages of the regular titles.

That willingness to dip traditional toes in unlikely waters led in 2015 to the publishers taking a bold and potentially controversial step which paid huge dividends and created another monster sales sensation…

The genesis of this most unlikely cross-fertilisation of franchises is explained in great detail and with a tremendous sense of “how did we get away with it?” in Roberto Aguirre Sacasa’s ‘Introduction’, but just in case you’re new to the other participant in all this…

Predators are an ancient alien species of trophy-taking sporting types who have visited the hotter parts of Earth for centuries, if not millennia. They are lone hunters who can turn invisible and resort to a terrifying selection of nasty weapons. They particularly like collecting skulls and spinal columns…

Predator was first seen in the eponymous movie from 1987 and started appearing in comic book extensions and continuations published by Dark Horse with the 4-issue miniseries Predator: Concrete Jungle (June 1989 to March 1990). It was followed by 22 further self-contained outings and numerous crossover clashes ranging from Batman and Superman to Judge Dredd and Tarzan, steadily keeping the franchise alive and kicking whilst the movie iteration waxed and waned…

This spectacularly eccentric yarn pulls off the peculiar and miraculous trick of creating a hilarious and scary family-friendly teen-slasher flick which begins ‘When You Wish Upon a Star’ as all the young cast regulars head to Costa Rica for Spring Break and are having the time of their lives, until Betty and Veronica have a particularly vicious spat over Archie which leads to a spooky confrontation and a curse uttered over what might be an actual voodoo dagger.

Science-whiz Dilton is occupied with his telescope watching and everybody is blissfully unaware that they’ve piqued the attention of something patient, invisible and completely alien…

When they all head home they have no conception that some of their number are already trophies on a wall…

With the youngsters back in Riverdale Archie and his companions settle back into their routine but soon realise that something has followed them when a beloved adult is decapitated in plain sight. Soon the community is cut off and they are all waiting ‘To Live and Die in a Small Town’…

Convinced their meddling with the occult has brought on the killing-spree, Betty and Veronica testily consult sorcerous expert Sabrina (the Teenage Witch) but that ends in another welter of scarlet and screaming and the first sighting of the thing from the stars…

Thing get grim and crazy as the rapidly depleting posse of teens meet the Government agents tasked with covertly countering the Predators but continue to fall until Dilton rolls out the weird science and Archie dons a ‘Full Metal Varsity Jacket’…

Soon the beloved cast is down to the barest essentials and the last few resistors face their final curtain in ‘Guess Who’s Coming to Dinner’…

After a surprisingly gripping and gory conclusion that will astonish and delight everyone an ‘Afterword’ by series Editor Brendan Wright gives more insight into the impetus and creative process behind this inspired tale, but there are still plenty of treats in store.

Scripter Alexi de Campi also got to play with others creators’ toys in a series of Bonus Crossovers, which rounded out the comics issues. Here follow quirky, perky little one and two page vignettes such as the eerily satisfying ‘Sabrina Meets Hellboy’ with art and colours by Robert Hack, lettered by Clem Robins, and the fabulously bizarre ‘Li’l Archie and his Pals meet Itty Bitty Mask’ by Art Baltazar.

Philosophical and physical depths are plumbed as ‘Jughead meets Mind MGMT’ (Matt Kindt) and the girls have fun when ‘Josie and the Pussycats meet Finder’ illustrated by Carla Speed McNeil, with colours from Jenn Manley Lee and letters from the ubiquitous de Campi.

By all accounts, when news of this project got out an army of eager professionals clamoured to get involved. The miniseries offered a wealth of covers-&-variants – some scattered about and acting as chapter-breaks by Ruiz, Koslowski, Millet, Dan, Parent, Gisèle, Maria Victoria Robado and Andrew Pepoy. The rest are gathered in a massive Variant Cover Gallery displaying varying degrees of gore, whimsy and humour from Eric Powell, Francesco Francavilla, Colleen Coover, Darick Robertson with Millet, Pepoy with Millet, Dennis Calero, Patrick Spaziante, Robert Hack with Stephen Downer, Dustin Nguyen, Kelley Jones with Michelle Madsen, Paul Pope with Shay Plummer, Faith Erin Hicks with Cris Peter, Joe Quinones, Tim Seeley, Richard P. Clark, Ruiz with Anwar Hanano, Koslowski as full illustrator and even more.

Also on view are samples of ‘Promo Art’ prepared for the comics convention circuit and a large section of Ruiz’s developmental ‘Character Studies’ plus a feature on the ‘Art Process’ from rough pencils through to finished colour pages.

But wait, there’s still more as ‘Unused Covers’ offers eight final tantalising ideas which never made it off the drawing boards of Ruiz, Pepoy, Gisèle and Faith Erin Hicks.

This book is one of those “Pitch hooks” Hollywood producer types thrive by. All you need is the three word title and a graphic acronym to know whether you’ll love this yarn.

Archie Versus Predator….

AVP.

Another Victorious Pairing.

Astounding.
Visual.
Perfection.

Archie vs. Predator © 2015 Archie Comic Publications, Inc. and Twentieth Century Fox Film Corporation. Archie™ and © 2015 Archie Comic Publications, Inc. Predator™ and © 2015 Twentieth Century Fox Film Corporation. All guest material ™ and © 2015 its creators or copyright holders. All rights reserved.

Rivers of London: Body Work


By Ben Aaronovitch, Andrew Cartmel, Lee Sullivan & Luis Guerrero (Titan Comics)
ISBN: 978-1-78276-187-7

Ben Aaronovitch has been delighting fantasy fans for years, mostly through his television work on others people’s creations (Dr. Who: Remembrance of the Daleks and Battlefield, Jupiter Moon, Casualty and numerous licensed novels and audio-books), but really came into his own in 2011 when the Rivers of London (Midnight Riot in the USA) novel was released.

A supernatural police procedural saga with its sixth volume eagerly anticipated any moment now, it features the adventures of Peter Grant; the first Metropolitan Police officer in 70 years to transfer to the Special Assessment Unit, more commonly known as “Falcon” or the “weird shit” department. This well-known secret squad deals with all the magic and spooky stuff no sensible copper will admit occurs…

Grant’s boss there is the exceptionally dapper and imperturbable Inspector Nightingale who is far older than he looks and knows an awful lot about magic. As previously stated, Grant is his first Wizard’s Apprentice in decades…

The stories authentically resonate within the actual environs and legends of the big city, and amongst the pantheon of paranormal characters most prominent are the living spirits of the rivers which run through, beneath and between the boroughs of the macabre metropolis and the Thames Valley it lurks in…

This all-new yet canonical sequentially-illustrated tale sits between the fourth and fifth prose novels; written by Aaronovitch and Andrew Cartmel, with art by the splendid Lee Sullivan and colourist Luis Guerrero.

