The Misadventures of Jane


By Norman Pett & J.H.G. (“Don”) Freeman (Titian Books)
ISBN: 978-1-84856-167-0 (HB)

Once upon a time, Jane was one of the most important and well-regarded comic strips in British, if not World, history. It debuted on December 5th 1932 as Jane’s Journal: or The Diary of a Bright Young Thing: a frothy, frivolous gag-a-day strip in the Daily Mirror, created by (then) freelance cartoonist Norman Pett.

Originally a nonsensical comedic vehicle, it consisted of a series of panels with cursive script embedded within to simulate a diary page. It switched to more formal strip frames and balloons in late 1938, when scripter Don Freeman came on board and Mirror Group supremo Harry Guy Bartholomew was looking to renovate the serial for a more adventure- and escape-hungry audience. It was also felt that a continuity feature such as Freeman’s other strip Pip, Squeak and Wilfred would keep readers coming back; as if Jane’s inevitable – if usually unplanned – bouts of near nudity wouldn’t…

Jane’s secret was skin. Even before war broke out there were torn skirts and lost blouses aplenty, but once the shooting started and Jane became an operative for British Intelligence, her clothes came off with terrifying regularity and machine gun rapidity. She even went topless when the Blitz was at its worst.

Pett drew the strip with verve and style, imparting a uniquely English family feel: a joyous lewdness-free innocence and total lack of tawdriness. The artist worked from models and life, famously using first his wife, his secretary Betty Burton, and editorial assistant Doris Keay but most famously actress and model Chrystabel Leighton-Porter – until May 1948 when Pett left for another newspaper and another clothing-challenged comic star…

His art assistant Michael Hubbard assumed full control of the feature (prior to that he had drawn backgrounds and mere male characters), and carried the series – increasingly a safe, flesh-free soap-opera and less a racy glamour strip – to its conclusion on October 10th 1959.

This Titan Books collection added the saucy secret weapon to their growing arsenal of classic British comics and strips, and paid Jane the respect she deserved with a snappy black and white hardcover collection, complete with colour inserts.

Following a fascinating and informative article taken from Canadian paper The Maple Leaf (which disseminated her adventures to returning ANZAC servicemen), Jane’s last two war stories (running from May 1944 to June 1945) are reprinted in their entirety, beginning with ‘N.A.A.F.I, Say Die!’, wherein the hapless but ever-so-effective intelligence agent is posted to a British Army base where somebody’s wagging tongue is letting pre “D-Day” secrets out. Naturally (very au naturally), only Jane and her new sidekick and best friend Dinah Tate can stop the rot…

This is promptly followed by ‘Behind the Front’ wherein Jane and Dinah invade the continent, tracking down spies, collaborators and boyfriends in Paris before joining a ENSA concert party, and accidentally invading Germany just as the Russians arrive…

As you’d expect, the comedy is based on classic Music Hall fundamentals with plenty of drama and action right out of the patriotic and comedy cinema of the day – but if you’ve ever seen Will Hay, Alistair Sim or Arthur Askey at their peak you’ll know that’s no bad thing – and this bombastic book also contains loads of rare goodies to drool over.

Jane was so popular that there were three glamour/style books called Jane’s Journal for which Pett produced many full-colour pin-ups, paintings and general cheese-cake illustration. From these lost gems, this tome includes ‘The Perfect Model’, a strip “revealing” how the artist met his muse Chrystabel Leighton-Porter; ‘Caravanseraglio!’, an 8-page strip starring Jane and erring, recurring boyfriend Georgie Porgie plus 15 pages of the very best partially and un-draped Jane pin-ups.

Jane’s war record is frankly astounding. As a morale booster she was reckoned worth more than divisions of infantry and her exploits were cited in Parliament and discussed with actual seriousness by Eisenhower and Churchill. Legend has it that The Daily Mirror‘s Editor was among the few who knew the date of D-Day so as to co-ordinate her exploits with the Normandy landings.

In 1944, on the day she went full frontal, the American Service newspaper Roundup (provided to US soldiers) went with the headline “JANE GIVES ALL” and the sub-heading “YOU CAN ALL GO HOME NOW”. Chrystabel Leighton-Porter toured as Jane in a services revue – she stripped for the boys – during the war and in 1949 starred in the film The Adventures of Jane.

Although the product of simpler, less enlightened, and indubitably more hazardous, times, the charming, thrilling, innocently saucy adventures of Jane, patient but dedicated beau Georgie Porgie and especially her intrepid Dachshund Count Fritz Von Pumpernickel are incontestable landmarks of the art-form, not simply for their impact but also for the plain and simple reason that they are superbly drawn and huge fun to read.

After years of neglect, don’t let’s waste the opportunity to keep such a historical icon in our lives. You should find this book, buy your friends this book, and most importantly, agitate to have her entire splendid run reprinted in more books like this one. Do your duty, lads and lassies…
Jane © 2009 MGN Ltd/Mirrorpix. All Rights Reserved.

Commando: True Brit


By Many & various (DC Thomson/Carlton Books)
ISBN: 978-1-84442-121-3 (HB)

DC Thomson is probably the most influential comics publisher in British history. The Beano and Dandy revolutionised children’s comedy comics, newspaper strips Oor Wullie and The Broons (both created by writer Editor R. D. Low and legendary artist Dudley D. Watkins) have become a genetic marker for Scottishness and the uniquely British “ordinary hero” grew from the prose-packed pages of Adventure, Rover, Wizard, Skipper and Hotspur.

After decades of deft consumer-led publication for youngsters, in 1961 the company launched a digest-sized paperback title dubbed Commando. Broadly the size of a paperback book, it boasted 68 pages per issue and an average of two panels a page for its single stand-alone adventure tale, as well as the venerable British extras of themed information pages.

Not to belabour the point, but each issue told a complete war story (usually of World War I or II – although all theatres of conflict have featured since), a true rarity for British comics which usually ran action and thriller material in one or two-page instalments over many weeks. The sagas were tasteful yet gripping yarns of valour and heroism: stark black and white dramas which came charged with grit and authenticity. The full painted covers made them look more like novels than comics and they were a huge and instant success. They’re still being published today and are even available in digital editions.

This lovely volume comes from 2006, gathering an even dozen mini-epics selected by series editor George Low, and, although much of the collection’s original marketing concentrated on the baser nostalgic element by exhorting the reader to remember dashing about the playground shouting “Achtung” or “Donner und Blitzen” and saluting like Storm-troopers, these tales – subtitled “The Toughest 12 Commando Books Ever” are exemplary and compelling examples of dramatic comic storytelling.

Because of company policy these tales are all uncredited, (and I’d rather not prove my vast ignorance by guessing who did what), so unless you feel like consulting the numerous online sites devoted to the material, you’ll have to be content with the work itself, and that in itself is reward enough. So in this anniversary week, if you’re looking for a more homegrown comics experience, superbly-written and wonderfully illustrated, check out ‘Guns on the Peak’, ‘The Fighting Few’, ‘Bright Blade of Courage’, ‘The Haunted Jungle’, ‘Tiger in the Tail’, ‘The Specialists’, ‘Mighty Midget’, ‘VLR: Very Long Range’, ‘Flak Fever’, ‘Fight or Die!’, ‘Fearless Freddy’ and ‘Another Tight Spot…’ in this brilliant compilation.
™ & © 2006 DC Thomson & Co. Ltd. All Rights Reserved.

High Command – The stories of Sir Winston Churchill and General Montgomery


By Frank Bellamy & Clifford Makins (Dragon’s Dream)
ISBN: 978-9-06332-901-3 (PB)

Inexcusably absent as we commemorate the achievements and sacrifices of earlier generations are these twin neglected classics of British comic strip art, crafted by one of the world’s most talented narrative illustrators. These wonderful biographical series originally ran in The Eagle: the most influential comic of post-war Britain, which launched on April 14th 1950, to astound readers weekly until 26th April 1969.

