By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens’ Books and others)

ISBNs: 978-1-40910-134-5 (HB Album) 978-1-44400-425-0 (PB)

Win’s Christmas Gift Recommendation: Celebrating the Season with Historical Hysterics… 10/10

Alberto Aleandro Uderzo was born on April 25th 1927 in Fismes, on the Marne, a son of Italian immigrants. Showing great artistic flair as a child reading Mickey Mouse in Le Pétit Parisien, he dreamed of becoming an aircraft mechanic one day.

He became a French citizen at age seven and found employment at 13, apprenticed to the Paris Publishing Society, where he learned design, typography, calligraphy and photo retouching.

When WWII broke out, Albert spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix’s idyllic village was being mooted, the region was the only choice.

During the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the country’s revitalised and burgeoning comics industry. His first published work – a pastiche of Aesop’s Fables – appeared in Junior, and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own comics masterpiece The Beast is Dead is long overdue for a new edition and, if you follow current events, sorely needed as a warning shot…).

Indefatigable Uderzo’s subsequent creations included indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created vertical comic strip Le Crime ne Paie pas for France-Soir. In 1950, he illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the prodigy met Rene Goscinny in 1951. Soon fast friends, they decided to work together at the new Paris office of Belgian publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right, or perhaps gracious living) for women’s weekly Bonnes Soirée, after which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior before they devised a western with a native hero who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955, with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine, and in 1957 added Charlier’s Clairette to his bulging portfolio.

The following year he made his debut in Le Journal de Tintin, as Oumpah-Pah finally found a home and rapturous audience. In his quieter moments Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959, Uderzo was a major creative force for the new magazine, collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Astérix le gaulois

Despite Asterix being a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first Roman romp was compiled and collected as hit album Astérix le gaulois in 1961, it became clear that the series would demand most of his time – especially as the incredible Goscinny seemed to never require rest or run out of ideas.

By 1967 the strip occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until 2010 when he retired.

After nearly 15 years as a weekly comic strip subsequently collected into albums, in 1974 the 21st tale (Asterix and Caesar’s Gift) was the first to be published as a complete original book before being serialised. Thereafter, each new release was a long-anticipated, eagerly-awaited treat for the strip’s millions of fans…

According to UNESCO’s Index Translationum, Uderzo is the 10th most-often translated French-language author in the world and the third most-translated French language comics author – right after his old mate René Goscinny and the grand master Hergé.

Global sales will soon top 380 million copies of the 38 canonical Asterix books, making his joint creators – and their successors Jean-Yves Ferri and Didier Conrad – France’s best-selling international authors.

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut, with a wealth of animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, naturellement)…

So what’s it all about?

Like all the best stories the premise works on more than one level: read it as an action-packed comedic saga of sneaky and bullying baddies coming a cropper if you want or as a punfully sly and witty satire for older, wiser heads. We Brits are further blessed by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable little Gaul so very palatable to English tongues.

More than half of the canon is set on Uderzo’s beloved Brittany coast, where – circa 50 B.C. – a small village of cantankerous, proudly defiant warriors and their families resist every effort of the mighty Roman Empire to complete the conquest of Gaul. The land has been divided by the conquerors into compliant provinces Celtica, Aquitania and Amorica, but the very tip of the last cited just refuses to be pacified…

The remaining epics occur in various locales throughout the Ancient World, with the Garrulous Gallic Gentlemen visiting every fantastic land and corner of the myriad civilisations that proliferated in that fabled era…

When the heroes are playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resort to a policy of absolute containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls couldn’t care less: daily defying the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix

Firmly established as a global brand and premium French export by the mid-1960s, Asterix continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold. Moreover, following the civil unrest and nigh-revolution in French society following the Paris riots of 1968, the tales took on an increasingly acerbic tang of trenchant satire and pithy socio-political commentary…

By the time of the first tale in this omnibus edition was released Goscinny had been gone for a decade and Uderzo was slowly but surely finding his own authorial voice…

Asterix and the Magic Carpet (originally and rather ponderously entitled Astérix chez Rahàzade ou Le compte des mille et une heures – which translates as Asterix meets Orinjade or the 1001 Hours Countdown) was released in 1987 and once again saw Asterix and Obelix undertake a long voyage into the unknown: one packed with exotic climes, odd people and bold adventure, all deliciously underpinned by topical lampooning and timeless swingeing satire.

Before the Arabian adventure begins, a delightful in-character portrait of Goscinny and Uderzo as their greatest creations Asterix and Obelix whets the appetite for the fun to come, after which the 28th saga starts with a friendly feast, abruptly ruined twice over by the musical efforts of raucous Bard Cacofonix.

Firstly, there’s the plain fact that he is singing at all, but the real problem is that his newly discovered vocal style summons up storms and creates violent downpours.

The thunderous deluge delivers a surprised visitor to the village. Watziznehm the Fakir was passing by far above on his flying carpet when the tempest tossed him to earth. It’s a painful but happy accident since the Indian wise man is on a mission to find some miraculous Gauls and a certified rainmaker…

Soon Asterix, Obelix and canine wonder Dogmatix are heading Due East to save beautiful princess Orinjade from the machinations of Guru Hoodunnit, who wants to sacrifice her to end a terrible drought and consequently seize the reins of power from her father Rajah Watzit. When the flying wizard left home, it was with a countdown of 1001 hours to doomsday…

Our heroes are only accompanying the real star of the Fakir’s quest: with a deadline looming to execute the princess, Watziznehm needs to get Cacofonix there in time to sing up a storm – or rather a monsoon…

Travel aboard a flying carpet is swift and comfortable but ever-hungry Obelix is continually holding up proceedings with many pit-stops to refuel his cavernous stomach, whilst the Bard’s practising frequently leads to stormy weather and unnecessary diversions…

After the usual dalliance with pirates, a bird’s eye tour of Rome and a brief voyage on a Greek trading ship, our tourists soar over Athens and get shot at above Tyre before a natural storm sets the carpet alight and they crash-land in Persia.

Despite being in the land of carpets, the travellers are unable to secure a replacement until a band of Scythian raiders attack the village. Once Asterix and Obelix negotiate a trade deal, the embattled villagers take charge of hundreds of pummelled plunderers in return for a freshly unbeatable new rug…

As the heroes plunge ever eastward, in the Valley of the Ganges Hoodunnit and his creepy mystic crony Owzat gloat at their impending takeover, even as poor Orinjade’s stout defiance begins to weaken.

When the Gauls and their Fakir chauffeur arrive with only a day to spare, it all seems over for the ghastly guru, but as the Bard begins his song, Cacofonix discovers that the arduous journey has given him laryngitis.

For the first time ever, somebody wants him to sing and he has lost his voice…

With time running out, the Rajah’s doctors’ diagnosis seems crazy: immersion in various unwholesome by-products of sacred elephants. Rather than settle for half-measures the Gauls decide to take Cacofonix to the jungle abode of Howdoo the Elephant Trainer and bury him in the curative well away from civilised senses…

This only gives the villains the opportunity they have been hoping for. When Watziznehm and the Gauls go to collect the Bard in the morning, Owzat engages the Fakir in a magical duel. Leaving them to their tricks Asterix and Obelix press on and find that the storm-singer has been kidnapped…

Happily, dashing Dogmatix is on hand to track down the Bard, an especially easy task as he now smells like he sings…

Hoodunnit is mirthfully preparing the stage for Orinjade’s sacrifice when, after the usual Gallic fisticuffs from our heroes, Cacofonix makes his Asian debut and sets everything – including the skies – to rights in the very nick of time…

Stuffed with light-hearted action, good-natured joshing, raucous, bombastic, bellicose hi-jinks and a torrent of punishing puns to astound and bemuse youngsters of all ages, this tale is full of Eastern Promise, a sublime slice of whimsy and all you need to make any holiday excursion or comfy staycation unforgettable.

The 29th volume Asterix and the Secret Weapon (originally Astérix: La Rose et le Glaive) was released in 1991 and Uderzo’s fifth as solo creator. It begins in the boisterous, far from idyllic little hamlet with a multi-generational battle of the sexes in full swing…

The perpetual jockeying for position between males and females comes to a head when Chief’s wife Impedimenta and the village matrons fire Cacofonix from his role as teacher of their children and bring in a new educator more to their liking.

Bard Bravura is a woman – and someone who knows how to get things done properly. With the village men reluctant to get involved, Cacofonix has no choice but to resign in high dudgeon and go live in the forest…

The situation worsens when the massed mothers demand a party to welcome their new tutor and Chief Vitalstatistix is bullied into arranging it. At the feast, Bravura sings and is discovered to be just slightly less awful than Cacofonix ever was. At least her bellowing doesn’t result in instant thunderstorms…

Meanwhile in Rome, Julius Caesar is listening to another bright spark with an idea to defeat and destroy the Gallic Gadflies who won’t admit they are part of his empire. Wily Manlius Claphamomnibus is convinced he has discovered a fatal chink in the rebels’ indomitable armour…

Bravura is rapidly becoming unwelcome to at least half the village: enflaming the women with her talk of “masculine tyranny”, and aggravating the men by singing every morning before the sun comes up. She even manages to offend easygoing Obelix by refusing to let him bring Dogmatix to the kindergarten class his owner attends every day…

Most shocking of all, the Bard has convinced the women to wear trousers rather than skirts, and Impedimenta has taken to being carried around on a shield just like a proper – Male – Chief…
With the situation rapidly becoming intolerable, outraged Vitalstatistix orders his top troubleshooter to sort it out, but Bravura won’t listen to the diminutive warrior. She thinks Asterix is an adorable little man and bamboozles him into giving her his hut.