The eponymous ‘Body Work’ started life as a 4-part monthly miniseries in July 2015 and opens, as so many police stories do, with an attention-grabbing death. What looks like a simple drowning gets dead scary dead quick when Peter Grant ambles into the SOCO clean-up, his indefinable instincts calling him to a situation which, although still unclear, is clearly unnatural…

Soon he’s on the trail of a haunted car which should have been destroyed but has instead been broken up for parts, scattering a lethal compulsion amongst an assortment of owners all now unwitting receptacles for a pitiless centuries-old force craving death and somehow connected to water.

Before long Grant and Nightingale (with his inimitable hound familiar Toby) are tracking down leads and the eldritch elder soon uncovers links to his own greatest failure and dereliction of duty…

Fast paced, funny-&-thrilling by turn and packed with intriguing, individualistic supporting characters, Body Work is above all a solid mystery which both curious neophytes and dedicated devotees of the prose iteration will delight in solving along with our quirky cast.

Cheekily augmenting the main case are a series of blackly comedic and often surreal vignettes starring the supporting cast beginning with Tales from the Thames starring Beverley Brook in ‘Off their Trolley’ with the cheeky Naiad teaching some drunken upper-class sods a lesson about dumping trash, whilst sinister serving wench Molly stars in ‘Red Mist’ – a gory Tale from The Folly – followed by another seeing astounding canine wonder Toby triumphing over a zombie apocalypse on the ‘Night of the Living Dog’.

Aaronovitch, Cartmel, Alan Quah & Guerrero then offer a chilling and silent extended Halloween diversion in ‘Sleep No More’ and the extra duties close with a final brace of Tales from The Folly as Toby submits to his sodden fate in ‘Pursuit’ before Nightingale gets the gang together for a festive emergency in ‘Urgent Summons’.

Including a large covers and variants gallery and whimsical page of Creator Biographies, this is a splendid genre-blending yarn for lovers of cops-&-wizards fans who also love playing Dungeons and Dragnets.
Rivers of London ™ and © 2016 Ben Aaronovitch. All rights reserved.

Rivers of London: Body Work will be released on March 18th 2016

Hellboy volume 2: Wake the Devil


By Mike Mignola with James Sinclair & Pat Brosseau (Dark Horse Books)
ISBN: 978-1-59307-095

Hellboy was first seen in San Diego Comic-Con Comics #2 (August 1993) before formally debuting. That launch was in miniseries Seed of Destruction with John Byrne helping out his new “Legend” stable-mate, scripting over Mignola’s plot and art. Unquestionably the Devil-may-care demon hunter was the most singular, popular and long-lived of the imprint’s fascinating output.

This second outing was an all-Mike extravaganza (with James Sinclair contributing colours and Pat Brosseau printing all the words), as Wake the Devil offered a decidedly different take on the undying attraction of vampires. This particularly impressive Second Edition of the modern classic also has a few extras and leads off with a poetically incisive appreciation in Alan Moore’s Introduction…

As a baby Hellboy was confiscated from Nazi cultists by American superhero The Torch of Liberty and a squad of US Rangers who interrupted a satanic ritual predicted by Allied parapsychologist Professor Trevor Bruttenholm and his associates on December 23rd 1944.

They were waiting at a ruined church in East Bromwich, England when the abominable infant with a huge stone right hand appeared in a fireball. Raised by the Professor, the child grew into a mighty warrior fighting a never-ending secret war. Bruttenholm trained the infernal foundling whilst forming an organisation to destroy supernatural threats – the Bureau for Paranormal Research and Defense. “Hellboy” became its lead agent… the world’s most successful paranormal investigator…

In the previous volume Hellboy and his fellow outré BPRD investigators Elizabeth Sherman and Dr. Abraham Sapien lost their aged mentor, but uncovered and (possibly) frustrated a hellish scheme involving the mad monk Rasputin and the Elder Gods he served.

The undying wizard – agent for antediluvian infinite evil the seven-sided serpent Ogdru-Jahad who-sleeps-and-waits-to-be-reawakened – was responsible for initially summoning Hellboy to Earth as part of the Nazi’s Ragna Rok Project …

Now the Russian’s alliance with Himmler, Hitler and their mystic Nazi think-tank is further explored as somewhere deep inside Norway’s Arctic Circle region, a driven millionaire visits a hidden castle. He is seeking the arcane Aryans long-closeted within, eager to deliver a message from “The Master”. In return he wants sanctuary from the imminent end of civilisation…

In New York City a bloody robbery occurs in a tawdry mystic museum and the BPRD are soon being briefed on legendary Napoleonic soldier Vladimir Giurescu. The enigmatic warrior wasn’t particularly wedded to any side in that conflict and was probably much older than reports indicated…

More important is the folklore which suggests Giurescu was mortally wounded many times but, after retreating to a certain castle in his homeland, would always reappear, renewed refreshed and deadlier than ever.

In 1882 he was in England and clashed with Queen Victoria‘s personal ghost-breaker Sir Edward Grey, who was the first to officially identify him as a “Vampire”. In 1944 Hitler met with Vladimir to convince the creature to join him but something went wrong and Himmler’s envoy Ilsa Haupstein was ordered to arrest Giurescu and his “family”. The creatures were despatched in the traditional manner and sealed in boxes… one of which has been stolen from that museum. Moreover, the murdered owner was once part of the Nazi group responsible for Ragna Rok…

The BPRD are always considering worst-case scenarios, and if that box actually contained vampire remains…

The location of the bloodsucker’s fabled castle is unknown, but with three prospects in Romania and only six agents available, three compact teams are deployed with Hellboy on his own to the most likely prospect…

Although not an active agent, Dr. Kate Corrigan wants Hellboy to take especial care. All the indications are that this vampire might be the Big One, even though nobody wants to use the “D” word…

In Romania, somehow still young Ilsa Haupstein is talking to a wooden box, whilst in Norway her slyly observing colleagues Kurtz and Kroenen are concerned. Once the most ardent of believers, she may have been turned from the path of Nazi resurgence and bloody vengeance…

Her former companions are no longer so enamoured of the Fuehrer’s old dream of a vampire army anyway. Leopold especially places more faith in the creatures he has been building and growing…

Over Romania, Hellboy leaps out of the plane and engages his jet-pack, wishing he was going on with one of the other teams and even more so after it flames out and dies…

He has the limited satisfaction of crashing into the very fortress Ilsa is occupying…

The battle with the witch-woman’s grotesque servants is short and savage and as the ancient edifice crumbles Chapter Two reveals how on the night Hellboy was born Rasputin suborned Ilsa and her two companions…

He made them his disciples for the forthcoming awakening of Ogdru-Jahad, saving them from Germany’s ignominious collapse. Now the Russian’s ghost appears to her and offers another prophecy and a great transformation…

Deep in the vaults, Hellboy comes to and meets a most garrulous dead man, unaware that in the village below the Keep the natives are recognising old signs and making all the old preparations again…

Hellboy’s conversation provides lots of useful background information but lulls him into a false sense of security, allowing the revenant to brutally attack and set him up for a confrontation with the ferocious forces responsible for the vampire’s power…

Battling for his life, the BPRD star is a stunned witness to Giurescu’s resurrection and cause of his latest demise, whilst far above Rasputin shares his own origins with acolyte Ilsa, revealing the night he met the infamous witch Baba Yaga…

Nearly three hundred miles away Liz and her team are scouring the ruins of Castle Czege. There’s no sign of vampires but they do uncover a hidden alchemy lab with an incredible artefact in it…a stony homunculus. Idly touching the artificial man Liz is horrified when her pyrokinetic energies rush uncontrollably into the creature and it goes on a rampage…

With the situation escalating at Castle Giurescu, Hellboy decides to detonate a vast cache of explosives with the faint hope that he will be airlifted out before they go off, but is distracted by a most fetching monster who calls him by a name he doesn’t recognise before trying to kill him.