It was the brainchild of a Southport vicar, the Reverend Marcus Morris, who was at that time concerned over the detrimental effects of American comicbooks on British children. He posited a good, solid, thoroughly decent Christian-inspired antidote and sought out like-minded creators. After jobbing around a dummy to many British publishers for over a year with little success, he eventually found an unlikely home at Hulton Press, a company that produced adult general interest magazines such as Lilliput and Picture Post.

The result was a huge hit spawning clones Swift, Robin and Girl (targeting other demographic sectors of the children’s market), as well as radio series, books, toys and all other sorts of merchandising.

An incredible huge number of soon-to-be prominent creative figures in many arenas of media worked on the weekly, and although Dan Dare is deservedly revered as the star, many other strips were as popular at the time, many even rivalling the lead in quality and entertainment value. As was the trend of the times, the content combined fact with fiction, stressing learning and discernment equally with adventure, thrills and fun…

At its peak, The Eagle sold close to a million copies a week, but eventually changing tastes and a game of “musical owners” killed the title. In 1960, Hulton sold out to comics megalith Odhams, who then became Longacre Press. A year later they were bought by The Daily Mirror Group who evolved into IPC. And so it goes in publishing…

In cost-cutting exercises, many later issues carried (relatively) cheap and oh-so-trendy Marvel Comics reprints rather than British originated material. It took time, but the Yankee cultural Invaders won out in the end…

With the April 26th 1969 issue Eagle was merged into Lion, eventually disappearing altogether. Successive generations have revived the prestigious glamour-soaked title, but never its success.

From its glorious Reithian heyday (“Educate, Elucidate and Entertain”) comes a brace of brief biographical serials devoted to two men who were crucial to the war effort that had imperilled the readership’s forebears, originally collected into a classy album by Dragons Dream in 1981.

The first half was reprinted in 2014 as slim scarcely seen paperback The Happy Warrior: The Life Story of Sir Winston Churchill as Told Through the Eagle Comic of the 1950’s (ISBN: 978-1-90650-990-3) with a scholarly commentary from Richard M. Langworth CBE, but we’re long overdue for the combined volume to resurface (you will never know the effort involved in not just saying “the Full Monty” there…)

In High Command, however, we can devour the life story of Sir Winston Churchill and the quiet general (both scripted by Clifford Makins), beginning with the icon of Bulldog Spirit. Originally titled The Happy Warrior, the prestigious full-page back cover feature (running from October 4th 1957 until September1958) was Frank Bellamy’s first full colour strip. He followed up with Montgomery of Alamein (volume 13, #10-27, spanning March 10th to 7th July 1962), delivering twice the punch and more revelatory design in two-page colour-spreads that utterly spellbound readers, whether they were war-fans or not…

Churchill himself approved the early strips and was rumoured to have been consulted before the artist began the experimental layouts that elevated Bellamy from being merely a highly skilled representational draughtsman into the trailblazing innovator who revolutionized the comic page.

The tireless experimenter also began the explorations of the use of local and expressionistic colour palettes that would result in the extraordinary Fraser of Africa, Heros the Spartan and the deservedly legendary Thunderbirds strips.

The Churchill story follows the great man from his early days at Eton through military service in Cuba as a war correspondent, and into politics. Although a large proportion deals with World War II – and in a spectacular, tense and thrilling manner – the subtler skill Bellamy displays in depicting the transition of dynamic, handsome man of action into burly political heavyweight over the weeks is impressive and astonishing. It should be mentioned, though, that this collection doesn’t reproduce the climactic, triumphal last page, a portrait that is half-pin-up, half summation and all hagiography.

Bernard Law Montgomery’s graphic biography benefited from Bellamy’s newfound expertise in two ways. Firstly, the page count was doubled, and the artist capitalized on this by producing groundbreaking double page spreads that worked across gutters (the white spaces that divide the pictures). This allowed him to craft even more startling page and panel designs.

Secondly, Bellamy had now become extremely proficient in both staging the script and creating mood with colour. This strip is pictorial poetry in motion.

Makins doesn’t hang about either. Taking only three episodes to get from school days in Hammersmith, army service in India and promotion to Brigade Major by the end of the Great War, Monty’s WWII achievements are given full play, allowing Bellamy to create an awesome display of action-packed war comics over the remaining fifteen double-paged episodes. There really hasn’t been anything to match this level of quality and sophistication in combat comics before or since.

If you strain you might detect a tinge of post-war triumphalism in the scripts, but these accounts are historically accurate and phenomenally stirring to look at. If you love comic art you should hunt these down, or at least pray that somebody, somewhere has the sense to reprint this work.
© 1981 Dragon’s Dream B.V. ©1981 I.P.C. Magazines Ltd.

Sgt. Fury and his Howling Commandos Marvel Masterworks volume 3


By Stan Lee, Roy Thomas, Dick Ayers & various (Marvel)
ISBN: 978-0-7851-4212-6 (HB)

Sgt. Fury and his Howling Commandos began as an improbable, decidedly over-the-top, rowdy and raucous WWII combat comics series similar in tone to later ensemble action movies such as The Magnificent Seven, The Wild Bunch and The Dirty Dozen. The surly squad of sorry reprobates premiered in May 1963, one of three action teams concocted by creative men-on-fire Jack Kirby & Stan Lee to secure fledgling Marvel’s growing position as the comics publisher to watch.

Two years later Fury’s post-war self was retooled as the big-name star of a second series (beginning with Strange Tales #135, August 1965) when TV espionage shows such as The Man from U.N.C.L.E. or Mission: Impossible and the James Bond film franchise became global sensations.

Nick Fury, Agent of S.H.I.E.L.D. combined Cold War tensions with sinister schemes of World Domination by subversive all-encompassing hidden enemy organisations: with captivating super-science gadgetry and iconic imagineering from Jack Kirby and Jim Steranko.

For all that time, however, the original wartime version soldiered on (sorry: puns are my weapon of choice), blending a uniquely flamboyant house-bravado style and often ludicrous, implausible, historically inaccurate, all-action bombast with moments of genuine heartbreak, unbridled passion and seething emotion.

Sgt. Fury started out as a pure Kirby creation. As with all his various combat comics, The King made everything look harsh and real and appalling: the people and places all grimy, tired, battered yet indomitable.

The artist had served in some of the worst battles of the war and never forgot the horrific and heroic things he saw (and more graphically expressed in his efforts during the 1950s genre boom at a number of different companies). However, even at kid-friendly, Comics Code-sanitised Marvel, those experiences perpetually leaked through onto his powerfully gripping pages.

Kirby was – unfortunately – far too valuable a resource to squander on a simple war comic (or indeed the X-Men and Avengers: the other series launched in that tripartite blitz on kids’ spending money) and he was quickly moved on, leaving redoubtable fellow veteran Dick Ayers to illuminate later stories, which he did for almost the entire run of the series (95 issues plus Annuals) until its transition to a reprint title with #121 (July 1974). The title then carried on until its ultimate demise, with #167, in December 1981.

Ex-serviceman Lee remained as scripter until he too was pulled away by the developing Marvel phenomenon after which a succession of youthful, next-generation writers took over, beginning with Roy Thomas who provide welcome background in his Introduction, after which this third hardback and eBook compendium re-presents the contents of Sgt. Fury and his Howling Commandos #24-32 and the second Annual (collectively spanning November 1965 to August 1966) opening with a Lee scripted, Ayers and Frank Giacoia (AKA Frankie Ray) inked milestone as the war-weary squad head back to America in ‘When the Howlers Hit the Home Front!’

