Top 10

By Alan Moore, Gene Ha, Xander Cannon & various (Vertigo)
ISBN: 978-1-4012-5493-3

Let’s start the New Year with a fresh look at a much-neglected gem of mature-reader Fights ‘n’ Tights fun courtesy of the grandmaster of the sub-genre. These tales first appeared at the turn of the century under the America’s Best Comics banner – and are still available in those editions should you be so minded to seek them out – but this hefty paperback (or eBook) gathers the first dozen award-winning issues in one nifty pack, so that’s convenient, if nothing else…

Following his usual avuncular introduction in ‘Powers of Arrest: Precinct Ten and Social Super-Vision’ Alan Moore effortlessly welds superteam dynamics to the modern world’s fascination with police procedural dramas in this series based on the premise of everyday life in a universe where Super-Nature is accepted and common place.

Neopolis is a city entirely populated by super-beings. Heroes, villains, gods, robots and monsters, the city is a vast dumping ground for copyright-confounding analogues of everything that ever appeared in a comicbook, cartoon or movie since the genre and industry began.

Such a city needs really special policing and the beat cops are based at Precinct Ten – or Top 10 to you and me. In the mid-1980s this city joined a pan-dimensional league of worlds and came under the jurisdiction of the security organisation based on “Grand Central”. That morsel of data will play a large part in the overarching storyline, but the nature of this fascinating ensemble piece is to build a longer narrative by seeming disconnected snippets and increments of daily drudgery.

Robyn Slinger is the new rookie at Top 10 and we start on her first day as a “real Police”. Her dad was a respected officer, but her own talent – controlling tiny robotic toys (like General Jumbo if you’re a doddery old Beano reader like me) – doesn’t instil her with any great confidence as she is gently ushered into the routine by the affable desk-sergeant Kemlo Caesar. Nor, really, does the realisation that he’s an actual talking dog in a mecha suit.

Adapting to the banter, routine and teasing of her fellow officers is daunting, but not as much as being partnered with the surly, invulnerable blue giant Smax.

In short order, whilst going about their regular duties, which include sorting out super-powered “domestics” (no, not housekeepers – spousal confrontations), crowd control at robotic murder scenes, rousting hookers and generally keeping the peace, they become embroiled in an unsolved – now potentially ongoing – serial killer case and a drug investigation that will eventually reach to the highest levels of their own organisation (‘Blind Justice’ and ‘Internal Affairs’).

By adopting the “day-in-the-life” approach, Moore and Gene Ha cover a lot of character ground and fill in back-story history whilst showing us “The Job”. As the method is used so effectively in TV Cop shows, readers not only get the same benefits of tone, texture and information value, but the added bonus of making the super-heroic elements more “real” and authentic seeming: a huge advantage when your protagonists deal every day with the most outlandish concepts comics have devised in the last 80 years.

For example: When – in ‘Eight Miles High’ – a reptilian gangbanger is arrested his dad wants to bust him out, and even the cops have to think twice when a foul-mouthed, 300-foot drunken lizard comes calling… Or how do you bust up a rave-party when all the revellers are dancing so fast they can’t be seen? Perhaps your apartment has been invaded by hyper-intelligent UltraMice? Check out ‘Great Infestations’ for a truly bizarre sit-rep…

When the serial killer case finally breaks it exposes an alien monster whose real identity will bring nothing but trouble…

Before that though, the guys have to deal with the usual Seasonal problems brought on by the Yule Holidays as ‘You Better Watch Out, You Better Not Cry…’ leads to murder and other ‘Mythdemeanors’ in a bar frequented by the gods of Asgard and other pantheons…

Like any good cop story, cases run in parallel, at different rates and often in opposition, and the large cast all have their own lives which are impossible to completely divorce from “The Job”. That’s epitomised by more “one-day-at-a-time” storytelling and ‘The Overview’, as a major traffic accident draws most of the day-shift’s resources.

A couple of teleporting extra-dimensional travellers have catastrophically intersected, but by the end of the clear-up it’s clear the tragedy wasn’t a simple accident. Meanwhile, influential friends are trying to quash the case against the monstrous serial killer known as Libra, and Voodoo-powered officer King Peacock is sent to Grand Central, the head office of the police force…

‘Rules of Engagement’ finds him being given a particularly deadly form of the old run-around whilst the war between the UltraMice and the AtomCats in the apartment Duane shares with his ghastly mother has escalated to cosmic levels, in a brilliant swipe at comicbook mega-crossovers. Moreover, a long-running investigation is starting to look like a case for Internal Affairs…

‘Music for the Dead’ then sees the death of one of the key cast members as those corruption suspicions are horribly confirmed in a brutal incident that also closes the Libra killer case for good.

‘His First Day on the New Job’ introduces Joe Pi, the new (robotic) rookie experiencing some rather unsettling prejudice from his fellow officers as well as the funeral of the beloved colleague he’s replacing. The volume – in fact, the original series – concludes with ‘Court on the Street’, with an atypical clear win for the Good Guys when they go after the influential cronies of the deceased Libra Killer…

Superbly sardonic, this blend of low-key action and horror coupled with dark, ironic and occasionally surreal humour, is drawn in a super-realistic style by Gene Ha, leavened by the solid inks of Zander Cannon, and the drama is supplemented by a Top 10 Gallery (artists’ designs and commentary by Moore) of the huge cast of characters, plus a Precinct Layout and floor plans.

This cross-genre mix is immensely entertaining reading and the subtle shades of the writing are matched in full by Gene Ha’s beautiful, complex, detail-studded art, but in truth this seductive blend of police procedural drama and the whacky world of full-on superhero universes isn’t really about the narrative: its joys are to be found in the incidentals, the sidebars and the shared in-jokes.

This is a must-read series for jaded fans and newcomers with an open, imaginative mind.
© 1999, 2000, 2001 DC Comics. All Rights Reserved.

The Graphic Canon of Children’s Literature

By Many and various, Edited by Russ Kick (Seven Stories)
ISBN: 978-1-60980-530-2

Win’s Christmas Gift Recommendation: Amazing Recollections for Every Kid of Voting Age… 10/10

If you are of a certain age, you will remember that Christmas when you got The Book. What it was varies and you may not even have it now (probably not, in truth), but the getting of it, the cherishing of it in that moment, and the nostalgic debilitation recalling it brings now shaped your life. This book might well be it for someone you know and can’t think of a gift for…

Swallow the lump in your throat, grab a tissue and we’ll begin…

Once upon a time in the English-speaking world, nobody clever, educated or in any way grown-up liked comics. Now we’re an accredited really and truly art form and spectacular books like this can be appreciated…

The Graphic Canon is an astounding literary and art project, instigated by legendary crusading editor, publisher, anthologist and modern Renaissance Man Russ Kick. It seeks to interpret the world’s great books through the eyes of masters of crusading sequential narrative in an eye-opening synthesis of modes and styles. The project was initially divided into three periods roughly equating with the birth of literature and the rise of the modern novel.