If she doesn’t, the catastrophic detonation might…

As the dust settles and civil war breaks out amongst the Norway Nazis, in Romania Ilsa makes a horrific transition and Hellboy awakes to face Rasputin, even as the BPRD rush to the rescue. Tragically Abe Sapien and his squad won’t make it before the revived and resplendent Giurescu takes his shot and the world’s most successful paranormal investigator is confronted and seduced by uncanny aspects of his long-hidden infernal ancestry…

With all hell breaking loose, the displaced devil must make a decision which will not only affect his life but dictate the course of humanity’s existence…

The explosive ending resets the game for Rasputin’s next scheme but the weird wonderment rolls on in a potent epilogue wherein the mad monk visits his macabre patron Baba Yaga for advice…

Bombastic, moody, suspenseful and explosively action-packed, this is a superb scary romp to delight one and all and the pot is sweetened with an Afterword from Mignola and another astounding Hellboy Gallery with pinups from our man Mike, Bruce Timm, P. Craig Russell, Derek Thompson, Dave Cooper, Jay Stevens and Olivier Vatine, rendering this a supernatural thriller no comics fan should be without.
© 1993, 1994, 1997, 1999 and 2003 Mike Mignola. Introduction © 1997 Alan Moore. Hellboy is ™ Mike Mignola. All rights reserved.

The Spectre volume 1: Crimes and Judgements


By John Ostrander & Tom Mandrake (DC Comics)
ISBN: 978-1-4012-4718-8

The Spectre is one of the oldest characters in DC’s vast stable, created by Jerry Siegel & Bernard Baily in 1940 for More Fun Comics #52 and 53, but just like Siegel’s other iconic co-creation, he soon began to suffer from a basic design flaw: he was just too darn powerful. In fact, unlike Superman, he’s already dead, so he can’t really be dramatically imperilled by anything.

Starting out as a virtually omnipotent ghost and single-minded fighter of evil, the Sinister Spirit ultimately resolved – over various returns and refits spanning more than five decades – into a succession of tormented souls bound to the merciless personification of the biblical Wrath of God. That last revelation came about thanks to a piece of inspired rethinking in a revival from the early 1990s.

The character had been rebooted and resurrected many times, but none better than this superbly incisive iteration, wherein scripter John Ostrander shifted the narrative spotlight onto the relative Tabula Rasa that was Jim Corrigan, a depression era cop whose brutal murder unleashed The Spectre into the burgeoning world of costumed heroes.

His story was a genuinely gruesome one: on the eve of his wedding police detective Corrigan was captured by the Gat Benson mob, shoved in a barrel of cement and pitched off a pier. Called back to the land of the living, he was commanded by a glowing light and disembodied voice to “confront Evil”.

Over the following decade in his subsequent dark crusade fighting crime and crushing demonic monsters, the Avenging Astral Angel was indisputably the most formidable hero of the Golden Age.

For most of the Spectre’s time on Earth, Corrigan had been its human face: a way for readers to glimpse the softer side of a relentless punisher of misdeeds. Ostrander’s take on the character delved deeper. For nearly five years he and artistic collaborator Tom Mandrake lent a tragic, barbaric humanity to a champion who was simply too big and too strong for periodical comics.

After far too long a wait DC recently began releasing compilations of Mandrake’s stellar run. Initial offering Crime and Judgements gathers issues #1-12 of The Spectre (volume 3 from December 1992 to November 1993) in a deliriously dark trade paperback of macabre mood and shocking suspense in which Corrigan and the Spectre finally learned the truth about their relationship…

It begins as Corrigan visits the bedside of dying thug Louis Snipe in ‘Crimes of Violence’. Fifty years previously this gunsel was one of the gang who murdered Corrigan, but before their potentially final exchange can progress they are interrupted by social worker Amy Beitermann, who gets a strange vibe off the ex-policeman…

Moments later she inadvertently witnesses his uncanny secret in action as the Spectre emerges to deliver gory justice to gangbangers perpetrating a drive-by shooting on the steps of the hospital…

She keeps the unbelievable details of the resultant bloodbath from Police Inspector Nate Kane. She knows the older man has a crush on her, and isn’t above using his doting interest to ply him with questions about a former cop named Corrigan…

Later, as the Spectre is concluding his business with Snipe, somewhere in the city, a blood-spilling serial killer takes his latest victim and Corrigan once more questions the point of his existence.

Half a century of punishing the guilty and nothing has changed…

‘Crimes of Passion’ opens with the Ghostly Guardian drawn to a house where a repeating phantom constantly relives her own murder. When she refuses to disclose any details of the crime or perpetrator Spectre reacts with typical furious overkill…

Elsewhere Amy is entering the storefront of fortune teller Madame Xanadu. Her enquiries have traced private eye Corrigan to an office in the building, but an abrupt meeting with the sultry seer proves more than she can handle after the sorceress summarily demands she find Corrigan for her…

The driven spirit they’re pursuing has been just as inquisitive. Unfortunately his questioning of the unquiet ghost’s husband, lover and sister leads to nothing but death and damnation for all the wrong people…

And at the docks Nate Kane inspects the site of the latest atrocity attributed to “the Reaver” but finds himself unexpectedly encumbered with two bodies: one of them encased in cement and in a fifty year old barrel…

‘Crimes and Punishments’ finds Amy visiting Kane at the Precinct house. Poking around, she is aghast to find a concrete corpse and beyond words when she sees it has Jim Corrigan’s agonised face…

Across town commercial artist Danny Geller is thinking about passion and the kind of woman he likes, but the Spectre is busy, or at least Corrigan is.

Having caused the suicide of an innocent, the human half of the Astral Amalgamation is in need of confession and seeks out Amy. He can’t understand why, but Jim is inexplicably drawn to her…

It’s exactly the wrong moment for a street gang to jump them and the Spectre’s revolting response-in-kind utterly disgusts the stunned social worker. When she questions why such violence is necessary, Spectre mystically shows her Corrigan’s savage childhood with an abusive, travelling-preacher father and later how the cop he became met his eventual end.