Of course, they still find plenty of trouble when battle comrade and Kentucky gentleman “Rebel” Ralston and his family are captured by Nazi Bundists and the First Attack Squad forgoes leave to rush to the rescue. At adventure’s end, however, the victorious team are forced to leave grievously wounded corporal Dum Dum Dugan behind to recuperate…

John Tartaglione signed on as regular inker for ‘Every Man My Enemy!’ as the unit return to Britain to commence a secret mission and expose a spy who has infiltrated their Army camp. The hunt eventually uncovers one of history’s greatest super-villains and leads to the first of many deadly clashes between Fury and the most dangerous man alive…

Golden Age veteran Carl Hubbell deployed his pens and brushes on ‘Dum Dum Does It the Hard Way!’, as the doughty corporal is shot down in the Atlantic whilst seeking to rejoin the Howlers, precipitating a stirring saga of privation and courage as the flight crew’s life raft is picked up by merciless U-Boat commander Vice Admiral Ribbondorf – the Sea Shark! That move was only the Nazi’s first mistake…

Issue #27 – by Lee, Ayers & Tartaglione – then reveals the origin of the sturdy sergeant’s optical injury (which would, in later life, lead to his adopting that stylish eyepatch) when the squad are despatched to Germany to destroy a new Nazi beam weapon. A now-obligatory SNAFU separates the squad and ‘Fury Fights Alone!’ before finally escaping “Festung Europa” and battling his way back to Blighty…

In the previous volume readers saw how Hitler demanded that his elite field commander should form a specialist unit to surpass Fury’s Commandos. The result was The Blitzkrieg Squad of Baron Strucker and they proved utterly ineffectual. Now the Fuhrer gives his once-favoured Prussian aristocrat one last chance to prove himself by obliterating the French town (and Resistance stronghold) Cherbeaux: a task even the disaffected Junker feels is a step too far…

With the town mined and the population imprisoned within, Fury’s Commandos are sent to stop the promised atrocity in ‘Not a Man Shall Remain Alive!’ The battle in the streets ends with another spectacular face-off between the icons of two warring ideologies and ‘Armageddon!’ for the hostage city…

With Strucker’s threat seemingly ended, Roy Thomas begins his run with ‘Incident in Italy!’ as the First Attack Squad parachute into a trap and are locked up in a POW camp. With the spotlight on former movie idol Dino Manelli, the Howlers link up with partisans, bust open the camp, free the captives and blaze their way back to liberty, before ‘Into the Jaws of… Death!’ sees the heroes retraining for underwater demolitions before being distracted by the abduction of their commander, Captain Samuel “Happy Sam” Sawyer. It’s the biggest and last mistake this bunch of Gestapo goons ever make…

The monthly missions conclude here with another episode of infernal intrigue as one of the Howlers is insidiously indoctrinated and turns against his comrades as they battle for their lives in Norway while dealing with ‘A Traitor in Our Midst!’…

Sgt. Fury and his Howling Commandos Annual #2 was released in August 1966, and offered a brace of reprints (not included here) plus an all-new but out-of-continuity tale by Thomas, Ayers & Tartaglione. ‘A Day of Thunder!’ is set on June 5th 1944 and stirringly reveals the pivotal role the Howling Commandos play in paving the way for D-Day…

Closing this comics campaign is an unused cover art by Ayers.

Whereas close rival DC increasingly abandoned the Death or Glory bombast at this time in favour of humanistic, practically anti-war explorations of war and soldiering, Marvel’s take always favoured action-entertainment and fantasy over soul-searching for ultimate truths. On that level at least, these early epics are stunningly effective and galvanically powerful exhibitions of the genre. Just don’t use them for history homework.
© 1965, 1966, 2017 Marvel Characters Inc. All rights reserved.

Showcase Presents Sgt. Rock volume 2


By Robert Kanigher, Joe Kubert, Bob Haney, Russ Heath, Jerry Grandenetti & various (DC Comics)
ISBN: 978-1-4012-1984-0 (TPB)

Sgt Rock and the “combat-happy Joes” of Easy Company are one of the great and enduring creations of the American comic-book industry. The gritty meta-realism of Robert Kanigher’s ordinary guys in life-or-death situations captured the imaginations of generations of readers, young and old. So pervasive is this icon of comicbook combat that’s it’s hard to grasp that Rock is not an immortal industry prototype like Superman, Batman and Wonder Woman – with us since the earliest moments of the industry – but is in fact a late addition to and child of the Silver Age of Comics: debuting as just another tale in war anthology G.I. Combat (#68, January 1959, by Kanigher & Joe Kubert).

The archetypal sergeant was an anonymous boxer who wasn’t particularly skilled but simply refused to be beaten, absorbing any and all the punishment dealt out to him.

When ‘The Rock!’ enlisted in the US Army, however, that same Horatian quality attained mythic proportions as he held back an overwhelming Nazi attack by sheer grit and determination, remaining bloody but unbowed on a field littered with dead and broken men.

The tale inspired an instant sequel or two before, in Our Army at War #83 (June 1959), the story really began…

This second titanic tour of duty collects as a paperback and in stark and stunning monochrome the groundbreaking tales which made Sgt Rock a comics legend. These grim and gritty, epically poetic war stories are taken from the then still-anthological Our Army at War #118-148, bracketing May 1962 to November 1964, a period when American comics were undergoing a renaissance in style, theme and quality. Sadly, there’s no news on when these classic yarns will enter the 21st century either in modern colour editions or in digital formats…

Scripted throughout by then-editor Kanigher, the terse episodes herein begin with ‘The Tank vs. the Tin Soldier!’ – illustrated by the magnificent Russ Heath – wherein movie idol Randy Booth is mustered in to Easy Company and spends all his snobbish energy trying to get out again. By the time he learns how to be a real soldier, his moment in the limelight has turned from cinematic melodrama to Greek tragedy…

The artist most closely associated with Rock is Joe Kubert, who illustrated #119’s memorable fable ‘A Bazooka for Babyface!’ as a kid who lied about his age makes it to the Front, but doesn’t fool the indomitable topkick. Of course, by the time the fighting dies down enough to send him back, the Babyface is a seasoned combat veteran…

Kubert superbly limned the majority of stories in this volume, such as #120’s ‘Battle Tags for Easy Co.!’, which deployed brief vignettes to illustrate how squad stalwarts Ice Cream Soldier, Wild Man and Bulldozer earned their nicknames, before showing the latest “Green Apple” recruit why the Sarge was called Rock, after which ‘New Boy in Easy!’ (#121) introduced a chess-obsessed replacement who takes a lot of convincing that war is no hobby and men aren’t just pawns…

This narrative device of incorporating brief past-action episodes into a baptism of fire scenario played over and over again in Sgt. Rock and never got old. OAAW #122 featured ‘Battle of the Pyjama Commandoes!’, comprising more portmanteau tales as a number of Easy Joes recuperate in a field hospital, until the Germans break through and the wounded must pick up their weapons again…

High-energy stylist Jerry Grandenetti illustrated ‘Battle Brass Ring!’ in #123 as a pushy new replacement antagonises the entire unit until he learns to his cost the value of teamwork and price of command, after which Kubert returned for ‘Target – Sgt. Rock!’

When the indomitable warrior is captured and brainwashed by a Nazi tank commander into leading an attack on Easy, Bulldozer has to balance Rock’s life against his beloved sergeant’s unflinching standing orders…

More moral dilemmas punish the valiant warriors in #125 (illustrated by Heath) as the unit is cut off from the main Allied force and ordered to ‘Hold – At All Costs!’, whilst ‘The End of Easy Company!’ (#126 and illustrated by Kubert) pits the unstoppable dogfaces against impassable fortifications and a veritable mountain of Germans who severely underestimate the sheer stubbornness of tired, angry GIs…

With Kubert settling in for the long haul as regular artist on the strip, issue #127 offered an epic 25-page blitz of stories-within-a-story, as a quartet of combat-happy Joes relate personal tales of their unbeatable boss in ‘4 Faces of Sgt. Rock’.

