Category: Kids – All Ages

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Asterix and the Picts (Asterix album 35)


By Jean-Yves Ferri & Didier Conrad, coloured by Thierry Mébarki, Murielle Leroi & Raphaël Delerue: translated by Anthea Bell (Orion Books)
ISBN: 978-1-44401-167-8 (Album HB) 978-1-44401-169-2 (Album TPB) eISBN: 978-1-4440-168-5

Asterix the Gaul is probably France’s greatest literary export and part of the fabric of French life. The feisty, wily little warrior who fought the iniquities and viewed the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and – whenever necessary – a magical potion imbuing the imbiber with incredible strength, speed and vitality, is the go-to reference for all us non-Gallic gallants when we think of France.

The diminutive, doughty darling was created at the close of the 1950s by two of our artform’s greatest masters, with his first official appearance being October 29th in Pilote #1, even though he had actually debuted in a pre-release teaser – or “pilot” – some weeks earlier. Bon Anniversaire mon petit brave!

His adventures first touched billions of people all around the world for five and a half decades as the sole preserve of originators Rene Goscinny and/or Albert Uderzo. After close on 15 years as a weekly comic serial subsequently collected into book-length compilations, in 1974 the 21st saga – Asterix and Caesar’s Gift – was the first to be released as a complete original album prior to serialisation.

Thereafter each new album was an eagerly anticipated, impatiently awaited treat for legions of devotees, but none more so than this one which was created by Uderzo’s handpicked replacements – scripter Jean-Yves Ferri (Fables Autonomes, La Retour à la terre, De Gaulle à la plage) and illustrator Didier Conrad (Les Innomables, Le Piège Malais, Tatum, Spirou) – who had taken up a somewhat poisoned chalice on his retirement in 2009. And began the further adventures of truly immortal French heroes. Happily the legacy was in safe hands, especially after this first book was meticulously overseen by Uderzo every step of the way…

Whether as an action-packed comedic romp with sneaky, bullying baddies getting their just deserts or as a punfully sly and witty satire for older, wiser heads, the new work is just as engrossing as the previously established canon, and English-speakers are still happily graced with the brilliantly light touch of translator Anthea Bell who, with former collaborator Derek Hockridge, played no small part in making the indomitable little Gaul so palatable to English-speakers around the globe.

As you surely already know, half of these intoxicating epics are set in various exotic locales throughout the Ancient World, whilst the rest take place in and around Uderzo’s adored Brittany where, circa 50 B.C., a little hamlet of cantankerous, proudly defiant warriors and their families resisted every effort of the mighty Roman Empire to complete the conquest of Gaul.

Although the country is divided by the notional conquerors into provinces Celtica, Aquitania and Amorica, the very tip of the last named regions stubbornly refuses to be pacified. The Romans, utterly unable to overrun this last bastion of Gallic insouciance, are reduced to a pointless policy of absolute containment – and yet these Gauls come and go as they please. Thus a tiny seaside hamlet is permanently cut off (in the broadest, not-true-at-all sense) by heavily fortified garrisons Totorum, Aquarium, Laudanum and Compendium: filled with veteran fighters who would rather be anywhere else on earth than there…

Their “confined detainees” couldn’t care less: casually frustrating and daily defying the world’s greatest military machine by simply going about their everyday affairs, untouchable thanks to a miraculous magic potion brewed by resident druid Getafix and the shrewd wits of diminutive dynamo Asterix and his simplistic, supercharged best friend Obelix…

Astérix chéz les Pictes was released in October 2013, simultaneously hurtling off British shelves as Asterix and the Picts. It opens in February with snow piled deep in the village and all around its weathered stockade. Eager to avoid the usual spats, snipes and contretemps of their fellows, doughty little Asterix and his affable pal Obelix go for a bracing walk on the beach and discover lots of flotsam and jetsam: Roman helmets, old amphorae, a huge cake of ice with a strange tattooed giant inside…

Carrying the find back to their fascinated friends, the duo are informed by Getafix that the kilted chap appears to be a Pict – another tribe ferociously resistant to Roman rule – from distant Caledonia on the other side of the sea. The find polarises the village: the men are wary and distrustful but women seem to find the hibernating Hibernian oddly fascinating. So great is the furore over the discovery nobody bats an eyelid when Limitednumbus the Roman census-taker sidles into the village eager to list everything going on and everyone doing it…

Soon Getafix has safely defrosted the giant but the ordeal has left the iceman speechless. That only makes him more interesting to the wowed womenfolk, and when a smidgeon more Druid magic gives him a modicum of voice (very little of it comprehensible), before long Chief Vitalstatistix orders his mismatched go-to guys to take ship and bring the bonnie boy back to his own home, wherever it is.

… With the gorgeous tattooed giant gone, the bedazzled women will go back to normal again. At least that’s the Chief’s fervent hope…

After tearful farewells (from approximately half of the village) the voyagers head out, greatly encouraged as the Pict suddenly regains his power of speech. In fact he then can’t stop gabbing, even when the Gauls meet their old chums The Pirates and indulge in the traditional one-sided trading of blows.

The reinvigorated refrigerated hunk is called Macaroon and is soon is sharing his tale of woe and unrequited love even as the little boat steadily sails towards his homelands. Macaroon lived on one side of Loch Androll and loved Camomilla, daughter of chieftain Mac II. Sadly, ambitious, unscrupulous rival chieftain Maccabaeus from across the water wanted to marry her too and cunningly disposed of his only rival by lashing him to a tree trunk and casting him into freezing coastal waters…

Meanwhile in Caledonia, a Roman expeditionary force led by Centurion Pretentius arrives and makes its way to a rendezvous with a potential ally: a chief of clan Maccabees willing to invite the devious, all-conquering empire into the previously undefeated land of the Picts…

Once Macaroon and his Gallic guardians reach home turf they are feted by his amazed, overjoyed kin, whilst across the loch the traitor seeks to placate his own men who have witnessed the giant’s return and believe him a ghost. Villainous Maccabaeus is only days away from becoming King of all the Picts. He even holds captive Camomilla – whom he must wed to cement his claim – and with Romans to enforce his rule looks forward to a very comfortable future. He will not tolerate anything ruining his plans at this late stage…

Things come to crisis when Macaroon has a sudden relapse and the Druid’s remedy to restore him is lost at the bottom of a loch thanks to the playfulness of the tribe’s colossal and revered water totem “the Great Nessie”. When Asterix & Obelix helpfully offer to retrieve it, they find a tunnel under the loch leading into the Maccabees fortress, and which is simply stuffed with lots of lovely Romans to pummel…

With the jig up and Camomilla rescued, the scene is set for a spectacular and hilarious final confrontation setting everything to rights in the tried-and-true, bombastic grand manner…

Fast, funny, stuffed with action and hilarious, tongue-in-cheek hi-jinks, this is a joyous rocket-paced chariot ride for lovers of laughs and devotees of comics everywhere…
© 2013 Les Éditions Albert René. English translation: © 2013 Les Éditions Albert René ©. All rights reserved.

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Marsupilami volume 9: The Butterfly and the Treetop Squid


By Batem & Yann, coloured by Cerise: created by Franquin and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1 80044-126-2 (Album PB/Digital edition)

One of Europe’s most popular and evergreen comic stars is an eccentrically unpredictable, irascible, loyal, superstrong, rubber-limbed yellow-&-black ball of explosive energy with a seemingly infinite elastic tail. The mighty Marsupilami is a wonder of nature and icon of entertainment invention originally spun-off from another immortal comedy adventure strip…

In 1946 Joseph “Jije” Gillain was crafting the eponymous keystone strip of Le Journal de Spirou when he abruptly handed off the entire kit & caboodle to assistant André Franquin. The apprentice gradually shifted format from short complete gags to extended adventure serials and adding a wide and engaging cast of new characters. For 1952’s Spirou et les heritiers (January 31st issue), he devised a beguiling boisterous South American critter and tossed him like an elastic-arsed grenade into the mix. Thereafter – until his resignation from the feature – Franquin frequently folded his bombastic beast into Spirou’s exotic escapades…

The Marsupilami returned over and over again: a phenomenally popular magical animal who inevitably grew into a solo star of screen, toy store, console games and albums all his own.