… And at sea a band of phenomenally unlucky pirates attack a Roman ship filled with Claphamomnibus’ secret weapons and quickly wish it had been the Gauls who usually thrash and sink them, instead of these monsters sending them to the bottom of the sea…

Relations have completely broken down in the village. The new Bard’s suggestion that Impedimenta should be chief has resulted in a massive spat and Vitalstatistix has repaired to the forest for the foreseeable future. It’s not long before every man in town joins him…

In an effort to calm the seething waters, Druid Getafix organises a referendum to decide who should rule, but whilst all the women naturally vote for Impedimenta, no men except Asterix and Obelix dare to vote for Vitalstatistix. After all, they don’t have wives…

When the little warrior confronts Bravura, she again belittles him: even suggesting that if they get together, they can rule the village jointly. Incensed beyond endurance, the furious hero slaps her when she kisses him and immediately crumbles in shock and horror.

He has committed the unpardonable sin. The Gaulish Code utterly forbids warriors to harm women or maltreat guests and in his honest outrage has betrayed his most sacred principles…

He’s still in shock when Getafix defends him at a trial where Bravura even angers the wise old sage to the point that he also storms off to join Cacofonix and Vitalstatistix…

Before day’s end the entire male contingent – overcome by a wave of masculine solidarity and “Sod This-ery” – is living a life of carefree joy under the stars and Impedimenta is rightly concerned with how the village can be defended without the Druid’s potions.

Bravura has an answer to that too: an infallible peace plan to present to the besieging Romans…

Meanwhile on the dock at Aquarium, the Secret Weapons are disembarking to the amusement and – quite quickly – sheer terror and consternation of the weary garrison. From the safety of some bushes, Asterix and Obelix watch in astonishment as an army of ferocious women – a female Legion of lethal warriors – takes over the running of the fort and prepares for total war…

Extremely worried, the spies quickly report back to the men in the trees. The situation is truly dire for no honourable Gaul could possibly fight a woman. Despite the ongoing domestic situation, Vitalstatistix decides the women of the village must be warned and despatches the horrified Asterix and still-bewildered Obelix to carry the message.

Worried and nervous at their potential reception, the unlikely lads wander into a rather embarrassing fashion show and are greeted with a wave of questions from the women who are missing their men more that they realised…

Bravura arrogantly refuses the offer to provide the women with their own magic potion, confident in her peace plan, but when she meets with Claphamomnibus she is beaten, abused and humiliated by the cocky Roman. She surprisingly finds a sympathetic ear and keen collaborator in Asterix, who has a scheme to take appropriate vengeance and send the notionally irresistible female furies packing…

It will, of course, mean the men and women of the village working closely together…

Although quite heavy-handed by today’s standards, this is at its core a superb lampooning of the endlessly entertaining “Battle of the Sexes”: combining swingeing satire, broad slapstick and surreal comedy in a delicious confection of sexual frisson and eternally evergreen “My Wife…” jokes.

Bravura is one of Uderzo’s most enigmatic caricatures, bearing resemblances to a number of high profile female public figures of the time, including then-French Prime Minister Edith Cresson, Belgian tele-journalist Christine Ockrent and German operatic star Diana Damrau, but the grievances of both male and female combatants are as unchanging and perennial as the characters here who enact and – for a short time at least – embody them…

Uderzo’s sixth solo session was Asterix and Obelix All at Sea (released in 1996 as La Galère d’Obélix) and the 30th volume of the ever-unfolding saga.

It opens in the cruel and callous capital of civilisation wherein the Master of the World is having a bit of a bad day. Not as bad, however, as his Grand Admiral Crustacius, who has just allowed a bunch of galley slaves to mutiny and steal Julius Caesar’s personal galley…

As the severely tongue-lashed mariner and his browbeaten aide Vice-Admiral Nautilus scurry away to pursue the fugitives, aboard the magnificent vessel magnificent Greek rebel Spartakis – bearing a striking resemblance to the magnificent Kirk Douglas in all his glory – debates with his recently-liberated comrades from many nations on where in the Rome-ruled world they can go to remain free…

A British oarsman then suggests a certain Gaulish village on the coast of Armorica which the empire has never conquered…

Meanwhile in the faraway subject of the rebels’ discussions, Asterix and Obelix are in an argumentative mood too, but their clash is put aside when word comes that the entire complement of all four encircling garrisons are massing on the far side of the forest…

Always eager for a little martial recreation, the villagers dose up on Getafix the Druid’s strength-boosting magic potion. Once again, Obelix is frustrated in his attempt to get a share of the tantalising elixir and stumbles off in high dudgeon. The generally genial giant had fallen into a vat of potion as a baby and grown up a permanently superhuman, eternally hungry hulk who hates being told no and doesn’t believe more of the mouth-watering miracle mixture might harm him…

The Romans are utterly unaware of the danger insouciantly sauntering towards them, engaged as they are in military drills to celebrate the imminent arrival of Admiral Crustacius. Thoroughly thrashing the amassed legions, the victorious Gauls wonder why Roman-bashing addict Obelix is absent and Getafix, dreading the worst, dashes back to discover his greatest fears realised.

The intransigent idiot has foolishly imbibed deeply from the potion and been turned to stone…

Nothing the Druid can conceive seems able to cure the calcified colossus and it’s during this time of trouble that Spartakis and his freed slaves arrive, requesting sanctuary. As the welcoming villagers carry the huge ornate galley into the village, the Obelix ordeal takes a strange turn as his stony spell wears off and the former fighting fool returns to flesh and blood – albeit as the puny helpless little boy he was before ever falling into the potion pot. The little wimp can’t even eat roast boar anymore…

The puny pipsqueak is the darling of the town but cannot abide his weak ineffectual status. The situation becomes truly intolerable after the boy is captured by Crustacius and shipped off to Rome. After suitably castigating the soldiery, Asterix, Getafix and faithful mutt Dogmatix give chase in Caesar’s ship, crewed by Spartakis and his valiant band of brothers.

Powered by potion, the pursuers easily overtake the Romans, who have been hampered by the obnoxious antics of Obelix and the predations of the perennially, phenomenally unlucky pirates to whom – after a period of traditional chastisement – Asterix gives Caesar’s stolen galley.

Crucially, however, in his haste the little warrior leaves behind a barrel of potion when his comrades and little Obelix all transfer to a new, less conspicuous vessel.

As the Gauls sail off in the pirate’s ship, Getafix has an inspired idea and suggests to Spartakis that they make for the last remnant of Atlantis, explaining that the idyllic Canary Islands survived the inundation of the magic continent and the people living there now are reclusive beings of great power and knowledge who might be able to restore Obelix to his natural state…

When they arrive in that beautiful land of miracles, they are greeted by aged Absolutlifabulos and hordes of beautiful, happy children riding dolphins, centaurs, swans and winged cattle. The jolly dotard explains that the Atlanteans reverted themselves to carefree immortal childhood, but their powers cannot do anything to cure Obelix. As the downhearted Gauls make their way home, Spartakis and his men opt to stay and become forever kids too…

Meanwhile on Caesar’s galley, Crustacius has discovered Getafix’s stashed potion and powered up, dreaming of ousting his foul-tempered boss and making himself Emperor, even as leagues away, a Roman boarding party invades the pirate galley and menaces the powerless Gauls.

With Asterix about to be killed, little Obelix goes berserk and the emotional overload restores him to his corpulent, hyper-charged older self, much to the distress of the terrified soldiers…

By the time Crustacius reaches Rome, he has made the same mistake Obelix did and his rapid overdosing on potion only provides Julius Caesar with another statue for the Circus Maximus…

In Gaul however, Obelix – with a lot of frustration to work through – debarks at recently repaired Aquarium for a spot of cathartic violence before he accompanies his faithful chums back to the village for a celebratory feast…

This rollicking fantasy and paean to family and true friendship cemented Uderzo’s reputation as a storyteller whilst his stunning illustrative ability affords glimpses of sheer magic to lovers of cartoon art. Asterix and Obelix All at Sea proves that the potion-powered paragons of Gallic Pride will never lose their potent punch. If you still haven’t experienced this sublime slice of French polish and graphic élan, it’s never too late…
© 1980-1996 Goscinny/Uderzo. Revised English translation © 2002-2003 Hachette. All rights reserved.

Wildcat Anarchist Comics


By Donald Rooum & guests (PM Press)
ISBN: 978-1-62963-1-271 (PB)

Win’s Christmas Gift Recommendation: Because the Good Fight Never Ends… 10/10

I’m afraid I’m going to overshare a bit here.

This summer was a time of great personal upset and travail for me and mine: a succession of unwelcome events that culminated in the death of a beloved pet, one family funeral, an eventually happily-resolved health scare and another literally hours-from-death life-saving heroic intervention by doctors and nurses of the National Health Service.

How any plutocratic, greedy, self-serving scum can denigrate, gaslight or deny these true heroes decent pay and conditions and job security in the name of economy or ideology is beyond my capacity to understand and I will mock and maim any agent of authority seeking to sell them out…

Sorry: it’s all still a bit raw.

However, the actual point is that – in the throes of trying to maintain an even keel and honour my personal and professional commitments over that period – I managed to completely miss the passing of one of my oldest friends and greatest mentor. I only found out that Donald Rooum died a few days ago, and it’s really preying on me now.

Thankfully, I was raised Catholic and have decades of early programming in accepting and forever internalising burdensome guilt, so I’m dealing it with it my own manner. This is part of it…

Donald Rooum (20th April 1928 – August 31st 2019) became an Anarchist in 1944 and fought the good, reasoned, acerbic but never strident fight for his particular non-political ethical standpoint since the 1950s – most notably, in cartoon form, where he used that most devastating of weapons, the pen, to deliver his payloads of well-reasoned integrity and intellectual challenge.

He was also a thinker, educator, lecturer and tireless seeker after knowledge, adding degrees in Life Sciences to his ever-expanding list of qualifications (which also included Designer, Calligrapher and Historian) before, after years of writing learned articles, becoming a Fellow of the Institute of Biology at the age of 76.

