Harvey Kurtzman’s Marley’s Ghost

Adapted by Harvey Kurtzman & expanded by Gideon Kendall, Josh O’Neill, Shannon Wheeler & various (ComiXology Originals)

Win’s Christmas Gift Recommendation: Reverential Revisitation of a Cornerstone Christmas Classic… 9/10

Harvey Kurtzman is probably the most important cartoonist of the latter half of the last century – even more so than Jules Feiffer, Jack Kirby, Joe Kubert or Will Eisner.

His early triumphs in the fledgling field of comicbooks (Frontline Combat, Two-Fisted Tales and especially the groundbreaking, game-changing Mad) would be enough for most creators to lean back on, but Kurtzman was also a force in newspaper strips (Flash Gordon Complete Daily Strips 1951-1953) and a restless innovator, commentator and social critic who kept on looking at folk and their doings and just couldn’t stop making art or sharing his conclusions…

He invented a whole new format when he converted the highly successful colour comicbook Mad into a black-&-white magazine, safely distancing the brilliant satirical publication from the fall-out caused by the 1950s comics witch-hunt which eventually killed all EC’s other titles.

He then pursued comedy and social satire further with newsstand magazines Trump, Humbug and Help! all the while creating challenging and powerfully effective humour strips such as Little Annie Fanny (for Playboy), Nutz, Goodman Beaver, Betsy and her Buddies and many more. He died far too soon, far too young in 1993.

As recounted in Denis Kitchen’s appendix ‘The Origins of the Marley’s Ghost Graphic Novel’, despite helming a huge and influential comicbook sensation, by 1954 Kurtzman was looking to expand the influence and appeal of the medium even further.

Mad was reaching millions but he wanted to get to everybody and he wanted his efforts to be treated with respect…

His notion was to adapt – properly, faithfully, and not as an abridged, bowdlerized kiddie’s version such as seen in Classics Illustrated – a global masterpiece of literature. Charles Dickens’ A Christmas Carol was the perfect vehicle and Kurtzman feverishly set to in his spare time, producing more than 70 tightly laid out thumbnails and seven colour layouts, plus a complete page rendered by EC/Mad comrade Jack Davis.

The luxurious coffee-table book he’d envisioned foundered due to the timidity and short-sightedness of publishers – and quite possibly the toxic fug around comicbooks caused by Senate Hearings and Frederick Wertham’s hysterical campaign against teenage culture and fun…

Kurtzman shelved the project, but his papers and notes were discovered after his death and the result – adapted by writers Josh O’Neill & Shannon Wheeler and compellingly illustrated by Gideon Kendall – is a splendidly engaging addition to the novel’s legion of cross-media iterations. Just like Kurtzman knew it would be…

The tale is augmented here by Kurtzman’s original thumbnails and layouts, the Davis page and a wealth of development sketches generated by Kendall in completing the project.

Moreover, Marley’s Ghost is even more groundbreaking than Kurtzman ever imagined. Released as a digital book, it has garnered acclaim and awards even before its inevitable transition to physical form… which means, as long as you’re connected you can buy this as the most literal of last-minute gifts…

The Story? It’s what you’d expect and want, all executed with warmth, with and sublime grace. Scrooge Mean. Ghosts! Revelations! Scared Scrooge! Change of Heart! Happies all around! God bless us every one!

And if that was a spoiler in any manner, you have no right to be reading this review…

Here is a superb work long overdue and a comics god’s dream at long-last realised: a new old master of our art form no true devotee can afford to be without. And it’s fun and engaging enough to be an introducer to youngsters looking for comics to love.

Marley’s Ghost as adapted by Harvey Kurtzman is published by Kitchen, Lind & Associates, LLC. Adaptation © 2017 by Gideon Kendall, Josh O’Neill, & Kurtzman Properties LLC. All rights reserved.

The Other Side

By Jason Aaron, Cameron Stewart with Dave McCaig & various (Image: Vertigo)
ISBN: 978-1-53430-222-8 (Image HB)                     978-1-4012-1350-3 (Vertigo PB)

The Viet Nam conflict scarred the American psyche the way no other war has – not even the still somehow-technically-ongoing debacle in Iran, Afghanistan and all points pointless.

Depending on your politics you will either agree or disagree with that statement. These days there are no shady areas or topics of nuance to debate.

What is indisputable is the effect Viet Nam still has on the American consumer. So, it was intriguing to see an attempt to portray that earlier conflict less in term of “Us and Them” and more as “You and Me”.

This superb and deeply memorable tale contrasts the journey from happy home to bloody combat of surly average teen Billy Everette, his counterpart, farmer’s son Vo Binh Dai, and their predestined clash at the Battle of Khe Sanh.

Drafted from his Alabama home, Everette is a reluctant screw-up turned into an average Marine by the sheer hell of Boot Camp, where even the terrifying and very real hallucinations and delusions he suffers from can’t keep him from that dreaded Tour of Duty.

In contrast, patriotic, dutiful Vo Dai enlists in the People’s Army of Vietnam and endures starvation and disease on his long march south, determined to sell his life dearly to free his country from oppression. He too is plagued both by doubts of his worth, and terrifying hallucinations…

This simple tale, powerfully told and subversively drawn, is a sensitive, darkly magical, horrific parable about war, politics and insanity, if indeed they aren’t all the same thing in the end.

The paperback book also contains sketches and artist Cameron Stewart’s photo diary of his research trip to modern Viet Nam – a compelling bonus greatly amplified in the 2017 deluxe hardcover edition from Image comics as well as the various digital editions – and hopefully those gentle counterpoints to history’s blunders from a later if no less wise era can offer a shred of hope to soldiers and families currently reliving the traumas of another age.
© 2007 Jason Aaron & Cameron Stewart. All Rights Reserved.

The Complete Peanuts volume 3: 1955-1956

By Charles Schulz (Canongate Books/Fantagraphics Books)
ISBN: 978-1-84767-075-5 (Canongate HB):             978-1-56097-647-9 (Fantagraphics HB)

Peanuts is unequivocally the most important comics strip in the history of graphic narrative. It is also the most deeply personal. At its height, the strip ran in 2,600 newspapers in 75 countries, translated into 21 languages. Many of those venues are still running perpetual reprints, as they have ever since Schulz’ departure. Book collections, a merchandising mountain and television spin-offs made the publicity-shy artist a billionaire.

Cartoonist Charles M Schulz crafted his moodily hilarious, hysterically introspective, shockingly philosophical epic for half a century. During that time he published 17,897 strips from October 2nd 1950 to February 13th 2000, and died – from the complications of cancer – the day before his last strip was printed…

None of that is really the point. Peanuts – a title Schulz loathed, but one the syndicate imposed upon him – changed the way newspaper strips were received and perceived, and proved that cartoon comedy could have edges and nuance as well as pratfalls and punch lines.

