Category: Westerns

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The Mirror Classic Cartoon Collection


By Peter O’Donnell, Jim Edgar, Barrie Tomlinson, Steve Dowling, John Allard, Frank Bellamy, Martin Asbury, Reg Smythe, Jim Holdaway, Jack Greenall, Jack Clayton, John Gillatt & various, compiled by Mike Higgs (Hawk Books)
ISBN: 978-1-89944-175-4 (Album HB)

This book includes Discriminatory Content produced in less enlightened times.

Not so much now but once upon a time, The Daily Mirror was home to a number of great British strip seldom matched and never surpassed. That proud boast began with one of the Empire’s greatest successes Tiger Tim, (who debuted there in 1904) and culminated with the likes of war-winning, morale-boosting naive nymph Jane, not to mention The Perishers, Garth, Andy Capp (who has frankly long outlived his appeal!) and many others.

Two of the above cited feature in this beautiful compilation from Mike Higgs’ Hawk Books which did so much over the years to keep British cartoon history alive. This particular triumph gathers sample selections from the newspaper’s back catalogue in a spiffily luxurious oversized (280 x 180 mm) hardback stuffed with fun, thrills and quality nostalgia.

The illustrious Garth is the first star, featured in an adventure from 1957 by series originator and longest serving creator Steve Dowling (1943-1969) – who was succeeded by his assistant John Allard, then Frank Bellamy and finally Martin Asbury.

Garth is a hulking physical specimen, a virtual human superman with the involuntary ability to travel through time and experience past and future lives. This simple concept lent the strip an unfailing potential for exotic storylines and fantastic exploits. ‘The Captive’ – written by Peter O’Donnell and illustrated by Dowling & Allard – is a later tale with our hero abducted from Earth as the prize of a galactic scavenger hunt instigated by bored hedonistic aliens who don’t realise quite what they’ve gotten themselves involved with…

A second adventure, ‘The Man-hunt’, is the last Frank Bellamy worked on. The astounding Mr. Bellamy died in 1976 whilst drawing this yarn of beautiful alien predators in search of prime genetic stock with which to reinvigorate their tired bloodlines. Written by Jim Edgar, the strip was completed by Asbury who took over with the 17th instalment. A tongue-in-cheek thriller, full of thrills and fantastic action, it never loses its light humorous touch.

Andy Capp is a drunken, skiving, misogynistic, work-shy, wife-beating scoundrel who has somehow become one of the most popular and well-loved strip characters of all time. Created by jobbing cartoonist Reg Smythe to appeal to northern readers during a circulation drive, he first saw the light of day – with long-suffering, perpetually abused-but-forgiving wife Florrie in tow – on August 5th 1957. It is not something that has travelled well, but at least proves even Brits can evolve and grow some taste…

This volume reprints 37 strips from the feature’s 41-year run, which only ended with Smythe’s death in 1998 and if I’m completely honest the sheer inexplicable magic of this “lovable rogue” is as appallingly intoxicating as it always was, defeating political correctness and common decency alike; A true Guilty Pleasure, I guess…

Romeo Brown began in 1954, drawn by Dutch artist Alfred “Maz” Mazure, starring a private detective with an eye for the ladies and a nose for trouble. The feature was a light, comedic adventure series adding some much-appreciated honestly needed glamour to the dour mid-1950s, but it really kicked into high gear when Maz left in 1957 to be replaced by Peter O’Donnell and brilliant Jim Holdaway who would go on to create the fabulous Modesty Blaise together. Old Romeo shut up shop in 1962 and is represented here by a pair of romps from the penultimate year. ‘The Arabian Knight’ and ‘The Admiral’s Grand-daughter’ combine sly, knowing humour, bungling criminality and dazzlingly visuals in a manner any Carry-On fan would die for.

Useless Eustace was a gag-panel (a single-picture joke) running from January 1935 to 1985. Created by Jack Greenall, its star was a bald, nondescript everyman who met travails of life with unflinching enthusiasm but very little sense. Greenall produced the strip until 1974, and other artists continued it until 1985. Selections here are from the war years and the 1960s. Another comedy panel was Calamity Gulch, a particularly British view of the ubiquitous Western which invaded our sensibilities with the rise of television ownership in the 1950s. Created by Jack Clayton, it began its spoofery sharp-shooting on 6th June 1960, and you can see 21 of the best right here, Pardner.

A staple of children’s comics that never really prospered in newspapers was sports adventure. At least not until 1989 when those grown up tykes opened the Daily Mirror to find a football strip entitled Scorer, written by Barrie Tomlinson and drawn by Barry Mitchell, and eventually John Gillatt. Very much an updated, R-rated Roy of the Rovers, the strip stars Dave ‘Scorer’ Storry and his team Tolcaster F.C. in fast, hot, “sexy” tales of the Beautiful Game that owed as much to the sports pages it began on as to the grand cartoon tradition.

‘Cup Cracker’ included here is by Tomlinson & Gillatt from 1994, and shows WAGS (Wives And GirlfriendS, non-sports fans) were never a new phenomenon.

Not many people know this – or indeed, care – but before I review an “old” book (which I arbitrarily define as something more than three years old) I look on the internet. It’s a blessing then to still see this wonderful and utterly British tome is readily available in France, Germany – most of Europe in fact and even in Britain. Surely that’s a testament to the book’s quality and desirability, and if that’s the case maybe Mirror Group Newspapers (MGN) or some history-loving print philanthropist should expedite a new edition – or even a few proper comprehensive sequels…
© 1998 Mirror Group Newspapers, Ltd. All Rights Reserved.

Today in 1914 cartoon genius John Stanley (Little Lulu, Thirteen Going on Eighteen, Melvin Monster) was born, with fellow leading lights Bernard Krigstein arriving in 1919, and Mort Drucker in 1929. Steve Dillon (Preacher, Laser Eraser & Pressbutton, The Punisher) and Lew Stringer (Tom Thug, Brickman, Combat Colin, Derek the Troll and his glorious blog Blimey!) both began brightening Britain’s murky shores from today in 1959.

In 1937, UK private eye strip Buck Ryan by Jack Monk & Don Freeman began in the Daily Mirror today, Jean Van Hamme & Grzegorz Rosi?ski’s mega-franchise Thorgal began in Le Journal de Tintin and in 1997 the Daily Mirror published its last Garth strip, ending a run that began in 1943.