From 1952 onwards, he enjoyed a long career as a cartoonist, providing gags and strips for The Syndicalist, She, The Daily Mirror, Private Eye, The Spectator and many more. He authored many books, illustrated countless articles and bought all of us students in his wake over generations many pints when we couldn’t, and even after we could.

One of his last was Wildcat Anarchist Comics (available in both traditional paperback and cutting edge digitality) which combined a long-overdue and far too short autobiography with a selection of his decades of cartoon triumphs. Donald usual worked in black-&-white but in this compilation most of the material was diligently coloured by Jayne Clementson, making it even more accessible to our overseas cousins.

The book opens with a Foreword by Jay Kinney (Founder and Editor of legendary underground publication Anarchy Comics and a man also still fighting The Fight) before ever gracious and humble Donald uses an extended, copiously illustrated Introduction to share the salient points of his remarkable life and career with typically understated deference.

‘How and Why I Became an Anarchist’ provides historical background, revelatory moments and quite a few laughs before ‘More autobiographical stuff (in case anyone might be interested)’ traces his early exploits, allowing him to slip into lecture mode for ‘The anarchist revolution is now’.

If you check his (extremely fair but too short) Wikipedia entry you’ll see that he was responsible for exposing corruption and changing British Case Law. ‘My fifteen minutes of fame: The Challenor case’, ‘Regina v. Rooum. The Queen versus me.’, ‘Too much other news’ and ‘The public inquiry and the James Report’ gives his side of a time in 1963 when a high-ranking police officer tried (not for the first time and too often successfully) to frame CND protesters, anti-monarchists and anyone else he didn’t like with planted evidence.

Donald was instrumental in the downfall of said corrupt policeman and the changing of English Law. Don’t take my word for it, look it up. It’s still – for now – a free country. When you have checked, then you’ll know who to thank…

Donald Rooum was a force in comics, in education, in science and in the Anarchist movement for longer than I’ve been alive. As well as sharing his knowledge and honing the skills of generations of creative people and producing some of the most gently powerful and trenchant political cartooning of the last half century, he was actually a wonderfully interesting person to talk to – he would engage with anyone: you couldn’t stop him – and we’re all the poorer for his passing.

He was also a bloody fine cartoonist whose drawings and unique lettering skills are overwhelmingly entertaining. You can see that from the merest selection of his work culled from many books and strips that fills the rest of this book.

The majority of the section dubbed The Comics is filled with his signature star, eponymous impatient instigator Wildcat. She is a strident, impatient and unstoppable anthropomorphic feline who has spent decades on the pages of Freedom magazine, puncturing pomposity, inviting debate – and also abruptly ending it – whilst attempting to educate the willing in the ways the world works. She hangs around with a strange crowd of meek but dedicated, intellectual souls such as The Free Range Egghead who offers counterpoint and calming tones. Guess who usually has the last word… or action…

The collection opens with a history lesson or two and some views of alternative politics all delivered in a gentle, charming yet tellingly informative and subtly subversive manner. The jokes don’t forget to be funny and more importantly, there are no blind spots. Anarchists are as good a target as any Establishment or Vested Interest if the aim is to skewer pomposity, injustice or stupidity.

The Enemy is exemplified as Governments, Police, Big Business, The Church and smug Know-It-Alls of all nations, but there are always telling shots at Anarchists themselves – who, as you might suspect, are usually their own worst enemies if there are more than three in any location at once.

The truly amazing – and most depressing – thing is not the superb drawing talent displayed nor even the range of subjects that fall under the bellicose scrutiny of his team of lampooning and lambasting characters. It is that the issues Rooum and his occasional collaborators highlight and skewer never go away. The names and faces of political and industrial scoundrels and mountebanks may change, but the mistakes and problems they create just keep going.

The collection An Anarchist Alphabet is reproduced in its entirety: a discourse and primer on the true meaning and terminology of the work and society as viewed from a purely Anarchist perspective.

Just for the record: since the strips have to spend so much time clarifying this point, I will too. Suspend preconceptions you’ve grown used to. Actual Anarchism is the belief and aspiration that “Society should be a system where there is no Government and Social Relationships are all voluntary.” And while I’ve got the Quotation marks key under my thumb, here’s a couple from the book itself…

“Boss: one who directs, controls or dominates others” and “Government: body of persons who direct, control or dominate a state or other organisation”

Under the guise of a slide show lecture in a church hall, we see some funny and thought-provoking alternatives to commercialism and globalism, and the discussion portion after the lesson continues the mirth with worth.

Clever, challenging, and potentially life-changing: Surely this is what all art dreams of being? And when it makes you laugh too? This alone is a must-have item for any child of the 21st century.

We take a trip into history next as ‘Spartapuss’ gives a long view on the struggle for autonomy and self-reliance before dipping into pertinent paradigms from Anarchists Against Bombs where all the power and vitriol of his deceptively gentle gaze and accessible penmanship target the Arms Industry and the dubious political processes that equate freeing the victims of brutal oppression with blowing them up before their oppressor can get around to doing it themselves.

More deftly-drafted diatribes follow as we prowl the corridors of power and revisit ‘The Big Bang’ and even get the graphic lowdown on Challenor’ before moving on to other triumphs in The Strips.

‘Gandaft the Famous Wizard’ offers less polemical laughs yet still managed to gather controversy after ‘Gandaft’s Garden’ was created for 1987 comics collective chronicle Outrageous Tales from the Old Testament. The tale reinterprets the Christian creation myth with typically gentle savagery and wit, and sees a hairy bloke in a big hat standing in for the Big Man in the Sky…

One of Donald’s longest gigs was delineating the wry adventures of ‘Sprite’: a fairy of Shakespearean mien who debuted in The Skeptic in 1987 and just kept on charming and bewildering the readership.

Wrapping up the show is a canny, politically shaded reinterpretation of the Rumpelstiltskin fairy story as ‘The Tale of the Straw Boggart’ reveals the true human costs and rewards of trying to buy love…

This superb book is a smart, incisive primer for a brilliant and dedicated creator’s treasure trove of cartoon gold. It never forgets that you have to be funny as well as sharp if you want to get your message to stick.

We should cluster-bomb Westminster and all Fifty States (I’m assuming of course that it will still be 50 by the time you read this) of the USA with copies of this book and every election campaign should begin with televised selected readings therefrom. Yeah, Right, If Only…

Just remember, Anarchism is about taking responsibility, not taking charge. I’m trusting you to get your own copy of this book, read it often and tell everyone you know about it.
But please, do it politely and honestly. Just like Donald would.
© Donald Rooum. This edition © 2016 PM Press. All rights reserved.

V for Vendetta/V for Vendetta 30th Anniversary Deluxe Edition



By Alan Moore & David Lloyd, with Tony Weare, Steve Whitaker, Siobhan Dodds & various (Vertigo)

ISBN: 978-1-4012-8500-5(30th Deluxe HB) 978-1-4012-0841-7(TPB)

Win’s Christmas Gift Recommendation: Groundbreaking, Life-Changing Comics Masterpiece… 10/10

Very few pieces of literature enter public consciousness and fewer still from the relatively young land of graphic narratives. Here’s one of the best…

The serial V for Vendetta began in 1982 in legendary British comics magazine Warrior. The deviously convoluted mystery play describes a highly individualistic resistance campaign conducted by an enigmatic flamboyant and ruthless “anarchist” against a fascistic British government which stumbles into power after a nuclear exchange destroyed all the bigger countries.

Or does it?

This is just as much a tale of intellectual and political awakening. Most events are seen (and the escalating situation unravels) through the eyes and experiences of Evey Hammond, a pathetic little nobody rescued from secret policemen – almost as an afterthought – by V during his first highly public exploit.

The sinisterly suspenseful series was originally presented in stark and stunning black & white, every chapter title beginning with a “v” word. Fans of classic British strip art revelled in occasional contributions from the wonderful Tony Weare (Matt Marriot, Pride of the Circus, Savage Splendour, The Colditz Story and much, much more) who fully illustrated the chapter dubbed ‘Vincent’ and also assisted master stylist David Lloyd in creating a masterpiece of daunting visual atmosphere throughout.

This was no mean feat as V – whilst dismantling with lethal efficiency the machineries of a totalitarian and ever vigilant State that constantly voiced its views that everything was better in the Good Old Days – declared himself the true guardian of lost or forgotten British culture. This demanded a phenomenal amount of research and vital trust that the readership would pick up on some pretty obscure references, both Verbal and Visual…

The then-controversial jump to colour (I, for one, would kill for a fully monochrome director’s cut edition of this saga) following DC’s appropriation of the saga was deftly handled by Lloyd himself, with the hued back-up of much-missed Steve Whitaker and Siobhan Dodds, whilst the relentless lettering of Alan Moore’s astounding script came courtesy of Jenny O’Connor, Steve Craddock & Elitta Fell.

And yes, pitiless protagonist V generally adopts the seeming of ultimate anti-authoritarian rebel Guido “Guy” Fawkes. His once-common masked vulpine visage was rescued from vintage obscurity for this tale: subsequently becoming a symbol and tool of anonymity for new generations of rebels, resisters and occupiers…

The subtle shadings of the large cast and the device of telling this from the point of view of the villains as much as the protagonists adds vast shades of meaning to this exploration of free will and oppression, and it’s still shocking to realise that the “hero” is too often indistinguishable from his opponents: philosophically or physically…

The collected book was released in the early 1990s, re-released to coincide with a movie adaptation and is now available in a snazzy hardback Deluxe edition.

Although temporarily reclaiming the image for good old Guy Fawkes night, this review is actually a paean of praise for our art form’s ultimate resistance tract and I would strongly suggest that if you are still uninformed and unentertained, you should the experience V as soon as viable. Moore & Lloyd made a magnificent beast and it should be viewed in all its glory, before vile politics ends us all…
© 1988, 1989, 1990, 2009, 2018 DC Comics. All Rights Reserved.