In 1955 a contractual spat with Dupuis resulted in Franquin signing up with publishing rivals Casterman on Le Journal de Tintin to work with René Goscinny and Peyo whilst concocting raucous gag strip Modeste et Pompon. However, Franquin quickly patched things up with Dupuis and was restored to Le Journal de Spirou. In 1957, he unleashed Gaston Lagaffe (Gomer Goof) whilst still legally obliged to carry on Tintin work too. In 1959 writer Greg and background artist Jidéhem began assisting, but after 10 more years Franquin had reached his Spirou limit. He quit for good in 1969, and took his golden monkey with him…

Plagued by bouts of depression, Franquin died on January 5th 1997, but his legacy remains: a vast body of work that reshaped the landscape of European comics. Moreover, having learned his lesson about publishers, Franquin retained all rights to Marsupilami and in the late 1980s had begun publishing his own adventures of the rambunctious miracle-worker…

Tapping old comrade Greg (Michel Régnier, writer and/or artist of Luc Orient, Bernard Prince, Bruno Brazil, Rock Derby, Zig et Puce, Achille Talon and Le Journal de Tintin editor from 1966-1974) as scripter and inviting commercial artist/illustrator Luc Collin (pen-name Batem), Franquin launched his new comedy feature through Marsu Productions. The first tome was La Queue du Marsupilami (1987) – translated as The Marsupilami’s Tale.

Ultimately, his collaborators monopolised art duties, and with 4th volume The Pollen of Mount Urticando Greg was replaced by artist-turned-scripter Yannick Le Pennetier – AKA “Yann” (Les Innomables, Bob Marone, Lolo et Sucette, Chaminou, Kid Lucky). In 2016, the long-sundered universes of Marsupilami and Spirou reconnected, allowing the old gang to participate in shared exploits of a unique world created and populated by Franquin.

Graced with a talent for mischief, the Marsupilami is a fiercely protective, deviously ingenious anthropoid inhabiting the rainforests of Palombia. One of the rarest animals on Earth, it speaks a language uniquely its own and has a reputation for making trouble and sparking chaos. The species is fanatically dedicated to its young, occasionally extending that filial aegis to other species – even sometimes to the ever-encroaching humans who constantly poke around looking for Marsupilami and other, even rarer creatures…

The Butterfly and the Treetop Squid was released in Europe in October 1994 as Les papillon des cimes: 9th of 33 solo albums thus far (not including all-Franquin short-story collection/volume #0 Capturez un Marsupilami). It delivers another riotous comedy action romp, introducing more weird interlopers to the growing cast…

We open deep in the wild woods of Palombia’s rainforests where our hirsute hero cavorts in the bosom of nature and revels in the innocent joys of family. That feeling evaporates when he discovers traps, lures and cast off rubbish left by human scientists…

Two of these unsavoury intruders (lepidopterist Professor Lida Dorvasal and his greedy guide Bring) are Palombians in pursuit of the world’s rarest butterfly – the female Narcissus Bucephalus – but the true threat to peace and tranquillity is a clandestine international expedition funded by “Big Sausage” interests currently secreted above the treetops in a vehicle like none ever built before…

These generally well-meaning but obsessively goal-oriented, self-serving and glory-seeking boffins comprise Professors Henry Verse-Geere, Apollo Nabokov, Lolita Rantula, Zephyr Morehouse-Fly and Akira “Batman” Mitsuhirato, latterly supplemented by “grunge-punk” Brad Wurst, ostensibly an artist/cameraman but also an unwanted legacy of the Neslog Kramart Quality Sausage empire foisted upon them against their express wishes.

The science squad are also seeking rare bugs and butterflies, and even after their advanced tech and kit is wrecked, have a hard time believing the Marsupilami exists… but that’s only the case until he starts wreaking more havoc by invading their canopy-crawling mobile octopoid fortress: an event coinciding with further breakdowns and crises that can only have been perpetrated by a human traitor on the team…

As breakdowns intensify and disappearances mount, the mission is further diverted and derailed after the Thinktank go crazy for Narcissus Bucephalus caterpillars (discovered to only propagate in occupied Marsupilami bowers). However, the pestiferous primates are proved mostly innocent of being wreckers when indigenous and invasive boffins unite to catch butterflies and inadvertently unmask a potential killer with criminal tendencies and a nasty job to do…

These eccentric exploits of the garrulous golden monkey are moody, macabre and madcap, furiously funny and pithily pertinent, offering engagingly rowdy romps and devastating debacles for wide-eyed kids of every age all over the world. If you care to revisit your wild ways it all starts with a Hoobee, Hoobah Hoobah…
Original edition © Dupuis, Dargaud-Lombard s.a. 1994 by Batem & Yann, Franquin. All rights reserved. English translations © 2023 Cinebook Ltd.

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Moomin: The Complete Tove Jansson Comic Strip volume 1


By Tove Jansson (Drawn & Quarterly)
ISBN: 978-1-89493-780-1 (HB/Digital edition)

Tove Marika Jansson was born into an artistic, intellectual and practically Bohemian Swedish family in Helsinki, Finland on August 9th 1914, making today her 110th anniversary, so hyvää vuosipäivää to her and all you fans…

Father Viktor was a sculptor, and mother Signe Hammarsten-Jansson enjoyed a successful career as illustrator, graphic designer and commercial artist. Tove’s brothers Lars and Per Olov became a cartoonist/writer and photographer respectively. The family and its close intellectual, eccentric circle of friends seems to have been cast rather than born, with a witty play or challenging sitcom as the piece they were all destined to act in.

After a period of intensive study from 1930-1938 (University College of Arts, Crafts and Design, Stockholm, the Graphic School of The Finnish Academy of Fine Arts and L’Ecole d’Adrien Holy and L’Ecole des Beaux-Arts, Paris), Tove became a successful exhibiting artist through the troubled period of the war.

Intensely creative in many fields, she published the first fantastic Moomins adventure in 1945: Småtrollen och den stora översvämningen (The Little Trolls and the Great Flood or more euphoniously The Moomins and the Great Flood): a whimsical epic of gentle, inclusive, accepting, understanding, bohemian, misfit trolls and their strange friends…

Always an over-achiever, from 1930 to 1953 Tove worked as an artist and cartoonist for Swedish satirical magazine Garm, achieving some measure of notoriety with an infamous political sketch of Hitler in nappies, lampooning the Appeasement policies of Chamberlain and other European leaders in the build-up to World War II. She was also a much-in-demand illustrator for many magazines and children’s books. She had been selling her comic strips as early as 1929…

Moomintroll was literally her signature character. The lumpy, big-eyed goof began life as a spindly sigil beside her signature in her political works. She called him “Snork” and claimed she had designed him in a fit of pique as a child – the ugliest thing a precocious little girl could imagine – as a response to losing an argument about Immanuel Kant with her brother.

The term “Moomin” came from maternal uncle Einar Hammarsten who attempted to stop Tove pilfering food when she visited by warning her that a Moomintroll guarded the kitchen, creeping up on trespassers and breathing cold air down their necks. Over childhood years and far beyond Snork/Moomin filled out, became timidly nicer, if a little clingy and insecure: a placid therapy-tool to counteract the grimness of the post-war world.

The Moomins and the Great Flood was relatively unsuccessful but Jansson persisted, as much for her own therapeutic benefit as any other reason, and in 1946 sequel Kometjakten (Comet in Moominland) was published. Many commentators believe this terrifying tale a skilful, compelling allegory of Nuclear destruction, and both it and third illustrated novel Trollkarlens hatt (1948, Finn Family Moomintroll or occasionally The Happy Moomins) were translated into English in 1952. Their success prompted British publishing giant Associated Press to commission a newspaper strip about her seductively sweet, sensibly surreal surrogate family.

Jansson had no prejudices about strip cartoons. Early efforts included Lunkentus (Prickinas och Fabians äventyr, 1929), Vårbrodd (Fotbollen som Flög till Himlen, 1930) and Allas Krönika (Palle och Göran gå till sjöss, 1933). And she had already successfully adapted Comet in Moominland for Swedish/Finnish paper Ny Tid. Mumintrollet och jordens undergång – Moomintrolls and the End of the World – was a popular feature and Jansson readily accepted a chance to extend her message across the world.

In 1953 The London Evening News began the first of 21 Moomin sagas which captivated readers of all ages. Tove’s involvement ended in 1959: a casualty of its own success and a punishing publication schedule. So great was the pressure that she had recruited brother Lars to help. He proudly and most effectively continued the feature until its end in 1975.

Free of the strip she returned to painting, writing and her other creative pursuits, generating book illustration, plays, murals, public art, stage designs, costumes for dramas and ballets, a Moomin opera, 9 more Moomin-related picture-books and novels, as well as 13 books and short-story collections more obviously intended for grown-ups.

Her awards are too numerous to mention (literally dozens of international art and literary plaudits), but consider this: how many modern artists – let alone comics creators – get their faces on the national currency or have commemorative coins struck bearing their image?

She died on June 27th 2001… but her timorous little critters and their better, nicer world have proliferated beyond belief.