Following a heartfelt and clearly awestruck Foreword from contemporary cartoon genius Matt Groening, this third gargantuan landscape hardback compendium (218 by 33 by 172 mm in the solid world and infinitely variable in its digital iterations) offers in potent monochrome the fifth and sixth years in the life of Charlie Brown and Co: an ever-evolving bombardment of cruel insight and bitingly barbed hilarity.

Here our increasing browbeaten but resolutely optimistic little round head and his high-maintenance mutt Snoopy respond with increasing bewilderment to the rapidly changing world of TV, sports, games and especially peers who seem designed only to vex, belittle or embarrass the introspective everyboy.

Gaining far greater prominence is obnoxious “fussbudget” Lucy who, with her infant sibling Linus – an actual architectural idiot savant – are getting more and more of the best lines and set-ups. Another up and comer settling in (amidst a cloud of dust and detritus) is hapless toxic innocent ‘Pig-Pen’: a sad clown in the grand manner, buffeted by a cruel condition but manfully persevering throughout…

Bombastic Shermy and mercurial Patty are slowly being eased out, and brusque Violet is slowly losing ground to gags starring Beethoven-obsessed, long-suffering musical prodigy Schroeder. Linus’ mystic tranquiliser the Security Blanket also gains greater prominence, but his anxiety peaks exponentially whenever raucous, strident newcomer Charlotte Braun ambles by…

The daily diet of rapid-fire gags had now successfully evolved from raucous slapstick to surreal, edgy, psychologically honed introspection, crushing peer-judgements and deep rumination in a world where kids – and certain animals – were the only actors, although even inanimate objects occasionally got into the action with malice aforethought…

The relationships, however, were ever-evolving: deep, complex and absorbing even though “Sparky” Schulz never deviated from his core message to entertain…

The first Sunday page had debuted on January 6th 1952: a standard half-page slot offering more measured fare than the daily. Both thwarted ambition and explosive frustration became part of the strip’s signature denouements and continue to develop here. There are some pure gem examples of running gag mastery in here too, regarding Lucy’s ongoing relationship to certain snowmen of her own macabre devising and mounting jealousy that her predestined inamorata would rather look at plaster busts of Beethoven than upon her living form…

Perennial touchstones on display herein include playing, playing pranks, playing sports, playing golf, playing baseball, playing in mud, playing in snow, playing musical instruments, playing marbles, the rules of croquet, learning to read, coping with increasingly intransigent if not actually malevolent kites, teasing each other, making baffled observations and occasionally acting a bit too much like grown-ups.

New themes include America’s fascination with flying saucers, ditto for TV sensation Davy Crockett, art appreciation and Snoopy’s growing desire to be anything but a maligned and put-upon little dog. Especially one starved of tasty treats and bonbons…

The soft-soap ostracization of Charlie Brown and his expressions of alienation are well explored but in truth Lucy is the real star here, with episodes seeing her seeking to become Mayor of the United States, duelling Snoopy with skipping ropes and investigating the mystery of why the planet is getting smaller…

More exploration of Snoopy’s incredible inner mindscape can be seen here and there are plenty of season-appropriate gags about summer sun, winter snow and the Fall of leaves as well as riffs on festive events such as Halloween, Easter and Christmas. During this time Good Ol’ Charlie starts getting those stress-induced head and stomach aches…

And best of all, auteur Schulz is in brilliant imaginative form crafting a myriad of purely graphic visual gags any surrealist would give their nose-teeth to have come up with…

Now and forevermore Charlie Brown – although still a benign dreamer with his eyes affably affixed on the stars – is solidly locked on the path to his eternal loser, singled-out-by-fate persona and the sheer diabolical wilfulness of Lucy starts sharpening itself on everyone around her…

Adding to the enjoyment and elucidation, a copious ‘Index’ offers instant access to favourite scenes you’d like to see again, after which Gary Groth reviews the life of ‘Charles M. Schulz: 1922-2000’, rounding out our glimpse of the dolorous graphic genius with intimate revelations and reminiscences…

Still readily available, this volume offers the perfect example of a masterpiece in motion: comedy gold and social glue gradually metamorphosing in an epic of spellbinding graphic mastery which became part of the fabric of billions of lives, and which continues to do so long after its maker’s passing.

How can you possibly resist?
The Complete Peanuts: 1955-1956 (Volume Three) © 2004 Peanuts Worldwide, LLC. Foreword © 2005 Matt Groening. “Charles M. Schulz: 1922 to 2000” © 2004 Gary Groth. All rights reserved.

Pride of Baghdad

By Brian K Vaughan & Niko Henrichon (Vertigo)
ISBN: 978-1-4012-0314-6 (HB)                    978-1-4012-0315-3 (PB)

It would be far beyond crass to suggest that anything good at all ever came out of the monstrous debacle of the Iraq invasion, but trenchant-critique-masquerading-as-parable Pride of Baghdad at least offers a unique perspective on a small, cruel and utterly avoidable moment of that bloody mistake.

Brian K. Vaughan (Y: The Last Man, Ex Machina, Runaways, Paper Girls) and Niko Henrichon (Barnum!, Fables, Sandman, Spider-Man), combining the narrative tools of Walt Disney and George Orwell, reconstruct an anthropomorphised tale of a family of lions who are unwillingly liberated from the city zoo during the taking of Baghdad, and then left to run loose in the deadly streets until their tragic end. Throughout the entire debacle the beasts are scared, hungry, under attack and convinced that everything will be great now that they are free…

This is not a spoiler. It is a warning. This is a beautiful, uncompromising, powerful, tale with characters who you will swiftly come to love. And they die because of political fecklessness, commercial venality and human frailty. The seductively magical artwork makes the inevitable tragedy a confusing and wondrous experience and Vaughan’s script could make a stone, and perhaps even a Republican, cry.

Derived from a news item which told of the lions roaming the war-torn Baghdad streets, here we are made to see the invasion in terms other than those of commercial news-gatherers and government spin-doctors, and hopefully can use those different opinions to inform our own. This is a lovely, haunting, sad book: a modern masterpiece which shows why words and pictures have such power that they can terrify bigots and tyrants of all types.

Read this book. Maybe not to your kids, or not yet, but read it.
© 2006 Brian K Vaughan & Niko Henrichon. All Rights Reserved.