OAAW #128 headlined ‘The Battle of the Sergeants!’ as Rock meets his Nazi counterpart in the deserts of Africa, after which #129 reveals that ‘Heroes Need Cowards!’: exploring Rock’s earliest days in the Army, whilst ‘No Hill for Easy!’ in #130 sees the battered band of brothers go above and beyond to placate a shell-shocked Major and finish the suicide mission of a deranged last man standing…

In #131 ‘One Pair of Dogtags … For Sale’ introduces Easy to a woman warrior every inch their equal, who literally spills her own blood to keep Rock alive, whilst in ‘Young Soldiers Never Cry!’ the sergeant becomes a combat babysitter after rescuing a toddler on the battlefield of Normandy.

In #133 ‘Yesterday’s Hero!’ depicts how a decorated veteran joins Easy to a rapturous welcome, but flounders, unable to escape the shocking circumstances that made him an unwilling example of both heroism and cowardice, after which, in ‘The T.N.T. Book’ another replacement insists on playing the odds in war as he had on the track… until discovering the true stakes of battle…

Our Army at War #135 pits Rock against a German non-com who was in almost every way his ‘Battlefield Double!’, whilst in #136 a desperately frightened new kid arrives, begging the indomitable topkick to ‘Make Me a Hero!’

Issue #137 sees a cavalry holdover from WWI finally achieve his long-delayed charge to glory in ‘Too Many Sergeants!’, before close skirmish separates Rock from his greenest new man in #138, and the weary warrior goes through combat hell to find ‘Easy’s Lost Sparrow!’ The next mission results in capture for four of the unit’s best and a ‘A Firing Squad for Easy!’ at a German Submarine dock. Happily, the team of Frogmen they’d been protecting return the favour…

OAAW #140 offers another full-length thriller – with cameos from fellow comicbook combatants Captain Johnny Cloud and French Resistance fighter Mademoiselle Marie – revealing the wry story of how Rock keeps winning deserved but wholly unwelcome battlefield promotions. His dilemma as a ‘Brass Sergeant!’ is only resolved after reuniting a misunderstood son with his “spit-and-polish” General father under most exceptional circumstances…

An timid old school friend turns up in #141, still needing Rock’s protection until “Shaker” finally pulls the ‘Dead Man’s Trigger!’, whilst in the next issue Kanigher pushed the envelope with the tale of a boy who held the sergeant to ransom and became ‘Easy’s New Topkick!’ in order to finish his dead Maquis comrades’ last mission. This stirring saga inspired the creation of Unit 3 – a French Resistance squad of battle-hardened children who appeared sporadically in later issues.

In #143, the US soldiers are back in the desert where embattled dogfaces honour fallen comrade Farmer Boy by planting ‘Easy’s T.N.T. Crop!’ to harvest a victory built on sand, after which ‘The Sparrow and the Tiger!’ sees Rock at last succumb to battle fatigue and the constant loss of his “kids” until a scared replacement shows him the true value of persistence and grace under fire…

Our Army at War #145 offers the backstory on the squad’s Native American rifleman in ‘A Feather for Little Sure-Shot!’, whilst in #146 imagination runs wild as ‘The Fighting Guns of Easy!’ compare stories about the men who fire them.

This second searing selection of combat actions concludes with a rare 2-part yarn, beginning in #147 as ‘Generals Don’t Die! Book One’ finds the hands-on topkick the envy of all his commanding officers. However, after helping desk-jockey General Bentley die in glorious battle, Rock is obliged to fulfil a promise to a dying man and forced to impersonate Bentley.

Things get even trickier when the impostor must lead the troops in breaking a stalled advance: a classic conundrum spectacularly resolved in the blockbuster conclusion ‘Generals Don’t Die! Book Two: Generals are Sergeants with Stars!’ Here Rock keeps a dead man’s secret and maintains the Bentley family honour until he can pass on those unearned “brass stars” to the next Bentley generation…

Kanigher at his worst was a declarative, heavy-handed and formulaic writer, but when writing his best stuff – as here – his work was imaginative, evocative, iconoclastic and heart-rending. He was a unique reporter and observer of the warrior’s way and the unchanging condition of the dedicated and so very human ordinary foot-slogging G.I.

With superb combat covers from Kubert, Grandenetti, and Heath fronting each episode, this battle-book is a visually perfect compendium and a certain delight for any jaded comics fan looking for something more than flash and dazzle.

A perfect example of true Shock and Awe; these are stories every comics fan and combat collector should see, and are too long overdue for collection in modern archival editions
© 1963, 1964, 2008 DC Comics. All Rights Reserved.

Buz Sawyer volume 3: Typhoons and Honeymoons


By Roy Crane (Fantagraphics Books)
ISBN: 978-1-60699-703-1 (HB)

I’m making an effort not to be snarky or political today. Powerless ranting and supposedly scathing asides don’t do much to change the world and nothing at all good for my blood pressure. What does is wonderful comics masterpieces. Here’s one now…

In these seen-it-all 21st century days, science is flashy: astounding and confounding us on a daily basis (I assume you’ve all seen the supermassive black hole doughnut by now?). It’s perhaps an effort, then, to remember simpler times when folk were impressed by amazing things we now take for granted, when human-scaled drama and adventure was enough to set pulses racing and hearts pounding… until you read a book like this one.

This third stout and sturdy hardcover edition re-presents more magnificent newspaper strip exploits of dynamic all-American everyman Buz Sawyer: war hero, globetrotting troubleshooter and here an imminent groom-to-be. The strips cover the epochal period from July 21st 1947 to October 9th 1949 wherein – after much procrastination, intrigue, bloodshed and sexy skulduggery – our boy clean-cut boy-next-door finally marries his extremely understanding sweetheart Christy Jameson.

Of course, he then dragged her into his lethally adventurous world as prime problem-solver for Frontier Oil – a company with fingers in many international pies…

Before the two-fisted romance kicks off, however, the ever-erudite Rick Norwood uses a letter from Crane’s personal papers (donated to Syracuse University) to examine the creator’s history, influence and opinions in his own forthright words in ‘The Life of a Professional Artist’.

Crane and his creative team (see Buz Sawyer volume 2: Sultry’s Tigerfor details) laboured long, hard, often acrimonious hours to produce each daily strip; all beguilingly rendered in monochrome through Crane’s masterly techniques employing line art and craftint (a tricky mechanical monochrome patterning effect which added greys and halftones to produce miraculous depths and moods to the superb underlying drawing) but the toll was heavy on personnel and feelings.

The colour Sundays were usually the province of ghost artist Hank Schlensker and starred Buz’s grizzled old sidekick Roscoe Sweeny, and this volume concludes with a brief selection that primarily guest-starred the named lead and Roscoe in wartime reminiscences and occasional contemporary gag goof-offs…

The never-ending rollercoaster of thrills, spills and chills picks up as Frontier Oil’s Mr. Fixit reels at the realisation that he’s at long last formally engaged to his girl…

Buz is only just coming to grips with the marriage in prospect, whereas avowed “Ladies Man” Chili Harrison is cynically unmoved that his former office-mate is on Cloud 9… at least until they get a desperate call from mutual Navy buddy Thirsty Collins. Their homely shipmate has a problem only Buz can solve…

The old salt had made good since hostilities ended and owns his own plantation on his own island. He has, however, been maimed in an accident whilst wooing a woman by post. Now she is coming to marry her Mr. Collins, based on his winning words and a single photo… of Buz. With the jig up, Thirsty deeds Patricia Patterson all his worldly goods, sets up Sawyer to marry her and attempts his own wildly flamboyant suicide…

Reluctantly flying down to Puerto Rico, Buz is soon embroiled in a ludicrous imbroglio as, even after having everything explained, Pat professes to prefer the hunk at hand rather than her timid, missing matrimonial mystery man.

Thankfully, a colossal hurricane and a conniving, lecherous playboy cad do more to convince Collins to fight for and win his baffled bride than all Buz’s indignant, infuriated, exasperated arguments…

In Roy Crane’s world there are no tidy beginnings and endings. Each adventure follows seamlessly on from the last and even as Buz makes his way back to New York the next escapade is well underway.