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Dargaud Presents Lieutenant Blueberry: Fort Navajo & Thunder in the West


By Charlier & Giraud, translated by Anthea Turner & Derek Hockridge (Egmont/ Methuen)
ISBN: 978-0-41605-370-8 and 978-0-41605-370-X (Album PBs)

This book includes Discriminatory Content produced in less enlightened times.

Franco-Belgian comics have enjoyed a decades-long love affair with the mythos of the American West and responded with some of the most beautiful and exciting graphic narratives in the history of the medium. They have, however, had less success creating characters that have gone on to be global household names. One that did has made that jump is Michel Charlier & Jean Giraud’s immortal bad-ass Blueberry.

Sadly, although many publishers have sporadically attempted to bring him to our thrill-starved shores, there’s no readily available complete catalogue (STILL!) of the quintessential antihero in the English language. Thus, this first of many forthcoming reviews with a brace of albums that are decades old, although they do still turn up in back-issue bins and in second hand or charity shops – if those still exist…

Jean-Michel Charlier was arguably Europe’s most important writer of realistic adventure strips.

Ever.

He was born in Liege, Belgium in 1924 and like so many groundbreaking comics creators, began as an artist, joining the staff of Le Journal de Spirou in September 1944, contributing aviation illustrations, and a strip about gliders co-produced with Flettner. In 1946 Charlier’s love affair with flying inspired him to co-create fighter-pilot strip Buck Danny, providing scripts for star turn artist Victor Hubinon. Before long – and on the advice of prestigious senior illustrator Jijé – Charlier was scripting full time and expanding his portfolio with many other series and serials.

In 1951 he co-created historical series Belles Histoires de l’Oncle Paul which afforded dozens of major artists their big break over the years, and supplemented the series with other strips such as Kim Devil (art Gérald Forton), Jean Valhardi and Marc Dacier (both with artist Paape) and Thierry le Chevalier (with Carlos Laffond), as well as popular scouting series La Patrouille des Castors, illustrated by MiTacq. In conjunction with Goscinny and Uderzo, Charlier founded the business and industry oriented commercial comics agency Edifrance after which Charlier and Goscinny edited the magazine Pistolin (1955-1958) before launching Pilote together in October 1959. For the soon to be legendary periodical Charlier created Tanguy and Laverdure (with Uderzo and later Jijé), Barbe-Rouge (with Hubinon) and Jacques le Gall (with MiTacq). In 1963, after Charlier visited the US he created arguably his most significant character – and Europe’s greatest Western comic – which would eventually be known as Blueberry.

In later years, the engaging antihero supported his own equally successful spin-off La Jeunesse de Blueberry (AKA Young Blueberry, illustrated by Colin Wilson) but Charlier never rested on his laurels, concocting further grittily realistic fare: historical biographies in collaboration with Hubinon (Surcouf, Jean Mermoz, and Tarawa) and Martial (Alain et Christine in Libre Junior, Rosine in Pistolin), Brice Bolt for Spirou with Aldoma Puig, Los Gringos with Victor de la Fuente and many more. He passed away in 1989.

Jean Henri Gaston Giraud was born in the suburbs of Paris on 8th May 1938. Raised by grandparents after his mother and father divorced in 1941, he began attending Institut des Arts Appliqués in 1955, becoming friends with Jean-Claude Mézières who, at 17, was already selling strips and illustrations to magazines such as Coeurs Valliants, Fripounet et Marisette and LJdS. Giraud apparently spent most of his college time drawing cowboy comics and left after a year.

In 1956 he travelled to Mexico, staying with his mother for eight months, before returning to France and a full-time career drawing comics, mostly Westerns such as Frank et Jeremie for Far West and King of the Buffalo, A Giant with the Hurons and others for Coeurs Valliants, all in a style based on French comics legend Joseph Gillain AKA Jijé. Between 1959 and 1960 Giraud spent his National Service in Algeria, working on military service magazine 5/5 Forces Françaises before returning to civilian life as Jijé’s assistant in 1961, working on the master’s long-running (1954-1977) western epic Jerry Spring. A year later, Giraud and Belgian Jean-Michel Charlier launched serial Fort Navajo in Pilote #210. All too soon the ensemble feature threw forth a unique icon in the shabby shape of disreputable, rebellious Lieutenant Mike Blueberry who took over as the star and evolved into one of the most popular European strip characters of all time…

In 1963-1964, Giraud produced numerous strips for satire periodical Hara-Kiri and, keen to distinguish and separate the material from his serious day job, first coined pen-name Moebius…

He didn’t use it again until 1975 when he joined Bernard Farkas, Jean-Pierre Dionnet and Philippe Druillet – all devout science fiction fans – as founders of a revolution in narrative graphic arts created by Les Humanoides Associes. Their ground-breaking adult fantasy mag Métal Hurlant utterly enraptured the comics-buying public and Giraud again wanted to utilise a discreet creative persona for the lyrical, experimental, soul-searching material he was increasingly driven to produce: series such as The Airtight Garage, The Incal and mystical, dreamy flights of sheer fantasy contained in Arzach…

To further separate his creative twins, Giraud worked his inks with a brush whilst the dedicated futurist Moebius rendered his lines with pens. After a truly stellar career which saw him become a household name, both Giraud & Moebius passed away today in 2012.

Fort Navajo and Thunder in the West were originally released in Britain in 1977 by Euro-publishing conglomerate Egmont/Methuen; the first of four full-colour albums which utterly failed to capture the attention of a comics-reading public besotted in equal amounts by Science Fiction in general, Star Wars in specific and new anthology 2000AD in the main. It’s a great shame: if the translated series had launched even a year earlier, I might not be whining about lack of familiarity with a genuine classic of genre comics…

The magic begins in Fort Navajo as clean-cut West Point graduate Lieutenant Craig takes a break from his dusty journey. The stagecoach stopover is just another town on the border between Arizona and New Mexico, but leads to involvement in a brutal battle sparked by a cheating cardsharp. After the gun-smoke clears the military paragon is appalled to discover that the quick-shooting cad at the centre of the chaos is a fellow officer stationed at his new posting.