Such was the success and impact of the feat that a number of side projects grew from the original, such as this startling confection celebrating the uniquely dual-purpose arena of stories for Children.

Make no mistake: this is not a simple bowdlerising “prose to strip” exercise like generations of Classics Illustrated comics, and you won’t pass any tests on the basis of what you see here. Moreover, these images will make you want to re-read the texts you know and hunger for the ones you haven’t got around to yet. Even those you think you’ve known for your entire life…

They certainly did for me…

Following the fascinating and agenda-setting ‘Editor’s Introduction’ the reimagination of centuries of wonder begins with a selection of Aesop’s immortal fables. Deliciously concocted by Roberta Gregory ‘The Miller, His Son, and the Donkey’ and ‘The Eagle, The Cat, and The Sow’ are followed by Peter Kuper’s refreshing interpretations of ‘The Ape and the Fisherman’ and ‘The Wasp and the Snake’.

Lance Tooks then takes torrid liberties but still makes magic with ‘The Lion in Love’, ‘The Fox and the Grapes’ and ‘The City Mouse and the Country Mouse’ before we move on to another timeless tale…

David W. Tripp offers a psycho-sexual take in his silent reworking of European fairy tale ‘Little Red Riding Hood’ after which Andrice Arp beguilingly details the saga of the ‘The Mastermaid’. Following that Norse fairy tale we head further north and east for Lesley Barnes’ iconic celebration of Russian folk tale ‘The Firebird’ before Miguel Molina offers a brace of scenes from Peruvian fairy tale ‘The Shepherdess and the Condor’.

The unfailingly entertaining Rachel Ball adapts a British yarn of abduction in ‘The Weardale Fairies’ after which Maëlle Doliveaux applies astounding collage and cut-paper acumen to ‘Four Fables’ by French mediaeval poet Jean de La Fontaine before a selection of Brothers Grimm tales opens with Kevin H. Dixon applying his studied blend of cultural appropriation and mordant insubordination to the ‘Town Musicians of Bremen’

Chandra Free – with technical assistance from BLAM! Ventures – then scrupulously documents ‘A Tale of One who Travelled to Learn what Shivering Meant’ before Noah Van Sciver adapts ‘Star Dollars’ and ‘The Water-Sprite’.

E.T.A. Hoffman’s ‘The Nutcracker and the Mouse King’ is translated into pictorial beats by Sanya Glisic and Dame Darcy revels in the full horror of ‘The Little Mermaid’ by Hans Christian Andersen whilst Isabel Greenberg concentrates the old master’s imaginative whimsy for ‘The Tinderbox’.

Billy Nunez reinvigorates British fairy tale ‘Goldilocks and the Three Bears’ by transposing it to rural China before Frank M. Hansen has wicked fun updating Mark Twain’s shockingly wry ‘Advice to Little Girls’.

Vicki Nerino liberally updates ‘Alice’s Adventures in Wonderland’ – by Lewis Carroll in case you don’t know – and Keren Katz illustrates a triptych of ‘Fables for Children’ by Leo Tolstoy (The Birds in the Net, The Duck and the Moon, The Water Sprite and the Pearl, The Mouse Under the Granary and The Falcon and the Cock) after which Sandy Jimenez adds a sheen of Glam Rock iconoclasm to an extract of Jules Verne’s ‘20,000 Leagues Under the Sea’.

Nabob of Nonsense Edward Lear is celebrated in ‘The Owl and the Pussycat’ by Rick Geary and doubly so by Joy Kolitsky who colourfully interprets ‘Calico Pie’ and ‘The New Vestments’, after which R. Sikoryak stunningly reduces Twain’s ‘The Adventures of Tom Sawyer’ to a quartet of symbolically eventful maps.

Lost story master George McDonald is represented by Dasha Tolstikova’s moving treatment of ‘At the Back of the North Wind’ and Molly Brooks adapts the first tantalising chapter of Johanna Spyri’s ‘Heidi’ before Eric Knisley redeems the fabulous and unfairly embargoed sagas of Joel Chandler Harris with a vivid take on ‘The Tar Baby (From Tales of Uncle Remus)’.

Molly Colleen O’Connell adapts Carlo Collodi’s ‘The Adventures of Pinocchio’ and Robert Louis Stevenson’s ‘Treasure Island’ is given a meta-textual going over by Lisa Fary, Kate Eagle & John Dallaire before Tara Seibel gives a modern spin to Oscar Wilde’s heartbreaking ‘The Nightingale and the Rose’.

Caroline Picard ambitiously and simultaneously covers four tales from ‘The Jungle Book’ by Rudyard Kipling – specifically ‘Rikki Tikki Tavi’, ‘Toomai of the Elephants’, ‘Kaa’s Hunting’, and ‘The White Seal’ – whilst Matthew Houston adds a graphically futuristic spin to his treatment of H.G. Wells’ ‘The Time Machine’.

Shawn Cheng adapts L. Frank Baum’s ‘The Wonderful Wizard of Oz’ in a single colour-splashed page and then does the same for the remaining 13 novels in ‘The Oz Series’ after which Sally Madden silently shows a key scene from ‘Peter Pan’ by J.M. Barrie and Andrea Tsurumi delicately details the retaking of Toad Hall from the end of Kenneth Grahame’s ‘The Wind in the Willows’ before Juliacks turns in a most dramatic reinterpretation of Frances Hodson Burnett’s ‘The Secret Garden’

Kate Glasheen adapts and modifies ‘The Velveteen Rabbit’ by Margery Williams, after which C. Frakes adapts ‘How the Potato Face Blind Man Enjoyed Himself on a Fine Spring Morning’ from Carl Sandburg’s ‘Rootabaga Stories’ and Matt Wiegle offers his rebus-filled silent take on Franklin W. Dixon’s ‘The Tower Treasure (A Hardy Boys Mystery)’ whilst Katherine Hearst goes wild with an eerie examination of ‘Peter and the Wolf’ as never imagined by Serge Prokofiev…

Astrid Lindgren’s immortal ‘Pippi Longstocking’ inhabits a decidedly off-kilter world thanks to Emelie Östergren, balanced by a sobering snippet from Anne Frank’s ‘The Diary of a Young Girl’ from mainstream comicbook royalty Sid Jacobson & Ernie Colón, after which John W. Pierard treats us to a selection of contemporaneous (and Rude) ‘Schoolyard Rhymes’.

Hitting the home stretch of modernity, we close with a chilling and wordless adaption from Tori Christina McKenna of Richard Adams’ ‘Watership Down’ and a stunning recapitulation by Lucy Knisley J.K. Rowling’s ‘The Harry Potter Series’ – all of it. Really. In 8 pages…

Complementing the childhood obsessions is a ‘Gallery’ by 58 more artists, and ‘Contributors’, ‘Acknowledgments’, ‘Credits and Permissions’ and even an ‘Index’.