Although that panorama is too awful to bear, Amy takes some solace in seeing how happy Jim once was with his fiancée Clarice Winston…

The revelatory visions conclude with ‘Crime and Judgment’ as Corrigan re-experiences his meeting with God’s Will in Limbo. Amy intangibly observes his mission laid out again and realises the newly dead man missed something the first time: the Voice actually saying “Confront Evil. Confront and Comprehend”…

Flashing back in time to the moment the Spectre began, Amy watches as Clarice is killed and how Corrigan dragged her back from Heaven. His beloved lived again… but she shouldn’t have…

Challenging the Spectre only causes him to turn his excoriating gaze upon Amy. He probes and exposes her greatest guilt. Once she was married to an unfaithful man. When she caught her spouse in his lustful betrayals she spitefully reacted just like him and unknowingly passed on the killer contagion he had afflicted her with to many of her one-night partners.

In her own eyes she is every inch a killer too…

However when the aroused Spectre seeks to administer judgement, Corrigan rises to resist his other half and, after a tremendous struggle, a deal is struck…

A new story arc begins with a road accident that leaves a kidnapper dead before the missing child can be found. With no hope remaining, Amy asks Jim for specialised help and the detective follows the abductor’s soul to its reward in The Pit. Ignoring his own justly-suffering father, Corrigan probes deeper into the Abode of the Damned and meets again Shathan the Eternal. Their epic battle triggers ‘A Rage in Hell’ before the Ghostly Guardian gets what he needs and the child is saved…

The Devil landed a last telling blow, however, citing the legend of how a demonic Prince of the Damned escaped Hell. This Spirit of Wrath volubly and piously repented and was bound to a human. Together they roam Earth, doing Heaven’s work. The story deeply unsettles the Spectre…

With uncomfortable suspicions of infernal taint destabilising his usually implacable composure, the Ghostly Guardian seeks out Amy. Although her condition has forced her to avoid intimacy with guys like poor Nate, she feels comfortable in the arms of a dead man, and takes the opportunity to talk Jim into trying to ameliorate his alter ego’s excesses. The inconclusive initial results are seen as Spectre goes on a rampage against a succession of callous casual murderers and greedy gangbangers in ‘The Bleeding Gun’.

Greater forces are in play, however. Xanadu, urgently seeking her ghost lodger, unleashes magic forces against uncooperative Amy even as Danny Geller makes another killing. Every day he’s getting closer to the one woman he really wants…

With Jim and Amy trapped in a fantastic realm, ‘Vision and Power’ reveals that whilst Xanadu was sheltering Corrigan after his latest resurrection, she began tapping tiny slivers of the Spectre’s mystic energies and has become addicted. Taunting her victims by claiming this magic could even cure Amy – something the Spectre would never allow – the seer then steals all that arcane might but is promptly overwhelmed by the force of the mission underpinning the power…

With Xanadu on a brutally bloody rampage of distorted judgment and punishment, Corrigan – free and free-thinking for the first time in decades – has no choice but to convince her to surrender the infinite force before picking up his burden once again…

The second act of Shathan’s vengeance begins when his diabolical lieutenant Azmodus – carried back to Earth in the wrathful Spectre’s wake – begins possessing mortals and sowing destruction. Nate, meanwhile, discovers all the Reaver’s victims were HIV-positive like Amy and gets an uncanny inkling of what’s really going on when he finally realises the ex-cop she was asking about and the concrete corpse both have the same face as the creepy new guy she’s been seeing…

When he confronts them his ‘Righteous Anger’ leads to a shattering series of further revelations…

Kane learns ‘No Good Deed Goes Unpunished’ as news of the HIV angle goes public and he’s made the police’s scapegoat for their failure to catch the Reaver. As the Spectre is dragged from Amy’s side when body-hopping Azmodus begins a campaign of spectacular slaughter, the Astral Avenger is trapped by his own zealousness within the demon whilst it continues its appalling kill-spree…

Geller too has been busy and although his body-count is far less impressive it has a single purpose. All this time he’s been hunting the harlot who infected him with a vile death-sentence and now he’s found her. The ‘Unforgivable Acts’ by all the players then continue with the restored Xanadu pondering Amy’s destiny, well aware that not even the Spectre is mighty enough to foil Fate.

The Supernal Spirit has other ideas however and follows the killer’s latest victim to the Gates of Heaven, determined to glean the Reaver’s identity. Unfortunately Archangel Michael won’t permit that and the Spectre finally finds a foe he cannot defeat…

‘The Deepest Cut’ begins the end as cashiered Nate Kane – who has pluckily stationed himself outside Amy’s home – also falls to the Reaver, but the inevitable attack is delayed once Azmodus arrives.

The devil has been gathering power with each possession and bloodbath but now he has found the perfect host in Danny Geller. Drawing the Spectre into the Greater Realms for a catastrophic final confrontation, Azmodus leaves Danny enough autonomy to fulfil his dark dream and deal Amy her ‘Final Fate’…

The physical and ethereal demons have both made the same mistake, however: underestimating the victim’s will to live, Madame Xanadu’s desire to atone and Nate’s dying wish to save the woman he loves…

And as always the Spectre will be there at the end to scourge the truly guilty…

With a stunning cover gallery by Mandrake, Glen Fabry, Sandy Plunkett, Charles Vess, Garry Leach, Dan Brereton, Matt Wagner, Michael Wm. Kaluta, Greg Hildebrandt & Bryn Barnard, this tome offers a powerful and deviously convoluted tale that goes beyond the genre’s usual cause-&-effect, calamity-&-rescue mode to examine the nature of Love and Hate and Good and Evil.

Powerful, scary and often shocking, the intricate developing relationships and interactions all compel The Spectre’s mortal aspect to confront the traumas of his long-suppressed childhood as he relives his own death and the ghastly repercussions of his return.

With intense, brooding art from Mandrake, this incarnation of the character was by far the most accessible and successful and if it had launched a year or so later might well have been a star of the budding Vertigo imprint, but even as a spooky of the mainstream DC Universe it stood alone in its maturity and complexity.

This is a book no lover of grown-up super-sagas can afford to miss.
© 1992, 1993, 2014 DC Comics. All Rights Reserved.

Buffy the Vampire Slayer: Tales of the Vampires

New expanded review

By Joss Whedon, various (Dark Horse Books)
ISBN: 978-1-56971-749-3

Although debuting as a motion picture starlet, Buffy the Vampire Slayer only really found her high-kicking feet after migrating to the small screen. Soon after securing her status as a certified media sensation, she won her own comicbook in 1998, with smart, suspenseful, action-packed yarns (in a monthly series and graphic novels, fully supplemented by spin-off miniseries and short stories in showcase anthology Dark Horse Presents) which perfectly complemented the sensational, groundbreaking and so culturally crucial TV show.