Patient sweetheart Christy has had enough waiting around and goes looking for a job, landing up as Chili’s secretary, but only after the unrepentant, blithely unaware hound-dog clears the way by promoting his own highly efficient but unsightly amanuensis – at great personal and financial cost – so that he can have unrestricted access to the pretty stranger joining Frontier Oil.

Naturally, sparks fly when Sawyer finds his fiancée toiling for his dissolute and (probably) degenerate former wingman, whilst Chili is horrified to find he had lost this particular hot babe to “old Buzzo” even before he had hired her…

As Buz lays his wedding plans and retirement, his crafty boss Mr. Wright convinces him to sideline all that mushy stuff for one last job, and soon Sawyer and Sweeney are in the Goat Islands off Portugal, hunting a devious gunrunning ring supplying rebels in Salvaduras.

Masquerading as itinerant writers on a yachting jaunt, our heroes don’t fool bombastic Brobdingnagian bully Hammerhead Gool or his puny, effete but Machiavellian boss Harry Sparrow for a moment. It’s only the diminutive mastermind’s overwhelming squeamishness and sensitivity to the thought of blood that prevents their immediate destruction.

Moreover, when deception, bribery and seduction fail to deter the undercover operatives, Sparrow resorts to abducting them whilst immediately despatching the cached ordnance and munitions to the revolutionaries wrecking Frontier’s Salvaduran oil fields.

That slow voyage of the damned only leads to the explosive loss of Sparrow’s ship and shipment, as well as the end of the coup…

Back in America, Buz has proved himself too valuable to lose, and Frontier’s most important executive J.J. Freeze finds herself – when all is said and done, a “mere woman” – compelled to employ him as a bodyguard on her secret mission to secure lucrative mineral rights deals in Java and points East.

Sawyer is just as reluctant, but the promise of enough money to retire in style proves too tempting. Yet again, patient, understanding Christy is again left behind to fret and worry. She has good reason: Sparrow is still alive and eagerly anticipating the prospect of a vast payoff and some sadistically-enacted vengeance…

Tracking Freeze and Sawyer from Ireland to Egypt to Singapore, the little weasel poisons Freeze, who orders Buz to go on to Surabaya alone, carrying a cash payment of $1,000,000 for the nation’s capricious and over-educated Maharaja.

Harry even brazenly confronts Buz; putting our hero off guard as he instigates his latest master-plan: hiring a double to blacken Sawyer’s name and reputation in prim and proper Javanese High Society.

With the deal effectively scuppered, Sparrow maroons Buz on a desert island to force him to surrender the cash – unsuccessfully – before playing his final stroke: drugging the valiant Yank with a solution that causes amnesia…

Back in America, when word comes that the deal has flopped and both Buz and a million bucks are missing, Christy refuses to accept the slanderous stories and sells everything she owns to buy passage to Java. Soon she is an innocent abroad searching the dives and alleys of Surabaya for her man. When she is targeted by bandits and worse, Christy’s frantic escape brings her into contact with a crazy old lady who collects stray cats – and did the same for a derelict American with no name or memory…

The action seamlessly shifts into romantic melodrama as Christy tries to win back Buz from the lonely and dangerous harridan he has come to love, but even after that struggle heart-wrenchingly succeeds, the greater fight to clear his mind and good name continues…

When that minor miracle is finally accomplished, the restored Buz at last begins the oft-postponed wedding plans, only to be kidnapped by his rich, crazy and somehow not dead stalker Sultry, the Maharani of Batu.

In no mood to be balked, however, the impatient two-fisted groom-to-be fights his way out of her palace and onto a Honolulu-bound plane…

Back in their rural hometown in time for Christmas, Buz and Christy finally tie the knot and prepare for the rest of their lives but the new Mrs. Sawyer is still terrified that domesticity might kill her over-active husband…

As the newlyweds enjoy a carefully sequestered and discreet honeymoon off-panel, Sweeney appropriates the daily strip for a few weeks for a hilarious comedy sequence as he attempts to find them the perfect wedding present and ends up hunting Longhorn Sheep off-season in the near-arctic conditions of the Rocky Mountains in December…

A turning point began in early 1948 as Wright and the Frontier Oil brass track down Buz to offer him a life-threateningly dull desk job or a perilous field assignment in Darkest Africa.

Perfect wife Christy, understanding Buz’s needs, bravely ignores her own feelings and talks him into the latter, offering to share his addiction to danger and the unknown…

Soon the couple are trekking across the Veldt: pioneers tasked with carving an airport and oil installation out of the jungle, but the natural wonders and threats of Africa are as nothing compared to the murderously conniving schemes of their nearest neighbour.

Dashing, debonair Kingston Diamond is solicitous in advice and unctuous in his welcome of the young Americans, but his patient game includes sabotage, terrorism, slaughtering Christy’s menagerie of pets and even murdering Buz to eventually win him the only white woman in 100 miles…

As previously mentioned, also included here are fourteen of the best Sundays – all notionally with appearances by Buz (spanning July 29th 1945 to 17th February 1963) – a cheerily tantalising bonus which will hopefully turn one day into an archival collection of their own. Whilst not as innovative or groundbreaking as Captain Easy, they’re still proficient works by one of the Grandmasters of our art form.

Buz Sawyer: Typhoons and Honeymoons is a sublime slice of compelling comics wonder and an ideal way to discover or reconnect with Crane’s second magnum opus. Bold, daring, funny and enthralling, these adventures influenced generations of modern cartoonists, illustrators, comics creators and storytellers. The series ranks amongst the very greatest strip cartoon features ever created: always offering comics tale-telling that is unforgettable, unmissable and utterly irresistible. Try it and see for yourself.
Buz Sawyer: Typhoons and Honeymoons © 2014 Fantagraphics Books. All Buz Sawyer strips © 2014 King Features Syndicate, Inc. All other material © the respective copyright holders. All rights reserved.

Bloody Mary


By Garth Ennis, Carlos Ezquerra & various (Image)
ISBN: 978-1-63215-761-4

Let’s go back to a future that never happened… yet…

Fleetway veterans Garth Ennis and Carlos Ezquerra have a long association with British war comics and the apocalyptic visions of alternate lifestyle bible 2000AD, so combining those sensibilities in a near-future World War III adventure must have seemed a natural for the fledgling DC science fiction imprint Helix when they began publishing at the end of the last century.

Since the first 4-part miniseries spawned an almost immediate sequel, they must have been more or less correct, but as Helix folded in the space of a year, with its surviving projects being absorbed by sister/parent imprint Vertigo, this compilation comes to us via them and their championing of creator rights but actually courtesy of creator-owner outfit Image Comics.

Confused yet? Surely not?

In 1999, Europe went back to war: massive, bloody conventional war with the bankrupt and barmy US of A and it’s grovelling toady ally Great Britain, ostensibly over economic and religious differences, but actually because our creators needed a backdrop for the world-weary Mary to display her exceptional talent for slaughter in the signature arena of idiot Generals and venal politicians whose sole reason for existing seems to be to prune back the surplus of the current generation of decent folk.

My other screen is currently updating me on the escalating tariff clashes between the orange office of Trumplestiltskin and the EU, China and probably any country without a national golf course, but I’m sure that’s coincidence, not the late-running of a prediction from a comicbook Nostradamus or two…

Now imagine it’s 2012 again. Under the guise of a mission to secure a biological super-weapon, American commando Corporal Mary Malone – who affects the look of a very mean nun – and a crack team of expendables including her only friend “The Major” spectacularly and gratuitously battle a spectre from her gore-splattered past and the EU’s top psychotic hit-man. Carving a swathe of destruction through Europe’s few remaining landmarks, their mission is to secure the key to immortality (a parasitic organism dubbed the Blood Dragon), but, of course, their superiors have been less than candid in what it actually does or what it’s for and have only themselves to blame when Mary – and her opponents – go off-mission…

Violently engaging, sublimely cathartic and painfully accurate in far too many prognostications, this first tale (released in 1996) was followed by an equally engaging follow up.