By Charles Peattie, Mark Warren & Russell Taylor (Private Eye/Corgi)
ISBN: 978-0-55213-858-1

In terms of taste, as in so many other arenas, our modern world seems to be determinedly heading for Heck in a hand-basket, so I thought I’d take the opportunity to cover a little lost gem of British cartooning delight that’s increasing re-relevant in these appalling days of fame campaigns, dodgy talent show democracy and overwhelming Celebritocracy.

Celeb was a strip which ran in that evergreen gadfly and cultural attack dog Private Eye. Created by Mark Warren and the team of Charles Peattie and Russell Taylor (who were simultaneously crafting the abortive first iteration of greed-glorifying mini-classic Alex for Robert Maxwell’s short-lived London Daily News), it began in May 1987.

For years credited to the pseudonymous “Ligger”, the pithy and hilarious episodes followed the day to day life of Swinging Sixties survivor and disgracefully declining rock-legend Gary Bloke as he dealt with a changing world, thinning hair, parenthood and inexorable middle age.

These days, with 24/7 reality shows, desperate Nonabees enduring career-resuscitating humiliations in locked houses and jungle clearings and a host of other self-inflicted, double-edged B-list exposé freak-shows everywhere on the interweb, the outrageous pronouncements and antics of Gary seem pretty tame, but in those days before Ozzy Osbourne became more famous for parenting and not singing whilst footballers’ performance off the field took precedence over goals scored on it, the sozzled, crass, befuddled, and pitifully pompous cocky cockney-boy-made-good was the very epitome of affably acceptable, ego-bloated, publicity-seeking, self-aggrandizing, drug-fuelled idiocy.

Within this collection from 1991 the legendary “Man of the Peeple” distributes kernels of his hard-won wisdom to the likes of Michael Parkinson, Terry Wogan, Clive James, Cilla Back, Ruby Wax, Barry Norman, Anne Diamond, Selena Scott, Michael Aspel and other interviewers of lesser longevity. Interspersing the almighty interviews, Gary tackles world poverty and the environment head-on (and with eyes tight shut), learns how to cope with those new-fangled rock videos, adapts to the needs of his burgeoning family and, of course, consumes a phenomenal quantity of recreational pharmaceuticals…

Including a selection of interviews from the Sunday Times (October 1989), The Sun (Wednesday August 3rd 1988) and candid shots of Gary with Bob Geldof and George Michael at Live Aid, the collection concludes with the infamous days during which Gary was dead of an overdose and met both God and Elvis. Also revealed is the sordid truth behind his numerous brushes with the law, leading to his 18-month stretch At Her Majesty’s Pleasure and subsequent key role in a terrible prison riot for better conditions and macrobiotic food…

The heady cocktail of drink, sex, drugs, money, sport, music, adoration and always-forgiven crassness is perhaps the reason so many folks are seduced by celebrity. If you want to see another side to the fame-game and have a hearty laugh into the bargain Gary Bloke is your man…
© 1991 Peattie, Taylor & Warren. All Rights Reserved.

Judge Dredd: The Complete Case Files 01

By John Wagner, Pat Mills, Carlos Ezquerra, Ian Gibson, Mike McMahon, Brian Bolland & various (Rebellion)
ISBN: 978-1-90426-579-5

Britain’s last great comic icon could be described as a combination of the other two, combining the futuristic milieu and thrills of Dan Dare with the terrifying anarchy and irreverent absurdity of Dennis the Menace. He’s the longest-lasting adventure character in our admittedly meagre comics stable, having been continually published every week since February 1977 when he first appeared in the second issue of science-fiction anthology 2000AD – and now that The Dandy’s gone, veterans Korky the Cat and Desperate Dan might one day be overtaken in the comedy stakes too…

However, with at least 52 2000AD strips a year, annuals, specials, a newspaper strip (in the Daily Star and later The Metro), the Judge Dredd Megazine, numerous reprinted classic comics collections, some rather appalling franchised foreign comicbook spin-off titles, that adds up to a phenomenal amount of material, most of which is still happily in print.

Judicial Review: Dredd and his dystopian ultra-metropolis of Mega-City One – originally it was to be a 21st century New York – were created by a very talented committee including Pat Mills, Kelvin Gosnell, Carlos Ezquerra, Mike McMahon and others, but with the major contribution coming from legendary writer John Wagner who has written the largest portion of the canon under his own name and several pseudonyms.

Joe Dredd is a fanatically dedicated Judge in the super-city, where hundreds of millions of citizens idle away their days in a world where robots are cheaper and more efficient than humans, and jobs are both beloved pastime and treasured commodity. Boredom has reached epidemic proportions and almost everybody is just one askance glance away from mental meltdown. Judges are peacekeepers who maintain order at all costs: investigating, taking action and trying all crimes and disturbances to the hard-won equilibrium of the constantly boiling melting pot. Justice is always immediate…

Dredd’s world is a polluted and precarious Future (In)Tense with all the key analogues for successful science fiction (as ever a social looking-glass for the times it’s created in) situated and sharply attuned to a Cold War Consumer Civilisation. The planet is divided into political camps with post-nuclear holocaust America locked in a slow death-struggle with the Sov Judges of the old Eastern Communist blocs. The Eastern lawmen are militaristic, oppressive and totalitarian – and that’s by the US Judges’ standards – so just imagine what they’re actually like…

The Judges are necessary fascists in a world permanently on the edge of catastrophe, and sadly, what far too many readers never realise is that the strip is a gigantic satirical black comedy with oodles of outrageous, vicarious cathartic action.

Such was not the case when the super-cop debuted in 2000AD Prog (that’s issue number to you) #2 on March 5th 1977. He was stuck at the back of the new weekly comic in a tale finally scripted – after much intensive re-hashing – by Peter Harris and illustrated by Mike McMahon & Carlos Ezquerra.

The blazing, humourless, no-nonsense (all that would happily come later) action extravaganza introduced the bike-riding Sentinel of Order in the cautionary tale of brutal bandit Whitey, whose savage crime spree was ended with ferocious efficiency before the thug was sentenced to Devil’s Island – a high-rise artificial plateau surrounded by the City’s constant stream of lethal, never-ending, high-speed traffic…

In Prog 3 Dredd investigated ‘The New You’ in a cunning thriller by Kelvin Gosnell & McMahon wherein a crafty crook tries to escape justice by popping into his local face-changing shop, whilst #4 saw the first appearance of the outcast mutants in ‘The Brotherhood of Darkness’ (Malcolm Shaw & McMahon) as the ghastly post-nuclear pariahs invade the megalopolis in search of slaves.