Frank: The Incredible Story of a Forgotten Dictatorship


By Ximo Abadía, translated by Esther Villardón Grande (Europe Comics)
No ISBN (digital-only edition)

In these days of unrelenting crisis, a relentless harrowing of democratic principles and the seeming triumph of imbecilic venality, it’s perhaps of some comfort to realise that, in many ways, it’s always been like this…

On view today is another Europe Comics digital-only edition from the pan-continental collective imprint which collaborates to bring a wealth of fresh and classic material to English-speaking fans. Moreover, if you like your books solid and substantial, it’s a happy note to discover some adventures are being picked by companies like Cinebook, Top Shelf and IDW.
Not this one, though. Not yet…

Illustrator Ximo Abadía was born in Alicante in 1983, and reared in both that rural countryside idyll and the seasonally-cosmopolitan resort metropolis of Benidorm. Upon reaching 18 years of age he moved to Madrid for his further education. His first graphic novel – Cartulinas de colores – came out in 2009, and in 2011 follow-up CLONk saw him nominated for the Best New Author Prize at the Barcelona Comics Festival. That was topped a year later by La Bipolaridad del chocolate.

In 2018, he turned his masterful eye for stunning visuals and compelling symbolic design onto a period in his country’s recent history that seems to have been carefully, wilfully and voluntarily whitewashed from history. That book earned Abadía the Best Illustrated Album award at the 2018 Heroes Comic Con.

Feeling like a seditiously subtle children’s primer, Frank: La increíble historia de una dictadura olvidada examines with garish glee and irresistible simplicity, the rise and demise of Generalíssimo Francisco Franco Bahamonde and his Nazi/Italian National Fascist Party backed totalitarian reign as Caudillo of Spain from 1939-1945. In strident imagery the author also asks why nobody in the country today is willing or comfortable to talk about those years when the country seemingly vanished from the wider world…

Stunningly evocative, the parade of iconic images deftly presents events and synthesises opinion: making no judgements but nevertheless delivering a shattering testimony and appraisal of the depths some men can descend to, and how entire populations and nations can be complicit in cover-ups in the name of an easy life…

This not a history book. It’s a giant, irritant question mark no one is comfortable acknowledging. And as we all know: things left to fester don’t get better, they erupt in poison and soon spread…
© 2019 DIBBUKS EDICIONE – Abadía. All rights reserved.

Signal from Space/Life on Another Planet


By Will Eisner with Andre LeBlanc (Kitchen Sink Press/DC Comics/W.W. Norton & Co)
ISBN: 978-0-87816-014-3 (Kitchen Sink colour HB): 0-87816-370-0 (KSP B&W PB):
978-1-56398-677-4 (DC Comics Library PB): 978-0-39332-812-7 (WW Norton PB)

Here’s a long-lost contemporary cartooning classic which – although readily available in a number of formats – is still seen best in its first release. Ambitious and deliberately targeting an adult book-reading rather than comics audience, this initial collection of Will Eisner’s trenchant political thriller-cum-social commentary proves once more that sometimes the medium really is the message…

William Erwin Eisner was one of the pivotal creators who shaped the American comicbook industry, with most of his works more or less permanently in print – as they should be. From 1936 to 1938 he worked as a jobbing cartoonist in the comics production hothouse known as the Eisner-Eiger Shop, creating strips for both domestic US and foreign markets.

Using the pen-name Willis B. Rensie he created and drew opening instalments for a huge variety of characters ranging from funny animal to historical sagas, Westerns, Detective fiction, aviation action thrillers… and superheroes… lots of superheroes …

In 1940 Everett “Busy” Arnold, head honcho of the superbly impressive Quality Comics outfit, invited Eisner to take on a new challenge. The Register-Tribune newspaper syndicate wanted a 16-page weekly comicbook insert for the Sunday editions. Eisner jumped at the opportunity to move beyond the limitations of the nickel and dime marketplace, creating three series which would initially be handled by him before two were delegated to supremely talented assistants.

Bob Powell inherited Mr. Mystic and distaff detective Lady Luck fell into the capable hands of Nick Cardy (then still Nicholas Viscardi) and later the inimitable Klaus Nordling.

Eisner kept the lead feature for his own and over the next twelve years The Spirit became the most impressive, innovative, imitated and talked-about strip in the business. However, by 1952 he had more or less abandoned it for more challenging and certainly more profitable commercial, instructional and educational strips. He began working extensively for the US military in manuals and magazines like P*S, the Preventative Maintenance Monthly, generally leaving comics books behind him.

After too long away from his natural story-telling arena, Eisner creatively returned to the streets of Brooklyn where he was born on March 6th 1906. After years spent inventing much of the visual semantics, semiotics and syllabary of the medium he dubbed “Sequential Art” in strips, comicbooks, newspaper premiums and instructional comics, he capped that glittering career by inventing the mainstream graphic novel, bringing maturity, acceptability and public recognition to English language comics.

In 1978 a collection of four original short stories in strip form were released as a single book: A Contract with God and Other Tenement Stories. All the material centred around 55 Dropsie Avenue, a 1930’s Bronx tenement housing impoverished Jewish and immigrant families. It changed the American perception of cartoon strips forever.

Eisner wrote and drew a further 20 further masterpieces, opening the door for all other comics creators to escape the funnybook and anodyne strip ghettos of superheroes, funny animals, juvenilia and “family-friendly” entertainment. At one stroke comics grew up.

Eisner was constantly pushing the boundaries of his craft, refining his skills not just on The Spirit but with his educational and promotional material. In A Contract with God he honed in on unexplored territory with truly sophisticated, mature themes worthy of Steinbeck or F. Scott Fitzgerald, using pictorial fiction as documentary to examine social experience.

One of the few genres where Eisner never really excelled was science fiction – and arguably he doesn’t in this tale either as, in Signal from Space, the big discovery is just a plot maguffin to explore politics, social interactions and greed – all premium Eisner meat…

As ‘Life on Another Planet’ the material in this collection was originally serialised as eight 16-page episodes in Will Eisner’s Spirit Magazine from October 1978 to December 1980, rendered in toned monochrome (a format adhered to and title revived in subsequent Kitchen Sink, DC and W.W. Norton collections).

However, for this luscious hardback, the auteur and long-time confederate Andre LeBlanc fully-painted the entire saga using evocative tones and hues to subtly enhance the sinister, cynical proceedings…

One momentous night, lonely radio astronomer Mark Argano – based at a New Mexico observatory – picks up ‘The Signal’: a mathematical formula originating from Barnard’s Star and thus proof positive of extraterrestrial intelligence…

One colleague wants to inform the public immediately, but Argano is adamant that they go slowly as he (secretly) harbours schemes to somehow “cash in”. Unfortunately, the other scientist he shares the secret with is a Soviet sleeper agent…

Almost immediately the first murder in a long and bloody succession is committed as various parties seek to use the incredible revelation to their own advantage. World-weary science advisor and maverick astrophysicist James Bludd is dispatched by the CIA to verify and control the situation, but he walks straight into a KGB ambush and narrowly escapes with his life…

There’s now a deadly Cold War race to control contact with the mysterious signallers and ‘The 1st Empire’ follows recovering addict Marco as he turns his life around; using the now-public sensation to create a personality cult dedicated to leaving Earth and joining the aliens. Whilst Marco’s Star People grab all the headlines, ruthless plutocrat Mr. MacRedy uses his monolithic Multinational Corporation to manipulate Russia and America, intending to be the only one to ultimately capitalise on any mission to Barnard’s Star…

Since travel to far space is still impossible for humans, MacRedy sanctions the unethical and illegal creation of a human/plant hybrid and starts looking for volunteers to experiment on in ‘A New Form of Life’, whilst Bludd – now more reluctant spy than dedicated scientist – accepts another undercover assignment.

Casualties moral, ethical and corporeal mount in ‘Pre-Launch’ whilst in distressed African nation Sidiami, a desperate despot declares his bankrupt nation a colony of Barnard’s Star to avoid UN sanctions and having to pay back his national debt to Earthly banks…

Soon, he’s offering a base to Multinational for their own launch site and sanctuary to those Star People anxious to emigrate…

In ‘Bludd’ the scientist and his sultry KGB counterpart find themselves odd-bedfellows just as the Mafia get involved in the crisis – for both personal and pecuniary reasons – whilst in America, MacRedy prepares to install his own President to expedite his company’s requirements…

Now determined to take matters into his own hands and screw all governments and interests, Bludd is caught up in an unstoppable, uncontrollable maelstrom of events in ‘Abort’, and, after the American President has a fatal accident in ‘The Big Hit’ MacRedy thinks he’s finally won. He is utterly unprepared for Bludd’s unpredictable masterstroke in ‘The Last Chapter’

Signal from Space is a dark and nasty espionage drama as well as a powerfully intriguing ethical parable: a Petrie dish for ethical dilemmas where Eisner masterfully manipulates his vast cast to display human foible and eventually a glimmer of aspirational virtue. This is a hugely underrated tale from a master of mature comics guaranteed to become an instant favourite. And it’s even better in this sumptuous oversized edition which is well worth every effort to hunt it down.

After all, Per Ardua ad Astra

However, if you can’t find this version, there are numerous later editions, in the original black & white that have their own potent appeal and if you were a really dedicated fan, you’d only be happy with both, wouldn’t you?
© 1978, 1979, 1980, 1983 Will Eisner. All rights reserved.

Asterix Omnibus volume 9: Asterix and the Great Divide; Asterix and the Black Gold; Asterix and Son


By Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens’ Books and others)
ISBNs: 978-1-44400-967-5 (HB), 978-1-44400-966-8 (PB)

Alberto Aleandro Uderzo was born on April 25th 1927 in Fismes, on the Marne, a son of Italian immigrants. Showing great artistic flair as a child reading Mickey Mouse in Le Pétit Parisien, he dreamed of becoming an aircraft mechanic one day. Albert became a French citizen when he was seven and found employment at 13, apprenticed to the Paris Publishing Society, where he learned design, typography, calligraphy and photo retouching.