Each piece is preceded by an informative commentary page by Kick, and this sort of book is just what the art form comics needs to grow beyond our largely self-imposed ghetto, and anything done this well with so much heart and joy simply has to be rewarded.
© 2014 Russ Kick. All work © individual owners and copyright holders and used with permission. All rights reserved.

The Beatles in Comics

By Michels Mabel, Gaet’s, Lu-K, Vox, Anne-Sophie Servantie, Ludivine Stock, Amandine Puntous, Romuald Gleyse, Julien Lamanda, Efix, Pierre Braillon, Ben Lebègue, Anthony Audibert, Bloop, Victor Giménez, Akita, Laurent Houssin, Richard Di Martino, Piero Ruggeri et Filipo Neri, Martin Trystram, Clément Baloup, Edwina Cosme et Christophe Billard, Patrick Lacan, Virginie de Lambert, Joël Alessandra, Odile Santi & various: translated by Joe Johnson (NBM)
ISBN: 978-1-68112-187-1 (HB)

Win’s Christmas Gift Recommendation: A Magical Mystery Tour for All… 10/10

Graphic biographies are all the rage at the moment and this one – originally released on the continent in 2016 – is one of the best I’ve seen and the most likely to appeal to a far larger mainstream audience than comics usually reach. It certainly deserves to…

If you’ve never heard of the Beatles there’s very little point in you carrying on any further.

Still with us? Okay then…

As if cannily repackaged popular culture factoids and snippets of celebrity history – accompanied by a treasure trove of candid photographs, song lyrics, posters and other memorabilia – aren’t enough to whet your appetite, this addition to the lore of the Fab Four adds a vital and enticing extra element.

The individual chronological articles and the comics vignettes they each precede are all written by Michels Mabel & Gaet’s, with an army of illustrators providing vivid and vibrant mini-strips, beginning with the meeting of ‘John, Paul and George’, as envisioned by Lu-K.

Vox details the euphoria of the first gigs in ‘Hamburg’ before Anne-Sophie Servantie details the iconic contribution of photographer ‘Astrid Kirchherr’ to the band’s growing mystique after which the crucial contribution of their tragedy-marked manger is explored in ‘Mister Epstein’ with vivid illustration from Ludivine Stock.

A tone of smug schadenfreude tinges Amandine Puntous’ ‘The Man Who Refused to Sign the Beatles!’ before Romuald Gleyse recalls the moment the magic finally gelled as a proper music producer takes the rowdy kids in hand with ‘George Martin’s Wager’.

With the world at their feet, a close brush with respectability and civil honours are covered in

‘The Queen’s Rebels’ by Julien Lamanda after which Efix encapsulates conquest of the New World and ‘The Beginning of Beatlemania’; with Pierre Braillon tackling key appearances on ‘The Ed Sullivan Show’ and Ben Lebègue depicting ‘Shea Stadium and the American Tour’.

Once they started getting successful, tensions began to fracture the band’s enthusiastic solidarity. The creation of the song ‘Yesterday’ (Anthony Audibert art) and an anticlimactic meeting of giants, as seen in Bloop’s ‘The Beatles and Elvis’ starts tracing the cracks, whilst movie sensation ‘A Hard Day’s Night’ – by Victor Giménez – and Akita’s visualisation of ‘John’s Opinion’ reinforce the tensions.

Courtesy of Laurent Houssin, ‘New Musical Horizons’ are explored, and Richard Di Martino celebrates ‘The Triumph of Sgt. Pepper’s Lonely Hearts Club Band’ before the hammer falls with the death of their protective manager. ‘Goodbye Brian’ by Piero Ruggeri et Filipo Neri signals a creative explosion and the beginnings of financial disaster as conmen target the band resulting in a fractious ‘Trip to India’ (by Martin Trystram), the advent of ‘Yoko Ono’ (from Clément Baloup) and the musical masterpiece that is ‘The White Album’ as depicted by Edwina Cosme & Christophe Billard.

Patrick Lacan then visually traces the insane and inane conspiracy theories claiming ‘Paul is Dead’ before more artistic triumphs are balanced by incipient catastrophe in Virginie de Lambert’s ‘Abbey Road/Let it Be’.

From there it’s all about ‘The Break-up’ (Joël Alessandra) after which Odile Santi scrapbooks 1971 to now in the postscriptive ‘Post Beatles’ section…

The compelling and remarkable biography concludes on a deliciously whimsical note as ‘Do you want to know a secret?’ offers 18 absurd anecdotes to delight everyone who loves to hear classic absurdism. The Beatles in Comics is an astoundingly readable and beautifully rendered treasure for comics and music fans alike: one that resonates with anybody who loves to listen and look. Without it, you’re simply nowhere, man…

© 2016 Petit as Petit. © 2018 NBM for the English translation.
NBM books are also available in digital formats. For more information and other great reads see

Follow Me In

By Katriona Chapman (Avery Hill Publishing)
ISBN: 978-1-910395-38-7 (HB)

Win’s Christmas Gift Recommendation: The Perfect Holiday Getaway… 10/10

I read a lot of graphic novels. Some are awful, many are so-so and the rest I endeavour to share with you. Of that remaining fraction most can be summarised, plot-pointed and précised to give you a clue about what you might be buying if I’ve done my job right.

Sometimes, however, all that fuss is not only irrelevant but will actually impede your eventual enjoyment. This is one of those times…

Katriona Chapman is a story-maker based in London, from where she’s been crafting superb tales in Small Press titles like Tiny Pencil (which she-cofounded), Comic Book Slumber Party, Ink & Paper, Save Our Souls, Deep Space Canine and her own award-winning Katzine. She draws beautifully and knows how to quietly sneak up, grab your undivided attention and never let go… and she hasn’t spent all her life in the Smoke either…

Follow Me In is her first novel-length tale and combines recollections of a particularly troubling time in her life with clearly the most life-affirming and inspirational events one could hope to experience.

At the station, a young woman meets up with an old boyfriend. He’s a writer and she draws. It’s been years and they’re still awkward and uncomfortable in each other’s presence. They talk about the time in 2003 when they decided to trek the entire country of Mexico, north to south east to west. Back then they were looking for themselves. As her mind goes back, she realizes she’s a lot closer to answers than he is…

This magnificently hefty, pocket-sized (165 x 216 mm) hardcover then follows that voyage with exquisite detail, relating history, culture, the sights, and most especially the actual, non-screaming headlines, bad-movie images of a young nation with thousands of years of history, architecture and archaeology: a nation that proudly boasts dozens of indigenous cultures living in relative harmony, speaking at least 68 legally recognised languages and constantly being reshaped by political turmoil. Moreover, no traveller should miss this tome, if only for the advice on bugs, minibeasts and illnesses…

Follow Me In is slyly lyrical and enchantingly enticing; a moving and intoxicating graphic assessment of a crucial time in the illustrator’s life, filled with facts, warmth and conflict, offering fascinating data on such varied topic as ‘A Selection of Mexican Foods’, ‘Learning Spanish’, ‘Travel Sketching’, ‘What’s in our Bags?’ and ‘The Conquests’, all equally compelling and useful to know. And through it all, you’ll want to know what happened to our travellers as they transition from kids to grown-ups as much as what they’ll see next in this magnetic story within a story.