Tove could deploy slim economical line and pattern to create sublime worlds of fascination, and her dexterity made simple forms into incredibly expressive and potent symbols. In this first volume the miraculous wonderment begins with ‘Moomin and the Brigands’ as our rotund, gracious and deeply empathic hippo-esque troll-ling frets about the sheer volume of freeloading visitors literally eating him out of house and home. Too meek to cause offence and simply send them all packing, he consults his wide-boy, get-rich-quick mate Sniff, but when their increasingly eccentric eviction schemes go awry Moomin simply leaves, undertaking a beachcombing odyssey culminating with him meeting the beauteous Snorkmaiden.

When the jewellery-obsessed young lass (yes, she looks like a hippo too – but a really lovely one with long lashes and such a cute fringe!) is kidnapped by bandits, finally mild-mannered Moomin finds his inner hero…

‘Moomin and Family Life’ then reunites the prodigal Moomin with parents Moominpappa and Moominmamma – a most strange and remarkable couple. Mamma is warm and capable but overly concerned with propriety and appearances, whilst Papa spends all his time trying to rekindle his adventurous youth. Rich Aunt Jane, however, is a far more “acquired” taste.

‘Moomin on the Riviera’ finds flighty Snorkmaiden and drama-starved Moominpappa dragging the extended family and assorted friends on an epic voyage to the sunny southern land of millionaires. On arrival, the Moomins’ small-town idiosyncrasies are mistaken for so-excusable eccentricities of the filthy rich – a delightfully telling satirical comedy of manners and a plot that never gets old – as proved by the fact that the little escapade was expanded to and released as 2015’s animated movie Moomins on the Riviera…

This initial incomparable volume of graphic wonderment concludes with fantastic adventure in ‘Moomin’s Desert Island’, wherein another joint family jaunt leaves the Moomins lost upon an unknown shore where ghostly ancestors roam: wrecking any vessel that might offer rescue. Sadly, the greatest peril in this knowing pastiche of Swiss Family Robinson might well be The Mymble – a serious rival for Moomintroll’s affections. Luckily, Snorkmaiden knows of some wonderfully romantic, bloodthirsty pirates who might be called upon to come to her romantic rescue…

These truly magical timeless tales for the young are laced with incisive observation and mature wit that enhances and elevates only the greatest kids’ stories into classics of literature. These volumes are an international treasure and no fan of the medium – or biped with even a hint of heart and soul – can ever be content or well-read without them.

Tove’s Moomin comic strips were originally collected in seven Scandinavian volumes before the discerning folk at Drawn & Quarterly translated them into English as a series of luxurious oversized (224 x 311 mm) hardback tomes. There some UK editions from SelfMadeHero in the twenteens and now some of these tales have returned in new paperback reprinting, with Moomin Adventures Book 1 (July 2024, ISBN: 978-1-77046-742-2) offering ‘Moomin on the Riviera’ and ‘Moomin’s Desert Island’ plus some later co-productions with Lars.

© 2006 Solo/Bulls. All Rights Reserved.

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Jamie Smart’s Max & Chaffy: Hunt for the Pirate’s Gold!


By Jamie Smart, coloured by Emily Kimbell (David Fickling Books)
ISBN: 978-1-78845-310-3 (PB)

Laced with cheerful welcoming charm by cartoonist, comics artist and novelist Jamie Smart, Max & Chaffy books for younger readers (four when this one comes out) hark back to more traditional times and fare. Initially introduced in Welcome to Animal Island, little Max moved to a new home in a lighthouse and soon made some amazing friends: Orlando, Crumbs, Moose, Pedalo and a strange little creature called Chaffy.

The little fluffball has  mismatched ears and is easily confused: constantly getting lost and needing Max and the reader’s help to be where it belongs. The reason for getting misplaced so much is a desire to locate other Chaffys (as seen in follow-up fables The Great Cupcake Mystery! and Search for the Ice Chaffy!):  a desire magnified once the soon-to-be inseparable pair joined the Official Chaffy Finding Club…

Unlike Smart’s multi award-winning comics offerings (Bunny vs. Monkey, Looshkin – the Adventures of the Maddest Cat in the World!!, Fish Head Steve!, Corporate Skull, Space Raoul, and many brilliant strips for The Beano, Dandy and others) or his illustrated kids novels like the Flember quartet, Max & Chaffy adventures are crafted for early readers, offering strong directed stories laced with interactive pages, with participation an integral part of the storytelling. The most engaging of these page games are regularly recurring Search & Find tableaux – just like Where’s Wally? – cunningly combined with grouping/collecting moments (as they search for new specimens of Chaffy), offering flavours of Pokémon and echoes of Mr. Men whenever they find and befriend them.

Joyous, inclusive and accepting, this fourth outing sees our tiny tot stars seeking new Chaffys – all with a list of identifying characteristics – before teaming up with grumpy sea captain Foghorn. He takes them on a tour of Animal Island’s wilder shores and ultimately under the sea, where one quest is soon satisfied by the discovery of a timid, rapidly-inflating Puffa-Chaffy before they are all distracted and diverted by unearthing a pirate treasure map in a bottle…

When they discover it was drawn by Foghorn’s ancestor – and World’s Greatest Pirate – Captain Boombox Foghorn, they just have to go find it, aided by the restless spirit of Boombox himself. An extended undersea excursion sees them all experiencing fabulous creatures and places, discovering a unique new Chaffy to add to Max’s growing list and learning that there’s much more than one kind of treasure…

That’s reiterated by a bonus feature requiring a second read as Boombox urges a review of the buoyant bouncy pages and a search for his lost valuables in the recesses of the pages and panels.

Exuberant, enticing, rewarding and eminently re-readable, this is another must-have pearl of great wisdom no kid of any age could possibly resist.

Text and illustrations © Fumboo Ltd. 2024. All rights reserved.
Max & Chaffy: Hunt for the Pirate’s Gold! will be released on August 1st 2024 and is available for pre-order now.

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TinTin’s Moon Adventure/Tintin on the Moon/Adventures of Tintin: Destination Moon & Explorers on the Moon



By Hergé, Bob De Moors and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK/Farshore)
ISBN: 978-1-40520-815-4 (HB Destination) 978-1-40520-627-3 (TPB Destination)
ISBN: 978-1-40520-816-1 (HB Explorers) 978-1-40520-628-0 (TPB Explorers) Tintin’s Moon Adventure (Magnet/Methuen) ISBN: 978-0-41696-710-4 (TPB)
Tintin on the Moon (Egmont) ISBN: 978-1405295901 (HB)

This book includes Discriminatory Content produced during less enlightened times.

Georges Prosper Remi, known all over the world as Hergé, created a true masterpiece of graphic literature with his tales of a plucky boy reporter and entourage of iconic associates. Initially singly and later with stellar assistants including Edgar P. Jacobs, Bob de Moor and the Hergé Studio, Remi completed 23 splendid volumes (originally produced as episodic instalments for numerous periodicals) which have grown beyond their popular culture roots and attained the status of High Art.

Like Dickens with The Mystery of Edwin Drood, Hergé died working, so final outing Tintin and Alph-Art remains a tale without an official conclusion, but is still a fascinating examination and a pictorial memorial of how the artist worked. It’s only fair though, to ascribe a substantial proportion of credit to the many translators whose diligent contributions have enabled the series to be understood and beloved in more than 70 languages. The subtle, canny, witty and slyly funny English versions are the work of Leslie Lonsdale-Cooper & Michael Turner.

On leaving school in 1925, Remi worked for Catholic newspaper Le XXe Siècle where he apparently fell under the influence of its Svengali-like editor Abbot Norbert Wallez. The following year, the young artist (himself a dedicated boy scout) produced his first strip series – The Adventures of Totor – for monthly Boy Scouts of Belgium magazine. By 1928, he was in charge of producing the contents of Le XXe Siècle’s children’s weekly supplement Le Petit Vingtiéme. Remi was unhappily illustrating The Adventures of Flup, Nènesse and Poussette and Cochonette (written by a staff sports reporter) when Wallez urged the auteur to create an entirely new adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues? Perhaps he might also highlight and expose some of the Faith’s greatest enemies and threats?

Having recently discovered word balloons in imported newspaper strips, Remi opted to incorporate this simple yet effective innovation into his own work, and produced a strip that was both modern and action-packed. Beginning on January 10th 1929, Tintin au pays des Soviets AKA Tintin in the Land of the Soviets changed the comics world. Happy 95th Anniversary, Young Man!