The first hints of humour began in Prog 5’s ‘Krong’ by Shaw & Ezquerra, with the introduction of Dredd’s little-old-lady Italian cleaner Maria, wherein deranged horror film fan and hologram salesman Kevin O’Neill – yes it’s an in-joke – unleashes a giant mechanical gorilla on the city. The issue was the first of many to cover-feature old Stone Face (that’s Dredd, not Kev)…

‘Frankenstein 2’ pits the Lawman against an audacious medical mastermind, hijacking citizens to keep his rich aging clients in fresh, young organs, whilst #7 sees ruthless reprobate Ringo’s gang of muggers flaunting their criminality in the very shadow of ‘The Statue of Judgement’ until Dredd lowers the boom on them…

The first indications that the super-cop’s face is somehow hideously disfigured emerge in #8, as Charles Herring & Massimo Belardinelli’s ‘Antique Car Heist’ finds the Judge tracking down a murderous thief who stole an ancient petrol-burning vehicle, after which co-creator John Wagner returned in Prog 9 to begin his staggering run of tales with ‘Robots’, illustrated by veteran British science fiction artist Ron Turner.

The gripping vignette was set at the Robot of the Year Show, and revealed the callous cruelty indulged in by citizens upon their mechanical slaves as a by-product of a violent blackmail threat by a disabled maniac in a mechanical-super chair… This set the scene for an ambitious mini-saga comprising #10-17.

Those casual injustices paved the way for ‘Robot Wars’ (alternately illustrated over the weeks by Ezquerra, Turner, McMahon & Ian Gibson) wherein carpenter-robot Call-Me-Kenneth succumbs to a mechanical mind meltdown and emerges as a human-hating steel Spartacus, leading a bloody revolution against the fleshy oppressors.

The slaughter is widespread and terrible before the Judges regain control, helped in no small part by loyal, lisping Vending droid Walter the Wobot, who graduated at the conclusion to Dredd’s second live-in comedy foil…

With order restored, a sequence of self-contained stories firmed up the vision of the crazed city. In Prog 18 Wagner & McMahon introduced the menace of mind-bending ‘Brainblooms’ cultivated by another little old lady (and career criminal), and Gerry Finley-Day & John Cooper described the galvanising effect of the ‘Muggers Moon’ on Mega-City 1’s criminal class before Dredd demonstrated the inadvisability of being an uncooperative witness…

Wagner & McMahon then debuted Dredd’s bizarre paid informant Max Normal in #20, whose latest tip ended the profitable career of ‘The Comic Pusher’; Finley-Day & Turner turned in a workmanlike thriller as the super-cop tackles a seasoned killer with a deadly new weapon in ‘The Solar Sniper’ and Wagner & Gibson showed the draconian steps Dredd was prepared to take to bring in mutant assassin ‘Mr Buzzz’.

Prog 23 comfortably catapulted the series into all-out ironic satire mode with Finley-Day & McMahon’s ‘Smoker’s Crime‘ when Dredd stalks a killer with a bad nicotine habit to a noxious City Smokatorium, after which Malcolm Shaw, McMahon & Ezquerra reveal the uncanny secret of ‘The Wreath Murders’ in #24.

The next issue began the feature’s long tradition of spoofing TV and media fashions as Wagner & Gibson concoct a lethal illegal game show in ‘You Bet Your Life’ whilst #26 exposes the sordid illusory joys and dangers of the ‘Dream Palace’ (McMahon) before #27-28 offer some crucial background on the Judges themselves when Dredd visits ‘The Academy of Law’ (Wagner & Gibson) to give Cadet Judge Giant his final practical exam. Of course, for Dredd there are no half measures or easy going and the novice barely survives his graduation…

With the concluding part in #28, Dredd moved to second spot in 2000AD (behind brutally jingoistic thriller Invasion) and the next issue saw Pat Mills & Gibson tackle robot racism as Ku Kux Klan-analogue ‘The Neon Knights’ brutalised the reformed and broken artificial citizenry until the Juggernaut Judge krushes them…

Mills then offered tantalising hints on Dredd’s origins in ‘The Return of Rico!’ (McMahon) as a bitter criminal resurfaces after twenty years on the penal colony of Titan. The outcast is looking for vengeance upon the Judge who had sentenced him., but from his earliest days as a fresh-faced rookie, Joe Dredd had no time for corrupt lawmen – even if one were his own clone-brother…

Whitey escapes from Devil’s Island (Finley-Day & Gibson) in Prog 31, thanks to a cobbled-together contraption that turns off weather control, but doesn’t get far before Dredd sends him back, whilst the fully automated skyscraper resort ‘Komputel’ (Robert Flynn & McMahon) becomes a multi-story murder factory that only the City’s greatest Judge can counter before Wagner (using his frequent pseudonym John Howard) took sole control for a series of savage, whacky escapades beginning with #33’s ‘Walter’s Secret Job’ (Gibson).

Here the besotted droid is discovered moonlighting as a cabbie to buy pwesents for his beloved master….

McMahon & Gibson illustrated the two-part tale of ‘Mutie the Pig’: a flamboyant criminal and bent Judge, and performed the same tag-team effort for ‘The Troggies’, a debased colony of ancient humans living under the city and preying on unwary citizens…

Something of a bogie man for wayward kids and exhausted parents, Dredd does himself no favours in Prog 38 when he bursts in on ‘Billy Jones’ (Gibson) and exposes a vast espionage plot utilising toys as surveillance tools.

On tackling ‘The Ape Gang’ in #39 (19th November 1977 and drawn by McMahon), the Judge seamlessly graduated to the lead spot whilst quashing a turf war between augmented, educated, criminal anthropoids in the unruly district dubbed “the Jungle”…

‘The Mega-City 5000’ was an illegal and murderously bloody street race the assembled Judges were determined to shut down, but the gripping action-illustration of the Bill Ward drawn first chapter is sadly overshadowed by hyper-realist rising star Brian Bolland, who began his legendary association with Dredd by concluding the mini-epic in blistering, captivating style in Prog 41. Bolland, by his own admission, was an uneconomically slow artist and much of his later Dredd work would appear as weekly portions of large epics with other artists handling other episodes, to give him time to complete his own assignments with a minimum of pressure…

From out of nowhere in a bold change of pace, Dredd is then seconded to the Moon for a six-month tour of duty beginning in Prog #42. His brief is to oversee the rambunctious, nigh-lawless colony set up by the unified efforts of three US Mega-Cities there. The colony was as bonkers as Mega-City One and a good deal less civilised – a true Final Frontier town…

The extended epic began with‘Luna-1’ by Wagner & Gibson, with Dredd and stowaway Walter almost shot down en route in a mysterious missile attack before being targeted by a suicide-bomb robot before they can even unpack.