And just like in the TV arena, many of those spin-offs had plenty going for them in their own right: not just character-driven vehicles like Angel or Spike and Drusilla, but also more anthological and tangential fare such as this intriguing, cleverly-themed collection of bloodsucking short tales notionally scattered throughout the “Buffyverse”. Interweaving vignettes with an overarching in-continuity story these episodes – which originally appeared as part of one-shot Drawing on Your Nightmares Halloween Special and 5-issue miniseries Tales of the Vampires from September 2003 to April 2004 – are mostly coloured by Michelle Madsen with lettering primarily by Annie Parkhouse.

It all eerily opens with eponymous introduction ‘Tales of the Vampires’ by Joss Whedon, Alex Sanchez & Derek Fridolfs as a rather select school party visits some most peculiar historical sights…

Deep underground, four precocious children are brought to interview a long captive vampire. The aspiring Watchers – who will one day witness and war against all the forces of supernatural horror – are smugly conscious of their abilities, but have never truly imagined a vampire like Roche. The enchained Nosferatu is pleased: he can share stories of his kin and wait for his moment…

‘Father’ begins a triptych of tales written by Jane Espenson. Illustrated by J. Alexander it starts in Hollywood, circa 1922 and ends in 2003, tracing the strange relationship of boy grown old beside his evergreen last blood-kin whilst ‘Spot the Vampire’ (lavishly limned by Scott Morse) playfully and poetically offers some sage advice to monster-hunters at Christmas before ‘Dust Bowl’ (Jeff Parker) settles in 1933 Kansas; a land sucked dry and desolate, but where one family has found an inexhaustible supply of something refreshing, thanks to a wandering stranger…

A strange relationship is developing between raconteur and his deceptively dangerous listeners as Roche recounts the story of ‘Jack’ – by Brett Matthews & Vatche Mavlian – which sheds new light on events in Whitechapel in 1888, whilst ‘Stacy’ (Whedon & Cameron Stewart with colours by Chip Zdarsky) reveals the innermost thoughts of an imaginative lass who believed in magic and so wanted to be different. Then ‘Some Like it Hot’ (Sam Loeb & Tim Sale, with letters from Richard Starkings and Comicraft) comedically considers the outcomes when a mad doctor meets a vampire fed up of living in the dark…

Of much darker mien is ‘The Problem with Vampires’ (Drew Goddard & Paul Lee) as Spike returns to Prague to rescue his insane inamorata Drusilla from a human determined to torture her to second death after which ‘Taking Care of Business’ by Ben Edlund & the Nick of Time Crew (with Fridolfs inks and colours by David Nestelle), offers a moment of devotion as a centuries old-vamp who specialises in eating clergymen has a gas station “road to Damascus” moment after meeting a little man who says he’s God…

As little Edna slowly comes to the conclusion that Roche has more in mind than mere storytelling, the vampire relates how a bloodsucking gambling addict met his match thanks to ‘Dames’ (Brett Matthews & Sean Phillips) in Depression-era Las Vegas and before the monstrous Roche makes his move against those sweet little kids (sarcasm alert!) he tells them of when puissant Vlad Dracula clashed with Buffy Summers, Kira, Xander and other newly activated Slayers in ‘Antique’ (Goddard & Ben Stenbeck) whilst redeemed vamp Angel was feeling ‘Numb’ (Matthews & Cliff Richards) from recollections of the evil acts he had so recently committed…

And then Roche makes that move… and Edna makes hers…

If you’re a Buffy fan this collection featuring the kinds of beasties that she so adroitly despatched is for you. If you’re a devotee of kick-ass action/horror comics you’ll love this too. And if you’ve just been a fan of the television show this is your chance to get addicted to comics ’cause this one’s so terribly hard to put down.
Tales of the Vampires ™ & © 2004 Twentieth Century Fox. All rights reserved.

Hellboy volume 1: Seed of Destruction


By Mike Mignola & John Byrne with Mark Chiarello & Matt Hollingsworth (Dark Horse Books)
ISBN: 978-1-59307-094-6

After the establishment of the comicbook direct market system, there was a huge outburst of independent publishers in America and, as with all booms, a lot of them went bust. Some few however were more than flash-in-the-pans and grew to become major players in the new world order.

Arguably, the most successful was Dark Horse Comics who fully embraced the shocking new concept of creator ownership (amongst other radical ideas). This concept – and their professional outlook and attitude – drew a number of big name creators to the new company and in 1994 Frank Miller and John Byrne formally instituted the sub-imprint Legend for those projects major creators wanted to produce their own way and at their own pace.

Over the next four years the brand counted Mike Mignola, Art Adams, Mike Allred, Paul Chadwick, Dave Gibbons and Geof Darrow amongst its ranks and generated a wealth of superbly entertaining and groundbreaking series and concepts. Unquestionably the most impressive, popular and long-lived was Mignola’s supernatural thriller Hellboy.

The monstrous monster-hunter debuted in San Diego Comic-Con Comics #2 (August 1993) before formally launching in 4-issue miniseries Seed of Destruction with Byrne scripting over Mignola’s plot and art. Colourist Mark Chiarello added layers of mood with his understated hues.

Those stories and an ancillary tale from Comics Buyer’s Guide make up this impressive Third Edition of the modern classic and it’s all kicked off with an effusive Introduction from Master of Terror Robert Bloch…

The story begins with a review of secret files. On December 23rd 1944 American Patriotic superhero The Torch of Liberty and a squad of US Rangers interrupted a satanic ritual predicted by Allied parapsychologist Professors Trevor Bruttenholm and Malcolm Frost in conjunction with influential Medium Lady Cynthia Eden-Jones. They were waiting at a ruined church in East Bromwich, England when a demon baby with a huge stone right hand appeared in a fireball. The startled soldiers took the infernal yet seemingly innocent waif into custody.

Far further north, off the Scottish Coast on Tarmagant Island, a cabal of Nazi Sorcerers roundly berated ancient wizard Grigori Rasputin whose Project Ragna Rok ritual seemed to have failed. The Russian was unfazed. Events were unfolding as he wished…

Five decades later, the baby has grown into a mighty warrior in a never-ending secret war: the world’s most successful paranormal investigator. Bruttenholm has spent the years raising the weird foundling whilst forming an organisation to destroy unnatural threats and supernatural monsters – the Bureau for Paranormal Research and Defense. “Hellboy” is now its lead agent…

The recently-returned, painfully aged professor summons his surrogate son and warns him of impending peril wrapped in obscured reminiscences of his own last case. The Cavendish Expedition discovered an ancient temple submerged in arctic ice, but what happened next has been stricken from Bruttenholm’s memory. Before he can say more the mentor is killed by a plague of frogs and enraged Hellboy is battling for his life against a demonic amphibian…

Following fact-files about Project Ragna Rok and ‘An African Myth about a Frog’ Chapter Two opens at eerie Cavendish Hall, set on a foetid lake in America’s Heartland. Matriarch Emma Cavendish welcomes Hellboy and fellow BPRD investigators Elizabeth Sherman and Dr. Abraham Sapien but is not particularly forthcoming about her family’s obsession.