Refreshing, redemptive and rewarding, this is a book to chase away all winter blues and existential glums and a reading experience you must not deprive yourself – or your family – of.
© Katriona Chapman 2018. All rights reserved.

Black Dahlia

By Rick Geary (NBM)
ISBN: 978-1-68112-178-9

Win’s Christmas Gift Recommendation: Thrills and Chills for the Holiday Leisure Season… 9/10

Sometimes you just can’t get enough of a good thing. I’ve never wavered in my admiration for the work of Rick Geary and having two of his best both back in time for Christmas is splendid thinking on the part of publisher NBM.

First read our review of The Terrible Axe-Man of New Orleans from last week for the usual peroration and guidance. then hunker down here for a briefing on one of the most infamous and culturally significant unsolved murder mysteries in American – if not world – history.

Geary’s unique gifts have never been better utilised than here in this graphic reprise and documentary deconstruction from his ongoing series Treasury of XXth Century Murder: focusing on the Noir-informed, post-war scandal of Elizabeth Short: forever immortalised as the Black Dahlia

Delivered as always in stark, uncompromising monochrome (in luxurious collectors’ hardback, accessible eBook or this welcome new paperback edition), his deliberations diligently sift fact from mythology to detail one of the most appalling murders in modern history.

Opening with the traditional bibliography of sources and detailed maps of Downtown Los Angeles, Hollywood Boulevard (1944-1946) and the body-dump site, Geary diligently unpicks fact from surmise, clue from guesswork beginning with ‘Part One: The Vacant Lot’. Los Angeles California, 1947; on January 15th at around ten o’clock a mother pushes her baby’s stroller past open ground in Downtown’s Leimert Park neighbourhood. When she spots the two halves of a discarded mannikin lying in the grass, something makes her look again…

Soon the scene is a hotbed of activity, with cops (the notoriously corrupt LAPD of Police Chief Clemence B. Horrall) and headline-hungry reporters racing each other to glean facts and credit in a truly sensational killing. After a botched beginning, proper forensic procedure identifies the posed and much-mutilated victim and a call goes out to Medford, Massachusetts. Sadly, the distraught mother is talking to a canny, scruples-shy reporter rather than a police representative…

The history of the victim is deftly précised in ‘Part Two: The Life of Elizabeth Short’ describing a small-town girl from a broken home, gripped by big dreams, a penchant for men in uniform and unverifiable morals…

Flighty, with connections to notable underworld characters and night clubs, Elizabeth has a gift for finding Samaritans to help her out, but as detailed in ‘Part Three: Her Last Days’, with unspecified trouble following her, she walks out of the Biltmore Hotel at 10:PM on January 9th 1947. No one ever sees her again, except presumably her killer…

With attention-seekers of every type climbing on the bandwagon, ‘Part IV: The Investigation’ relates how Captain Jack Donahoe of Central Homicide employs 700 LAPD officers, 400 County Sheriff’s deputies, hundreds of other law-enforcement professionals and even private detectives to trace and interview the hundreds of men connected with Short. In the end there are 150 suspects but not one arrest and despite building a solid picture, he achieves nothing substantive. The case gets even further muddied and sensationalised when – just as public interest is waning – a series of anonymous letters and some of her personal possessions are sent to the press by someone claiming to be the killer…

Of course, those articles and knick-knacks might have already been in journalists’ possession from the first moment they identified her, long before the LAPD did…

The case remains active for years until it’s subsumed in and sidelined by a city-wide gang-war and resultant house-cleaning of corrupt cops in 1949. ‘Part V: Wrap-Up’ details prevailing theories – such as the fact that Short’s death might be part of a string of serial killings the police never connected together, or that she was linked to city officials with the case subsequently covered up from on high. Many more false trails and dead-end leads have come and gone in the decades since. The Black Dahlia murder remains unsolved and the LAPD case files have never been made public.

These grisly events in the tainted paradise of Tinseltown captivated public attention and became part of Hollywood’s tawdry mythology. The killing spawned movies, books and TV episodes, and one tangible result. In February 1947 Republican State Assemblyman C. Don Field responded to the case by proposing a state-wide Registry of Sex Offenders – the first in America’s history. The law was passed before the year ended.

Rick Geary is a unique talent not simply because of his manner of drawing but because of the subject matter and methodology employed in telling his tales. He thrives on hard facts, but devotes time and space to all theories and even contemporary minutiae with absorbing pictorial precision, captivating clarity and devastating dry wit, re-examining each case with a force and power Sherlock Holmes would envy.

He teaches with chilling graphic precision, captivating clarity and devastating dry wit, a perfect exemplar of how graphic narrative can be so much more than simple fantasy entertainment. This merrily morbid series of murder masterpieces should be mandatory reading for all comic fans, mystery addicts and crime collectors.
© 2010 Rick Geary. All Rights Reserved.

Black Dahlia will be published on December 15th 2018 and is available for pre-order now. For more information and other great reads see


By Jim Alexander, edited by Elinor Winter (Planet JimBot)
ISBN: 978-1-9164535-0-0                  eISBN: 978-1-9164535-1-7

Win’s Christmas Gift Recommendation: Crime Does Not Pay, but it does make for a cracking good read… 9/10

With criminal intent and malice aforethought, comics veteran Jim Alexander has widened his already prodigious and prolific rap sheet by shifting Modus Operandi and releasing a spookily wry novel (available in paperback and a variety of eBook formats) featuring possibly his best – and award-winning – character.

Alexander’s pictorial back-catalogue includes Star Trek the Manga, Calhab Justice and other strips for 2000AD, licensed properties such as Ben 10 and Generator Rex as well as a broad variety of comics and strips for The Dandy, DC, Marvel, Dark Horse Comics, Metal Hurlant, and loads of other places including his own publishing empire Planet Jimbot.

GoodCopBadCop began life as series of contemporary police dramas set in Glasgow and garnered much praise and many awards. Now the characters have seamlessly segued to the realm of Val McDermid and Ian Rankin and the variously-named Celtic or Tartan noir.