When WWII broke out, he spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix’s idyllic village was being mooted the region was the only choice.

During the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the country’s revitalised and burgeoning comics industry. His first published work, a pastiche of Aesop’s Fables, appeared in Junior, and in 1945 he was introduced to industry giant Edmond-François Calvo (whose own comics masterpiece The Beast is Dead is long overdue for a new edition…).

Indefatigable Uderzo’s subsequent creations included the indomitable eccentric Clopinard, Belloy, l’Invulnérable, Prince Rollin and Arys Buck. He illustrated Em-Ré-Vil’s novel Flamberge, worked in animation, as a journalist and illustrator for France Dimanche, and created vertical comic strip Le Crime ne Paie pas for France-Soir. In 1950, he illustrated a few episodes of the franchised European version of Fawcett’s Captain Marvel Jr. for Bravo!

An inveterate traveller, the prodigy met Rene Goscinny in 1951. Soon fast friends, they decided to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or perhaps gracious living) for women’s weekly Bonnes Soirée, after which an avalanche of splendid strips and serials poured forth.

Jehan Pistolet and Luc Junior were created for La Libre Junior and they devised a western starring a native hero who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955 with the formation of Édifrance/Édipresse, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine, before in 1957 adding Charlier’s Clairette to his portfolio.

The following year he made his debut in Le Journal de Tintin, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane.

When Pilote launched in 1959, Uderzo was a major creative force for the new magazine, collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Astérix le gaulois

Despite Asterix being a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first Roman romp was compiled and collected as Astérix le gaulois in 1961, it became clear that the series would demand most of his time – especially as the incredible Goscinny seemed to never require rest or run out of ideas.

By 1967 the strip occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist, producing a further ten volumes until 2010 when he retired.

After nearly 15 years as a weekly comic strip subsequently collected into albums, in 1974 the 21st tale (Asterix and Caesar’s Gift) was the first to be published as a complete original album before being serialised. Thereafter each new release was a long-anticipated, eagerly-awaited treat for the strip’s millions of fans…

According to UNESCO’s Index Translationum, Uderzo is the tenth most-often translated French-language author in the world and the third most-translated French language comics author – right after his old mate René Goscinny and the grand master Hergé.

More than 370 million copies of 37 (soon to be 38) Asterix books have sold worldwide, making his joint creators – and their successors Jean-Yves Ferri and Didier Conrad – France’s best-selling international authors.

One of the most popular comics features on Earth, the collected chronicles of Asterix the Gaul have been translated into more than 100 languages since his debut, with a wealth of animated and live-action movies, TV series, assorted games, toys, merchandise and even a theme park outside Paris (Parc Astérix, naturellement)…

So what’s it all about?

Like all the best stories the premise works on more than one level: read it as an action-packed comedic saga of sneaky and bullying baddies coming a cropper if you want or as a punfully sly and witty satire for older, wiser heads. We Brits are further blessed by the brilliantly light touch of master translators Anthea Bell & Derek Hockridge who played no small part in making the indomitable little Gaul so very palatable to English tongues.

More than half of the canon is set on Uderzo’s beloved Brittany coast, where – circa 50 B.C. – a small village of cantankerous, proudly defiant warriors and their families resist every effort of the mighty Roman Empire to complete the conquest of Gaul. The land has been divided by the conquerors into compliant provinces Celtica, Aquitania and Amorica, but the very tip of the last cited just refuses to be pacified…

The remaining epics occur in various locales throughout the Ancient World, with the Garrulous Gallic Gentlemen visiting every fantastic land and corner of the myriad civilisations that proliferated in that fabled era…

When the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus, the little seaside hamlet is permanently hemmed in by the heavily fortified garrisons of Totorum, Aquarium, Laudanum and Compendium.

The Gauls couldn’t care less: daily defying the world’s greatest military machine simply by going about their everyday affairs, protected by the magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix

Firmly established as a global brand and premium French export by the mid-1960s, Asterix continued to grow in quality as Goscinny & Uderzo toiled ever onward, crafting further fabulous sagas; building a stunning legacy of graphic excellence and storytelling gold. Moreover, following the civil unrest and nigh-revolution in French society following the Paris riots of 1968, the tales took on an increasingly acerbic tang of trenchant satire and pithy socio-political commentary…

By the time of the first tale in this omnibus edition was released Goscinny had been gone for three years and Uderzo soldiered on alone…

Asterix and the Great Divide was the 25th volume, released in 1980 as Le Grand Fossé, and in many ways something of a departure and stylistic compromise.

In another Gaulish village, internecine strife is brewing. Political rivals Cleverdix and Majestix have split the sleepy hamlet down the middle, with an election for chief ending in a dead tie. They then make the figurative literal by having a huge trench dug through the centre of town, cutting the tribe in two, with the population resolved into uncompromising Leftists and stubborn Rightists…

It’s a tragedy in many ways, with friends and families split into feuding camps, but the most heartrending separation concerns dashing Histrionix, son of Leftist Cleverdix and his one true love Melodrama, daughter of Majestix. Their warring sires refuse to concede or compromise and that simmering Cold War has frustrated their children’s happiness forever…

The lover’s pleas cannot move either deadlocked party leader and the intolerable situation is further exacerbated by the insidious, coldly calculating advisor to Majestix who secretly eggs on the old warrior for his own purposes.

Wily toady Codfix’s latest idea is to get their Roman overlords to intervene, installing Majestix as sole ruler by force. In return, Codfix would be given Melodrama in marriage. Of course, that would make him next in line for the ruler’s position. Codfix is both patient and ambitiously far-sighted…

When Melodrama learns of the plan, she immediately informs Histrionix and the prince tells Cleverdix – who knows full well he cannot resist the overwhelming might of the Romans. The former soldier then remembers an old war-buddy who still successfully resists the conquerors. His name was Vitalstatistix

As Histrionix heroically dashes to the village of Indomitable Gauls – everything he does is heroic – Codfix has gone to the local garrison with his request. Centurion Umbrageous Cumulonimbus, however, has his own problems: discipline is lax and the soldiers are grumbling because of the menial chores they are forced to perform. Codfix has the perfect solution. If the Romans put Rightist Majestix in charge, they could take the pacified Leftists as slaves…

In the meantime, Histronix has returned with Vitalstatistix’ best men. Asterix, Obelix and Getafix the Druid are discussing the matter with Cleverdix when Roman soldiers arrive. Codfix however, has overstepped himself and underestimated the nobility of Majestix…

The doughty Rightist refuses to let any Gaul be enslaved – even political opponents – so the uncaring Romans grab him and his followers instead. Impressed with his rival’s integrity, Cleverdix accepts Asterix’ offer of assistance and our heroes infiltrate the garrison as volunteer slaves using an elixir that revitalises the body but causes a touch of amnesia…

Having fun by exploiting these new Romans’ ignorance of their true identities, the infilitrators feed the imprisoned Gauls soup fortified with the Druid’s strength potion before Asterix and Obelix lead a mass breakout which soon finds the prisoners back in their divided hamlet but no closer to an amicable resolution.

And both sides know that the Romans will soon come, eager for revenge…

Codfix has sensibly stayed with the garrison and found the last of Getafix’ elixir, left behind during the liberation. When he sneaks back into the village, he also discovers a fresh batch of power-potion whipped up in advance of the impending attack… and steals it.

The next day, the Gauls wake to find invaders marching upon them, fortified by the elixir which has erased the punishing memory of their recent defeat, and simultaneously super-charged by power potion.

Left with nothing but Obelix and Gaulish courage, the villagers unite to fight and fall with honour, but are astonished when a bizarre series of transformations wrack the empowered Romans. It takes a long time to become a Druid and apparently the first thing you learn is to never mix potions…

Codfix has used the distraction to kidnap Melodrama. Demanding ransom and safe passage, he has not reckoned on Histrionix’ determination, Asterix’s ingenuity or Obelix’ strength and – after a climactic confrontation involving our perennially luckless Pirates – gets what’s coming to him…

With the Romans routed and Codfix suitably punished, Cleverdix and Majestix settle their differences with a traditional Gaulish duel after which someone else becomes chief of the reunified village. The former divide is transformed into an appropriate symbol of their unity and life goes on happily…

Asterix and the Great Divide was devised by Uderzo as a critique on current affairs and metaphorical attack on the Berlin Wall which had, since 1961, split the city physically, Europe symbolically and the world ideologically. His earnest tale was more dramatic and action-oriented than previous Asterix fare, with the regulars frequently reduced to subordinate roles, but for all that there are still cunning laughs and wry buffoonery in welcome amounts.

 

Asterix and the Black Gold (L’Odyssée d’Astérix) debuted in 1981 and again saw Asterix and Obelix embarking on a long voyage into the unknown, rife with bold adventure and underpinned by topical lampooning and timeless swingeing satire.

The 26th saga begins with a brace of wild boar demonstrating that they are canny opponents for voracious Obelix. Whenever the gigantic Gaul encounters these particular pigs in his daily hunts, they escape by leading him to the nearest Roman patrol. The only thing Obelix loves more than eating pork is bashing Romans…

Back in Rome, Julius Caesar is livid. He’s just received news that the insufferable, indomitable Gauls are training wild boars to lead Roman patrols into Gaulish ambushes…

The raging ruler’s continued attempts to end the aggravating resistance always fail and in a fit of fury he charges his chief of the Roman Secret Service M.I.VI (geddit?) with ending his galling Gallic grief – or else…

M. Devius Surreptitius has just the man for the job. Dubbelosix is of Gaulish-Roman extraction and has, by persistence and deviousness, qualified as a Druid. He is wily, charming, debonair and comes with a host of cunning hidden gadgets – and he’s also the spitting image of Sean Connery…

Dispatched on a mission to stop the French resisting, Dubbelosix is secretly working with his boss M to supplant Caesar, and also harbours ambitions to rule Rome alone …but first he has to destroy the infernal Gauls. His chance comes almost as soon as he arrives in that little village…

Getafix is in a near-panic. The Druid has been eagerly awaiting the arrival of Phoenician merchant Ekonomikrisis who is bringing a vital ingredient for the magic potion that keeps the Romans at bay. When the ship at last arrives and the peddler apologises for forgetting the fabled rock oil, the highly strung Getafix has a fit and passes out.