The strip appeared in weekly instalments in Le Petit Vingtiéme, running until May 8th 1930: meaning Tintin remains one of the very first globally successful strip characters, barely preceded by Tarzan and Buck Rogers (both January 7th 1929) and pipping Popeye who only shambled into view on January 17th of that year…

The boy-hero – a combination of Ideal Good Scout and Remi’s own brother Paul (a soldier in the Belgian Army) – would be accompanied by his dog Milou (Snowy to us English speakers) and report back all the inequities from the “Godless Russias”. The strip’s prime conceit was that Tintin was an actual foreign correspondent for Le Petit Vingtiéme and opens with the pair arriving in Russia. The dog and his boy were constantly subject to attacks and tricks by “the Soviets” to prevent the truth of their failed economic progress, specious popular support and wicked global aspirations being revealed to the Free World.

Some of the history beyond that first epic trek is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siècle was closed down and Hergé was compelled to transfer the strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis). Remi diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and being a Nazi sympathiser.

It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by resolutely vouching for the cartoonist and providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed.

The anthology swiftly achieved a weekly circulation in the hundreds of thousands and enabled the artist and his team to remaster past tales: excising material dictated by and added to ideologically shade war time adventures, as well as generally improving and updating great tales that were about to become a global phenomenon. With WWII over and his reputation restored, Hergé entered the most successful period of his career. He had mastered his storytelling craft, commanded a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure.

In 1949 he returned to unfinished yarn Tintin au pays de l’or noir – abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siècle, running from 28th September 1939 until 8th May 1940 when the paper was shut down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs tampering with Middle East oil supplies. Before being convinced to update and complete the tale as Land of Black Gold, Hergé briefly toyed with taking his cast into space…

Collected albums Objectif Lune and On a marché sur la Lune were colossal hits after initial serialisation in LJdT  from 30th March 1950 – 7th September 1950  and – after what must have been an intolerable wait for readers – from 29th October 1952 – 29th December 1953.

The tale was produced after discussions between Hergé and his friends Bernard Heuvelmans (scientist, author and father of pseudo-science Cryptozoology) and Jacques Van Melkebeke (AKA George Jacquet: strip scripter, painter, journalist and frequent if unacknowledged contributor to Tintin’s canon). The sci fi epic which became a 2-volume masterpiece first made the leap to English in 1959.

On a personal note: I first read Destination Moon in 1964, in a huge hardcover album edition (as they all were in the 1960s) and was blown completely away. I’m happy to say that except for the smaller pages – and there’s never a substitute for “pictorial Big-ness” – this taut thriller and its magnificent, mind-boggling sequel are still in a class of their own in the annals of science fiction comic strips. During the 1980s the entire tale was (repeatedly) released in a combined tome as Tintin’s Moon Adventure: an utterly inescapable piece of publishing common sense. It’s just a shame that it – and all the other the Tintin books – are still not available in digital editions…

Our tale opens with the indomitable boy reporter and Captain Haddock returning to ancestral pile Marlinspike Hall only to discover brilliant but “difficult” savant Professor Cuthbert Calculus has disappeared. When an enigmatic telegram arrives, the puzzled pair are off once again to Syldavia (as seen in King Ottokar’s Sceptre) and a rendezvous with the missing boffin…

Although suspicious, Tintin soon finds the secrecy is for sound reasons. In Syldavia, Calculus and an international team of researchers, engineers and technologists are completing a grand project to put a man on the Moon! In a turbulent race against time and amidst a huge and all-encompassing security clampdown, the scheme nears completion, but Tintin and Haddock’s arrival coincides with a worrying increase in espionage activity.

Some enemy nation or agency is determined to steal the secrets of Calculus’s groundbreaking atomic motor at any cost, and it takes all Tintin’s ingenuity to keep ahead of the villains. The arrival of detectives Thompson and Thomson adds nothing to the aura of anxiety but their bumbling investigations and Calculus’ brief bout of concussion-induced amnesia provide some of the funniest moments in comics history…

As devious incidents and occurrences of sabotage increase in intensity and frequency it becomes clear that there is a traitor inside the project, but at last the moment arrives and Tintin, Haddock, Calculus, technologist Dr. Frank Wolff (and Snowy) blast off for space!

Cold, clinical and superbly underplayed, Destination Moon is completely unlike the flash-and-dazzle razzamatazz of British or American tales from that period – or since. It is as if the burgeoning Cold War mentality of the era infected even Tintin’s bright clean world. Moreover, as before, pressure of work and Hergé’s troubled private life resulted in a breakdown and forced hiatus in the serial, but this time some of that darkness transferred to the material – although it only seems to have added to the overall effect of claustrophobia and paranoia. Even comedy set-pieces are more manic and explosive: despite its fantastic premise, in many ways this is the most mature of all Tintin’s exploits…

Presumably to offset the pressures, the master founded Studio Hergé, beginning on 6th April 1950: a public company to produce The Adventures of Tintin as well other features, with Bob De Moor enthroned as chief apprentice. He became a vital component of Tintin’s gradual domination of the book market: frequently despatched on visual fact-finding missions. De Moor revised the backgrounds of The Black Island for a British edition, repeating the task for a definitive 1971 release of Land of Black Gold. An invaluable and permanent addition to the production team, De Moor supervised and administrated while filling in backgrounds and, most notably, rendering those unforgettably eerie, magnificent Lunar landscapes of the sequel volume.

If the first book is an exercise in tension and suspense, Explorers on the Moon is sheer bravura spectacle. En route to Luna the explorers discover the idiot detectives have stowed away by accident. In conjunction with Captain Haddock’s illicit whisky imbibing and the effects of freefall, Thompson & Thomson provide brilliant comedy routines to balance the pervasive isolation and dramatic dangers of the journey.

Against all odds the lunanauts land safely and make astounding scientific discoveries. We Boomers knew decades ago that there was water on the moon because Tintin and Snowy went skating there! However, the explorations are cut short due to the imminent threat of suffocation after the discovery of another extra passengers on the rocket. Moreover, lurking in the shadows is the very real threat of a murderous traitor to be dealt with…

This so-modern yarn is a high point in the entire Tintin canon, blending heroism and drama with genuine moments of irresistible emotion… and side-splitting comedy. The absolute best of the bunch in my humble opinion, and still one of the most realistic and accurately depicted space comics ever produced. If you only ever read one Hergé saga it simply must be the translunar Adventure of Tintin.
Destination Moon: artwork © 1953, 1959, 1981 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved. Explorers on the Moon: artwork © 1954, 1959, 1982 Editions Casterman, Paris & Tournai. Text © 1959 Egmont UK Limited. All Rights Reserved.

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Lucky Luke volume 23 – A Cure For The Daltons


By Morris & Goscinny (Cinebook)
ISBN: 978-1-84918-034-4 (Album PB/Digital edition)

This book includes Discriminatory Content produced during less enlightened times.

Doughty, dashing and dependable cowboy “good guy” Lucky Luke is a rangy, implacably even-tempered do-gooder able to “draw faster than his own shadow”. He amiably ambles around the mythic Old West, having light-hearted adventures on his petulant and rather sarcastic wonder-horse Jolly Jumper. For nearly 80 years, his exploits have made him one of the top-ranking comic characters in the world, generating upwards of 85 individual albums and spin-off series like Kid Lucky and Ran-Tan-Plan, with sales thus far totalling upwards of 300 million in 30 languages. That renown has translated into a mountain of merchandise, toys, games, animated cartoons, TV shows and live-action movies and even commemorative exhibitions. No theme park yet, but you never know…

Brainchild of Belgian animator, illustrator and cartoonist Maurice de Bévère (AKA “Morris”) and officially first seen in Le Journal de Spirou’s seasonal Annual L’Almanach Spirou 1947, Luke actually sprang to (un-titled) laconic life in mid-1946 in the popular periodical before ambling into his first weekly adventure ‘Arizona 1880’ on December 7th of that year.

Morris was one of “la Bande des quatre”– The Gang of Four – also comprising Jijé, Will and Franquin: leading proponents of a fresh, loosely free-wheeling artistic style known as the “Marcinelle School”. The compelling cartoon vision came to dominate Le Journal de Spirou in aesthetic contention with the “Ligne Claire” style favoured by Hergé, E.P. Jacobs and other artists in rival publication Le Journal de Tintin. In 1948 said Gang (all but Will) visited America, meeting US creators and sightseeing. Morris stayed for six years, befriended René Goscinny, scored some work at newly-formed EC sensation Mad and constantly, copiously noted and sketched a swiftly disappearing Old West.

Working solo until 1955 (with early script assistance from his brother Louis De Bevere), Morris crafted nine albums – of which today’s was #7 – of affectionate sagebrush spoofery before teaming with old pal and fellow transatlantic émigré Goscinny. With him as regular wordsmith, Luke attained dizzying, legendary heights starting with Des rails sur la Prairie (Rails on the Prairie) which began serialisation on August 25th 1955.