If you look it up, experts describe the sub-genre’s influences as James Hogg and Robert Louis Stevenson, focusing on the duality of the soul and the individual, Good against Evil and redemption and damnation. It’s fascinating stuff: you should all read more books without pictures…

This craftily concocted cops’n’robbers saga blends procedural action with a whiff of supernal terror, utilising a gimmick that is perfect for a genre where conflicted, essentially good guys regularly face human monsters and only ever see ordinary folk at their absolute worst…

City of Glasgow Police Inspector Brian Fisher is a worthy, weary, dedicated public servant with the oddest (generally silent) partner an honest copper could ever imagine. And no, it’s not harassed, hard-pressed Detective Sergeant Julie Spencer, who fruitlessly attempts to get her solitary new boss fraternising with other officers after she’s ordered to be his new tag-along assistant… until she gets a glimpse of what her associate is really like…

Before he was a quietly effective Detective with a phenomenal clear-up rate, Fisher learned his trade in the mounted police division and spent many educational hours doing community policing for the Violence Reduction Unit, visiting schools where kids are more ruthlessly ferocious than any full-grown bad guy.

Now he’s solving a lot of nasty cases like abductions, dismemberments and floating human jigsaws in the Clyde with an uncanny display of instinct and perception. It’s like he has an inside track to the mind of maniacs…

All the usual suspects and signature cases of the genre are in attendance: mostly-harmless burglars like local legend the Partick Cat, supposedly-straight domestic problems like Mrs MacPhellimey, missing persons who aren’t, local mobsters and hard-men and their ganglords all come to Fisher’s attention… and most especially raving psycho-killers.

There’s a lot of them and some days they’re turning up on both sides of the Interview Room table…

Obviously, Fisher has some kind of advantage and, as in the manner of The Strange Case of Dr Jekyll and Mr Hyde, the situation is deteriorating and people are starting to notice…

And that’s where I’m stopping. If you are familiar with the comics iteration, all your favourite moments and characters are here, suitably tweaked for a more internalised, psychologically edged reinterpretation – and a definitive conclusion. If you’re a newcomer, you can revel and reel as a convoluted nested-doll of interlinked mysteries cleverly unwind with startling complexity, loads of twisty-turny surprises and a succession of shocking moments. And that’s all delivered in sparky and bleakly hilarious first-person monologues.

Yeah. Monologues. Plural…

If you don’t read this book, you’ll have to wait for some Wise Soul at BBC Scotland or media clever-clogs chancer to turn this into a movie or late-night Scandi-style drama serial…

Best see it as the creator intended. You’ll thank me for it in the long run…

This deftly underplayed, chillingly believable and outrageously black-humoured yarn is a perfect addition to the annals of Tartan Noir: smart, sarcastic and ferociously engaging. If you like your crime yarns nasty and your heroes deeply flawed, GoodCopBadCop is a book you must not miss.

And when this has sufficiently blown your mind, you really should track down the superb comics by Alexander and his confederates Luke Cooper, Gary McLaughlin, Will Pickering, Aaron Murphy, Chris Twydell & Jim Campbell.

The Jims – Alexander and Campbell – have been providing captivating and enthralling graphic narratives for ages now and you owe it to yourself to catch them too.

Planet Jimbot has a splendid online shop so why not check it out?
© 2018 Jim Alexander.

If you like shopping from the safety of your home, here’s a few useful addresses.
Amazon (print & digital)
Blackwell’s (print)
Kobo (digital)

Amazon (print & digital)
Barnes & Noble (print & digital)
Kobo (digital)

Sailor Twain or, The Mermaid in the Hudson

By Mark Siegel (First Second)
ISBN: 978-1-59643-636-7

Win’s Christmas Gift Recommendation: Sublime and delightful… 10/10

Even after decades in the business every so often something comes along that makes me feel like a drooling delirious fanboy again. It still does.  This superb hardback compilation of a fabulous weird tales webcomic is a certifiable classic that it’s never too late to enjoy.

Mark Siegel was born in Michigan and raised in France; one of those story-obsessed prodigies who began drawing wonders as a kid and never grew out of it… only better at shaping them.

After a childhood concocting yarns, comics, cartoons, posters and animated films he returned to the USA to study Creative writing and Fine Arts at Brown University. Upon graduation he stayed stateside, tentatively beginning life as a jobbing designer/illustrator.

He got his big break with the award-winning strip-book Seadogs, written by Lisa Wheeler. This was followed by Long Night Moon, To Dance, Boogie Knights and more.

Increasingly intrigued and fascinated by the history and geography of the Hudson River Valley where he lives with wife and creative collaborator Sienna Cherson Siegel, the artist began to craft a lyrically beguiling mystery tale from the glittering, sophisticated and callous brutal days of the Riverboats which once plied their glamorous trade along that famed and fabled watercourse. This he published online at

Rendered in mercurial melancholic charcoal tones, Sailor Twain tells the tale of a poet who has lost his muse and becomes a riverboat captain to pay for his invalid wife’s medical treatment.

It’s also the tale of French wastrel Dieudonné who inherited his entrepreneurial older brother’s exclusive, high society river boat business when the inspirational Jacques Henri de Lafayette had a breakdown and vanished…

…And finally, it is the sad and sobering tale of a lady who could not accept her place or fate in a savagely proscribed and repressionistic masculine culture…

Set in the transitional era of 1880s New York where and when science and rationality began at last to supersede wonder, mystery and romance, and specifically during the months May to December 1887, the story opens with an enigmatic meeting in ‘Overture’ before ‘Part I: Twain’s Secret’ begins with ‘The Frenchman’s Steamboat’ as the diligent captain of the luxurious Lorelei recalls how the dissolute young European assumed control of a hugely profitable touring business after the elder Lafayette vanished. Also introduced are below-decks crew Horatio and Aloysius, Negro engineers who know more of the route’s peculiar history than they’re willing to share in ‘An Unlikely Survivor’

The new owner seems a bad sort. In ‘A Prayer Down Below’, he demonstrates an indecent and almost unhealthy interest in bedding women, but after Twain rescues ‘The Mermaid in the Hudson’ and secretes her battered and wounded body in his cabin the trusty salt’s judgemental world is forever changed.

‘Beaverton’s New Book’ introduces another intriguing strand as a publicity-shy yet popular author’s latest sensational publication offers to reveal the “Secrets and Mysteries of the River Hudson” – everything from love-sick ghosts to the cure for a mermaid’s siren song – to both Twain and his increasingly odd employer.

The Captain, obsessed with ministering to the silent, wounded creature hidden in his cabin, is amazed when he is asked to post ‘Lafayette’s Letter’ to the enigmatic author, whilst in ‘South’s Promise’ Lafayette’s debauched dalliances multiply manically as Twain remembers his far-off wife and how her beautiful voice was stilled by disease. Nevertheless ‘Pearl’s Song’ is slowly being forgotten as the seaman becomes increasingly closer to the mythical beauty recovering in his bunk…

The lascivious Frenchman is rapidly losing touch with reality, constantly throwing messages in bottles to the murky roiling river waters as ‘Three Prisoners’ sees the now voluble sea-woman eagerly communicating with Twain just as Lafayette takes him into his confidences over his amorous actions…

Inspired again to write, Twain’s fevered imagination is sent reeling when he realises his employer is seeking ‘The Cure for Mermaids’ and, thanks to the Beaverton book, discovers his uncanny charge’s origins in ‘South of the North River’

Entranced in a way no other man has been, the worthy Captain is utterly unaware of how the situation is spiralling madly in ‘The Missing Muse’ after which ‘Part II: Camomille’ takes a closer look at the louche Lafayette when ‘The Beaverton Revelation’ exposes the author’s shocking identity and New York Society gathers itself to take its chilly revenge in ‘Ink Stains’

Lafayette’s carnal campaign hits a strange snag in ‘“The Dame’s Audacious”’, leading to most peculiar dinner conversation in ‘Eclipse’ and the culmination of long-laid plans in ‘Sevening’, all whilst Twain finds to his horror that his submersible companion has vanished in ‘Enticement’.