‘Showdown on Luna-1’ introduces permanent Deputy-Marshal Judge Tex from Texas-City, whose jaded, laissez-faire attitudes get a sound shaking up as Dredd demonstrates he’s one lawman who isn’t going to coast by for the duration of his term in office.

Hitting the dusty mean streets, Dredd starts cleaning up the wild boys in his town by outdrawing a mechanical Robo-Slinger and uncovering yet another assassination ploy. It seems that reclusive mega-billionaire ‘Mr. Moonie; has a problem with the latest law on his lunar turf…

Whilst dispensing aggravating administrative edicts like a frustrated Solomon, Dredd chafes to hit the streets and do some real work in #44’s McMahon-limned ‘Red Christmas’. An opportunity arises when arrogant axe-murderer ‘Geek Gorgon’ abducts Walter and demands a showdown he lives to regret, whilst ‘22nd Century Futsie!’ (Gibson) finds Moonie Fabrications clerk Arthur Goodworthy cracking under the strain of over-work and going on a destructive binge, with Dredd compelled to protect the future-shocked father’s family from Moonie’s over-zealous security goons…

The plotline concludes in Prog 46 with ‘Meet Mr. Moonie’ (Gibson) as Dredd and Walter confront the manipulative manufacturer and uncover his horrific secret.

The feature moved to the prestigious middle spot with this episode, allowing the artists to really open up and exploit the comic’s full-colour centre-spreads, none more so than Bolland as seen in #47’s ‘Land Race‘ as Dredd officiates over a frantic scramble by colonists to secure newly opened plots of habitable territory. Of course, there’s always someone who doesn’t want to share…

Ian Gibson then illustrated 2-part drama ‘The Oxygen Desert’ (#48-49), wherein veteran moon-rat Wild Butch Carmody defeats Dredd using his superior knowledge of the airless wastes beyond the airtight domes. Broken, the Judge quits and slides into despondency, but all is not as it seems…

Prog 50 featured the debut of single-page comedy supplement Walter the Wobot: Fwiend of Dwedd – but more of that later – whilst the long-suffering Justice found himself knee-boot-deep in an international interplanetary crisis when ‘The First Lunar Olympics’ (Bolland) against a rival lunar colony controlled by the Machiavellian Judges of the Sov-Cities bloc escalates into assassination and a murderous, politically-fuelled land grab.

The conflict was settled in ostensibly civilised manner with strictly controlled ‘War Games’, yet there is still a grievously high body-count by the time the moon-dust settles…

This vicious swipe at contemporary sport’s politicisation was and still is bloody, brutal and bitingly funny…

Bolland also illustrated the sardonic saga of ruthless bandits who were up for a lethal laugh in #52’s ‘The Face-Change Crimes’, employing morphing tech to change their appearances and rob at will until Dredd beats them at their own game.

Wagner & Gibson then craft a 4-part mini-epic (Progs 53-56) wherein motor fanatic Dave Paton’s cybernetic, child-like pride-and-joy blows a fuse and terrorises the domed territory: slaughtering humans and even infiltrating Dredd’s own quarters before the Judge finally stops ‘Elvis, The Killer Car’.

Bolland stunningly limned a savagely mordant saga of a gang of killer bandits who hijack the moon’s air before themselves falling foul of ‘The Oxygen Board’ in #57, but only managed the first two pages of 58’s ‘Full Earth Crimes’, leaving Mike McMahon to complete the tale of regularly occurring chaos in the streets whenever the Big Blue Marble dominates the black sky above…

It was a fine and frantic note to end on as, with ‘Return to Mega-City’, Dredd rotates back Earthside and resumes business as unusual. Readers were probably baffled as to why the returned cop utterly ignored a plethora of crime and misdemeanours, but Wagner & McMahon provide the logical and perfect answer in a brilliant, action-packed set-up for the madcap dramas to come….

This first Case Files chronicle nominally concludes with Wagner & McMahon’s ‘Firebug’ from Prog 60, as the ultimate lawgiver deals with a seemingly-crazed arsonist literally setting the city ablaze. The Law soon discovers a purely venal motive to the apparent madness…

There’s still a wealth of superb bonus material to enjoy before we end this initial outing however, and kicking off proceedings is the controversial First Dredd strip (illustrated by Ezquerra) which was bounced from 2000AD #1 and vigorously reworked – a fascinating glimpse of what the series might have been.

It’s followed by the eawliest Walter the Wobot: Fwiend of Dwedd stwips (sowwy – couldn’t wesist!) from 2000AD Progs 50-58.

Scripted by Joe Collins, these madcap comedy shorts were seen as an antidote to the savage and brutal action strips in the comic and served to set the scene for Dredd’s later full-on satirical lampoonery.

‘Tap Dancer’ was illustrated by Gibson and dealt with an embarrassing plumbing emergency whilst ‘Shoot Pool!’ (Gibson) has the Wobot again taking his Judge’s instructions far too literally…

Bolland came aboard to give full rein to his own outrageous sense of the absurd with the 5-part tale of ‘Walter’s Brother’: a bizarre tale of evil twins, a cunning frame-up and malign muggings that inevitably result in us learning all we ever needed to know about the insipidly faithful and annoying rust-bucket.

Dredd then had to rescue the plastic poltroon from becoming a pirate of the airwaves in ‘Radio Walter’ before the star-struck servant finds his 15 seconds of fame as the winner of rigged quiz-show ‘Masterbrain’ before this big, big book concludes with a trio of Dredd covers from Progs 10, 44 and 59, courtesy of artists Ezquerra, Kev O’Neill and McMahon.

Always mesmerising and beautifully drawn, these short, punchy stories starring Britain’s most successful and iconic modern comics character are the constantly evolving narrative bedrock from which all the later successes of the Mirthless Moral Myrmidon derive.

More importantly, they are timeless classics no real comic fan can ignore – and just for a change something that you can easily get your hungry hands on. Even my local library has copies of this masterpiece of British literature and popular culture…
© 1977, 1978, 2006 Rebellion A/S. All rights reserved. Judge Dredd & 2000AD are ® &™

Oh, Wicked Wanda!

By Frederic Mullally & Ron Embleton (Penthouse)

Not all comics are for kids nor ever were they. The men’s magazine trade has often featured graphic narratives, usually sexually explicit in nature, often highly satirical, invariably of a much higher quality than their mainstream contemporaries, and always much better regarded and financially rewarded.

Where Playboy had Little Annie Fanny (created by Harvey Kurtzman & Will Elder: it ran intermittently from 1962 until 1988, and revived in 1998, illustrated by Ray Lago & Bill Schorr), publishing rival Bob Guccione wanted the same but better for his own publication Penthouse.