In 1967, the six-gun straight-shooter switched sides, joining Goscinny’s own magazine Pilote in La Diligence (The Stagecoach). Goscinny co-created 45 albums with Morris before his untimely death, whereupon Morris soldiered on both singly and with other collaborators. He went to the Last Roundup in 2001, having drawn fully 70 adventures, plus numerous sidebar sagebrush sagas crafted with Achdé & Laurent Gerra, Benacquista & Pennac, Xavier Fauche, Jean Léturgie, Jacques Pessis and more, all taking their own shot at the venerable vigilante.

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

As so often seen the taciturn trailblazer regularly interacts with historical and legendary figures as well as even odder fictional folk in tales drawn from key themes of classic cowboy films – as well as some uniquely European notions, and interpretations. That principle is smartly utilised to sublime effect in A Cure For The Daltons with the motivating spark of foreign “alienist” being based on controversial actor Emil Jannings (Theodor Friedrich Emil Janenz) who won the very first Best Actor Oscar before returning to Germany to become the official state-sanctioned face of Nazi cinema and drama…

Cinebook’s 23rd Lucky Luke album has a pretty contorted not to say convoluted history. Officially the 69th individual exploit of the frontier phenomenon, it originally ran from June 23rd to August 4th 1975 in general interest magazine Le Nouvel Observateur (#554-560) and re-serialised that same year in #1-13 of Nouveau Tintin (September 16th – December 9th) before being rushed out au continent before year’s end as 44th collected album Lucky Luke: la guérison des Dalton. In 2010 in was first published in English as A Cure For the Daltons.

The plot and premise are familiar ones as snobbish, argumentative American East Coast intellectuals – this time the New York Institute of Science – invite a distinguished European authority to try their civilised tricks and tactics on the rough-&-tumble barbarians of their own untamed western frontiers. This seductively voluble wise man is Doctor Otto Von Bratwurst, a pioneer of the cerebral therapy later proponents will call psychoanalysis and he claims all criminals suffer from an illness caused by past childhood trauma: one he can remedy by talking to them…

The claim causes uproar and the loudest dissenting voice is Professor Beauregard Applejack who thinks it’s all humbug and the cure for crime comes out of a gun. As tempers flare, Bratwurst gets his way and is sent west to test his notions on truly bad men…

Weeks later in Nothing Gulch, Texas, Lucky meets a train full of cheering passengers who have all enjoyed an emotional breakthrough. As the doctor casually – almost obsessively – cures drunks and bums of their painful pasts with little chats, the cowboy escorts the savant to a certain penitentiary where the worst of the worst western malefactors are contained…

This penitentiary’s clientele include Slaughterhouse Sam, Killer Katowski and Bloody Butch, but Von Bratwurst needs to prove himself against the most intractable specimens of humanity. Happily for him, the institution is second home to the appalling Dalton Brothers. Averell, Jack, William and especially devious, slyly psychotic, dominant diminutive brother Joe are the most vicious and feared outlaws in numerous states and territories and regularly escape to make trouble.

Of course the prison is primarily staffed by shiftless idiots – and guard dog Rin Tin Can: a pathetic pooch with delusions of grandeur and a mutt vain, lazy, overly-friendly, exceedingly dim and utterly loyal to absolutely everybody. The one thing he ain’t is good at his job. As Rantanplan – “dumbest dog in the West” and a wicked parody of pioneering cinema canine Rin-Tin-Tin – the pestilential pooch became an irregular co-star before eventually landing his own spin-off series…

Here, Luke’s arrival triggers a terrifying outburst in Joe and piques the head shrinker’s interest. He sees a challenge and huge potential regards and acclaim, whilst Joe sees a chance to get free, get rich and get Lucky Luke…

As talking therapy commences, Herr Doktor can’t help but spread dissent and destabilise everyone he speaks with – including Lucky – but his apparent success goes a step too far after convincing the warden to release the Daltons into his custody. Taking them out of the pen, Von Bratwurst’s treatment and testing of his subjects intensifies on an isolated farm, with our hero increasingly suspicious and agonising over what might happen. One unanticipated surprise is how eavesdropping affects pathetic pooch Rin Tin Can and helps sort his own daddy issues…

Even he isn’t prepared for the turnabout and transformation inspired by the candid confessions of the dastardly Daltons as a sudden epidemic of lawlessness explodes from Nothing Gulch to Patos Puddle, with Luke caught off guard and desperately seeking to sort out an unprecedented crisis. Thankfully he has a true wonder dog at his side…

Wry, savvy and cruelly sardonic, this potent poke at pop psychology and cod life-coaching blends straightforward slapstick with smart satire in another wildly entertaining all-ages confection by unparalleled comics masters. A Cure For The Daltons offers another enticing glimpse into a unique genre for readers who might have missed the romantic allure of the pervasive Wild West that never was…
© Dargaud Editeur Paris 1975 by Goscinny & Morris. © Lucky Comics. English translation © 2010 Cinebook Ltd.

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Tiny Titans volume 2: Adventures in Awesomeness


By Art Baltazar & Franco & various (DC Comics)
ISBN: 978-1-4012-2328-1 (TPB/digital edition)

Links between animated features and comic books are long established and, for younger consumers, indistinguishable. Honestly, it’s all just entertainment in the end…

For quite some time at the beginning of this century, DC’s Cartoon Network imprint was arguably the last bastion of children’s comics in America and worked to consolidate that link between television and printed fun and thrills with stunning interpretations of such small screen landmarks as Ben 10, Scooby Doo, Powerpuff Girls, Dexter’s Laboratory and many more screen gems.

The kids’ comics line also generated truly exceptional material based on TV iterations of the publisher’s proprietary characters – such as Legion of Super Heroes, Batman: Brave and the Bold and Krypto the Super Dog as well as material like Billy Batson and the Magic of Shazam! which was merely similar in tone and content. For many (mostly adults) the line’s finest release was a series ostensibly aimed at early-readers but which quickly became a firm favourite of older fans and a multi-award winner too.

Superbly mirroring the magical wonderland inside a child’s head where everything is joyfully all smooshed up together, Tiny Titans became a sublime antidote to continuity cops and slavish fan-boy quibbling (all together now: “… erm, uh… I think you’ll find that in…”) by reducing the vast cast of the Teen Titans Go! animated series, the far greater boutique supplied by mainstream comics – and eventually the entire DC Universe continuity – to little kids and their parents/guardians in a wholesome kindergarten environment.

It’s a scenario spring-loaded with multilayered in-jokes, sight-gags and the beloved yet gently mocked trappings and paraphernalia generations of strip readers and screen-watchers can never forget… and all located in the utopian Sidekick City Elementary School. Art Baltazar and co-creator Franco (Aureliani) mastered a witty, bemusingly gentle manner of storytelling that just happily rolls along, with assorted (sort-of familiar) characters getting by, trying to make sense of the great big world. The method generally involves stringing together smaller incidents and moments into an overall themed portmanteau tale and it works astoundingly well.

After handy and as-standard identifying roll-call pages ‘Meet the… Tiny Titans’ and a poster page cover of ‘Titans in Space’, the pint-sized tomfoolery opens with ‘Ya Think?’ as transparent-headed Psimon deliberates over his checkers game with similarly glass-fronted The Brain… until Kid Flash and Wonder Girl start heckling…

Meanwhile, at school, Starfire gets a text from her dad telling her to come home. Of course, she invites all her friends and two-and-a-half days later the entire class is wandering around alien planet Tameran…

Once they get back Robin convenes a meeting of his new avian themed ‘Bird Scouts’, only to find his alternate identities causing a little contention and confusion…

The issue ends with a Franco Tiny Titans pinup preceded by a return confrontation between Psimon and his hecklers in ‘To Get to the Other Side’. Sadly, once again his tormentors get the last word…

‘Report Card Pickup!’ finds adult Justice Leaguers confronting Principal Slade (AKA Deathstroke) and substitute teacher Mr. Trigon over the grades of the little folk whilst introducing a new intake from Sidekick City Preschool – ominously dubbed the Tiny Terror Titans…

Starfire gives Blue Beetle an unwanted makeover in ‘Happy Feeling Blue’ whilst Robin, Batgirl and Ace the Bat-hound get invitations to BB’s birthday party in ‘Joke’s on You’.