Further outraged after Lieutenant Mike Blueberry inadvertently insults Craig’s father – a much-decorated general – the pair acrimoniously part company, but are soon reunited on the trail as the scoundrel’s horse dies even as Craig’s stagecoach encounters remnants of settlers slaughtered by marauding Indians…

Dying survivor Stanton informs them that his son has been taken by the Apache. However, Craig’s vow to hunt them down is overruled by Blueberry and the stage crew and passengers. Incensed, the young fool sets off in pursuit of the attackers on his own. Despite his better judgement, Blueberry trails him, cursing all the while. After using an arsenal of canny tricks to repeatedly save Craig from his suicidal notions of heroism, the pair are picked up by a relief column from Fort Navajo led by Major Bascom: a man who sincerely believes the old maxim that the only good Indians are dead ones…

Ignoring orders and the advice of his officers, Bascom decides to pursue the kidnappers and compounds that insubordination by attacking a group of women, children and old men. The massacre would have been total had not Blueberry “accidentally” given the wrong bugle calls and called the cavalry back too soon. Learning quickly, Lieutenant Craig covertly assists the rogue in calling back the troops…

In the aftermath, Bascom demonstrates how unstable he is by trying to execute Blueberry without convening a court martial and goes near-ballistic when Craig prevents him by quoting chapter and verse of the military code. Frustrated on all sides, Bascom can only turn the column back to Fort Navajo and plan revenge on the puppies that baulked his bloodlust. Commanding officer Colonel Dickson is a reasonable man, however, and refuses Bascom’s entreaties. He even tries to broker a “pow-wow” and new treaty with great chief Cochise for the return of the kidnapped boy and to forestall the war Bascom so fervently desires. It’s a valiant effort doomed to failure. The Apache were not responsible for the butchery and abduction at all. The true culprits were Mescaleros from across the Mexican border.

Tragically, when Dickson is bitten by a rattlesnake, Bascom seizes command and uses peace talks to capture Cochise and his delegation. In a flurry of action the aged warrior breaks free and escapes to his waiting armies: determined to make the two-faced soldiers pay for their treachery by bringing blood and vengeance to all of Nevada, Arizona and New Mexico…

The brooding tension resumes in Thunder in the West as affronted tribal chiefs fiercely debate how to liberate the rest of their hostage peace-delegation before their own war-hungry followers start a bloodbath no one can win. At Fort Navajo Blueberry & Craig ponder the coming dawn and are on hand when a tortured settler arrives to warn them every messenger sent for reinforcements has perished, and the savages have taken dozens of new prisoners. The weary soul then delivers an ultimatum and final offer from Cochise: safe passage for the soldiers to Tucson or Albuquerque in return for the captive Indians in their custody. Bascom, clearly beyond all reason, instead threatens to execute the prisoners…

Desperate Blueberry counters with a tactic to forestall the growing certainty of all-out war: attempting to cross the siege lines and reach Tucson for reinforcements. However, before he can start, a fellow officer – “half-breed” scout Lieutenant Crowe – acts precipitately and frees the Indians from the stockade. Whilst Bascom raves and blusters, Blueberry takes off anyway, undertaking an epic journey through hostile territory past hundreds of warriors hungry for blood, not just to call for more troops but to get snakebite antidote for Dickson so that he can end the escalating madness…

Capping peril-filled days of fight & flight, the battered cavalryman successfully crosses searing desert only to stumble into Mexican bandits who almost end his voyage and life… until he turns their own greed against them. Finally, Mike rides into Tucson, only to find the town all but deserted because thousands of Apaches have been approaching the outskirts of town for hours…

Frantically batting his way out of the trap, Mike wearily retraces his route to Fort Navajo. The citadel is deserted except for Crowe, who tells him that after a catastrophic battle he negotiated a truce allowing the white survivors a means of escape. Now the half-breed has a new plan. He and Blueberry will track down the Mescalero renegades who actually started the war by abducting young Stanton…

A feat of staggering bravado, the audacious plan succeeds, but as Blueberry outdistances the outraged renegades and thunders through the mountains with the rescued boy on his horse, he realises Crowe is missing and must go back for him…

To Be Continued…

Although perhaps a tad traditional (and painfully unreconstructed!) for modern tastes and nowhere near as visually or narratively sophisticated as it was to become, this epic opening to the saga of immortal Blueberry is an engaging all-action romp and stunning reaffirmation of the creative powers of Charlier & Giraud. This potent testimony to the undying appeal and inspiration of the Western genre deserves it place on graphic novel shelves and must be seen by all who love comics.
© 1965, 1966 Dargaud Editeur. Text these editions © 1977 by Egmont Publishing Limited, London. All rights reserved.

Today in 1877 was born political cartoonist turned strip star Norman E. Jennett (The Monkey Shines of Marseleen) and in 1935 Bill Holman’s epic strip Smokey Stover debuted.

It’s a remarkable day for departures however, with Tex Willer co-creator Aurelio Galleppini passing on in 1994, Stan Drake (Blondie, Heart of Juliet Jones, Kelly Green) in 1997, historian, founder of the San Francisco Academy of Comic Art & co-editor of The Smithsonian Collection of Newspaper Comics Bill Blackbeard in 2011, as well as historian Don Markstein (Don Markstein’s Toonopedia) and Giraud one year later.

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Billy and Buddy volume 10: Walks on the Wild Side


By Christophe Cazenove & Jean Bastide in the style of Roba, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-186-6 (Album PB/Digital edition)

Known as Boule et Bill in Europe (at least in the French speaking bits – the Dutch and Flemish call them Bollie en Billie or perhaps Bas et Boef if readers first glimpsed them in legendary weekly Sjors), this evergreen, immensely popular cartoon saga of a dog and his boy first debuted at Christmas in 1959. The perennial family favourite resulted from Belgian writer-artist Jean Roba (Spirou et Fantasio, La Ribambelle) putting his head together with Maurice Rosy: the magazine’s Artistic Director and Ideas Man, who had also ghosted art and/or scripts on Jerry Spring, Tif et Tondu, Bobo and Attila during a decades-long, astoundingly productive career at the legendary periodical.

Intended as a European answer to Charles Schulz’s Peanuts, Boule et Bill quickly went its own way, developing a unique style and personality to become Roba’s main occupation for the next 45 years. He had launched the feature as a mini-récit (32-page, half-sized freebie inserts) in the December 24th edition of Le Journal de Spirou.

Like Dennis the Menace in The Beano, the strip was a huge hit from the start, and for 25 years held the coveted and prestigious back-cover spot. It was even syndicated to rival publishers and became a popular feature in Le Journal de Mickey, rubbing shoulders with Walt Disney’s top stars. Older Brits might recognise the art as early episodes – retitled It’s a Dog’s Life – ran in Fleetway’s prestigious weekly Valiant from 1961 to 1965…

A cornerstone of European life, the strip has generated a live-action movie, four animated TV series, computer games, permanent art exhibitions, sculptures and even postage stamps. As with a select few immortalized Belgian comics creations, Bollie en Billie were awarded a commemorative plaque and have a street named after them in Brussels…

Large format album compilations began immediately, totalling 21 volumes throughout the 1960s and 1970s from publisher Dupuis. These were completely redesigned and re-released in 1985 when Roba moved to Dargaud and became his own editor. The standard albums (44 to date) are supplemented by a range of early-reader books for toddlers. Assorted collections are available in 14 languages, selling well in excess of 25 million copies.