Nine generations of Cavendish have sought for and sponsored the search for the Temple at the Top of the World. Three of her own sons were lost on the latest foray, from which only Bruttenholm returned, but her story of how founding patriarch Elihu Cavendish‘s obsession infected every male heir for hundreds of years imparts no fresh insights. She also says she knows nothing about frogs, but she’s lying and the agents know it…

As they retire for the night, Hellboy’s companions prepare for a fight. Liz is a psychic firestarter but is still taken unawares when the frogs attack and the Daring Demon fares little better against another titanic toad-monster. Of Abe there is no sign: the BPRD’s own amphibian has taken to the dank waters of the lake in search of long-buried answers…

And then a bald Russian guy claiming to know the truth of Hellboy’s origins appears and monstrous tentacles drag the infernal avenger through the floor…

Chapter Three opens in a vast hidden cellar where Rasputin explains he is the agent for antediluvian infinite evil: seven-sided serpent Ogdru-Jahad who sleeps and waits to be reawakened. Hellboy was summoned from the pit to be the control interface between the great beast and the wizard as he oversaw the fall of mankind, but when the BPRD agent refuses – in his own obtuse, obnoxious manner – Rasputin goes crazy…

Overwhelmed by the Russian’s frog servants, Hellboy is forced to listen to the story of Rasputin’s alliance with Himmler and Hitler and how they sponsored a mystic Nazi think-tank to conquer the Earth; of how the mage manipulated the fanatics, found the Temple at the Top of the World and communed with The Serpent; of how the last Cavendish Expedition awoke him and how he used them to trace the tool he had summoned from Hell half a century ago…

And then he reveals how his infernal sponsor Sadu-Hem, intermediary of The Serpent, has grown strong on human victims but will become unstoppable after feasting on Liz’s pyrokinetic energies…

With all hell literally breaking loose the final chapter finds Rasputin exultantly calling upon each of the seven aspects as Hellboy attempts a desperate, doomed diversion and the long-missing Abe Sapien finally makes his move, aided by a hidden faction Rasputin had not anticipated…

The breathtaking conclusion sees the supernal forces spectacularly laid to rest, but the defeat of Sadu-Hem and his Russian puppet only opens the door for other arcane adversaries to emerge…

Bombastic, moody, laconically paced, suspenseful and explosively action-packed, Seed of Destruction manages the masterful magic trick of introducing a whole new world and making it seem like we’ve always lived there. This edition also sweetens the pot with bonus features like the sketch-packed ‘Where the Hell Did He Come From? – Personal reminiscences by Mike Mignola’ and ‘More First Things’: the initial proto-stories from San Diego Comic-Con Comics #2 (where he clobbered a gas station dog demon) and Comics Buyer’s Guide with the World’s Greatest Paranormal Investigator scuttling the plans of a Nazi brain-in-a-bottle and his talking gorillas…

Wrapping up the show is a Hellboy Gallery with pinups from Simon Bisley, Mike Allred. Art Adams, Frank Miller, Fred Blanchard & Gary Gianni, making this a supernatural thriller no comics fan should be without.
© 1993, 1994, 1997, 1999 and 2003 Mike Mignola. Introduction © 1994 Robert Bloch. Hellboy is ™ Mike Mignola. Torch of Liberty ™ John Byrne, Inc. Madman ™ Mike Allred. Blitz the Maniac Mandrill ™ Simon Bisley. All rights reserved.

Blackhawk Album #1


By Dick Dillin, Chuck Cuidera, Jack Kirby, Sheldon Moldoff, George Roussos, Mort Meskin, Nick Cardy, Frank Frazetta, Bill Ely, Bob Brown & various (Strato Publications)
No ISBN:

Here’s another long-lost oddity of the eccentric and exotic British comics market that might be of passing interest to curio collectors and unrepentant comics nerds like me.

The early days of the American comicbook industry were awash with both opportunity and talent and those factors happily coincided with a vast population hungry for cheap entertainment.

The new medium of comicbooks had no acknowledged fans or collectors; only a large, transient market open to all varied aspects of yarn-spinning and tale-telling – a situation which publishers believed maintained right up to the middle of the 1960s. Thus, in 1940 even though America was loudly, proudly isolationist and more than a year away from any active inclusion in World War II, creators like Will Eisner and publishers like Everett M. (“Busy”) Arnold felt Americans were ready for a themed anthology title Military Comics.

Nobody was ready for Blackhawk.

Military #1 launched at the end of May 1941 (with an August cover-date) and included in its gritty, two-fisted line-up Death Patrol by Jack Cole, Miss America, Fred Guardineer’s Blue Tracer, X of the Underground, The Yankee Eagle, Q-Boat, Shot and Shell, Archie Atkins and Loops and Banks by “Bud Ernest” (actually aviation-nut and unsung comics genius Bob Powell), but none of these strips, not even Cole’s surreal and suicidal team of hell-bent fliers, had the instant cachet and sheer glamour appeal of Eisner and Powell’s “Foreign Legion of the Air” led by the charismatic Dark Knight of the airways known only as Blackhawk.

Chuck Cuidera, already famed for creating the original Blue Beetle for Fox, drew ‘the Origin of Blackhawk’ for the first issue, wherein a lone pilot fighting the Nazi invasion of Poland in 1939 was shot down by Nazi Ace Von Tepp; only to rise bloody and unbowed from his plane’s wreckage to form the World’s greatest team of airborne fighting men…

This mysterious paramilitary squadron of unbeatable fliers, dedicated to crushing injustice and smashing the Axis war-machine, battled on all fronts during the war and – once the embattled nations had notionally laid down their arms – stayed together to crush international crime, Communism and every threat to democracy from alien invaders to supernatural monsters, consequently becoming one of the true milestones of the US industry.

Eisner wrote the first four Blackhawk episodes before moving on and Cuidera stayed until issue #11 – although he triumphantly returned in later years. There were many melodramatic touches that made the Blackhawks so memorable in the eyes of a wide-eyed populace of thrill-hungry kids. There was the cool, black leather uniforms and peaked caps. The unique, outrageous – but authentic – Grumman F5F-1 Skyrocket planes they flew from their secret island base and of course their eerie battle-cry “Hawkaaaaa!”

But perhaps the oddest idiosyncrasy to modern readers was that they had their own song (would you be more comfortable if we started calling it an international anthem?) which Blackhawk, André, Stanislaus, Olaf, Chuck, Hendrickson and Chop-Chop would sing as they plummeted into battle. (To see the music and lyrics check out the Blackhawk Archives edition but just remember this catchy number was written for seven really tough leather-clad guys to sing while dodging bullets…

Quality adapted well to peacetime demands: superheroes Plastic Man and Doll Man lasted far longer than most of their Golden Age mystery man compatriots and rivals, whilst the rest of the company line turned to tough-guy crime, war, western, horror and racy comedy titles.