Elsewhere, the other Wonder Girl (the series played extremely fast-&-loose with continuity so suck it up if you’re expecting serious logic, ok?) and tiny winged Bumblebee indulge their ‘Book Smarts’ until Beast Boy shows up. Meanwhile under the sea, Aqualad chairs a meeting of ‘Pet Club, Atlantis’ until Raven and The Ant spoil things by breaking the first rule…

Concluding with a Puzzler page and a bonus pinup, #8 gives way to a 9th issue and inescapable predicament as the kids go ape because of ‘Monkey Magic’…

When Beppo the Super-Chimp gets hold of a magic wand at Robin’s Comic Book Party, the attendees are soon reduced to hirsute ancestral forms. Thankfully Batgirl & Bumblebee are meeting with the size-shifting Atom family (The Atom, Mrs. Atom, Crumb, Dot, baby Smidgen and little dog Spot) and initially missing the ensuing chaos.

Bad boys of the Brotherhood of Evil aren’t so lucky when Beppo flies over and suddenly Brain and Psimon are as simian and banana-dependent as their talking-gorilla comrade M’sieu Mallah and before long Starfire and Batgirl also get monkey-zapped…

Resolute, bureaucratic Robin then institutes the first meeting of ‘The Titan Apes’ but that only provokes the pesky Super-Chimp to really see what his wand can do and even after Raven’s magic sorts everything out, Beppo rises to the challenge…

Closing with another Tiny Titans Puzzler Page and pinup of the diminutive ‘Atom’s Family’ the animal antics carry over into the next month as ‘World’s Funnest!’ sees Supergirl entertaining Batgirl at ‘Tea Time’. Tragically, the Girl of Steel has forgotten to feed pet cat Streaky and her guest has been equally derelict in her duties to Ace, forcing the power pets to seek redress as the little ladies set out on a global jaunt, meeting annoying monsters Kroc and Bizarro…

A Tiny Titans Word Link Puzzler and Bonus Pinup of the eventually-reconciled stars wraps up the issue before the penultimate outing reveals romantically declined Beast Boy in the throes of ‘Terra Trouble’. The green Romeo’s intended inamorata is a feisty lass with refined tastes and in ‘Counting on Love Rocks!’ she shows him the depth and density of her disaffection, after which Robin greets visiting Russian student Starfire and gets wrapped up in a tempestuous ‘Name Exchange’ dilemma.

Terra meanwhile is not fooled by a viridian ‘Rock Dog’ and Beast Boy ends up with more bruises. Wiser, younger heads (mask, helmets, etc) just go to a carnival and leave them to it, with the lovesick loser escalating his campaign with a little ‘Rock Show’ whereas Aqualad and scary blob Plasmus attend a monster movie ‘Double Feature’…

Agonisingly undaunted, Beast Boy decides on a costume makeover and new origin. Dressed like Superman he builds a ‘Rocket Box’ but yet again fails to kindle a spark…

Silent mirth then illuminates ‘Tiny Titans Presents… The Kroc Files: Changing a Lightbulb’ before another TT Puzzler and ‘Super Bonus Pin-Up! of Alfred and the Penguins’ escort us smartly to the final outing in this smart and sassy tome.

‘Faces of Mischief’ focuses on the school staff as ‘Morning with the Trigons’ finds the substitute teacher and demonic overlord called in on short notice. It’s ‘Monday Morning’ and as the Principal and Trigon goof off to a baseball game, Slade leaves cafeteria server Darkseid in charge. This is the chance the Apokolyptian Lord of Destruction has been waiting for…

With the adult slackers listening to ‘Take Me Out to the Ballgame’, the kids are forced to endure exams and their ‘Finals Crisis’ seems eternal. After apparent ages, Robin needs a ‘Hall Pass’ but is soon accosted by not just the official Monitor but also the diabolical Anti-Monitor (trust me, if you’re wedded to DC Lore, this is comedy gold: for the rest of you, it’s still hilariously drawn…)

Finally, the dread day ends for the kids, but as Raven heads home with Slade’s kids Rose and Jericho, she hears something that could ruin her life and takes drastic steps to ensure ‘Our Little Secret’ just as their dads concoct a sinister do-over for the following week…

Bringing the graphic glee to a halt is a silent ‘Kroc Files: Sending an E-Mail’, a TT Baseball Unscramble Puzzler and a pin-up of the entire nefarious ‘Sidekick City Elementary Faculty’.

Despite being aimed at super-juniors and TV kids, these wonderful, wacky yarns – which marvellously marry the heart and spirit of such classic strips as Peanuts and The Perishers with something uniquely mired and marinated in unadulterated nerdish comic bookery – are unforgettable gags and japes no self-respecting fun-fan should miss: accessible, entertaining, and wickedly intoxicating to readers of any age and temperament. What more do you need to know?
© 2008, 2009 DC Comics. All Rights Reserved.

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Bunny vs Monkey book 8: The Impossible Pig! (paperback edition)


By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-312-7 (Digest HB)

Britain and America were a bit preoccupied on July 4th this year and might have missed this major milestone of the Good Times returning. However, now that the happy dust has settled and before all the bunting gets packed away, lets celebrate another earthshaking milestone: the softcover escape of a truly wonderful comics read…

Bunny vs Monkey has been the hairy/fuzzy backbone of The Phoenix since the very first issue back in 2012: recounting a madcap vendetta gripping animal arch-enemies in an idyllic arcadia masquerading as more-or-less mundane but critically endangered English woodlands.

Concocted with gleefully gentle mania by cartoonist, comics artist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Max and Chaffy, Flember), his trendsetting, mindbending multi award-winning yarns have been wisely retooled as graphic albums available in digest editions such as this one.

All the tail-biting tension and animal argy-bargy began yonks ago after an obnoxious little beast plopped down in the wake of a disastrous British space shot. Crashlanding in Crinkle Woods – scant miles from his launch site – lab animal Monkey believed himself the rightful owner of a strange new world, despite every effort to dissuade him by reasonable, rational, sensible, genteel, contemplative forest resident Bunny. For all his patience, propriety and good breeding, the laid-back lepine could not contain or control the incorrigible idiot ape, who to this day remains a rude, noise-loving, chaos-creating, troublemaking lout…

Problems are exacerbated by other unconventional Crinkle creatures, particularly the skunk called Skunky possessing a mad scientist’s intellect and attitude to life plus a propensity for building extremely dangerous robots, bio-beasts and sundry other super-weapons. Here – with adaptive artistic assistance from design deputy Sammy Borras – the war of nerves and mega-ordnances resumes even though everybody thought all the battles had ended. They even seemingly forgot ever-encroaching Hyoomanz…

Divided as ever into seasonal outbursts, this magnificent mass-market (and now soft-shelled) amalgamation of insanity opens in the traditional manner: starting slowly with a sudden realisation. Probably by using his fingers, Monkey has worked out that Bunny’s side has more good guys (Ai, Pig Piggerton, Weenie, Metal E.V.E. and Le Fox) than his own bad ones! Wisely rejecting Skunky’s offer to make more evildoers, the sinisterly stupid simian seeks to steal some of Bunny’s buddies: making insidious individual approaches in ‘A Big Hole’. One immediate success goes utterly unnoticed whilst those worthy stalwarts debate ways to get hapless Pig out of a giant pit before finding the ‘Tunnels’ the sweet simpleton used to get there in the first place…

First contact and a really strange day for all – including a wholly new kind of Crinkle critter – occurs in ‘Jerb-eing Unreasonable’, before Monkey commits carnage in a psychic bodysuit that can literally ‘Imagine That’: opening the doors to another Spring. At this time a certain white rabbit is pilfering carrots from an angry Hyooman, and saved by Monkey in a colossal exo-skeletal ‘Spade-O-Matic’, officially opening hostilities between bipeds and beasts…

Meanwhile and maybe later, Bunny experiences ‘Mossy Mayhem’ when Skunky’s latest experiment escapes, even as Metal E.V.E ponders astral reality and rashly asks her friend to explain ‘Pig Science’…

As Monkey demands 25% more evil from his crew, he’s distracted by Metal Steve’s latest faux pas – a doomed relationship with ‘Wipey’ – and ‘Sun 2.0’ renders repercussions of Skunky upgrading the source of all light and warmth, and Action Beaver is subject to a ‘Body Swap’ after Monkey covets his apparent immunity to pain and harm. It doesn’t end well…

Once the Great Woodland Bake-off inevitably culminates in ‘Cakes and Bruises’ Monkey use a superstrength serum unwisely. As his bones mend he has a Damascus moment: deducing that being a ‘Good Monkey’ might be less harmful. He gives nobility a go… but it too doesn’t end well…

A fresh face materialises as Pig meets ‘The Visitor’: inadvertently saving Lucky the Red Panda from atomic discorporation. Sadly, the effect is only temporary and when their memories merge, Lucky is stuck in this dimension with our plucky porcine adrift in the molecular stream of the cosmos. Trapped on Earth, the stranger tries desperately to convince all and sundry she is ‘Actually Pig’, often assisted by typical distractions like marauding sprout-farting monster ‘Gruntulak!’ and a no-holds-barred campaign to elect ‘President Monkey’.