Bloody Mary: Lady Liberty was issued a year later and sees an older, wiser Malone return to a devastated America. With the Major in tow she agrees to wrest New York City from the half-million religious maniacs who have captured it. The messiah du jour is Achilles Seagal: a bigoted, populist raving lunatic with the common touch, a unique manner of phrasing complex issues who knows just what to say to make people do what he wants…

Trenchant, savagely satirical, gripping and never less than totally thrilling, this slice of dark, edgy fun shows Ennis and the much-missed Ezquerra at their anarchic irreverent best, ably assisted by letterer Annie Parkhouse and colourists Matt Hollingsworth & Chris Chuckry , giving you an everyman view of all the hell-and-stupidity our leaders happily drag us ordinary mortals through far too often.

Grown-up comics at its very best and long overdue for its rightful place on your bookshelf or in your digital library.
© 2016 Garth Ennis & Carlos Ezquerra. All rights reserved.

Buck Danny volume 2: The Secrets of the Black Sea


By Francis Bergése & Jacques de Douhet; colours byFrédéric Bergése and translated byJerome Saincantin (Cinebooks)
ISBN: 987-1-84918-018-4 (TPB)

Premiere pilot Buck Danny premiered in Le journal de Spirou in January 1947 and continues soaring across the Wild Blue Yonder to this day. The strip details the improbably long but historically significant career of the eponymous Navy pilot and his wing-men Sonny Tuckson and JerryTumbler. It is one of the world’s last aviation strips and a series which has always closely wedded itself to current affairs such as The Korean War, Bosnia and latterly Gulf and Afghanistan.

The Naval Aviator was created by Georges Troisfontaines whilst he was director of the Belgian publisher World Press Agency, and initially depicted by Victor Hubinon before being handed to the multi-talented Jean-Michel Charlier, who was then working as a junior artist.

When Charlier, with fellow creative legends Albert Uderzo and René Goscinny, formed the Édifrance Agency to promote the specialised communication benefits of comics strips, he continued to script Buck Danny and did so until his death. From then on, his artistic collaborator Francis Bergése (who had replaced Hubinon in 1978) took complete charge of the adventures of the All-American Air Ace, occasionally working with other creators such as in this captivating political thriller scripted by Jacques de Douhet.

Like so many artists involved in stories about flight, Francis Bergése (born in 1941) started young with both drawing and flying. He qualified as a pilot whilst still a teenager, enlisted in the French Army and was a reconnaissance flyer by his twenties. At age 23 he began selling strips to L’Étoile and JT Jeunes (1963-1966), after which he produced his first aviation strip Jacques Renne for Zorro. This was soon followed byAmigo, Ajax, Cap 7, Les 3 Cascadeurs, Les 3 A, Michel dans la Course and many others.

Bergése worked as a jobbing artist on comedies, pastiches and WWII strips until 1983 when he was offered the plum job of illustrating the venerable and globally syndicated Buck Danny. A man with his head very much in the clouds, Bergése even found time in the 1990s to produce some tales for the European interpretation of Great British icon Biggles. He finally retired in 2008, passing on the reins to illustrator Fabrice Lamy & scripter Fred Zumbiehl.

Like all Danny tales this second Cinebook volume is astonishingly authentic in feel and fact: a suspenseful and compelling, politically-charged adventure yarn originally published in 1994 as Buck Danny #45: Les secrets de la mer Noire: blending mind-boggling detail and technical veracity with good old-fashioned blockbuster derring-do.

It’s 1991 and in the dying days of the Soviet Empire a submarine incident leads the American Chief of Naval Operations to dispatch Buck into the newly open Russia of “Glasnost and Perestroika” to ascertain the true state and character of the old Cold War foe. All but ordered to be a spy, Buck is further perturbed by his meeting with ambitious Senator Smight, the US dignitary who is supposed to be his contact and cover-story on the trip to heart of Communism.

Buck is an old target of the KGB and knows that no matter what the official Party Line might be, a lot of Soviet Cold Warriors have long and unforgiving memories…

No sooner does he make landfall than his greatest fears are realised. Shanghaied to a top secret Russian Naval super-vessel, Buck knows he’s living on borrowed time: but his death is apparently only a pleasant diversion for the KGB renegade in charge, whose ultimate plans involve turning back the clock and undoing every reform of the Gorbachev administration… and the key component to the scheme will be a conveniently dead American spy in the wrong place at the right time…

Of course, the ever-efficient US Navy swings into action, determined to rescue their pilot, clean up the mess and deny the Reds a political victory, but there’s only so much Tumbler and Tuckson can do from the wrong side of the re-drawn Iron Curtain. Luckily, Buck has some unsuspected friends amongst the renegades too…

Fast-paced, brimming with tension, packed with spectacular air and sea action and delivered like a top-class James Bond thriller, The Secrets of the Black Sea effortlessly plunges the reader into a delightfully dizzying riot of intrigue, mystery and suspense. This is a superb slice of old-fashioned razzle-dazzle that enthrals from the first page to the last panel and shows just why this brilliant strip has lasted for so long.

Suitable for older kids and boys of all ages and gender, the Adventures of Buck Danny is one long and enchanting tour of duty no comics fan or armchair adrenaline-junkie can afford to miss. Chocks Away…
© Dupuis, 1994 by Bergése& de Douhet. English translation © 2009 Cinebook Ltd. All Rights Reserved.

Airboy: The Return of Valkyrie


By Chuck Dixon, Timothy Truman, Tom Yeates, Stan Woch & Will Blyberg (Eclipse)
ISBN: 0-913035-59-9 (limited edition) ISBN: 978-0-91303-560-3 (TPB)

The wonderful prospect of It’s Alive’s efforts to revive the magnificent Airboy have prompted me to rerun this review from days past.

There are some nifty omnibus editions available too, and they’re on my To Do Soon list…

Created for Hillman Periodicals by the brilliant Charles Biro (Steel Sterling, the original Daredevil, the Little Wiseguys and Crime Does Not Pay among many other triumphs), Airboy featured a plucky teen and his fabulous super-airplane, affectionately dubbed ‘Birdie’.

He debuted in the second issue of Air Fighters Comics in November 1942 and once the war concluded the comic was renamed Airboy Comics in December 1945. For more than twelve years of publication the boy-hero tackled the Axis powers, crooks, aliens, monsters, demons and every possible permutation of sinister threat – even giant rats and ants!

The gripping scripts took the avenging aviator all over the world and pitted him against some of the most striking adversaries in comics. He was the inspiration for Jetboy in the many Wild Cards braided mega-novels by George R.R. Martin and friends.

Then the world moved on and he vanished with many other comicbook heroes whose time had run out. In 1982 comics devotee Ken Pierce collected all the Airboy adventures that featured the pneumatic Nazi-turned-freedom-fighter Valkyrie, which apparently inspired budding independent comics company Eclipse to revive the character and all his Hillman comrades.

Always innovative, Eclipse were experimenting at that time with fortnightly (that’s twice a month, non-Brits) comics with a lower page count than the industry standard, at a markedly reduced price. Airboy premiered at 50 cents a copy in 1986 and quickly found a vocal, dedicated following. And looking at this compilation once more, it’s easy to see why.

Deep in the Florida Everglades the monstrous bog-creature known as The Heap stirs after decades of inactivity. Something momentous is beginning to unfold. It remembers a previous life, brave heroes and a diabolical evil. It begins to walk towards a distant villa…

In Napa Valley, David Nelson is a bitter, broken old man. Not even his teenaged son can bring joy to his life. Trained since birth by the Japanese Ace and martial artist Hirota, the boy is a brave, confident fighter but still doesn’t know why his life has been one of constant training.