The Blackhawks soared to even greater heights, starring in their own movie serial in 1952. However the hostility of the marketplace to mature-targeted titles after the adoption of the self-censorious Comics Code was a clear sign of the times and as 1956 ended Arnold sold most of his comics properties to National Publishing Periodicals (now DC) and turned his attentions to becoming a general magazine publisher.

Most of the purchases were a huge boost to National’s portfolio, with titles such as GI Combat, Heart Throbs and Blackhawk lasting uninterrupted well into the 1970s (GI Combat survived until in 1987), whilst the unceasing draw and potential of characters such as Uncle Sam, the assorted Freedom Fighters costumed pantheon, Kid Eternity and Plastic Man have paid dividends ever since.

The “Black Knights” had also been a fixture of the British comics reprint industry since the early 1950s, with distributor-turned publisher Thorpe & Porter releasing 37 huge (68-page, whilst the US originals only boasted 36 pages) monochrome anthologies to entrance thrill-starved audiences under their Strato imprint.

This commodious British collection combines a flurry of tales featuring the Air Aces, balanced out by an assortment of mystery and science fiction tales from DC’s wide selection of weird adventure anthologies (primarily culled in this instance from September and October 1957) and kicks off with the contents of (US) Blackhawk #117 and ‘The Fantastic Mr. Freeze’ wherein the paramilitary aviators battle a chilling criminal maniac with a penchant for cold crimes before tackling smugglers masquerading as Vikings in ‘The Menace of the Dragon Boat’.

‘How Not to Enjoy a Vacation’ was seen in many places; a Public Service feature probably written by Jack Schiff and definitely illustrated by Rueben Moreira, followed by prose poser ‘I Was a Human Missile’, relating a technician’s account of when he was trapped during the test firing of a missile – and how he escaped – after which ‘The Seven Little Blackhawks’ become the targets of a ruthless mastermind exploiting their fame and reputations to plug his new movie…

Regrettably most records are lost so scripter-credits are not available (likely candidates include Ed “France” Herron, Arnold Drake, George Kashdan, Jack Miller, Bill Woolfolk, Jack Schiff and/or Dave Wood) but the art remained in the capable hands of veteran illustrators Dick Dillin & Chuck Cuidera: a team who meshed so seamlessly that they often traded roles with few any the wiser…

Moreover although broadly formulaic, the gritty cachet, exotic crime locales, Sci Fi underpinnings and international jurisdiction of the team always allowed great internal variety within the tales…

Here however the uniformed escapades pause as House of Mystery #67 (October 1957) offers the sorry saga of ‘The Wizard of Water’ – a scurvy conman who accidentally gets hold of King Neptune’s trident as drawn by Bill Ely – and, after an always-engaging ‘Science Says You’re Wrong’ page and text terror tale ‘The Mummy’s Revenge’, counts down ‘Five Days to Doom’ (illustrated by Sheldon Moldoff from House of Mystery #66, September 1957) wherein a printer discovers a seemingly-prophetic calendar and uses it to track down aliens planning to destroy Earth.

‘The Legend of the Golden Lion’ (HoM #67 again and illustrated by George Roussos) then described a Big Game Hunter’s confrontation with a leonine legend of biblical pedigree whilst from the same issue the ever-excellent Bob Brown depicted a weird science-tinged crime caper about ‘The Man Who Made Giants’ before the Blackhawks soared back into action battling ‘The Bandit with a Thousand Nets’ – yet another audacious costumed thief with a novel gimmick (from Blackhawk #118, October 1957).

That issue also provided ‘The Blackhawk Robinson Crusoes’ wherein the Pacific Ocean proved to be the real enemy when an accident marooned the Aviators as they hunted the nefarious pirate Sting Ray, followed by much-reprinted western classic ‘The Town Jesse James Couldn’t Rob’ limned by Frank Frazetta and itself a reprint from Jimmy Wakely #4.

Text feature ‘From Caveman to Classroom’ charted the history of map-making after which Blackhawk #118 continues to completion as ‘The Human Clay Pigeons’ found the entire squadron helpless targets of international assassin/spymaster the Sniper, leaving the rest of this collection to astound and amuse with more genre-specific tales such as the Roussos illustrated psychological crime thriller ‘Sinister Shadow’ from House of Mystery #66 Sept 1957.

Also in that issue is Jack Kirby’s eerie mystery of best friends turned rivals ‘The Thief of Thoughts’, Moldoff’s jungle trek chiller ‘The Bell that Tolled Danger’ and Mort Meskin & Roussos’ tragic supernatural romance ‘The Girl in the Iron Mask’.

Rounding out the collection are selections from House of Mystery #64 (July 1957) beginning with Nick Cardy’s irony-drenched riff on the curse of Midas wherein a criminal subjects himself to ‘The Golden Doom’ – pausing briefly for Jack Miller’s prose expose of mind-readers ‘A Clever Code’ (from HoM #66) and another Public Service ad with teen star Binky explaining ‘How to Make New Friends’ (Schiff & Bob Oksner) – before Bill Ely delivers a murderous revelation regarding ‘The Artist Who Painted Dreams’.

A brace of Henry Boltinoff gag pages starring ‘Professor Eureka’ and ‘Moolah the Mystic’ then segues into Bernard Baily’s macabre depiction of criminal obsession in ‘My Terrible Twin’ (HoM #64) to bring the fun to a close on a spooky high note.

These stories were produced – and reprinted here – at a pivotal moment in comics history: the last showing of broadly human-scaled action-heroes and two-fisted mystery-solvers in a marketplace increasingly filling up with gaudily clad wondermen and superwomen. The iconic blend of weary sophistication and glorious, juvenile bravado where a few good men with wits, firearms and an occasional trusty animal companion could overcome all odds was fading in the light of spectacular scenarios and ubiquitous alien encounters.

These are splendidly engaging tales that could beguile and amaze a whole new audience if only publishers would give them a chance. But whilst they won’t your best bet is to seek out books like this in specialist comic shops or online.

Go on; let your fingers do the hard work…

Despite there being no copyrights included in this tome, I think it’s safe to assume:
All material © 1957, 1958, 2015 DC Comics. All Rights Reserved.

The Ghost Stories of M. R. James


By M. R. James, illustrated by Rosalind Caldecott, selected & edited by Michael Cox (Tiger Books International)
ISBN: 978-1-85501-141-0

These days, thanks to cinema, television and latterly the internet, our deepest emotions are mostly prodded and provoked by creators through sound and most especially by visuals, but for the longest time artists got into our heads through words and pictures, letting our own imaginations do all the damage…

A truly Great British tradition is the Christmas Ghost Story and the art form – at least in its literary iteration – has never been better expressed than in the cool, dry, chillingly understated tales of scholar and cleric M. R. James.