Roba crafted more than a thousand pages of gag-strips in his beguiling, idealised domestic comedy setting, all about a little lad and an exceedingly smart Cocker Spaniel. Long before his death in 2006, the auteur wisely appointed successors for the strip, which has thus continued to this day. He began by surrendering art chores to his long-term assistant Laurent Verron in 2003, and the successor subsequently took on the scripting too upon Roba’s passing. Verron was soon joined by gag-writers Veys, Corbeyran, Chric & Cucuel whilst this tome comes courtesy of latest team Christophe Cazenove & Jean Bastide. For this collection Verron is still present, as illustrator of the “cabochons”: illustrated icons at the top of each strip. They’re what old folks like us employed before emoticons…

As Billy and Buddy, the strip returned to British eyes in 2009: stars of enticing Cinebook compilations introducing to 21st century readers an endearingly bucolic sitcom-styled nuclear family set-up consisting of one bemused, long-suffering and short-tempered dad; a warmly compassionate but constantly wearied and distracted mum; a smart but mischievous son and a genius dog who has a penchant for finding bones, puddles and trouble. As the feature accommodates the passage of time, we see a few more mod-cons and a bigger role for girls – such as dog-loving Hazel – but, in essence, nothing has changed… and that’s the whole point…

Y a d’la promenade dans l’air was the 39th European collection, comfortingly resuming in the approved manner and further exploring the evergreen relationship of a dog and his boy (and tortoise) for our delight and delectation. Available in paperback and digital editions and delivered as a series of stand-alone rapid-fire, single-page gags, Walks on the Wild Side is packed with visual puns, quips, slapstick and jolly jests and japes: all affirming the gradual socialisation and behaviour of little Billy as measured in carefree romps with four-footed friends and an even split between parental judgements and getting away with murder…

This time though those pawed pals are extensively featured in many human-free romps with the proudly affable pooch’s ever-growing street pack: Muffin, Scamp, Vix and the rest…

Buddy is the perfect pet for an imaginatively playful lad, although the manipulative mutt is still far too fond of purloined food, buried bones (ownership frequently and raucously to be determined), and, as seen in this volume, sleeping where he really shouldn’t. However, when not being a problem, he’s a unique helper when dad plays plumber and also ferociously protective of his boy, tortoise and ball and even down-on-their-luck strangers…

The pesky pooch simply cannot understand why everyone wants to constantly plunge him into foul-tasting soapy water, but it’s just a sacrifice he’s prepared to make to be with Billy, and as seen here a trial he’s prepared to endure for peace, pieces of food and the occasional Psy-ops/April’s Fool gag…

Buddy’s fondly platonic relationship with tortoise Caroline is heavily emphasised here and his knack for clearing off whenever Dad has one of his explosive emotional meltdowns (over the cost of treats, repair bills or other impositions) is again dialled down, but most traditional themes and schemes are revisited abundantly albeit with novel twists like taking the dog(s) for a nice drive…

Our inseparable duo interact with many pals (particularly Billy’s school chum and cavalry-loving playmate Pat – who acts as confidante and best two-legged crony in all mischief making) and at every carefree moment they all play pranks, encounter other animals, dodge surveillance, hunt and hoard (bones, toys, shoes, phones and other crucial household items), rummage in bins, wilfully and/or honestly misunderstand adults, cause accidents and cost money, with both kid and mutt equally adept at all of the above.

This time, domestic chaos is heightened by many visits to wild country and green pastures and Buddy’s new passion for recycling/pre-cycling…

And of course, hostile neighbour Madame Stick and her evil cat Corporal are on hand to spoil all fun and frustrate their frolics…

Roba was a master of this cartoon art form and under his successors the strips remain genially paced, filled with wry wit and potent sentiment: enchantingly funny episodes running the gamut from heart-warming to hilarious, silly to surreal and thrilling to just plain daft.

This collection is exactly what fans would expect and deserve: another charming homage to and lasting argument for a child for every pet and vice versa. Here is a supremely engaging family-oriented compendium of cool and clever comics no one keen on introducing youngsters to the medium should be without.
Original edition © Dargaud, 2018 by Cazenove & Bastide in the style of Roba © Studio Boule & Bill 2018. English translation © 2025 Cinebook Ltd.
Today in 1902 Bud Fisher’s Mutt & Jeff successor Al Smith was born, followed in 1904 by Theodor Seuss Geisel AKA Dr Seuss. In 1913 Fred Bassett creator Alex Graham was born, with German colour artist Tatjana Wood arriving ten years later and the amazing, beguiling Mark Evanier coming along in 1952.

In 1962 we lost cartoonist/author/critic/Member of Parliament J.F. Horrabin, originator of wonders such as The Adventures of the Noah Family and Dot and Carrie.

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Harvey Kurtzman’s Strange Adventures


By Harvey Kurtzman, Art Spiegelman, Moebius, R. Crumb, Eric Palma, William Stout, Sergio Aragonés & Tom Luth, Tomas Bunk, Rick Geary, Dave Gibbons, Sarah Downs & various (Epic Comics/A Byron Preiss Book
ISBN: 978-0-87135-675-8 (Album HB)

This book contains Discriminatory Content included for satirical and dramatic effect.

Creative genius 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 comic book) would be enough for most creators to lean back on, but Kurtzman was also a force in newspaper strips (Flash Gordon Complete 1951-1953) and a restless innovator, commentator and social critic who kept on looking at folk and their doings. He just couldn’t stop making art or sharing his conclusions…

Kurtzman invented a whole new format when he converted the highly successful colour comic book Mad into a monochrome magazine, safely distancing the brilliant satirical publication from the fallout caused by the 1950s comics witch-hunt which eventually killed EC’s other titles. He then pursued comedy and social satire further with newsstand magazines Trump (no relation to any orange tossers!), Humbug and Help! – all the while creating challenging and powerfully effective humour strips like Little Annie Fanny (for Playboy), Nutz, Goodman Beaver, Betsy and her Buddies and many more. He died far too soon, far too young today in 1993.