Used to getting his way, he hired journalist, editor (of left-wing magazine Tribune), columnist, novelist and political writer Frederic Mullally to script the ongoing exotic, erotic adventures of Wanda Von Kreesus, the richest woman in the world. The sultry star would be accompanied by Candyfloss, her insatiable jailbait paramour and an outrageous coterie of faithful employees including an all-girl army, a mad scientist and a brutal looking thug with the soul of a poet.

To illustrate he secured the talents of oil painter and comic strip veteran Ron Embleton (who had astounded comic readers with his lush and vibrant strip Wulf the Briton in Express Weekly and his numerous stunning illustrations in weekly fact-based periodical Look and Learn).

Oh, Wicked Wanda! was originally a prose serial illustrated by Bryan Forbes, beginning in 1969 before becoming, in 1973, the unbelievably lavish and torrid strip reprinted here, continuing until 1980 when it was replaced by Sweet Chastity, also painted by Embleton, and scripted by proprietor Guccione himself.

The bored and mischievous hellion on parade here is a sexually adventurous woman from a time when sexual politics and liberation were huge issues (not like now, of course), and therefore prime targets for low comedy and high satire.

Mullally peppered his scripts with topical references (many of which, sadly, would escape today’s casual reader, I’m sure) and the phenomenal Embleton would depict them with hyper-realistic accuracy.

Harold Wilson, Edward Heath, Ted Kennedy, Richard Nixon, Henry Kissinger, Fidel Castro, Lyndon Johnson, Spiro Agnew, Mao Tse-tung, showbiz icons such as John Wayne or Bob Hope, and even comic strip greats like Pogo, Mutt and Jeff or Krazy Kat, all meandered through the glossy pages, a cross between a Greek Chorus and pictorial ad-libs.

Many celebrities were actively parodied participants. Henry Kissandrun, mafia Don Marlon Blondo/Burpo, Jane Fondle and demented California Governor Ronald Reekin’ all found themselves victims of the wilful minx and her team. Also, classical and contemporary erotic allusions abound ranging from a little “nymphette” lounging about reading William Burroughs’s Naked Lunch to visual and verbal references to Shelley’s Leda and the Swan.

This slim album reprints the earliest adventures as Wanda collects the rich and the famous for a Museum of Deviancy, takes on the Mafia, the CIA and the Cubans and does her bit to solve the Oil Crisis.

Later adventures saw her romp through the ages in a time machine but to my knowledge these tales have never been reprinted – although they really, really should be.

Perhaps a little dated, definitely for easy-going adults only, Oh, Wicked Wanda! is nonetheless still a funny read and inarguably one of the most beautiful British strips ever made. It is a tragedy that such work is unavailable to aficionados of comic art.
© 1973, 1974, 1975 Penthouse International Ltd. All Rights Reserved.

Pogo: The Complete Syndicated Comic Strips Volume 1

By Walt Kelly (Fantagraphics Books)
ISBN: 978-1-56097-869-5

Walter Crawford Kelly Jr. was born in 1913 and started his cartooning career whilst still in High School, as both artist and reporter for the Bridgeport Post. In 1935, he moved to California and joined the Disney Studio, working on shorts and such features as Dumbo, Fantasia and Pinocchio until the infamous animator’s strike in 1941.

Refusing to take a side, Kelly moved back East and began drawing comicbooks – primarily for Dell Comics, who had the Disney funnybook license.

Despite his glorious work on such humanistic classics as the Our Gang movie spin-off, Kelly preferred anthropomorphic animal and children’s fantasy (see Walt Kelly’s Santa Claus Adventures) and created Albert the Alligator and Pogo Possum for Animal Comics #1 (December 1942). He sagaciously retained the copyrights in the ongoing tale of two Bayou critters and their young African-American pal Bumbazine. Although the black kid soon disappeared, the animal pals stayed on as stars until 1948 when Kelly became art editor and cartoonist for the hard hitting, left-leaning liberal newspaper The New York Star.

On October 4th 1948, Pogo, Albert and an ever-expanding cast began their careers in the funny pages, appearing six days a week until the periodical folded in January 1949.

Although a gently humorous kids feature, by the end of its run – reprinted in full at the back of this magnificent tome – the first glimmers of the increasingly barbed, boldly satirical masterpiece of velvet-pawed social commentary began to be seen…

This first of twelve volumes follows the ascent of the scintillating and vastly influential strip; don’t believe me, just listen to Gary Trudeau, Berke Breathed, Bill Watterson, Jeff McNally, Bill Holbrook, Mark O’Hare, Alan Moore, Jeff Smith and even Goscinny & Uderzo and our own Maurice Dodd & Dennis Collins, whose wonderful strip The Perishers owes more than a little to the sublime antics of the Okefenokee Swamp citizenry…

After the Star closed Pogo was picked up for mass distribution by the Post-Hall Syndicate and launched on May 16th 1949. A colour Sunday page debuted January 29th 1950 and both were produced simultaneously by Kelly until his death in 1973 (and beyond, courtesy of his talented wife and family…).

At its peak the strip appeared in 500 papers in 14 countries and the book collections which began in 1951 numbered nearly 50, collectively selling 30 million copies.

This volume includes all the Star strips, the Dailies from inception to December 30th 1950, and the Sundays – in a full colour section – from January 29th – December 31st 1950, plus a wealth of supplementary features including a Foreword from columnist Jimmy Breslin, an introduction by biographer Steve Thompson, a week-by-week highly detailed contents section, a useful guide ‘About the Sundays’ by Mark Evanier, and an invaluable context and historical notes feature ‘Swanp Talk’ by the amazing R.C. Harvey.

Kelly’s genius was the ability to beautifully, vivaciously draw comedic, tragic, pompous, sympathetic characters of any shape or breed and make them inescapably human and he used that gift to blend hard-hitting observation of our crimes, foibles and peccadilloes with rampaging whimsy, poesy and sheer exuberant joie de vivre.

The hairy, scaly, feathered, slimy folk depicted here are 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 hodge-podge of all-ages accessible delight.

In later volumes Kelly would set his bestial cast loose on such timid, defenceless victims as Senator Joe McCarthy, J.Edgar Hoover, the John Birch Society, Richard Nixon and the Ku Klux Clan, but he starts off small here, introducing the gently bemused Pogo, boisterous, happily ignorant Albert, dolorous Porkypine, obnoxious turtle Churchy La Femme, lugubrious hound Beauregard Bugleboy, carpet-bagging Seminole Sam Fox, pompous (not) know-it-all Howland Owl and a host of others in gags and extended epics ranging from assorted fishing trips, building an Adam Bomb, losing and finding other people’s children, electioneering, education, kidnapping, the evil influence of comicbooks, Baseball season, why folks shouldn’t eat each other, Western cow punchers, cows punching back, New Years Resolutions, public holidays and so much more…

The Sundays also began with one-off gags but soon evolved into convoluted and mesmeric continued sagas such as the search for the Fountain of Youth, building a school and keeping it filled, Albert being elected Queen of the Woodland by the elf-like forest fauns – and why that was ultimately a very bad thing indeed…

Timeless and magical, Pogo is a giant of world literature, not simply comics, and this magnificent edition should be the pride of every home’s bookshelf.