Skunky starts disassembling woodland residents: harvesting DNA to make endless duplicates in ‘All A-Clone’ but even Skunky’s science can’t handle Lucky…

As Summer starts, mad science wins again. Skunky sets a trap to prove Lucky is ‘Not Pig’ and even finds what happened to the lost one, after which Monkey manages to murder cloud-gazing in ‘Weather or Not’ and Weenie gets a shocking letter in ‘Blackmail’. With the truth about to out, ‘Pocket Pig’ finds our gentle woodland folk forming a torch-waving mob to establish their real friend’s fate, only to find Skunky has already found a way to exploit the situation. However, when he constructs a device to broach outer realms, Monkey makes a shambles of the ‘Portal Recall’…

When the awful anthropoid gets a mail-order giant robotic Chicken of Darkness, he never anticipated some assembly required and the woods are saved by ‘A Loose Nobble’, allowing good manners and better natures to resurface. Thus, all the animals contribute to ‘Lucky’s Home’ – especially Monkey with his goop gun and crushing space-sphere of doom…

Elsewhere, as Metal Steve and Metal E.V.E hold a private contest to decide the best automaton in ‘Who Will Win the War of the Robots’, Skunky’s clumsiness triggers a crop of carnivorous blooms in ‘Chomp!’ As Monkey’s alter ego “Captain Explosives” accidentally uncovers a crop of chronal crystals in ‘Time and Again’, Skunky makes a great breakthrough: a remote control for existence with a ‘Freeze Frame’ able to warp and rewind reality…

With everything on pause, ‘The Second Pigging’ heralds the return of a lost friend whose voyage to the cosmos has resulted in Complete Spiritual Enlightenment and manifestation as a Non-Corporeal Vision. Sadly, when nobody cheers, the Ultimate Pig pops off in a dudgeon, leaving Lucky to save the day and restore time in ‘Hairy Nearly’: a major turning point that upsets many participants…

In what passes for a return to normality, Monkey is possessed by the ghost of a chicken and triggers an invasion of ‘Zombies!’ just as Autumn opens with Skunky & Monkey unleashing a giant robot that is ‘Turtle-y Ridiculous’…

Former good guy Fantastic Le Fox is also possessed and proffers ‘A Warning’ of failure and worse which Monkey immediately reacts badly to even as transcendent Pig returns to make contact with and elevate ‘Prophet Beaver’. Of course, no one listens…

Monkey meanwhile has been messing with elemental forces, turning the woods into an ‘Expressionistic’ nightmare before losing patience and challenging Bunny to a duel of ‘Brain Power’. After winning by cheating, the simian sap learns a painful lesson that is only the beginning of his woes as ‘Double Bunny’ depicts a doppelganger emerging who will change the status quo in quite appalling ways…

Lost and distraught, Bunny undertakes a mission for Skunky into the bowels of the earth in search of ‘Long-Lost Flopsy’. Guess how that ends…

Drama intensifies when ‘The Impossible Pig’ returns to reality only to learn that being ‘Disappointingly Mortal’ would be better than life as a power battery for Skunky, before ‘Lucky’s Fortune’ turns the tide…

Bunny has not been right since meeting the other rabbit and with Metal E.V.E.’s aid ‘The Search is On’ for a boon companion. Only briefly interrupted by reality running wild, the hunt resumes in ‘Better Luck Next Time!’ as Le Fox’s niece arrives for some rowdy ‘Fennec Fun!’ She’s on the run and another relation isn’t far behind her…

Solitude has bitten our hero hard and nothing Monkey can do will distract ‘A Lonely Bunny’ in his morose meanderings, so the little meany challenges Impossible Pig instead, and learns real suffering in ‘Butt Then…’

When Winter arrives, Lucky sees snow for the first time, enduring cheeky hostiles chucking chilly snowballs until the wonder-pig steps up as ‘Protector’ but is tricked by Skunky who wants to depower the self-promoting saviour ‘At All Costs’…

Resolved to return to the Molecular Stream, Impossible Pig takes advice from unknowable factor Le Fox, but stumbles into a wild Christmas Party on his way to the fabulous Lake of Eternity. He also meets Lucky who wants to leave this reality just as much, but as they argue over who should take the one-way ride, a dear friend and desolate hero is already ‘Jumping the Queue’…

To Be Continued…

The agonised anxiety-addled animal anarchy might have ended for now, but there are still secrets to share: specifically detailed instructions on ‘How to Draw Lucky’ plus a preview of other treats and wonders available in The Phoenix to wind down from all that angsty furore…

The zany zenith of absurdist adventure, Bunny vs Monkey is weird, wild wit, inspired invention, stunning sentiment and cracking cartooning all stuffed into one eccentrically excellent extravagant package. These tails (tee hee!) never fail to deliver jubilant joy for grown-ups of every vintage, even those who claim they only get it for their kids. This is the kind of comic book parents beg kids to read to them. Shouldn’t that be you?
Text and illustrations © Fumboo Ltd. 2023. All rights reserved.

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Walt Disney’s Donald Duck: The Brittle Mastery of Donald Duck


By Carl Barks (Gladstone Comic Album #7)
ISBN: 978-0-94459-906-8 (Album PB)

Although experts quibble over the details of Donald Duck’s debut (I cleave to the notion we should use the premier of The Wise Little Hen on 3rd May rather than the June 9th US general release date), everybody agrees 1934 was the year and that the magnificent mallard is 90 this year. In honour of that achievement, here’s a lovely old book starring Disney’s top cartoon star that you might be lucky enough to find. Even if you can’t, the stories are scattered throughout Fantagraphics’ magnificent Carl Barks library editions which we will continue sporadically reviewing and which you really should already own…

Donald Duck ranks among a small group of fictional characters to have transcended the bounds of reality and become – like Sherlock Holmes, Tarzan, Popeye and James Bond -meta-real. As such, his origins are complex and convoluted. His official birthday is June 9th 1934: a dancing, nautically-themed bit-player in the Silly Symphony cartoon short The Wise Little Hen.

The animated cartoon was adapted by Ted Osborne & Al Taliaferro for the Silly Symphonies Sunday newspaper strip and thus classified by historians as Donald’s official debut in Disney comics. Controversially, he was also reported to have pre-originated in The Adventures of Mickey Mouse strip which began 1931. Thus the Duck has more “birthdays” than he knows what to do with, which presumably explains why he’s such a bad-tempered cuss.

Visually, Donald Fauntleroy Duck was largely the result of animator Dick Lundy’s efforts, and, with partner-in-fun Mickey Mouse, is one of TV Guide’s 50 Greatest Cartoon Characters of All Time. The Duck has his own star on the Hollywood walk of fame and has appeared in more films than any other Disney player. Throughout the 1930s, his screen career grew from background and supporting roles via a team act with Mickey and Goofy to a series of solo cartoons beginning with 1937’s Don Donald. That one also introduced love interest Daisy Duck and the irrepressible nephews Huey, Louie and Dewey…

By 1938 The Duck was officially more popular than corporate icon Mickey Mouse, and even more so after his national service as a propaganda warrior in a series of animated morale boosters and information features during WWII. The merely magnificent Der Fuehrer’s Face garnered the 1942 Academy Award for Animated Short Film…

Crucially for our purposes, Donald is also planet Earth’s most-published non-superhero comics character, and blessed with some of the greatest writers and illustrators ever to punch a keyboard or pick up a pen or brush. A publishing phenomenon and megastar across Europe – particularly Italy, Germany, the Netherlands, Greece, Sweden, Denmark, Norway, Finland and Iceland – Donald (& Co) have spawned countless original stories and many immortal characters. Sales are stratospheric across all age groups there and in upwards of 45 other countries they export to. Japan’s manga publishers have their own iteration too…

The aforementioned Silly Symphonies adaptation and Mickey strip guest shots were trumped in 1937 when Italian publisher Mondadori launched an 18-page comic book story crafted by Federico Pedrocchi. It was quickly followed by a regular serial in Britain’s Mickey Mouse Weekly (a comic produced under license by Willbank Publications/Odhams Press that ran from 8th February 1936 to 28th December 1957). Issue #67 (May 15th 1937) premiered Donald and Donna – a prototype Daisy Duck girlfriend – drawn by William A. Ward. Running for 15 weeks, it was followed by Donald and Mac before ultimately settling as Donald Duck – a fixture until the magazine folded. The feature inspired similar Disney-themed publications across Europe, with Donald regularly appearing beside company mascot Mickey…