Utterly unavailable in digital editions, this intriguing oddment from 1990 saw the Great Observer return to his comic roots to spoof and lambaste strip characters, classic cinema and contemporary sentiments in a series of vignettes illustrated by some of the biggest names of the day. Following a captivating introduction from ex-student Art Spiegelman, a stunning pin-up from Moebius and an overview from project coordinator Byron Preiss, the fun begins with a typically upbeat cartoon appreciation from R. Crumb: ‘Ode to Harvey Kurtzman’ which was coloured by Eric Palma, after which the Harvey-fest begins in earnest…

‘Shmegeggi of the Cave Men’ visually revives the author’s legendary Goodman Beaver, dislocating him to that mythic antediluvian land of dim brutes, hot babes in fur bikinis and marauding dinosaurs, to take a look at how little sexual politics has progressed in a million years – all exquisitely painted by cartoonist, movie artist and paleontological illustrator William Stout, after which Sergio Aragonés adds his inimitable mania to the stirring piratical shenanigans of the dashing ‘Captain Bleed’ (with striking hues supplied by Groo accomplice Tom Luth).

Western parody ‘Drums Along the Shmohawk’ is an all-Kurtzman affair as the scribe picks up his pens and felt-tips to describe how the sheriff and his stooge paid a little visit to the local tribe…

Cartoonist, fine artist and illustrator Tomas Bunk contributes a classically underground and exuberant job depicting ‘A Vampire Named Mel’ whilst arch-stylist Rick Geary helps update the most famous canine star in history with ‘Sassy, Come Home’. Limey Living Legend Dave Gibbons utilises his too-seldom-seen gift for comedy by aiding and abetting in what we Brits term “a good kicking” to the superhero genre in the outrageous romp ‘The Silver Surfer’ before the cartoon buffoonery concludes with Kurtzman and long-time associate Sarah Downs smacking a good genre while it’s down and dirty in ‘Halloween, or the Legend of Creepy Hollow’.

But wait, there’s more…

This seductive oversized hardback also has an abundant section devoted to creator biographies supplemented with pages and pages of Kurtzman’s uniquely wonderful pencil rough script pages – almost like having the stories printed twice.

Fun, philosophical fantasy and fabulous famous, artist folk: what more do you need to know – other than that SOMEone should re-release tis ASAP?
© 1990 by Byron Preiss Visual Publications Inc. Each strip © 1990 Harvey Kurtzman and the respective artist. All Rights Reserved.

Today in 1922 British comics artist (Bennie & Barley Bottom) and social redeemer Derek Chittock was born, with Belgian comics maven René Hausman (Laïyna), following in 1936 and fantasy illustrator Frank (Doctor Strange, Howard the Duck, Creepy) Brunner arriving in 1949. In 1963 manhua creator Khoo Fuk Lung (Saint) was born, with comics/screenwriter Christopher Yost coming in 1973 and Bryan Lee O’Malley (Scott Pilgrim, Seconds, Snotgirl) in 1979.

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Bluecoats volume 19 Drummer Boy


By Willy Lambil & Raoul Cauvin, with Leonardo; translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-177-4 (Album PB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times but also emphasised for dramatic and comedic effect.

Devised by Louis “Salvé” Salvérius & Raoul Cauvin – who scripted the first 64 volumes until retirement in 2020 – Les Tuniques Bleues (or Dutch iteration De Blauwbloezen) began as the 1960s ended: created to soften the blow of losing Lucky Luke when that mild-mannered maverick megastar defected from Le Journal de Spirou to arch-rival periodical Pilote. From the start, the substitute strip was popular: swiftly becoming one of the most-consumed bande dessinée series in Europe. After stints by the Jose-Luis Munuera/BeKa writing partnership, it is now scribed by Kris and up to 68 volumes…

Salvé was a cartoonist in the Gallic big-foot/big-nose humour manner, and after his sudden death in 1972, successor Willy “Lambil” Lambillotte gradually moved towards a more realistic – but still overtly comedic – tone and look. Born in 1936, Lambil is Belgian and, after studying Fine Art in college, joined publishing giant Dupuis in 1952 as a letterer. Arriving on Earth two years later, scripter Cauvin was also Belgian and (prior to joining Dupuis’ animation department in 1960) studied Lithography. He soon discovered his true calling was comedy and began a glittering, prolific writing career at LJdS. In addition, he scripted dozens of long-running, award winning series including Cédric, Les Femmes en Blanc and Agent 212: clocking up more than 240 separate albums. Les Tuniques Bleues alone has sold over 15 million copies… and counting.

Cauvin died on August 19th 2021, but his vast legacy of barbed laughter remains and – as of ten minutes ago – Lambril, at 87, is still drawing the Boys in Blue…

The Bluecoats are long-suffering protagonists Sergeant Cornelius Chesterfield and Corporal Blutch: worthy, honest fools in the manner of Laurel & Hardy; ill-starred US cavalrymen defending a vision of a unified America during the War Between the States – well, at least one of them is…

The original format offered single-page gags set around an Indian-plagued Wild West fort, but from second volume Du Nord au Sud, the sad-sack soldiers were situated back East, perpetually fighting in the American Civil War. Subsequent exploits are set within the scant timeframe of the Secession conflict, but – like today’s tale – occasionally range far beyond the traditional environs of the sundered USA, dipping into and embracing actual events (also like today’s tale), tackling genuine, thoroughly researched moments of history…

Blutch is an everyday, whinging little-man-in-the street: work-shy, mouthy, devious and ferociously critical of the army and its inept orchestrators and commanders. Ducking, diving, deserting at every opportunity, he’s you or me – except at his core he’s smart, principled, loyal and even heroic… if no easier option presents itself. Chesterfield is a big, burly professional fighting man: a proud career soldier of the 22nd Cavalry who devoutly believes in patriotism and esprit-de-corps of The Army. Brave, bold, never shirking his duty and hungry to be a medal-wearing hero, he’s quite naïve and also loves his cynical little pal. Naturally, they quarrel like a married couple, fight like brothers and simply cannot agree on the point and purpose of the horrendous war they are trapped in. That situation again stretches their friendship to breaking point in this cunningly conceived instalment, in which both find themselves pretty much fish out of water…

On offer this time is a rather more straightforward and trenchant outing with characters rather than settings providing most of the humour. Coloured as ever by Vittorio Leonardo, Les Tuniques Bleues – Drummer Boy was serialised continentally in Le Journal de Spirou #2720-2730, before becoming the 31st album in 1990, and now Cinebook’s 19th translated Bluecoats book.