A series of BBC TV adaptations appeared sporadically from the late 1960s onwards, thoroughly warping the unformed minds of a generation of kids like me and Mark Gatiss who, in fact, revived the tradition in 2013 with his dramatisation of The Tractate Middoth on December 25th 2013 with A Ghost Story for Christmas…

There are naturally plenty of compilations of the macabre master’s creepy canon – although as far as I’m aware, no complete collection yet – but a treasured favourite of mine, incorporating the majority of his most infamous spellbinders, is this copiously illustrated commemorative hardback from 1986 which also offers a series of superb, atmosphere-evoking yet sublimely understated pencil drawings from Rosalind Caldecott for each eerie episode.

So successful were M. R. James’ painfully small canon of stories that he has been given the honour of defining a genre. The “Jamesian” style revolves around and usually includes a familiar if bucolic setting such as an English hamlet, manorial estate or seaside town, ancient European edifices like an abbey or university library where quiet, naive bookish types finds antiquarian books or ancient artefacts and arouse the ire of something far better left dead and forgotten…

In this scholarly tome – befitting a man as well known for his educational, scholastic and ecumenical achievements as his horrorist hobby – the timeless terror tales are preceded by an epic and entrancing biography of Montague Rhodes James OM, MA, FBA (1862-1936) who, when not disturbing the dreams of a nation and empire, was a medieval researcher and latterly Provost of King’s College Cambridge and Eton College.

His life and works are here traced with meticulous precision in a photo-packed, illustration-augmented ‘Introduction by Michael Cox’ before begins a cavalcade of subdued, understated, ferociously evocative tales wherein comfortable elements of the ordinary and safely commonplace are over and again suddenly compromised by the relentless howling unknown…

The prose pilgrimage begins with ‘Canon Alberic’s Scrap-Book’ (first published in National Review, March 1895) as a student and collector of scriptural antiquities describes the close call he had when offered an illicit mediaeval manuscript volume. He had no qualms about purchasing the relic until he saw what was hidden at the back…

This is followed by the classic ‘Lost Hearts’ (debuting in Pall Mall Magazine, December 1895 and adapted into a TV masterpiece by Robin Chapman for the BBC’s Christmas top-slot in 1973) which describes how young orphan Stephen is adopted by his elderly cousin at a remote mansion. His extremely distant benefactor is obsessed with immortality but the truly disturbing problem is the frequent peripheral glimpses of a gypsy girl and Italian boy with holes in their chests…

A far more sedate yet equally sinister situation unfolds when a university museum curator acquires a rare artwork in ‘The Mezzotint’ (from Ghost Stories of an Antiquary, 1904). The local scene depicted seemingly changes whenever people look away and elements of the subtly shifting picture bear ghastly echoes of a local atrocity from years past…

From that same landmark anthology volume comes ‘The Ash-Tree’ which relates how the inheritor of an ancient and much-cursed country estate discovers to his horror the Things which have caused so much misery over the centuries and where they’ve been hiding, whilst a church historian staying at a Danish inn uncovers true terror through the uncanny appearances and disappearances of both his sometime neighbours and even room ‘Number 13’ (GSoaA, 1904) itself…

A deservedly legendary and infamous tale from GSoaA, 1904, ‘“Oh, Whistle, and I’ll Come to You, My Lad”’ is one of James’ most celebrated chillers which, as adapted by Jonathan Miller in 1968, set the tone and format for the BBC’s seasonal horror-offerings for decades to come.

The original prose piece concerns a stuffy, solitary academic who discovers an old whistle whilst poking about in a ruin once occupied by the Knights Templar. He then unleashes something incomprehensible and malign after he blows on it…

‘The Tractate Middoth’ (More Ghost Stories, 1911) details how a college librarian is sucked into a protracted family legal dispute over a lost book being sought by both the living and the dead whilst ‘The Stalls of Barchester Cathedral’ (Contemporary Review, 1910) reveals how when the old Archdeacon dies in mysterious circumstances his successor becomes beguiled with – or is that stalked by? – a certain set of carved seats in the Cathedral…

A local scandal and subsequent court case finds the Squire accused of murdering a young girl he had been dallying with in ‘Martin’s Close’ (More Ghost Stories, 1911), but events take a strange turn after the prosecution enter into evidence the victim’s ghostly testimony, before ‘Mr Humphreys and his Inheritance’ (MGS, 1911) explains how a beneficiary’s windfall comes with a few unpleasant strings attached: specifically, a maze and Folly Temple which form part of his new estate and operate in a most bizarre and predatory fashion…

James preferred to distance himself and generally his story-narrators from the actual arcane action and this is seldom better seen than in the relatively lengthy and convoluted tale of ‘The Residence at Whitminster’ (A Thin Ghost, 1919) wherein the new modern rector at an ancient ecclesiastical home idly delves into the death of two children in 1730 and uncovers generations of tragedy locked in a simple old chest, unleashes unquiet spirits in the manse and lets loose demonic insects…

Another scholar investigating past parlous events informs ‘A Neighbour’s Landmark’ (The Eton Chronic, May 1925) wherein a visit to a friend’s country seat uncovers the reasons ancient woodland Betton Wood was dug up and ploughed over. However the eerie ghostly screams that used to emanate from it can still rattle the unwary…

‘A View From a Hill’ (The London Mercury, May 1925) then recounts how a historian on holiday visits a chum and borrows some very odd old binoculars. With them he rambles to a local beauty spot and sees something impossible and out of joint: an ancient tower and gibbet which are no longer situated on notorious local landmark Gallows Hill. …And then he sees through those ancient lenses impossible people moving with deadly purpose…

Minor classic ‘A Warning to the Curious’ was written after the Great War (The London Mercury, August 1925) and is one of James’ most bleak, chilling and hope-abandoned offerings. It tells of Paxton, an antiquarian/archaeologist on holiday in a Suffolk coastal resort who happens upon an important relic…

Unable to resist the lure of the long-lost Saxon Crown of Anglia – one of three fabled to protect the nation from invasion – he disinters and takes the artefact but is subsequently and relentlessly stalked by its sinister supernatural sentinel.

By the time Paxton unburdens himself to our narrator it is almost too late and, although he is convinced to restore the Crown to its resting place, his sin can be expiated only by occult judgement…

This sublimely supernal feast of fear and uneasy elucidation concludes with the disquieting and quasi-autobiographical ‘A Vignette’ which first appeared in The London Mercury in November 1936. It discloses how, on a quiet day in a typically idyllic English Country Garden, a sensitive young boy saw something he could not explain and felt somehow compelled to draw closer rather than run away…

This erudite edition also includes full ‘Publication Details’ of where and when the terror tales originated and where they were subsequently collected, whilst ‘Notes to the Introduction’ provide timely background to the storyteller’s eclectic life and everything ends with a tantalising ‘Select Bibliography’ to get your own antiquarian juices flowing…

Calmly disquieting, approachably uneasy and superbly scary, these are stories every fear fan should know and, whether through this illustrated item or any later collection, you must read these tales.
Copyright this edition © 1986 Nicholas Enterprises Limited. This edition published 1991 All rights reserved.