Luckily a young Druid dubbed Dubbelosix is passing and, after a minor skirmish with a Roman patrol, accompanies Asterix and Obelix back to their comatose friend…

The spy might be a double agent, but he knows his stuff and soon cures the ailing Getafix, who explains that the generally useless black ooze from the Middle East is vital to the potion: without a fresh supply they are all doomed…

When Asterix and Obelix – and faithful hound Dogmatix, of course – volunteer to obtain some of the crucial rock oil, Dubbelosix insists on accompanying them. But as they commandeer the Phoenician’s ship for the emergency mission, Getafix clandestinely warns Asterix to watch the too-good-to-be-true young Druid…

Expediting matters by selling off Ekonomikrisis’ wares at prices nobody – even Pirates – dare refuse, our heroes make their way to Mesopotamia, unaware that Dubbelosix, using his unique messaging service, has briefed Caesar and M to stop the ship at all costs.

After a succession of military vessels are sent to the bottom of the Mediterranean by the joyfully belligerent Gauls, the Ruler of the World is forced to change tactics and blockade all ports to prevent Asterix and Obelix from disembarking.

With time running out, Ekonomikrisis eventually sneaks the Gauls and Dubbelosix ashore in distant Judea. The trio travel overland to Jerusalem where they are befriended by the locals who have no love for the Romans. The oppressors are always just one step behind the voyagers, though. It is as if someone is telling them every time the questers alter their plans…

After a memorable night in a village called Bethlehem, the Hebrews’ attempt to smuggle the Gauls into Jerusalem is sabotaged by Dubbelosix. However, the Middle Eastern garrisons have never seen fighters like Asterix and Obelix and the doughty heroes escape, leaving the scurrilous double agent behind.

With time running out at home and no word of the fate of their friends, the Gauls are hidden by friendly merchants, and learn that the Romans have seized and burned all the rock oil in the city – and probably the entire region. Their only chance to secure some of the previously worthless black goo is to get it from the source – in Babylon, where it just seeps out of the ground…

Assisted by brave, helpful guide Saul ben Ephishul (a loving visual tribute to Uderzo’s deeply-missed partner René Goscinny, who was Jewish) Asterix and Obelix undertake another perilous journey into the deep desert, frolicking in the Dead Sea and encountering a procession of fanatical tribes all warring on each other for long-forgotten reasons in a savage lampoon of modern Middle East strife…

Eventually, the Gauls become completely lost; waterless and without hope under the scorching sun. However when little Dogmatix starts digging in the sand, the resultant oil gusher provides more than enough to buoy up their hopes and they battle on to rendezvous with Ekonomikrisis for a frantic return to Gaul.

Unfortunately, Dubbelosix has tracked them down again and has one last trick to play…

This return to the style and format of classic collaborations features hilarious comedy set-pieces, thrilling drama and a bitingly gentle assault on the madness of keeping ancient feuds alive, intransigence of religious tensions and the madness of recurring oil crises; lampooning ideologies and dogmas whilst showing how great it is when people can just get along.

Fast, furious and funny-with-a-moral, this is one of the artist/author’s very best efforts and even manages a double-shock ending…

 

Asterix and Son was released in 1983, the 27th saga and another unconventional step off the well-worn path as it touches on a rather touchy subject…

One particularly fine morning in the Village of Indomitable Gauls, Asterix and Obelix awake to discover someone has left a baby in a basket on their doorstep. Nonplussed and bewildered, they try to care for the infant – much to the horror of the local cows who would be delighted to provide sustenance if milked in a normal manner – but human tongues in the village are beginning to wag…

Things only get worse after the feisty tyke develops a taste for magic potion and somehow keeps finding new supplies of it…

Determined to clear his name and find the real parents, Asterix begins his investigations at the four Roman Garrisons, even as Crismus Cactus, Prefect of Gaul begins a suspiciously sudden emergency census of the local villages…

Hyper-charged on potion, the baby keeps getting out and following Asterix and Obelix, who discover that the Romans seem to be looking for one child in particular…

After a painful encounter with our heroes, Crismus Cactus retires to his villa where a VIP from Rome is waiting. Marcus Junius Brutus is Caesar’s adopted son and is most insistent that the mystery baby is found and turned over to him – even if he has to raze all Gaul to achieve his aim…

The infant in question is still causing trouble for the villagers and Brutus marshals an army near the isolated hamlet, successfully confirming the child’s location with a rather inept spy. The kid’s treatment of the intruder prompts Asterix to seek out a nanny, but as the village women are still suspicious and condemnatory, he hires a rather unsavoury stranger named Aspidistra for the task…

This provokes even more vicious tongue-wagging amongst the women, who assume the worst of both her and Asterix. Inexplicably, nobody notices the ferocious childminder’s astonishing resemblance to the Prefect of Gaul…

Unfortunately, once Crismus has successfully infiltrated the village he can’t get out again, and spends a punishing time amusing the infant horror until his nerve breaks. Drained of patience, Brutus then attacks with the full might of Rome, torching the village and bombarding it with catapults.

As the men tank up on potion and counterattack, the village women head for the beach. Sadly, Brutus is willing to sacrifice his entire army, and is waiting to grab the baby…

Once the Roman Legions are crushed, Asterix and Obelix return and discover what has occurred. Filled with rage, they set off in deadly pursuit and save the child just in time for his real mother and father to arrive. Two of the most powerful people in the world, they are extremely angry with somebody…

Laced with a dark and savage core, this rollicking rollercoaster ride combines tragedy with outrageous slapstick, transforming historical facts into a compelling comedy-drama that is both delightful and genuinely scary in places…

Stuffed with sly pokes and good-natured joshing, featuring famous caricatures to tease older readers whilst the raucous, bombastic, bellicose hi-jinks and riotous action astounds and bemuses the younger set, these tales celebrate the illustrative ability of Uderzo, confirming his potion-powered paragon of Gallic Pride to be a true national and cultural treasure.

If you still haven’t experienced this sublime slice of French polish and graphic élan, it’s never too late…
© 1980-1983 Goscinny/Uderzo. Revised English translation © 2002 Hachette. All rights reserved.

Pogo – The Complete Syndicated Comic Strips volume 3: Evidence to the Contrary


By Walt Kelly, edited by Carolyn Kelly & Eric Reynolds (Fantagraphics Books)
ISBN: 978-1-60699-694-2 (HB)

Books of this stature and calibre are worth buying and reading at every moment of every day, and rather than waste your valuable time with my purely extraneous blather, you could just hit the shops or online emporia and grab this terrific tome right now.

If you still need more though, and aren’t put off by me yet, I’m honoured to elucidate at some length…

Walter Crawford Kelly Jr. was born in 1913 and began his cartooning career whilst still in High School as artist and reporter for the Bridgeport Post. In 1935 he moved to California and joined the Disney Studio, working on animated short films and such features as Dumbo, Fantasia and Pinocchio.

His steady ascent was curtailed by the infamous animator’s strike in 1941. Refusing to take sides, Kelly quit, moving back East and into comicbooks – primarily for Dell who held the Disney rights license – amongst many other popular properties – at that time.

Despite his glorious work on major mass-market, people-based classics such as the Our Gang movie spin-off, Kelly preferred and particularly excelled with anthropomorphic animal and children’s fantasy material.

For the December 1942-released Animal Comics #1 he created Albert the Alligator and Pogo Possum, wisely retaining the copyrights to the ongoing saga of two affable Bayou critters and their young African-American pal Bumbazine. Although the black kid soon disappeared, the animal actors stayed on as stars until 1948 when Kelly moved into journalism, becoming art editor and cartoonist for hard hitting, left-leaning liberal newspaper The New York Star.

On October 4thth 1948, Pogo, Albert and an ever-expanding cast of gloriously addictive, ridiculously exuberant characters began their strip careers, appearing in the paper six days a week until the periodical folded in January 1949.

Although ostensibly a gently humorous kids feature, by the end of its New York Star run (reprinted in Pogo: The Complete Syndicated Comic Strips volume 1) the first glimmerings of an astoundingly barbed, boldly satirical masterpiece of velvet-pawed social commentary had begun to emerge…

When the paper folded Pogo was picked up for mass distribution by the Post-Hall Syndicate, debuting on May 16th 1949 in selected outlets across the nation. A colour Sunday page launched January 29th 1950 and both were produced simultaneously by Kelly until his death in 1973 and thereafter by his talented wife and family until the feature was at last laid to rest on July 20th 1975.

At its height the strip appeared in 500 papers in 14 countries and the book collections – which began in 1951 – eventually numbered nearly 50, collectively selling over 30 million copies… and all that before this Fantagraphics series even began…

In this third volume (available as a hardback and in eBook editions) of a proposed full dozen reprinting the entire Kelly canon of the Okefenokee Swamp critter citizenry, undoubtedly the main aspect of interest is the full-on comedic assault against possibly the greatest danger and vilest political demagogue America ever endured (at least in the 20th century…) but the counterattack against witch-hunter Senator Joe McCarthy is merely one of the many delights in this stunning mix of free expression and wild and woolly whimsy…

This colossal and comfortingly sturdy landscape compilation (boasting three-hundred-and-fifty-six 184 x 267mm pages) includes the monochrome ‘Daily Strips’ from January 1st 1953 to December 31st 1954, and the Sundays – in their own full-colour section – from January 4th to December 26th of the same years.