As already hinted, it differs somewhat from the majority of tales, which tread a fine line between comedy and righteous anger, so if you share these books with younger kids, best read it first. However, biting wit and sardonic comedy are curbed for a mostly moving message here as a battlefield policy decision divides the old comrades and unleashes calamity and catastrophe. It begins in polemical mode as the aftermath of another battle leaves corpses and cripples underfoot (on both sides) and colonels and generals (ditto) unable to ascertain why their great plans and bold strategies just don’t work.

As always the casualty lists provoke a drive for new recruits, the one area where Union forces can outdo the Confederacy. As Chesterfield & Blutch indulge a rare quiet moment in a nearby town, they dispassionately watch the hundreds of poor folk, recent immigrants, unemployed men and thirsty ne’er-do-wells signing up, but only until Blutch spots a very young boy in the queue. Chesterfield cannot understand his pal’s towering outrage as Blutch tries everything to get the so-determined kid out of the line and away from the meatgrinder of imminent slaughter. What lands the little rebel in the guardhouse, however, is the patriotic Sergeant “taking care” of the problem by rushing the waif to the front of the line and personally signing him up.

At war with each other for the rest of the tale, Blutch – as chuck wagon commissary server – provides most of the laughs from this point on, as even the madmen running the 22nd Cavalry and Union top brass can find no suitably bellicose role for the plucky orphan in their ranks. Thus little Pucky Potts is made company drummer boy as both sides build up for the next – deciding – pitched battle.

Only that’s not quite how things work out, as the Rebs somehow anticipate every move and stratagem before delivering a stinging defeat. It keeps happening and eventually even the Generals work out what Blutch has already deduced. Pucky is a spy for the other side…

Refusing to let any child be killed for this stupidity, the corporal pulls out all the stops and even makes up with his old ally to ensure that the travesty of an underage execution will not happen. First, though, he has to stop being thrown in the guardhouse and get Chesterfield to talk to him…

Again highlighting not only divisions and disparities of officers and enlisted men but also of the American class structure – particularly the inherent racism driving rich and poor players on all sides – Drummer Boy is another disturbingly edgy epic that makes fun from the very worst of human endeavour. Shocking, powerful and hard-hitting as well as funny, thrilling, beautifully realised and eminently readable, this is one of finest Bluecoats yarns in the entire canon and best kind of war-story/Western. it appeals to the best, not worst, of the human spirit and hopefully that means you. © Dupuis 1990 by Lambil & Cauvin. All rights reserved. English translation © 2025 Cinebook Ltd.

Today in 1912 Mexican cartoonist German Butze (The Supersabios) was born, with Bringing up Father follow-up artist Zeke Zekley arriving three years later, and Danish multi-talented Peter Snejbjerg not joining us until 1963.

In 1977 Us cartoonist Ben Batsford (Billy’s Uncle; Doings of the Duffs; Little Annie Rooney; Frankie Doodle; Mortimer and Charlie) died, as did gekiga mangaka Jiro Taniguchi (Icaro; A Distant Neighorhood; The Summit of the Gods; A Journal of My Father) in 2017.

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Showcase Presents Weird War Tales volume 1


By Robert Kanigher, Bob Haney, Bill Finger, Sheldon Mayer, Jack Oleck, Len Wein, Marv Wolfman, Joe Kubert, Carmine Infantino, Dennis O’Neil, Russ Heath, Mort Drucker, Frank Thorne, Alex Toth, Reed Crandall, Sam Glanzman, John Severin, Howard Chaykin, Ed Davis, Frank Robbins, Nestor Redondo, George Evans, Alex Niño, Russ Heath, Neal Adams & various (DC Comics)
ISBN: 978-1-4012-3694-6 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

American comics just idled along rather slowly until the invention of Superman provided a flamboyant new genre for heroes and subsequently unleashed a torrent of creative imitation and imaginative generation for a suddenly thriving, voracious new entertainment model.

Implacably vested in World War II, these gaudily-attired mystery men swept all before them until the troops came home, but as the decade closed more traditional themes and heroes began to resurface and eventually supplant the Fights ‘n’ Tights crowd.

As a new generation of kids started buying and collecting, many of the first fans who retained their four-colour habit increasingly sought more mature themes in their pictorial reading matter. The war years and post-war paranoia had irrevocably altered the psychological landscape of the readership and as a more world-weary, cynical young public came to see that all the fighting and dying hadn’t really changed anything. Their chosen forms of entertainment (film, theatre and prose as well as comics) increasingly reflected this.

To balance the return of Western, War, Crime and imminent Atomic Armageddon-fuelled Science Fiction, comics created new genres. Celebrity tie-ins, madcap escapist or teen-oriented comedy and anthropomorphic funny animal features sprang up, but gradually another of the cyclical revivals of spiritualism and a public fascination with the arcane led to a wave of impressive, evocative and shockingly addictive horror comics. There had been grisly, gory and supernatural stars before, including a pantheon of ghosts, monsters and wizards draped in superhero trappings but these had usually been victims of circumstance: The Unknown as a power source for super-heroics. Now focus shifted to ordinary mortals thrown into a world beyond their ken with the intention of unsettling, not vicariously empowering the reader.

If we’re keeping score this was also the period in which Joe Simon & Jack Kirby identified another “mature market” gap and filled it by inventing romance comics (Young Romance #1, September 1947) and they too saw the sales potential for spooky material, resulting in the seminal Black Magic (1950) and boldly obscure psychological drama anthology Strange World of Your Dreams (1952). The company which would become DC Comics bowed to the inevitable and launched a comparatively strait-laced anthology that nevertheless became one of their longest-running and most influential titles with The House of Mystery (cover-dated December 1951/January 1952).

After the hysterical censorship debate which led to witch-hunting Senate hearings in the early 1950s was curtailed by the industry adopting a castrating straitjacket of self-regulation, titles produced under the aegis of the Comics Code Authority were sanitised, anodyne affairs in terms of Shock and Gore, but the audience’s appetite for suspense was still high and in 1956 National introduced sister titles Tales of the Unexpected and House of Secrets. Stories were dialled back from uncanny spooky yarns to marvellously illustrated, rationalistic fantasy-adventure vehicles and – eventually – straight monster-busting Sci Fi tales which dominated the market into the 1960s. That’s when superheroes – which had gradually enjoyed their own visionary revival after Julius Schwartz reintroduced The Flash in Showcase #4 – finally overtook them.