Then suddenly a horde of assassins attacks the compound and the old man dies in a hail of machine gun bullets. Only then does young Davy discover the truth about his father. Once he was the hero known as Airboy, with valiant comrades and a unique super-aircraft. Once he loved a beautiful German woman-warrior named Valkyrie. But for 30 years she has been trapped in suspended animation by Misery, a supernatural being who feeds on evil and steals the souls of lost fliers…

Forced to do the monster’s bidding for three decades (such as providing weapons for South American despots to slaughter and enslave innocents) the old hero had gradually died inside. But now his son is ready to avenge him and free the beautiful sleeper, aided by such combat veterans as Hirota and the legendary Air Ace Skywolf…

Fast-paced, beautifully illustrated and written with all the gung-ho bravado of a Rambo movie, this tale of liberation and revolution rattles along, a stirring blend of action and supernatural horror that sweeps readers along with it. The book collects issues #1-5 of the comic plus an 8-page promotional preview with a cover gallery that includes art from Stan Woch. Tim Truman, and the late, great Dave Stevens.

The title was briefly one of the best indie titles available and spawned a mini-franchise of equally unmissable spin-offs, and I’m extremely hopeful that the potential revival makes Airboy a three-time success.

I’m reviewing my signed and numbered hardcover limited edition which has a beautiful colour plate included plus a superb Steranko painted cover, but the standard trade paperback is almost as good, if that’s all you can find.
Story © 1989 Timothy Truman and Chuck Dixon. Art © 1989 Timothy Truman, Tom Yeates, Stan Woch and Will Blyberg. Cover art © 1989 Jim Steranko. Airboy, Valkyrie, Skywolf, Misery, The Heap ™ Eclipse Enterprises, Inc. All Rights Reserved.

Buz Sawyer volume 2: Sultry’s Tiger


By Roy Crane & various (Fantagraphics Books)
ISBN: 978-1-60699-499-3

Modern comics evolved from newspaper comic strips, and these pictorial features were, until relatively recently, utterly ubiquitous. Hugely popular with the public and highly valued by publishers who used them as an irresistible weapon to guarantee sales and increase circulation, the strips seemed to find their only opposition in the short-sighted local paper editors who often resented the low brow art form, which cut into advertising and frequently drew complaint letters from cranks…

It’s virtually impossible for us today to understand the overwhelming allure and power of the comic strip in America (and the wider world) from the Great Depression to the end of World War II. With no television, broadcast radio far from universal and movie shows at best a weekly treat for most folk, household entertainment was mostly derived from the comics sections of daily and especially Sunday Newspapers. “The Funnies” were the most universally enjoyed recreation for millions who were well served by a fantastic variety and incredible quality of graphic sagas and humorous episodes over the years.

From the very start comedy was paramount; hence the terms “Funnies” and “Comics”, and from these gag and stunt beginnings – a blend of silent movie slapstick, outrageous fantasy and the vaudeville shows – came a thoroughly entertaining mutant hybrid: Roy Crane’s Wash Tubbs.

Debuting on April 21st 1924, Washington Tubbs II was a comedic, gag-a-day strip which evolved into a globe-girdling adventure serial. Crane produced pages of stunning, addictive high-quality yarn-spinning for years, until his eventual introduction of moody swashbuckler Captain Easy ushered in the age of adventure strips with the landmark episode for 6th May, 1929.

This in turn led to a Sunday colour page that was possibly the most compelling and visually imaginative of the entire Golden Age of Newspaper strips (see Roy Crane’s Captain Easy, Soldier of Fortune: The Complete Sunday Newspaper Strips volumes 1-4).

Practically improving minute by minute, the strip benefited from Crane’s relentless quest for perfection: his imaginative, fabulous compositional masterpieces achieved a timeless immediacy that made each page a unified piece of sequential art. The influence of those pages can be seen in the works of near-contemporaries such as Hergé, giants-in-waiting like Charles Schulz and comicbook masters such as Alex Toth and John Severin ever since.

The material was obviously as much fun to create as to read. In fact, the cited reason for Crane surrendering the Sunday strip to his assistant Les Turner in 1937 was NEA/United Features Syndicate’s abrupt and arbitrary demand that all its strips must henceforward be produced in a rigid panel-structure to facilitate their being cut up and re-pasted as local editors dictated.

They just didn’t lift the artist any more so Crane stopped making them.

At the height of his powers Crane just walked away from the astounding Captain Easy Sunday page to concentrate on the daily feature, and when his contract expired in 1943 he left United Features, lured away by that grandee of strip poachers William Randolph Hearst.

The result was a contemporary aviation strip set in the then still-ongoing World War II: Buz Sawyer.

Where Wash Tubbs was a brave but largely comedic Lothario and his pal Easy a surly, tight-lipped he-man, John Singer “Buz” Sawyer was a joyous amalgam of the two: a good-looking, popular country-boy who went to war because his country needed him…

Buz was a fun-loving, skirt-chasing, musically-inclined pilot daily risking his life with his devoted gunner Rosco Sweeney: a bluff, brave and simply ordinary Joe – and one of the most effective comedy foils ever created.

The wartime strip was – and still is – a marvel of authenticity: picturing not just the action and drama of the locale and situation but more importantly capturing the quiet, dull hours of training, routine and desperate larks between the serious business of killing and staying alive. However when the war ended the action-loving duo – plus fellow pilot and girl-chasing rival Chili Harrison – all went looking for work that satisfied their penchant for adventure and romance wherever they could find it…

Crane was a master of popular entertainment, blending action and adventure with smart drama and compellingly sophisticated soap opera, all leavened with raucous comedy in a seamless procession of unmissable daily episodes.

He and his team of creative assistants – which over the decades comprised co-writer Ed “Doc” Granberry and artists Hank Schlensker, Clark Haas, Al Wenzel, Joel King, Ralph Lane, Dan Heilman, Hi Mankin and Bill Wright – soldiered on under relentless deadline pressure, producing an authentic and exotic funny romantic thriller rendered in the signature monochrome textures of line-art and craftint (a mechanical monochrome patterning effect used to add greys and halftones to the superb drawing for miraculous depths and moods) as well as the prerequisite full-colour Sunday page.

This primarily black-&-white tome contains an impressive selection of those colour strips – although Crane came to regard them only as a necessary evil which plagued him for most of his career…

The eternal dichotomy and difficulty of producing Sunday Pages (many client papers would only buy either Dailies or Sunday strips, but not both) meant that most creators had to produce different story-lines for each feature – Milt Caniff’s Steve Canyon being one of the few notable exceptions.

Whereas Dailies needed about three weeks lead-in time, hand-separated colour plates for the Sabbath sections meant the finished artwork and colour guides had be at the engravers and printers a minimum of six weeks before publication.

Crane handled the problem with typical aplomb; using Sundays to tell completely unrelated stories. For Wash Tubbs he created the prequel series starring Captain Easy in adventures set before the mismatched pair had met, whilst in Buz Sawyer he turned the slot over to Roscoe Sweeney for lavish gag-a-day exploits, big on slapstick laughs and situation comedy.

During the war years it was set among the common “swabbies” aboard ship: a far more family-oriented feature and probably much more welcome among the weekend crowd of parents and children than the often chilling or disturbing realistically sexy sagas that unfolded Mondays to Saturdays.

A year before Steve Canyon began, Crane tried telling a seven-days-a-week yarn in Buz Sawyer – with resounding success, to my mind, and you can judge for yourself here – but found the process a logistical nightmare. At the conclusion he retuned to weekday continuity whilst Sundays were restored to Roscoe with only occasional guest-shots by the named star.

This second lush and sturdy archival hardback re-presents the tense and turbulent period from October 6th 1945 to July 23rd 1947 wherein de-mobilised adrenaline addict Buz tries to adjust to peacetime life whilst looking for a job and career – just like millions of his fellow ex-servicemen…

Before getting out, he had returned home on leave and ended up accidentally engaged. Buz was the son of the town’s doctor; plain, simple and good-hearted. In that ostensibly egalitarian environment the school sporting star became the sweetheart of ice-cool and stand-offish Tot Winter, the richest girl in town,

Now when her upstart nouveau riche parents heard of the decorated hero’s return they hijacked the homecoming and turned it into a publicity carnival. Moreover the ghastly, snobbish Mrs. Winter conspired with her daughter to trap the lad into a quick and newsworthy marriage.