Supplemental features this time comprise a Foreword from award-winning cartoonist Mike Peters (Mother Goose & Grimm); a wealth of deliriously winning unpublished illustrations and working drawings by Kelly and utterly invaluable context and historical notes in R.C. Harvey’s ‘Swamp Talk’ . This last also compellingly, almost forensically, details the rise and fall of rabblerousing “red-baiter” Joe McCarthy and how Kelly courageously opened America’s fight back against the unscrupulous, bullying chancer (and the movement for which he was merely a publicity-hungry figurehead) with an unbeatable combination broadside of ridicule and cool disdain…

The closing biographical feature ‘About Walt Kelly’ by Mark Evanier is supplemented by a comprehensive ‘Index of the Strips’ and a gloriously inspired selection of ‘Noteworthy Quotes’ to fill out the academic needs of the readers, but of course the greatest boon here is the strips and characters themselves.

Kelly was a masterful inventor of engaging and endearing personalities, all of whom carried as many flaws as virtues. The regular roll call (some commentators reckon to be as many as 1000!) included gentle, perpetually put-upon and bemused possum Pogo, boisterous, happily ignorant alligator Albert, dolorous, sensitive Porkypine, obnoxious turtle Churchy La Femme, lugubrious hound Beauregard Bugleboy, carpet-bagging Seminole Sam Fox, pompously ignorant know-it-all Howland Owl, sveltely seductive skunk Miz Mam’selle Hepzibah, long suffering matron Miz Beaver, maternal Miz Groun’chuck and her incomprehensible, bitey baby Grundoon plus all the other bugs, beasts and young’uns of the swamp, but the author’s greatest strength lay in his uniquely Vaudevillian rogues, scoundrels and outright villains.

The likes of Tammanany Tiger, officious Deacon Mushrat, sinister, sycophantic beatnik communist Catbirds Compeer and Confrere, sepulchral Sarcophagus MacAbre, sloganeering P.T. Bridgeport and a trio of brilliantly scene-stealing bats named Bewitched, Bothered and Bemildred were perfect confections to illustrate all manner of pestilential pettifogging, mean manners and venal self-serving atrocities as they intermingled and interfered with the decent folk volubly enduring the vicissitudes of such day-to-day travails as love, marriage, comicbooks, weather, rival strips, fishing, the problem with kids, the innocent joys of sport, cadging food, making a living and why neighbours shouldn’t eat each other…

In this volume the topics of exotically extravagant conversation include the longevity and worth of New Year’s Resolutions, the scandalous behaviour of Porkeypine’s kissing-thief Uncle Baldwin, a get-rich scheme involving dirt and opening shots at the burgeoning phenomenon of commercial television. However, the gradual conversion of the Deacon’s Boy Bird Watchers society into a self-policing vigilante committee looking out for strangers and making sure all the citizens are right-thinking and proper-looking would quickly insinuate itself into every corner of the feature…

The anti-foreigner sentiments peak following the arrival of Deacon Mushrat’s old pal The Hon. Mole MacCarony; a blind, self-aggrandizing politico determined to root out all (undisclosed) threats, enforce conformity and stamp out the diseases obviously carried by strangers.

The xenophobic dirt-digger was based on Nevada Senator Patrick McCarran who briefly shaped paranoid public opinion on a platform of severely restricting immigration and implementing the speedy deportation of all communists and non-Americans. Clearly and sadly, his poisonous legacy and methodology remains a valuable asset to many politicos and opinion-shapers today…

Things got much darker – and therefore more effectively ludicrous – with the arrival of Mole’s malicious and ambitious associate Simple J. Malarkey – whose bullying tactics soon began to terrify his fellow bigots as much as the increasingly outraged, off-balance citizens…

Eventually the villains fall out and trigger their own downfall, with the mortified Deacon sheepishly denying his part in the fiasco. Peace and (in)sanity return and with sunny days ahead weather-prognosticating frog Picayune debuts, only to suffer a great loss when Albert accidentally ingests the amphibian’s pal Halpha – an amoeba who actually did all the meteorological messing about…

Voracious Albert generally swallowed a lot of things, but his biggest gaffe probably occurs after meeting Roogey Batoon, a pelican impresario who – briefly – managed Flim, Flam and Flo: a singing fish act billed as the Lou’siana Perches

Many intriguing individuals shambled into view at this time: Ol’ Mouse and his tutorial pal Snavely (who taught worms how to be cobras and rattlers), cricket-crazed British bugs Reggie and Alf and family icons Bug Daddy and Chile, but the biggest mover and shaker to be introduced was undoubtedly a sporty Rhode Island Red chicken named Miss Sis Boombah.

The formidable biddy is a physically imposing and prodigiously capable sports enthusiast (and Albert’s old football coach), who wanders in as survey taker for “Dr. Whimsy’s report on the Sectional Habits of U.S. Mail Men” (a brilliant spoof of the societally sensational Kinsey Report on sexual behaviour in America) but her arrival also generates a succession of romantic interludes and debacles which eventually lead to a bewildered Mushrat proposing marriage before leaving her in the lurch and disappearing into the deepest parts of the swamp…

Mole reared his unseeing head again, causing merely minor mischief, but when the marriage-averse Deacon encounters the terrifying Malarkey lurking in hiding with sinister acolyte Indian Charlie (who bears a remarkable resemblance to then-current US Vice-President Richard Milhouse Nixon) the scene is set for another savage and often genuinely scary confrontation…

That’s also exactly what Miss Boombah has in mind as she sets out – accompanied by Bewitched, Bothered and Bemildred – to hunt down the scoundrel who left her in the lurch at the church…

Other story strands and insane interludes include such epic mini sagas as the search for an abducted puppy – lampooning TV cop series Dragnet – and a long session on the keeping and proper sharing of secrets, much ado about gossip and the art of being a busybody.

Most memorable of all though, are Churchy’s sudden predilection for dressing up as a pretty little blonde girl, perpetually visiting Martians and poor Pogo’s oddly domestic recipe for A-Bombs…

In his time, satirical supremo Kelly unleashed his bestial spokes-cast upon many other innocent, innocuous celebrity sweethearts such as J. Edgar Hoover, the John Birch Society and the Ku Klux Clan, as well as lesser leading lights likes Hubert Humphrey, Lyndon B. Johnson and – with eerie perspicacity – George W. Romney (U.S. Secretary of Housing and Urban Development, Governor of Michigan and father of some guy named Mitt), but nothing ever compared to his delicious and devilish deconstruction of “Tailgunner Joe” in the two extended sequences reprinted here…

Kelly’s unmatched genius lay in his seemingly effortless ability to lyrically, if not vivaciously, portray through anthropomorphic affectation and apparently frivolous nonsense language comedic, tragic, pompous, infinitely sympathetic characters of any shape or breed, all whilst making them undeniably human.

He used that gift to readily blend hard-hitting observation of our crimes, foibles and peccadilloes with rampaging whimsy, poesy and sheer exuberant joie de vivre. However, he usually toned down the satirical scalpels for the magnificently imaginative ‘Sunday Funnies’: concentrating instead on fantastic and unfailingly hilarious serial fables and comedy romps.

Some of the best he ever conceived conclude this volume, beginning with the epic saga of little faun Melonbone whose search for the Fountain of Youth inadvertently causes Sam Duck to revert to an egg. The distraught drake’s wife is not best pleased at having to hatch her own husband out at her age (after all, she’s no spring chicken)…

Churchy and Albert endure the ire of sharp toothed tot Grundoon as the kid’s inability to converse leads the alligator to accidentally swallow his turtle pal, after which the animal crackpots all get very lost for a long time in their own swampy backyard…

Howlan Owl’s latest get-rich-quick scheme – digging to China – results in his and Albert’s reluctant consultation of an Atlas and the shocking conclusion that the Russians have taken over Georgia…

The panicked reaction of the chumps precipitates their accidentally awakening an oversleeping bear who opts to celebrate Christmas in the middle of August. Eventually, everybody catches up to him just in time for the true Yule event…

After the usual New Year’s shenanigans, 1954 truly takes hold as everyone’s favourite alligator tries to recount the amazing exploit of ‘King Albert and the 1001 Arabian Knights of the Round Table’ – despite each listener’s evident and express disinterest – before Howlan and Churchy became compulsively embroiled in a furious feud over pugilism.

Soon thereafter Albert is mistaken for a monster after getting his head stuck in a cauldron. Sadly, once he’s finally extricated from the calamitous cookpot, other unhappy folk become the infernal alembic’s unwilling method of locomotion…

No sooner does that culinary catastrophe conclude than the whole sorry fiasco promptly kicks off again with a lovesick octopus now playing transient chapeau to a succession of unfortunate and duly startled swamp critters …

The hairy, scaly, feathered, slimy folk of the surreal swamp lands are, of course, inescapably us, elevated by burlesque, slapstick, absurdism and all the glorious joys of wordplay from puns to malapropisms to raucous accent humour into a multi-layered hodgepodge of all-ages delight – and we’ve never looked or behaved better…

This stuff will certainly make you laugh; it will probably provoke a sentimental tear or ten and will certainly satisfy your every entertainment requirement. Timeless and ineffably magical, Pogo is a giant not simply of comics, but of world literature and this magnificent third tome should be the pride of every home’s bookshelf, right beside the others.

…Or, in the popular campaign parlance of the all politically astute critters – “I Go Pogo!” and so should you.

Pogo Vol. 3: Evidence to the Contrary and all POGO images, including Walt Kelly’s signature © 2014 Okefenokee Glee & Perloo Inc. All other material © 2014 the respective creator and owner. All rights reserved.

Cave Girls of the Lost World,


By Richard Sala (Fantagraphics Books Digital Exclusive)
No ISBN: ASIN: B07H487P65

Richard Sala is a lauded and much-deserving darling of the Literary Comics movement (if such a thing exists), blending beloved pop culture artefacts and conventions – particularly cheesy comics and old horror films – with a hypnotically effective ability to tell a graphic tale. His compelling pictorial sagas appeal greatly to kids of all ages.