Green Lantern, Hawkman, The Atom and a rapidly-expanding coterie of costumed cavorters generated a gaudy global bubble of masked mavens which forced previously staunchly uncompromising anthology suspense titles to become super-character books. When caped crusader craziness peaked and popped, superheroes began dropping like Kryptonite-gassed flies. However, nothing combats censorship better than falling profits and, at the end of the 1960s with the cape-and-cowl boom over and some of the industry’s most prestigious series circling the drain, the surviving publishers of the field agreed to revise the Comics Code, loosening their self-imposed restraints against crime and horror comics.

Nobody much cared about gangster titles but, as the liberalisation coincided with yet another bump in public interest concerning supernatural themes, the resurrection of scary stories was a foregone conclusion and obvious no-brainer.

Thus, with absolutely no fanfare at all, horror comics came back and quickly dominated the US market for more than half a decade. DC led the pack: converting House of Mystery and Tales of the Unexpected into supernatural suspense anthologies in 1968 and resurrecting House of Secrets a year later.

Such was not the case with war comics. Tales of ordinary guys in combat began with the industry itself and although mostly sidelined during the capes-&-cowls war years, quickly re-asserted themselves once the actual fighting stopped. National/DC were one of the last publishers to get in on the combat act, converting superhero/fantasy adventure anthology Star Spangled Comics into Star Spangled War Stories the same month it launched Our Army at War (both cover-dated August 1952). They repurposed All-American Comics into All-American Men of War a month later as a “police action” in Korea escalated.

DC grew the division slowly but steadily, launching Our Fighting Forces (#1, November 1954) – just as EC’s groundbreaking combat comics were vanishing – and in 1957 added GI Combat to their portfolio when Quality Comics got out of the funnybook business.

As the 1950s closed however, the two-fisted anthologies all began incorporating recurring characters such as Gunner and Sarge – and latterly Pooch – from Our Fighting Forces #45 on, (May 1959); Sgt Rock (Our Army at War #83 (June 1959) and The Haunted Tank (G.I. Combat #87, April/May 1961). Soon all DC war titles had a lead star or feature to hold the fickle readers’ attention. The drive to produce superior material never wavered however, hugely aided by the diligent and meticulous ministrations of writer/editor Robert Kanigher.

In America after the demise of EC Comics in the mid-1950’s and prior to the game-changing Blazing Combat, the only certain place to find controversial, challenging and entertaining American war comics was DC. In fact, even whilst Archie Goodwin’s stunning but tragically mis-marketed quartet of classics were waking up a new generation of readers in the 1960s, the home of Superman, Batman and Wonder Woman was a veritable cornucopia of gritty, intriguing, beautifully limned battle tales presenting armed combat on a variety of fronts and from many differing points of view.

Whilst the Vietnam War escalated, 1960s America increasingly endured a Homefront death-struggle pitting deeply-ingrained Establishment social attitudes against a youth-oriented generation with a radical new sensibility. In response, military-themed comic books from National Periodical Publishing, as it then was, became even more bold and innovative.

However, the sudden downturn in superheroes led to some serious rethinking, and although the war titles maintained and even built sales, they also beefed up the anthological elements.

Thus in 1971 a title combining supernatural horror stories with bombastic battle yarns in an anthological setting seemed a forgone conclusion and sure thing to both publishers and readers alike…

This epic monochrome tome collects the contents of Weird War Stories #1-21 (cover-dates September/October 1971 to January 1974), offering a broad blend of genre mash-ups for readers with a taste for the dark and uncanny to relish. The series launched in a 52-page format combining new material with modified reprints featuring a veritable Who’s Who of top flight creative talent – both seasoned veterans and stars in waiting.

WWS #1 saw Editor Joe Kubert writing and illustrating an eerie linking strand entitled ‘Let Me Tell You of the Things I’ve Seen’, wherein a lost GI meets the personification of Death (the title’s long-term narrator in various blood-stained uniforms) who has a few foxhole stories to share…

The Reaper begins with ‘Fort Which Did Not Return!’ (by Kanigher & Russ Heath, as first seen in GI Combat #86), detailing how a bomber continues its mission even after the crew bail out, following up with all-new ‘The Story behind the Cover’ wherein Kubert reveals how a shunned German soldier carried on his duties after death…

From Star Spangled War Stories #71 (July 1958) Bob Haney & Kubert disclosed ‘The End of the Sea Wolf!’, as a sadistic U-Boat captain is sunk by one of his own earlier victims, whilst SSWS #116 (August/September 1964) originally debuted France Herron & Irv Novick’s ‘Baker’s Dozen’, with a fresh-faced replacement to a super-superstitious platoon battling to prove he’s not their unlucky thirteenth man…

The issue ends with that lost GI realising just who has been telling tales in Kubert’s ‘You Must Go!’…

The reprints in these early issues were all taken from a time when supernatural themes were proscribed by the Comics Code Authority, but even so they all held fast to an eerie aura of sinister uncertainty… the merest hint of the strange and uncanny to leaven the usual blood and thunder of battle books. In Weird War Tales #2, Kubert reprised his bridging vehicle as ‘Look… and Listen…’ sees a crashed Stuka pilot meeting a ghastly stranger at a battle-torn desert oasis before ‘Reef of No Return’ (Haney & Mort Drucker from Our Fighting Forces #43, March 1959) details a determined frogman’s most dangerous mission in advance of Kanigher & Frank Thorne’s new WWI silent saga ‘The Moon is the Murderer’ proving that overwhelming firepower isn’t everything…

Kubert’s ‘Behind the Cover’ features a prophetic dream and terrifying telegram, and ‘A Promise to Joe!’ (Kanigher & Novick, G.I. Combat #97 (December 1962-January 1963) sees a dead gunner seemingly save his friend from beyond the grave, after which the superb ‘Monsieur Gravedigger’ – by Jerry DeFuccio & legendary Reed Crandall – follows the follies of a sadistic Foreign Legionnaire who pushes his comrades too far. Cartoonist John Costanza delivers gag-packed ‘Military Madness’ and Kubert & Sam Glanzman offer a fact-packed ‘Sgt. Rock’s Battle Stations’ about ‘The Grenadier’ before Bill Finger, Ross Andru & Mike Esposito examine a young recruit’s rite of passage and development of ‘The Face of a Fighter’ (Our Fighting Forces #25, September 1957) before ‘Oasis’ concludes the sorry saga of that downed Aryan airman.

American Naval Aviators ditching at sea were the unwilling audience for Death’s stories as WWT #3 opens with Kubert’s ‘Listen…’ The roster starts with ‘Been Here Before!’ (Finger, Andru & Esposito, G.I. Combat #44 January 1957) as a soldier under fire turns his mind back to boyhood games to save the day, after which we see an aerial battle and parachute drop from the perspective of ‘The Cloud That Went to War!’ (Our Fighting Forces #17, January 1957) courtesy of Dave Wood, Andru & Esposito.