Before the tragedy moves towards the impossible endgame, she suddenly returns to assuage ‘The Strains of Absence’ prompting fantastic delirium when ‘Twain Dreams’

‘Part III: World’s End’ moves fully towards otherworldly experiences ‘In the Other Realm’ of ghosts, drowned men and stranger things where the desperately querulous Twain finds ‘The Lost Brother’, learns of ‘A Lady Beguiled’ and discovers the power of ‘The Chained Heart’ as his tumultuous affair ploughs on to an astonishing denouement…

It all comes crashing down in stormy disaster as ‘Part IV: The Twain Shall Meet’ delivers another dreadful blow to the Captain’s divided heart as he and Lafayette mutually incur and endure ‘The Siren’s Wrath’

…And with the world reshaped and set to (some sort of) rights, an evocative ‘Coda’ lends fruitful finality to the fearsomely fantastic proceedings…

Intoxicatingly complex, expansive and enchanting, seditiously, scarily seductive, the supernatural odyssey of the Lorelei and its doom-gripped crew is a gloriously baroque and simultaneously gothic epic of unnatural desire and supernal suspense that absolutely unwrites the twee, safely sexy modern mythology of marine maidens and restores to them the dolorous drama of sinister, implacable, irresistible sirens.

A perfect fantasy fable for adults, Sailor Twain is a truly graphic novel that every devoted dark dreamer must read.

© 2012 Mark Siegel.  All rights reserved.

The Terrible Axe-Man of New Orleans

By Rick Geary (NBM)
ISBN: 978-1-56163-179-6

Win’s Christmas Gift Recommendation: Cutting Edge Crime and a Ripping Holiday Read… 8/10

For decades he toiled as an Underground cartoonist and freelance illustrator of strange tales and wry oddments, published in locales as varied as Heavy Metal, Epic Illustrated, Twisted Tales, Bop, National Lampoon, Vanguard, Bizarre Sex, Fear and Laughter, Gates of Eden, RAW and High Times.

For these illustrious venues he honed a unique ability to create sublimely understated stories by stringing together seemingly unconnected streams of narrative to compose tales moving, often melancholy and always beguiling.

Discovering his natural oeuvre with works including biographies of J. Edgar Hoover or Trotsky and his multi-volume Treasury of Victorian Murder series, Geary has grown into a grandmaster and towering presence in both comics and True Crime literature.

His graphic reconstructions of some of the most infamous murders ever committed since policing began combine a superlative talent for laconic prose, incisive observation and meticulously detailed pictorial extrapolation. These are filtered through a fascination with and understanding of the lethal propensities of humanity as his forensic eye scours police blotters, newspaper archives and history books to compile irresistibly enthralling documentaries.

In 2008 he turned to the last century for ongoing series Treasury of XXth Century Murder, focusing on scandals which seared the headlines during the “Gilded Age” of suburban middle class America. He has not, however, forsaken his delight in fiction nor his gift for graphic biography.

Delivered in stark monochrome in either luxurious collectors’ hardback, accessible eBook or engaging paperback editions like this one, his investigations diligently sift fact from mythology to detail the grisliest events in modern history.

Geary’s tales are so compelling because the subject matter methodology resonates through his quirky illustration. Geary always presents facts, theories and even contemporary minutiae with absorbing pictorial precision, captivating clarity and devastating dry wit, re-examining each case with a force and power Oliver Stone would envy.

This particular chiller-thriller comes – after far too long a wait – as a cheap-&-cheerful paperback release of a 2010 offering but it’s still a grand outing for lovers of macabre history…

Geary’s forensic eye scoured the data and scores a palpable if rather unpalatable hit here with a relatively unknown serial killer saga that would make an incredible film – if only the fiend had ever been caught!

In 1918 with the Great War moving into the inevitable End-game the iconic and legend-laden city of New Orleans suffered a chilling campaign of terror that lasted well over a year with far-reaching repercussions felt clear across the United States.

As explained in the captivating capsule history that opens this moreish monochrome and exceedingly noir thriller, New Orleans was founded by the French in 1717, lost to the Spanish in 1763, seized by Napoleon in 1802 and then sold to the Americans a year later. That makes it one of the oldest and certainly most eclectic, eccentric, artistic and elegant cities in the USA.

By 1918 it was a huge, sprawling and vital hub of trade and commerce, peopled by a vast melting pot of immigrant populations. On the night of May 23rd an Italian couple running a grocery store were hacked to death by an intruder who broke into their home and attacked them with their own household axe.

Over the next 18 months a phantom killer would, under the horrifying glare of public scrutiny, kill six people, maim and mutilate another half dozen and hold the entire city a virtual hostage with insane proclamations and demands. He – if it was, indeed, a man – was often seen but never apprehended.

Geary is as meticulous and logical as ever, forensically dissecting the various attacks, examining the similarities and, more importantly, the differences whilst dutifully pursuing the key figures to their unlikely ends.

All the victims were grocers of Italian origin (leading to a supposed Mafia connection) except for the ones who were not, which possibly refuted the theory but equally suggested opportunistic copy-cat killers. A number of personal grievances among the victims led to many false arrests and even convictions, and the killer or killers left many survivors who all agreed on a general description but all subsequently identified different suspects. There’s even a broader than usual hint of supernatural overtones.

Occurring at the very birth of the Jazz Age, this utterly compelling tale is jam-packed with intriguing snatches of historical minutiae, plus beautifully rendered maps and plans which bring the varied locations to moody life: yet another Geary production tailor-made for a Cluedo special edition!

The author presents the facts and theories with chilling graphic precision, captivating clarity and devastating dry wit, and this enigma is every bit as compelling as his other homicidal forays: a perfect example of how graphic narrative can be so much more than simple fantasy entertainment. This merrily morbid series of murder masterpieces should be mandatory reading for all comic fans, mystery addicts and crime collectors.
© 2010 Rick Geary. All Rights Reserved.