In the USA, a daily Donald Duck newspaper strip launched on February 2nd 1938, with a colour Sunday strip added in 1939. Writer Ted Karp joined Taliaferro in expanding the duck cast and history: adding a signature automobile, pet dog Bolivar, goofy cousin Gus Goose, and grandmother Elvira Coot whilst expanding the roles of both Donna and Daisy. In 1942, his comic book life began with October cover-dated Dell Four Color Comics Series II #9: AKA Donald Duck Finds Pirate Gold. It was conceived by Homer Brightman & Harry Reeves, scripted by Karp and illustrated by Disney Studios employees Carl Barks & Jack Hannah. That was the moment everything changed…

Carl Barks was born in Merrill, Oregon in 1901, and raised in rural areas of the West during some of the leanest times in American history. He tried his hand at many jobs before settling into the profession that chose him. His early life is well-documented elsewhere if you need detail, but briefly, Barks was a cartoonist, then an animator before quitting the Studio in 1942 to work in the new-fangled field of comic books. From then until his retirement in the mid-1960s (he officially downed tools in 1966 but was cajoled into scripting stories well into 1968), Barks worked in self-imposed seclusion: writing, drawing and devising a vast array of adventure comedies, gags, yarns and covers that gelled into a Duck Universe of memorable and highly bankable characters like Gladstone Gander (1948), Gyro Gearloose (1952), Magica De Spell (1961) and the nefarious Beagle Boys (1951) to supplement the Studio’s stable of cartoon actors.

His greatest creation was crusty, energetic, paternalistic, money-mad giga-gazillionaire Scrooge McDuck: the World’s wealthiest winged nonagenarian and frequent spur/gadfly and reluctant sugar daddy to the adventuresome youngsters…

Whilst producing all that landmark material Barks was also just a working guy, generating cover art, drawing other people’s scripts as asked, and always adding stories to a burgeoning international canon of Duck Lore. Only after Gladstone Publishing began re-packaging Barks material in books like this during the 1980s, did he discover the well-earned appreciation he never imagined existed. Media Historian Leonard Maltin called Barks “the most popular and widely read artist/writer in the world”…

So potent were Barks’ creations that they fed back into Disney’s overarching animation output, despite all his brilliant comic work being for Dell/Gold Key and not the studio. The greatest tribute was undoubtedly animated series Duck Tales, based on his classic Uncle Scrooge adventures. Barks was a fan of wholesome action, unsolved mysteries and epics of exploration, and this led to him perfecting the art and technique of the blockbuster tale: blending wit, history, plucky bravado and sheer wide-eyed wonder into rollicking rollercoaster romps that utterly captivated readers of every age and vintage. Without the Barks expeditions there would never have been an Indiana Jones…

During his working life Barks was utterly unaware that his work – uncredited due to company policy, as was all Disney’s comics output – had been recognised by a rabid and discerning public as “the Good Duck Artist”. When some of his most dedicated fans finally tracked him down, belated celebrity began.

In 2013, Fantagraphics Books began chronologically collecting Barks’ Duck stuff in curated archival volumes, tracing his output year-by-year in hardback tomes and digital editions that finally did justice to the quiet creator. These will eventually comprise the Complete Carl Barks Disney Library. Physical copies are sturdy and luxurious albums – 193 x 260mm – to grace any bookshelf.

Gladstone Publishing began re-releasing Barks material and sundry other Disney strips in the late-1980s and this album is one of their best. Printed in the European oversized format (278mm x 223mm) this joyous compendium collects an occasional series of similarly-themed yarns: some of the best and funniest Duck tales ever crafted.

The “Brittle Master” series is the name given by devotees to a group of stories wherein the perennial failing, fiery-tempered and eternally put-upon everyman Donald displays an excellence in some unique skill or service, winning the approval and veneration of all and sundry – only to have his own smug hubris bring about his ultimate humiliation and downfall.

The first untitled tale, from Walt Disney Comics and Stories #156 (1953) sees Donald as an airplane-piloting, cloud-sculpting Master Rainmaker catering to increasingly outrageous requests from his adoring public. This leads him inevitably to disaster – in this case the creation of a full-blown, devastating Ice-storm…

Next, from WDC&S #222 (1959) comes the tale of the Master Mover, as Donald displays an uncanny ability to transport anything anywhere, only to come a crushing cropper when he guarantees to shift an entire zoo to a mountaintop in one afternoon!

From Donald Duck #68 (also from 1959) ‘The Master Glasser’ (we’d call him a glazier) is a wickedly satirical glimpse at small-town America as the arrogant artificer at the height of his fame attempts to repair the aged fascia of Duckburg’s giant clock. Perhaps he shouldn’t have tried to do it live on TV?

The fourth tale is one where I suspect Donald actually found his true calling. The ‘Master Wrecker’ (WDC&S #26, 1962) is the go-to-duck if you need something demolished with no muss or fuss, and even in this hilarious yarn Donald doesn’t actually fail. The target is utterly razed: it’s just not the one he was supposed to demolish…

This delightful collection ends with the satisfyingly sharp ‘Spare That Hair’ (WDC&S #272, 1963) as Donald the Master Barber finally wins one for a change, even though he mistakenly shaves a gorilla and inspires the ire of a rowdy circus ringmaster…

Barks was as adept with quick-fire gag stories as epic adventures; blending humour with drama and charm with action, and even if you can’t find this particular volume, most of his unforgettable work is readily accessible through a number of publications and outlets and in many languages. So if you seek to become a Master Reader, you know what you need to do…
© 1988, 1963, 1962, 1959, 1953 The Walt Disney Company. All Rights Reserved.

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Little David


By David Cantero (Northwest Press)
eISBN: 978-1-9438900-0-2 (digital only)

Families are important: by every conceivable metric the foundation of human society. If we swallow our arrogant exceptionalism for a moment, it’s also the binding concept of all mammalian life and a fair bit of the rest of Earth’s breathing occupants. You just need to try and be flexible, tolerant, willing to re-examine old ideas in the light of changing information and where necessary loosen any old hidebound definitions you might have acquired while growing up… and be amenable to change. It always comes whether or not you want it too.

Traditional interpretation of the family concept is one we’re finally shedding: escaping centuries of oppressive preconditioning and the diktat of whatever autocratic – or, more usually, theocratic – hegemony presumes to run your life at any one time. You can consider the current foofaraw about the imaginary cosmic threat of letting people self-define their gender just the latest bunch of reactionary twaddle of a none-too-rapidly dying breed…

I’ll restate that just in case I wasn’t clear: human beings are all about families and what constitutes a family is open to personal interpretation…

David Cantero Berenguer (The Little Swallow Light, Cunitoons, People) was born in Cartagena, Spain and – after graduating in 1996 from the Royal Academy of Fine Arts in Liège – embarked on a stellar career as an author, cartoonist, illustrator, concept artist, designer and games maker. He is a prolific creator of books and graphic novels for kids and adults. Many of his works involve gay themes, ranging from inclusive all-ages chronicles (like the one under review here) to beguiling adult erotica.

Little David was first released in 2015 and deftly references Winsor McCay’s classic fantasy Little Nemo in Slumberland. It is a delightful and charming selection of short gags wherein an ever-inquisitive titular star cavorts, chats and interacts with nine other kids, each and all cumulatively representing the wealth of options qualifying as family units today.

David himself has two dads, and pal Ulysses has a widowed mother, a stepdad and two half-brothers. Earnest and forthright Marie just has her mum. Abrasive Big Harry is full-nuclear in a biological clan of mum, dad and one sister, whereas Lena is a result of artificial insemination undertaken by her already-divorced mother. Anastasia has a mum and dad who conceived her in vitro, and PJ was adopted. Completing the roster, Ian has a mum and a trans dad whilst twins Yoko and Keiko have two mums and are the result of natural insemination.

That’s a heady mix and subject to exactly the kind of innocently incisive, hilarious conversations you’d imagine a bunch of smart, curious kids will indulge in when the adults are absent and they’re trying to get to know each other.

The result is a wittily compelling string of spit-take moments, especially as David (and his beloved stuffed unicorn Little Poo Poo) not only learn about many other ways of living but also explore various ways of dressing and expressing his own developing personality, interests and choices…

As innocently enchanting as Peanuts, as astute as Bloom County and as outrageously revelatory as Calvin and Hobbes, this peewee playground of family fun offers as sincerely inclusive and heartwarming kindergarten of comics messaging as you’d ever want your kids to see, and is also a superb example of top rate cartooning to gladden the eyes.

Little David is a book every home and elementary school should have and use. Tell your government I said so…
© 2015 David Cantero. All rights reserved.