Class, prejudice, financial greed and social climbing were enemies Buz and Sweeney were ill-equipped to fight, but luckily annoying tomboy-brat girl-next-door Christy Jameson had blossomed into a sensible, down-to-earth, practical and clever young woman.

She’d scrubbed up real pretty too and showed Buz that his future was rife with possibility. Mercifully soon, the leave ended and he and Sweeney returned to the war. The Sawyer/Winter engagement fizzled and died…

When their discharge papers finally arrived (in the episode for September 9th 1945) an era of desperate struggle was over. However that only meant that the era of globe-girdling adventure was about to begin…

Before the comics wonderment resumes, Jeet Heer and Rick Norwood take some time here discussing ‘The Perfectionist and his Team’. Concentrating initially on ‘After the War’ the fascinating explorations then delve deep into the detail of the artist’s troubled and tempestuous relationship with ‘Crane’s Team’ before offering ‘A Word on Comic Strip Formats’ and the censorious iniquities local newspaper editors would regularly inflict upon Crane’s work…

With all the insightful stuff over, the cartoon adventure begins anew as the newly civilian Mr. Sawyer goes home to a life of indolence before his own restless nature starts him fretting again. The old town isn’t the same. Tot has inherited her father’s millions and moved to New York and even Christy is gone: away attending his old alma mater…

After a brief interlude wherein he visits the cheery Co-Ed and debates the merits of returning to college on the G.I. Bill, Buz instead opts for fulltime employment and heads to the Big Apple where Chili Harrison has a new job offer and an old flame waiting.

As he heads East, Buz chooses to ignore his instincts and the huge mysterious guy who seems to turn up everywhere he goes…

In NYC the aloof, alluring Tot is the cream of polite “arty” society but her wealth and clingy new fiancé – opera singer Count Franco Confetti – are all but forgotten when “the one who got away” hits town and she finds her interest in her High School beau rekindled.

Buz has moved in with Chili, blithely unaware that the strange and ubiquitous giant has inveigled himself into the apartment next door and is now actively spying on him…

Sawyer wants a job flying but is only one of hundreds of war-hero pilots looking for a position at International Airways. Moreover his reputation as a hot-shot risk-taker makes him the last person a commercial carrier might consider. However after well-connected Chili intercedes with a major player in the company – something does come up…

The truth about Buz’s hulking stalker comes out when the Maharani of Batu‘s yacht docks in New York. The exotic Asian princess is one of the wealthiest women on Earth and cuts a stunning figure with her tiger on a leash. However when Buz first met her she was simply “Sultry”: a ferocious, remorseless resistance fighter helping him kill the occupying Japanese on her Pacific island.

She never forgot him and will ensure no other woman can have him…

Sultry moves into the penthouse adjoining Tot’s and is witness to the ploys of the Winter woman as she sidelines Confetti and makes a play for Buz. She is also a key figure in the tragic heiress’ sudden death…

Just prior to Tot’s gruesome demise Buz had finally met the unconventional Mr. Wright of International Airways. The doughty executive had no need for pilots but wanted a quick-thinking, capable fighter who could solve problems in the world’s most troubled conflict zones. He even has a spot open for good old Roscoe Sweeney…

Buz is all set for his first overseas assignment when the cops decide he’s the other prime suspect in Tot’s murder and, with Sawyer and Count Confetti in jail, Sultry tries to flee America before the truth comes out.

However Sweeney and the freshly exonerated Buz soon track her down, but Sultry turns the tables on them and shanghais her erstwhile lover, imprisoning him on her yacht, determined to make him her permanent boytoy, far, far away from American justice…

Never short of an idea and blessed with the luck of the damned, Buz’s escape results in a terrifying conflagration and the seeming death of his obsessed inamorata – but Sultry’s body isn’t recovered…

It takes a lot of pleading to get Mr. Wright to give him another chance but, soon after, Buz and Sweeney are winging north to Greenland to stop a crazed sniper taking pot-shots at aircraft passing over the “Roof of the World”.

This savage, visceral extended saga soon reveals the shooter to be a deranged leftover Nazi and his hapless attendants, but the heroes’ astonishing hunt for and capture of the Teutonic trio is as nothing compared to the harrowing trek to get them back to civilisation: especially since poor Roscoe is putty in the hands of Frieda, beautiful devil-daughter of the utterly mad Baron von Schlingle.

Before Buz get the survivors home safely, he loses his plane, has to forcibly trek across melting floes, gets them all stranded on a iceberg and even has his pretty-boy face marred forever…

Worst of all by the time he gets back to civilisation his job no longer exists. Mr. Wright has quit and moved on to another company…

It’s not all bad news: Wright has euphemistically become “Personnel Director” for Frontier Oil, a truly colossal conglomerate active all over Earth and wants Buz to carry on his unique problem-solving career for his new employers.

Despite a large bump in salary, the weary war hero is undecided – until he hears Christy is helping her father in the Central American nation of Salvaduras in his role as a geologist for Frontier Oil. This happily ties in with an outstanding missing persons case; said vanished victim being Bill Daniels, playboy son of a prominent company executive.

It takes very little to convince Wright to despatch Buz and Roscoe south of the border to investigate, opening the floodgates to a spectacular epic of light-hearted romantic adventure a world apart from the previous harrowing tale…

The story also saw Crane and Co. merging the Daily and Sunday strips into a single storyline (with the Sundays primarily illustrated by Schlensker) as the boys tried to trace the missing American in a country that seems locked in fear and poverty…

After initially hitting a wattle-and-daub wall, Buz takes time off for a picnic with Christy and, after a close call with a faux Mexican bandit (in actuality a Yankee fugitive from justice with an atrocious fake accent), declares his undying lover for her.

He is not rebuffed and there’s the hint of wedding bells in the air…

First however he and Sweeney need to finish their mission, and help comes from a brave peon who breaks the regional code of silence to put them on the trail of the mysterious Ranch of the Caves and its American émigré who runs the isolated canton with blood and terror.

After romancing the daughter of vicious “Don Jaime” Buz and Roscoe infiltrate the desolate fiefdom and the gang boss’ international band of thugs, discovering not only the very much alive missing playboy but an incredible lost Mayan treasure trove…

Mission accomplished, Buz returns to New York to marry Christy, only to find he’s already needed elsewhere. Christy too is having doubts, worried that she will always play second fiddle to her man’s lust for action, whereas in truth the real problem is that trouble usually comes looking for Buz…

Boarding a Frontier plane for the Yukon, Sawyer is merely a collateral casualty when the ship’s other passenger is kidnapped. The mysterious men abducting plastic surgeon Dr. Wing take their helpless hostages all the way to deepest Africa where they expected the medic to change the face of an infamous madman everybody in the world believes died in a Berlin Bunker…

Tragically the fanatics are not prepared for the physician’s dauntless sense of duty and sacrifice nor Buz’s sheer determination to survive…

The latter part of this tale describes Buz’s epic river trek with mercenary turncoat honey-trap Kitty as they flee from the vengeful Nazis, but even after reaching the coast and relative safety the insidious reach of the war-criminals is not exhausted and one final attack looms…

Eventually Buz returns to New York alone and wins time from the slave-driving Mr. Wright to settle things with Christy. He follows her to Nantucket Sound but even their romantic sailboat ride turns into a life-changing adventure…

This splendid collection is the perfect means of discovering – or reconnecting with – Crane’s second magnum opus: spectacular, enthralling, exotically immediate romps that influenced generations of modern cartoonists, illustrators, comics creators and storytellers.

Buz Sawyer ranks amongst the very greatest strip cartoon features ever created: stirring, thrilling, outrageously funny and deeply moving tale-telling that is irresistible and utterly unforgettable.
Buz Sawyer: Sultry’s Tiger © 2012 Fantagraphics Books, all other material © 2012 the respective copyright holders. All Strips © 2010 King Features Syndicate, Inc All rights reserved.