The Terrible Axe-Man of New Orleans will be published on December 15th 2018 and is available for pre-order now. For more information and other great reads see

Sandman Mystery Theatre: Book One

By Matt Wagner, Guy Davis, John Watkiss, R.G. Taylor, David Hornung & John Costanza (Vertigo)
ISBN: 978-1-4012-6327-0

Win’s Christmas Gift Recommendation: Eerie Mystery-Mood Masterpiece… 8/10

Created by Gardner Fox and first depicted by Bert Christman, The Sandman premiered in either Adventure Comics #40 July 1939 (two months after Batman debuted in Detective Comics #27) or two weeks earlier in New York World’s Fair Comics 1939, depending on whether some rather spotty distribution records can be believed.

Head and face utterly obscured by a gasmask and slouch hat; caped, business-suited millionaire adventurer Wesley Dodds was cut from the iconic masked mystery-man mould that had made pulp fictioneers The Lone Ranger, Green Hornet, The Shadow, Phantom Detective, Black Bat, The Spider and so many more such household names. Those dark red-handed heroes were also astonishing commercial successes in the early days of mass periodical publication…

Wielding a sleeping-gas gun and haunting the night to battle a string of killers, crooks and spies, he was accompanied in the earliest comicbooks by his plucky paramour Dian Belmont, before gradually losing the readers’ interest and slipping from cover-spot to last feature in Adventure Comics, just as the cloaked pulp-hero avengers he emulated slipped from popularity in favour of more flamboyant fictional fare.

Possessing a certain indefinable style and charm but definitely no especial pizzazz, the feature was on the verge of being dropped when the Sandman abruptly switched to a skin-tight yellow-&-purple costume and gained a boy-sidekick, Sandy the Golden Boy (in Adventure Comics #69, December 1941, courtesy of Mort Weisinger & Paul Norris). All this, presumably to emulate the overwhelmingly successful Batman and Captain America models then reaping such big dividends on the newsstands.

It didn’t help much, but when Joe Simon & Jack Kirby came aboard with #72 that all spectacularly changed. A semi-supernatural element and fascination with the world of dreams (revisited by S&K a decade later in their short-lived experimental suspense series The Strange World of Your Dreams) added a moody conceptual punch to equal the kinetic fury of their art, as Sandman and Sandy became literally the stuff of nightmares to the bizarre bandits and murderous mugs they stalked…

For what happened next you can check out the superb Simon & Kirby Sandman hardback collection…

Time passed and in the late 1980s Neil Gaiman, Sam Keith & Mike Dringenberg took the property in a revolutionary new direction, eventually linking all the previous decades’ elements into an overarching connective continuity under DC’s new “sophisticated suspense” imprint Vertigo.

Within a few years the astounding success of the new Sandman prompted the editorial powers-that-be to revisit the stylishly retro original character and look at him through more mature eyes. Iconoclastic creator Matt Wagner (Mage, Grendel) teamed with artistic adept Guy Davis (Baker Street, B.P.R.D.) and colourist David Hornung to create a grittier, grimier, far more viscerally authentic 1930s, where the haunted mystery man pursued his lonely crusade with chilling verisimilitude.

The tone was darkly modernistic, with the crime-busting playing out in the dissolute dog-days of the Jazz Age and addressed controversial themes such as abuse, sexual depravity, corruption and racism; all confronted against the rising tide of fascism that was sweeping the world then.

This is a warning: Sandman Mystery Theatre is not for kids…

This compendium collections the redefining first three story-arcs from issues #1-12 (April 1993 to March 1994) and commences after an absorbing introduction from veteran journalist, critic and pop culture historian Dave Marsh.

Each chapter preceded by its original evocative faux pulp photo cover created by Gavin Wilson and Hornung, the dark drama opens with The Tarantula, taking us back to New York in 1938 where District Attorney Larry Belmont is having the Devil’s own time keeping his wild-child daughter out of trouble and out of the newspapers.

She’s gallivanting all over town every night with her spoiled rich friends; drinking, partying and associating with all the wrong sorts of people, but the prominent public servant has far larger problems too. One is a mysterious gas-masked figure he finds rifling his safe soon after Dian departs…

The intruder easily overpowers the DA with some kind of sleeping gas – which also makes you want to blurt every inconvenient truth – before disappearing, leaving Belmont to awake with a headache and wondering if it was all a dream…

Dian, after a rowdy night of carousing with scandalous BFF Catherine Van Der Meer and her latest (gangster) lover, awakes with a similar hangover but still agrees to attend one of her father’s dreary public functions that evening. The elder Belmont is particularly keen that she meet a studious young man named Wesley Dodds, recently returned from years in the Orient to take over his deceased dad’s many business interests.

Dodds seems genteel and effete, yet Dian finds there’s something oddly compelling about him. Moreover, he too seems to feel a connection…

The Gala breaks up early when the DA is informed of a sensational crime. Catherine Van Der Meer has been kidnapped by someone identifying himself as The Tarantula

Across town, mob boss Albert Goldman is meeting with fellow gangsters from the West Coast and, as usual, his useless son Roger and drunken wife Miriam embarrass him. Daughter Celia is the only one he can depend on these days, but even her unwavering devotion seems increasingly divided. After another stormy scene the conference ends early, and the visiting crime-lords are appalled to find their usually diligent bodyguards all soundly asleep in their limousines…

Even with Catherine kidnapped, Dian is determined to go out that night, but when Wesley arrives unexpectedly she changes her mind, much to her father’s relief. That feeling doesn’t last long however, after the police inform him that the Tarantula has taken another woman…

When a hideously mutilated body is found Dian inveigles herself into accompanying dear old Dad to Headquarters but is promptly excluded from the grisly “Man’s Business”. Left on her own, she begins snooping in the offices and encounters a bizarre gas-masked figure poring through files. Before she can react, he dashes past her and escapes, leaving her to explain to the assorted useless lawmen cluttering up the place.

Furious and humiliated, Dian then insists that she officially identifies Catherine and nobody can dissuade her.

Shockingly, the savagely ruined body is not her best friend but yet another victim…

Somewhere dark and hidden, Van Der Meer is being tortured but the perpetrator has far more than macabre gratification in mind…

In the Goldman house Celia is daily extending her control over darling devoted daddy. They still share a very special secret, but these days she’s the one dictating where and when they indulge themselves…

With all the trauma in her life Dian increasingly finds Wesley a comforting rock, but perhaps that view would change if she knew how he spends his nights. Dodds is plagued and tormented by bad dreams. Not his own nightmares, but rather the somnolent screams of nameless victims and their cruel oppressors haunt his troubled sleep. Worst of all these dreams are somehow prophetic and unrelenting. What else could a decent man do then, but act to end such suffering?

In a seedy dive, uncompromising Police Lieutenant Burke comes off worst when he discovers the gas-mask lunatic grilling a suspect in “his” kidnapping case and again later when this “Sandman” is found at a factory where the vehicle used to transport victims is hidden.

Even so, the net is inexorably tightening on both Tarantula and the insane vigilante interfering in the investigation but Burke doesn’t know who he most wants in a nice, dark interrogation room…

As the labyrinthine web of mystery and monstrosity slowly unravels, tension mounts and the death toll climbs, but can The Sandman stop the torrent of depraved terror before the determined Dian finds herself swept up in all the blood and death?