POGO Through the Wild Blue Wonder and all POGO images, including Walt Kelly’s signature © 2011 Okefenokee Glee & Perloo Inc. All other material © 2011 the respective creator and owner. All rights reserved.

The Beast is Dead: World War II Among the Animals

By Edmond-François Calvo, Victor Dancette & Jacques Zimmerman (Abi Melzer Productions)
ISBN: 978-1-40766-637-2

As the European phase of World War II staggered to its bloody and inevitable conclusion, the enslaved nations began to reclaim their homelands and rebuild various national prides in a glorious wave of liberation.

All over the Old World, long suppressed stories and accounts – true or otherwise – began to be shared. During France’s occupation publishing was strictly controlled – even comics – but the Nazis couldn’t suppress creative spirit and many conquered citizens resisted in the only ways they safely could.

For sculptor, artist, caricaturist and social satirist Edmond-François Calvo (26th August 1892 – 11th October1958) that was by drawing. Watched by his adoring apprentice-artist Albert (Asterix) Uderzo and inspired by the Gallic graphic giant Daumier, the venerable creator of such joyous anthropomorphic classics as ‘Patamousse’, ‘Anatomies Atomiques’, ‘Les Aventures de Rosalie’, ‘Monsieur Royal Présente’, ‘Grandeur et Décadente du Royaume des Bêtes’ and ‘Cricri, Souris d’Appartement’ worked quietly and determinedly on his own devastating secret weapon for the war-effort.

In later years he specialised in sparkling, socially aware and beautiful family-friendly strips such as ‘Moustache et Trottinette’, ‘Femmes d’Aujourd’hui’, ‘Coquin le Petit Cocker’ and a host of fairy tale adaptations for Le Journal de Tintin, Baby Journal, Cricri Journal, Coq Hardi, Bravo!, Pierrot Âmes Vaillantes and Coeurs Vaillants.

Beginning as a caricaturist for Le Canard Enchaîné in 1938, Calvo eventually moved into strip stories, but also had to moonlight with “real” jobs such as woodcarver and innkeeper. By the time France fell to the Germans in June 1940 he was working for Offenstadt/S.P.E. press group, contributing ‘Le Chevalier Chantecler’, ‘D’Artagnan’, ‘Les Grandes Aventures’, ‘Robin des Bois’, ‘Les Voyages de Gulliver’ and the initial three chapters of ‘Patamouche’ to Fillette, L’Épatant, L’As and Junior plus‘La Croisière Fantastique’, ‘Croquemulot’ and ‘Un Chasseur Sachant Chasser’ to Éditions Sépia.

Most of this anodyne material was produced under the stern scrutiny of the all-conquering censors – much like his comics contemporary Hergé in Belgium – but Calvo somehow found time to produce material far less placatory or safe.

With both Editor Victor Dancette and writer Jacques Zimmermann providing scripts, and beginning as early as 1941, Calvo began translating the history of the conflict as seen from the sharp end into a staggeringly beautiful and passionately vehement dark fable, outlining the betrayal of the European nations by literal Wolves in the Fold.

After years of patient creation – and presumably limited dissemination amongst trusted confreres – the first part of La Bete est Mort!‘When the Beast is raging’ was published in 1944, followed a year later with the concluding ‘When the Animal is Struck Down’. Both were colossal hits even before the war ended and the volumes were continually reprinted until 1948 when the public apparently decided to move on with their lives and look forward rather than back…

The saga is related in epic full-page painted spreads and captivating, luscious strip instalments with the smooth, slick glamour of Walt Disney’s production style co-opted to present the list of outrages to be addressed and a warning to the future, with each nation being categorised by a national totem.

The French were rabbits, the Italians hyenas and the Japanese monkeys. Britain was populated by bulldogs, Belgium by lions, Russia by polar bears and America by vast herds of buffalo…

Hitler’s inner circle of monsters got special attention: such as Goering the Pig and Himmler the Skunk, but so did the good guys: General de Gaulle was depicted as a magnificent Stork…

A fiercely unrepentant but compellingly lovely polemic by a bloody but unbowed winning side, The Beast is Dead was forgotten until republished in 1977 by Futuropolis. This particular English-language, oversized (225 x 300mm or 9 inches x 12) hardback edition was released in 1985 and includes the introduction from a contemporaneous Dutch edition plus a dedication from Uderzo and a monochrome selection of Calvo’s wartime and post-war cartoons.

With the current political scene as fractious and volatile as it is, how this epic remains unreprinted totally bewilders me. Magnificent, compelling radiant, hugely influential (without this there would never have been Maus), astoundingly affecting and just plain gorgeous, this modern horror tale of organised inhumanity is out of print but still available if you look hard or speak languages other than English.
© 1944-1945 Éditions G.P. © 1977 Éditions Futuropolis. © 1984 Abi Melzer Productions.

Peach Slices

By Donna Barr (Aeon/Mu)
No ISBN:                    : 978-1-89225-325-5 (2006 Director’s Cut edition)

The Desert Peach is the supremely self-assured and eminently efficient gay brother of Erwin Rommel, the legendary German soldier universally hailed as “the Desert Fox”.

Set mostly in Africa during World War II, this priceless gem of a series effortlessly combines hilarity, absurdity, profound sensitivity and glittering spontaneity, with stories describing the dalliances and daily tribulations of Oberst Manfred Pfirsich Marie Rommel. This younger sibling also served, albeit as an unwilling but dutiful cog in the iniquitous German War Machine, yet one determined to remain a civilised gentleman under the most adverse and unkind conditions.

However, although in his own ways as formidable as his beloved brother, the caring, gracious and genteel Peach is a man who loathes causing harm or giving offence. Thus, he spends his service commanding the dregs of the military in the ghastly misshapes of the 469th Halftrack, Gravedigging & Support Unit of the Afrika Korps, daily endeavouring to remain stylish, elegant, civil and ever-so patient with and to the assorted waifs, wastrels and warriors on both sides of the unfortunate all-encompassing conflict.

It’s a thankless, endless task: the 469th harbours the very worst the Wehrmacht has ever conscripted, from malingerers and malcontents to useless wounded, shiftless conmen, screw-ups and outright maniacs.