He grew up in Chicago and Arizona before earning a Masters Degree in Fine Arts. Soon after beginning a career as an illustrator he rediscovered his early love of comicbooks and icons of popular mass culture, such as cop shows and horror movies. He’s never looked back…

The release of potentially metafictional and self-published Night Drive in 1984 led to appearances in legendary 1980s anthologies Raw and Blab! and animated adaptations of the series on Liquid Television.

His work is welcomingly atmospheric, dryly ironic, wittily quirky and mordantly funny; indulgently celebrating childhood terrors, gangsters, bizarre events, monsters and manic mysteries, through iconic lead characters as girl sleuth Judy Drood and the glorious trenchant storybook investigator Peculia: to date the most well-known and utilised of his gratifyingly large repertory of characters.

Sala’s art is a joltingly jolly – if macabre – joy to behold and has also shone on many out-industry projects such as his work with Lemony Snickett, The Residents and even – albeit posthumously – Jack Kerouac; illustrating the author’s outrageous Doctor Sax and The Great World Snake. At the moment he’s devoting time to extended mystery webcomics Super-Enigmatix and The Cardinal. Oh, and this…

A (thus far) digital only release, Cave Girls of the Lost World is a marriage of text blocks and full-page illustrations cheekily referencing 1960s dinosaur cheesecake themes (as seen in One Million Years BC or When Dinosaurs Ruled the Earth) with the plucky bonhomie of schoolgirls novels and comics of the same era. Think of The Four Marys in Conan Doyle’s Lost World and channelling the funnier parts of William Golding’s Lord of the Flies

Actually, no, don’t. Think of very fetching cartoons heaving with gleeful irony…

The saga unfolds in four chapters as a young boy wanders a beach and finds a message in a bottle. It is a diary detailing the extraordinary fate which befell 30 female college applicants whose plane crashed onto a strange plateau where giant saurians, extinct precursor races of mankind and vegetable horrors still thrived and relates how the castaways learned to kill or perish…

Fans of Super-Enigmatix will be delighted to discover that some of the characters from that unfolding drama play a crucial part here, too…

    Beguiling, clever, and staggeringly engaging, this yarn blends nostalgic escapism with the childish frisson of children scaring themselves silly under the bedcovers at night and will leave every unrepentant fantasy fan hungry for more…
    Cave Girls of the Lost World © 2018 Richard Sala. This edition © 2018 Fantagraphics Books, Inc. All rights reserved.

Der Struwwelmaakies


By Tony Millionaire and guests (Fantagraphics Books)
ISBN: 978-1560976547 (HB)

As a career and lifestyle, cartooning has far more than its share of individuals with a unique view of and response to the world. Ronald Searle, Charles Addams, George Herriman, Gerald Scarfe, Rick Geary, Berke Breathed, Ralph Steadman, Bill Watterson, Matt Groening, Gary Larson, Steve Bell, Richard Thompson – the list is potentially endless. Perhaps it’s the power to create entire sculptured worlds, coupled with the constant catharsis of vented spleen that so colours their work – whether they paint or draw – or maybe it’s simply the crucible of constant deadlines that makes their efforts so addictive and effective.

Der Struwwelmaakies is the fourth collection (featuring material from 2003-2004 and available in both landscape hardback and digital formats) of the magnificent Tony Millionaire’s impossibly addictive and distressingly wonderful weekly newspaper strip which ran in America and selected international venues from February 1994 to December 2016. Client papers included The New York Press, and the feature was widely syndicated in US alternative newspapers such as LA Weekly and The Stranger, and comics magazines such as Linus and Rocky. There was even an animated series on Time-Warner’s Adult Swim strand.

It’s clear that Time never withered his infinitely grotesque variety and perspectives one little bit. It seems he was always Like That

The man loves to draw and does it very, very well; referencing classical art, timeless children’s book illustration, Moby Dick and nautical adventure novels as well as an eclectic mix of pioneering comics draughtsmen like George McManus, Rudolph Dirks, Cliff Sterrett, Frank Willard, Harold Gray, Elzie Segar and George Herriman. The result of seamlessly blending their styles and sensibilities with European engravings masters from the “legitimate” side of the storytelling picture racket is a uniquely bracing cartoon experience…

Born Scott Richardson, he especially cites Johnny (Raggedy Ann and Andy) Gruelle and English illustrator Ernest H. Shepard (The Wind in the Willows, Winnie the Pooh) as definitive formative influences.

With a variety of graphical strings to his bow – such as his own coterie of books for children (including the superbly stirring Billy Hazelnuts series) – animations and his legendary Sock Monkey stories – Mr. Millionaire folded his strip when he felt that there were no longer enough newspaper and magazines to support it, but in its heyday Maakies was a deliciously deeply disturbing weekly treat detailing the riotously vulgar, violent, scatalogical and absurdly surreal adventures of an Irish monkey called Uncle Gabby and his fellow macro-alcoholic and nautical mis-adventurer Drinky Crow.

They are abetted but never aided by a peculiarly twisted, off-kilter cast of reprobates, antagonists and confrontational well-wishers, such as Drunken Cop, old Wachtel, The Captain’s Daughter and avian Aunt Phoebe whilst constantly opposed by a nefarious French crocodile dubbed The Frenchman. Or not. It depends…

Also on hand and all at sea are a legion of monsters, devils and horrible hangers-on…

In the grand tradition of the earliest US newspaper cartoon features, each episode comes with a linked mini-feature running across the foot of the strip – although often that link is quite hard to ascertain.

Notionally based in a nautical setting of rip-roaring 19th century sea-faring situations, replete with maritime perils and stunning vistas, the dark-and-bitter comical instalments vary from staggeringly rude and crude through absolutely hysterical to conceptually impenetrable, with content and gags utterly unfettered by the bounds of taste or any acquiescence to wholesome fun-squelching decency.

Millionaire cheekily promoted his other creative endeavours in his Maakies pages, digressed into autobiography and personal rants, brought in selected guest creators to mess with his toys and invited the readership to contribute ideas, pictures and objects of communal interest to the mix – especially any tattoos his dedicated readership could be bothered to despatch…

This penetratingly incisive, witty and often poignant cartoon arena was his personal playground and if you didn’t like it, you should leave… but quietly please, ‘cause there’s a hangover going on here most days…

Continuity plays second fiddle to an avalanche of inventive ideas and outré action, so the strips can be read in almost any order, and the debauched drunkenness, manic ultra-violence (in the manner of the best Tom & Jerry or Itchy & Scratchy cartoons), acerbic view of sexuality and deep core of existentialist angst still finds a welcome with Slackers, Laggards, the un-Christian and all those scurrilous, lost Generations after X, as well as everyone addicted to bad taste tomfoolery.

This sizzling sampler provides – in indisputable monochrome – still more of the wonderful same with such spit-take, eye-watering, drink-coming-out-of-your-nose moments as how to sabotage and scupper circumcisions with Faux-Skin™, Zen Master’s Secret to Life, the danger of widdling in rivers during thunderstorms, Maakies Foto Funnies, The Amazing Spider-Fly, Albert Einstone, the Neanderthal Genius and numerous other reasons to welcome the inescapable alcoholocaust to come…

Guest artists this time around include Rick Detorie, Phoebe, Jim Campbell and Kaz and all the timeless themes Millionaire specialises in are on show: mandatory variations of sordid sexual encounters, ghastly interspecies progeny, assorted single entendres, bodily function lectures and misfires and gory death-scenes share space with some of literature’s greatest poets and sots – who never knew what hit them. There’s even room for a wealth of anti-war commentary from the early days of America’s 21st century Middle East misadventures…

If you’re not easily upset this is a spectacularly funny and rewarding strip, one of the most consistently creative and entertaining in existence, so if you can thrive on gorge-rousing gags and mind-bending rumination this is an experience you simply cannot deny yourself.
© Tony Millionaire. All rights reserved. This edition © 2005 Fantagraphics Books.

Death Threat


By Vivek Shraya & Ness Lee (Arsenal Pulp Press Vancouver)
ISBN: 978-1-55152-750-5

Vivek Shraya is a poet, musician, educator, writer and performer of immense creativity, as can be appreciated in books such as God Loves Hair, even this page is white, The Boy & the Bindi, I’m Afraid of Men and She of the Mountains or her many albums and films.

On her 35th birthday Shraya publicly announced her status as Trans and requested that she be henceforward addressed with female pronouns. That seems inoffensive enough to me and you, and nobody’s business but hers, but sadly it inspired the by-now pro forma response from certain quarters: a tirade of vitriol and harassment from nasty busybodies hiding behind and tainting social media…

Unevolved old jerks like me just get angry and hunger to respond in kind – with vituperative counterattacks – but happily, civilised people find better ways. This book is perhaps the best, as, in collaboration with Toronto-based artist and designer Ness Lee, Shraya transformed fear and disappointment into art with a heavy helping of surreal, satirical soul searching.

The liberating act of turning those unsolicited, unreasoning email assaults – couched in offensive terms by people who hide behind religions whose fundamental tenets they happily cherry pick – into a gloriously incisive and witty exploration of the inexplicable mindless aggression debasing so much of modern society is eyepopping and mind-blowing.

Unlike those who cower behind the supposed anonymity of their keyboards and phones, Shraya and Lee have proudly appended their names to this vibrant voyage, which details how the bile of ignorant bullies (you won’t believe just how dumb some bigots are until you see the hate mail here!) inspired beautiful images and empowering inclusivity.

My generation’s parents told us to ignore bullies or strike back, but today’s ostracised, oppressed and unfairly targeted have found a far better way: turn their hate into beauty and take ownership of it.
Death Threat: Text © 2019 Vivek Shraya. Illustrations © 2019 Ness Lee. All rights reserved.