Of course, he does but not without appalling consequences…

Scene and scenario suitably set, John Watkiss steps in to illuminate second saga The Face (issues #5-8). Attention switches to Chinatown in February of 1938, where Dian and her gal-pals scandalously dine and dish dirt until Miss Belmont meets again an old lover.

Jimmy Shan once worked in her father’s office but now serves as lawyer and fixer for his own people amongst the teeming restaurants, gambling dens and bordellos of the oriental district…

Dian would be horrified to see Jimmy – or Zhang Chai Lao as his Tong masters know him – consorting with unsavoury criminals, and would certainly not be considering reviving her scandalous out-of-hours relationship with him. All frivolous thoughts vanish, however, when the diners vacate the restaurant and stumble upon a severed head: a warning that the ruling factions are about to go to war again in Chinatown. As usual, white police are utterly ineffectual against the closed ranks of the enclave…

Later at a swanky charity soiree to raise money for a school, Dian meets Jimmy again and agrees to a later meeting. At the same shindig she later sees Wesley, and in the course of their small talk, Dodds reveals that he recognises Shan from somewhere…

And in Chinatown, another beheading leads to greater tension between the Lee Feng and Hou Yibai Societies. When an enigmatic gas-masked stranger starts asking unavoidable questions, he finds that both Tongs deny all knowledge of the killings…

As the grisly murder-toll mounts, The Sandman’s investigations lead to one inescapable conclusion: a third party is responsible. But who, and why…

Before the drama closes, Dian will learn more hard truths about the world and the money-men who secretly run it…

Issues #9-12 (December 1993-March 1994) are illustrated by R.G. Taylor and plumb the darkest depths of human depravity in the tale of ‘The Brute’.

The friendship of Dian and Wesley slowly deepens and life seems less fraught in the city, but that soon ends as hulking degenerate stalks the back-alleys, killing and brutalising prostitutes and their clients…

Dodds is also on the mind of boxing promoter and businessman Arthur Reisling who’s looking for a fresh financial partner in his global exploitations. The effete-seeming scholar is hard to convince, though, unlike Eddie Ramsey. He’s a poverty-stricken pugilist and single parent desperate to make enough money to pay for his daughter Emily’s TB medicine. Riesling’s offer to him is just as scurrilous but the broken-down pug doesn’t have the luxury of saying “no”…

Eventually, with Dian in tow, Wesley accepts a party invitation from the speculator and meets his dynasty of worthless, over-privileged children. None of them seem right or well-adjusted…

Later, when Eddie tries to come clean by informing the authorities of Riesling’s illegal fight events, he’s attacked by the promoter’s thugs and saved by the Sandman – at least until the colossal mystery killer attacks them both and they’re forced to flee for their lives…

As Dodds returns home to recuperate, the punishing dreams escalate to mind-rending intensity.

Eddie, meanwhile, is left with no safe option and takes to the streets with Emily. His decision will lead to revolting horror, total tragedy and utter heartbreak…

The Sandman returns to his covert surveillance, silently unearthing the depths of Reisling’s underworld activities and coincidentally exposing a turbulent and dysfunctional atmosphere in the magnate’s home life to match his criminal activities. In this house corruption of every type runs deep and wide, and the masked avenger decides it’s time to bring his findings to Dian’s father. This time, District Attorney Belmont is prepared to listen and to act…

And as the murders mount and Dodds’ dreams escalate in intensity, the strands of a bloody tapestry begin to knot together and the appalling secret of the bestial killer’s connection to Reisling is exposed, only a detonation of expiating violence can restore order…

Stark, compelling and ferociously absorbing, the bleak thrillers depict a cruel but incisive assessment of good and evil no devotee of dark drama should miss, and the period perils come accompanied by a gallery of the series’ original, groundbreaking comicbook photo-covers and posters by Gavin Wilson plus later collection covers and related art from Matt Wagner, Alex Toth and Kent Wilson
© 1993, 1994, 1995, 2016 DC Comics. All Rights Reserved.


By Steven Weissman (Fantagraphics Books)
ISBN: 978-1-56097-866-4

Steven Weissman was born in California in 1968 and grew up to be an exceptionally fine and imaginative cartoonist. He’s worked for Alternative Comics, Last Gasp, Dark Horse, Marvel, DC, Vice and Nickelodeon Magazine among others, and his artistic sensibilities have been influenced and shaped by such disparate forces as Super-Deformed manga, “Our Gang” comedies, Abbott and Costello, Dan Clowes, Mike Allred and Peanuts – the strip, not the versatile if sometimes potentially fatal foodstuff.

Much of his groundbreaking, award-winning early work, dating from the mid-1990s, offered a post-modern, skewed and alternative view of friendship, childhood, world weirdness and people’s meanness and can all be enjoyed over and over again in such stunning compilations as Tykes, Lemon Kids, Don’t Call Me Stupid, White Flower Day, Chocolate Cheeks and others. The French and Japanese – who really know quality comics – love him lots and have done so for years.

In 2012 Weissman literally went back to the drawing board, un-and-re-creating himself and his aesthetic methodology for a and unbelievably enchanting hardcover weekly online strip entitled Barack Hussein Obama which has since been collected into a series of stunning cartoon books about the unsuspected nature of modern America. Gosh, I miss those days…

Today though in the spirit of the season we’re revisiting some of his earlier material…

If there is such a thing as ‘Dark and Comforting’ then Weissman’s weird and wicked early cartooning is a perfect example. Following the success of Chewing Gum in Church and Kid Firechief, Fantagraphics promptly compiled earlier works from his self-published Yikes!; amply supplemented with other rare and even unpublished strips to create a lovely insight into the development of a truly unique graphic vision.

These 32 tales, (still available in paperback and digital editions) were all created between 1993 and 2002, and feature his cast of deeply peculiar children in a macabre tribute to Charles Schulz’s signature strip, but they are also literal embodiments of the phrase “little monsters”.

In simple childhood romps such as ‘The See-Thru Boy’, ‘The Loneliest Girl in Town’, ‘Inevitable Time-Travel Story’, ‘No Kiss!’ and many others, the bizarre cast of Li’l Bloody (a child vampire), Kid Medusa, Pullapart Boy and X-Ray Spence live an idyllically suburban 1950’s existence of school, fishing, skateboards, white picket fences, aliens, wheelchair jousting, marbles and weird science.

Weissman’s seductive cast all have huge round heads and ancient bodies like graphic progeria-sufferers, but the drawing is lavish, seductive and utterly convincing.

These are great comics about kids (but perhaps regarded as Best Not For Kids) that are a treat, a revelation and most definitely darkly comforting.
MEAN © 2007 Fantagraphics Books. All content © 2007 Steven Weissman. All Rights Reserved.