Pfirsich unilaterally applies the same decorous courtesies to the sundry natives inhabiting the area and the rather tiresome British and Anzac forces – not all of whom are party to a clandestine non-aggression pact Pfirsich has agreed with his opposite numbers in the amassed Allied Forces. In fact, the only people to truly annoy the peace-loving Peach are boors, bigots, bullies and card-carrying Blackshirts…

The romantic fool is also passionately in love with and engaged to Rosen Kavalier: handsome Aryan warrior and wildly manly Luftwaffe Ace, but arguably the real star of these fabulous frothy epics is the Peach’s long-suffering, unkempt, crafty, ill-mannered, bilious and lazily scrofulous orderly Udo Schmidt.

This is a man (we’re at least assured of that!) of many secrets whose one redeeming virtue is his uncompromising loyalty and devotion to the only decent man and tolerable officer in the entire German army.

This eccentric aggregation of extras, excerpts and exotica was first released in 1993, re-presenting extraneous material from a variety of sources and covering the period 1987-1993: as much an affectionate art-book as delicious dose of non- or mis-canonical hi-jinks.

The entire package was subsequently re-released in 2006 in a Director’s Cut edition which added issue #25’s WWI Transylvanian Hammer-Horror pastiche ‘Beautiful’ to the mix and includes reminiscences, background commentary and creator-kibitzing regarding all the esoteric tales and titbits.

The gloriously visual treat begins with an Unused Pin Design and a splendid Badge Design from the San Diego Comic-Con 1989 after which a quartet of stunning and bizarre Beer Labels (for ales created by micro brewer Wendell Joost in 1988) precedes ‘Peach on Earth’ from A Very Mu Christmas 1992 – one of the very best Christmas stories ever produced in the notoriously twee and sentimental comics field.

Set in the harsh December of 1945, it follows the demobbed and repatriated Pfirsich as he wanders through his broken and occupied homeland, avoiding trouble and American troops but not the gnawing starvation and freezing snows which would kill so many returning, defeated German soldiers. On the verge of despair and death the Peach is brusquely adopted by a strange, brittle and utterly fearless little boy who has only known the Fatherland in the throes of decline, but still looks eagerly to a brighter tomorrow…

This is followed by a rather risqué Rosen Kavalier pinup from Paper Phantasies (1991) and an unused strip originally commissioned by Rip Off Press after which ‘Whipping Boy’ offers a full-on adult escapade of the unconventional lovers as is ‘I Am What I Am… (I Think)’. This was a “Desert Peach Pitt Stop” that also languished unpublished until this collection preserved it.

Bits ‘n’ Pieces was a short-lived self-published magazine the indefatigable author used to disseminate assorted works which never made it into the regular, normal-length Desert Peach title.

‘The Veteran’ comes from the first issue in 1991, returning focus to the motley cast of the hapless 469th for a deliciously philosophical foray starring a most peculiar and innocent warrior named Thommi, whilst, following a frolicsome Desert Peach pinup from the 1989 Amazing Heroes Swimsuit Special, ‘Hindsight’ (Bits ‘n’ Pieces #1 1991) dabbles into personal politics before ‘Reflections’ from #3 offers a few New Year’s observations on the cast and stars from Barr herself.

The 1991 San Diego Comic-Con booklet provided another beguiling Pinup before ‘Udo and the Phoenix’ (from Xenophon #1, 1992) relates another tale of the spirited Arab horse accidentally owned by Udo and cared for by the equally magnificent Pfirsich.

Next ‘Reluctant Affections’ (from Bits ‘n’ Pieces #1 1991, before being redrawn as ‘Pigeonholed’ for Gay Comics #16) explores a tender, fragile moment and adorable chink in the macho armour of uber-Mensch Rosen…

‘The More Things Change’ from benefit book Choices in 1992 debates the abortion issue with characteristic abrasive aplomb after which ‘Sweet Delusions’ (Wimmin’s Comix #16 1991) gets down to the eye-watering nitty-gritty of Rosen & Pfirsich’s love life and ‘Wet Dream’ (Bits ‘n’ Pieces #3 1991) follows up with more of the same in a hilariously wry maritime moment.

Barr’s creations are never far from always internally consistent flights of extreme fantasy, as deliciously seen in glorious diversion ‘The Oasis’ (Centaurs Gatherum 1990) with Pfirsich and brother Erwin finding a militarily priceless waterhole with a fantastic secret and forced to spend a truly outrageous time trapped as hybrid half horses…

This captivating chronicle concludes with a selection of ‘Peach Pits’ miscellanea: illustrations, roughs and small press items culled from the Desert Peach Musical books, T-shirts and posters. There’s some fascinating rough layouts from the aforementioned ‘Peach on Earth’, an unused page from DP #17 (the superb ‘Culture Shock’ as seen in The Desert Peach: Marriage & Mayhem) and assorted stuff from Zine Zone #13, 1992. Even more extras comprise covers from Germanophilic Amateur Press Association magazine ‘Krauts’ and shirt designs before the whole outrageous affair ends well with an implausibly “true tail” starring half-horse Stinz Löwhard, Pfirsich and Erwin in a ‘Character Revolt’ from 1987’s Fan’toons 19.

Desert Peach adventures are always bawdy, raucous, satirical, authentically madcap and immensely engaging: bizarre (anti) war stories which rank amongst the very best comics of the 1990s. Even now they still pack a shattering comedic kick and – if you’re not quite braced – poignantly emotional charge.

The Desert Peach ran for 32 intermittent issues via a number of publishers and was subsequently collected as eight graphic novel collections (1988-2005). A prose novel, Bread and Swans, a musical, and an invitational collection by other artists entitled Ersatz Peach were also created during the strip’s heyday. A larger compendium, Seven Peaches, collected issues #1-7 and Pfirsich’s further exploits continued as part of the Modern Tales webcomics collective…

Illustrated in Barr’s fluidly seductive wood-cut and loose-line style, this book is another must-have item for lovers of wit, slapstick, high drama and belly-laughs as well as grown-up comics in general.

All the collections are pretty hard to find these days but if you have any facility with the digital world they can still be found. You might want to start with these addresses: http://www.donnabarr.com or http://thedesertpeach.com and if you just have to own your own Peach product http://www.lulu.com/desertpeach offers a huge double collection that also comes as economical loadable files and The Desert Peach (plus Stinz and Bosom Enemies) are all re-printed with colour extras at http://www.Indyplanet.com at marvellously economical rates.

So you should do all that, Macho Schnell, before the month is out!
© 1987-1993 Donna Barr. All rights reserved. The Desert Peach is ™ Donna Barr.