More Costanza comedy from ‘The Kreepy Korps!’ precedes an early tale by Len Wein & Marv Wolfman, ably illustrated by Heath as both cave tribes and modern soldiers battle to possess ‘The Pool’, before the artist’s earlier collaboration with Bob Haney reveals how ‘Combat Size!’ is all a matter of mental attitude in a tale from Our Army at War #66 (January 1958). After Glanzman’s ‘Battle Album’ explains ‘Flying Guns’, a finny friend helps a US submarine sink an aircraft carrier in Finger & Drucker’s ‘Pilot for a Sub!’ (OAaW #68, March 1958) and the issue ends as Kubert sends a ‘Lifeboat’ for those tragic aviators…

The fourth issue opens with Kubert’s final linking tale as a ‘Gypsy Girl’ and her family find wounded soldier Tony after his buddy runs off to get a medic. They kindly offer to pass the time with him, sharing stories like ‘Ghost Ship of Two Wars’ (Kanigher & Novick, All-American Men of War #81, September 1960) wherein an obsessed WWI pilot seemingly slips into 1944 while pursuing his unbeatable archenemy the Black Ace.

Kanigher & Gene Colan’s ‘Time Warp’ originally appeared as ‘The Dinosaur Who Ate Torpedoes!’ in SSWS #123 (October/November 1965 and part of the uniquely bizarre War That Time Forgot series), pitting US frogmen against colossal sea-going saurians, after which ‘The Unknown Sentinel’ (by author unknown & Mort Meskin from House of Mystery #55, October 1956) saves the lives of two soldiers lost on manoeuvres on America’s most famous battlefield.

Glanzman then offers one of his magnificently engaging autobiographical USS Stevens vignettes with all-new, elegiac ‘Prelude’ before Kubert wraps up his chilling drama as ‘I Know Them to be True’ sees medics arriving to find Tony a much-changed man, leaving Costanza to close things down with a laugh and some ‘Military Madness’.

Weird War Tales #5 opens with Haney & Alex Toth providing a book-end tale of ‘The Prisoner’ held by Nazis in Italy. Seeking a way out, he recalls tales of escape such as ‘The Toy Jet!’ (Haney & Heath, All-American Men of War#78, March/April 1960): a chilling psychological thriller about an interned pilot in North Korea. It’s followed by ‘Human Trigger’ (Herron, Andru & Esposito, Star Spangled War Stories #18, February 1954) which shows how a soldier lying on a mine deftly saves his own life…

Herron & Carmine Infantino then reveal how an US spy is forced to ‘Face a Firing Squad!’ (SSWS #14, November 1953) and Norman Maurer instructs with the history of ‘Medal of Honour: Corporal Gerry Kisters’ before Willi Franz & Heath detail the victory of a ‘Slave’ in Roman times and Haney & Toth offer final release in ‘This Is It!’

Issue #6 saw Weird War cut to a standard 36-page package and take a step into tomorrow with Haney & Toth’s battlefield test of ‘Robots’. Wolfman & Frank Thorne expanded the theme in ‘Pawns’ as humans and mechanoids finally decide who works for whom whilst ‘Goliath of the Western Front!’ (Herron, Andru & Esposito, SSWS #93 – October/November 1960) features a giant mechanical Nazi and American David who finally does for him, before Haney & Toth settle all debate with the conclusive ‘Robot Fightin’ Men’…

Wolfman & Kubert provide thematic bookends for #7, beginning with ‘Out of Action’ and wounded GIs awaiting the worst by trading tales like William Woolfolk, Jerry Grandenetti & Joe Giella’s ‘Flying Blind’ (OAaW #12, July 1953) wherein a wounded pilot must trust someone else for the first time in his life if he wants to land his burning jet. Kanigher & Kubert’s ‘The 50-50 War!’ (A-AMW #41, January 1957) finds sporting rivals forced to help each other after both suffer injuries on an alpine mission, with Costanza adding more welcome levity through his ‘Military Hall of Fame’. ‘The Three GIs’ (Finger & Heath, SSWS #62, October 1957) riffs smartly on those monkeys who respectively can’t see, hear and speak and the Purple Heart yarns end with Wolfman & Kubert’s chilling ‘I Can’t See’…

From WWT #8, editorial control switched to the Mystery division under Joe Orlando and with that reprints were shelved in favour of original material as publication frequency graduated from six times a year to monthly. This all-German-focused issue begins with a gruesome ‘Guide to No-Man’s Land’ (probably written by assistant editor E. Nelson Bridwell and illustrated by Tony DeZuñiga) before moving on to ‘The Avenging Grave’ (Kanigher & DeZuñiga) with SS officers learning too late the folly of desecrating the dead of WWI. Anonymously scripted ‘Thou Shalt Not Kill!’– with art by Steve Harper & Neal Adams – sees more gloating Nazis facing a vengeful golem. Kanigher & DeZuñiga return to reveal the fate of an arrogant 1916 air ace in the skies over No-Man’s Land in ‘Duel of the Dead’ before the artist’s ‘Epilogue’ wraps things up, whilst Weird War Tales #9 invites us to ‘Enter the Portals of War’ in an introduction drawn by Howard Chaykin, swiftly followed by a trio of Kanigher yarns illustrated by the cream of DC’s Filipino artists.

‘The Promise’ was limned by Alfredo P. Alcala, telling a tale in two eras as both Teutonic knights in 1242 and German tankers seven centuries later fail to cross frozen Lake Chud, whilst Gerry Talaoc renders the disastrous end of deathly, determined ‘Blood Brothers!’ during the American Civil War, and incomparable Alex Niño details ‘The Last Battle’ between East and West before Chaykin pops back to declare ‘Death, the Ultimate Winner’.

Sheldon Mayer & Toth open WWT #10 with a deliciously whimsical ghostly love story in ‘Who is Haunting the Haunted Chateau?’ before Raymond Marais & Quico Redondo change the tone as a Death-Camp commandant returns after the war to salvage ill-gotten gains from ‘The Room that Remembered’, whilst Wein & Walter Simonson – in the artist’s pro comics debut – reveal why invading Nazis shouldn’t abuse the town idiot, incurring the wrath of ‘Cyrano’s Army’…

Always experimental, the creative team of Mayer, DeZuñiga, Alcala, Talaoc & Niño tried their hand at a time-twisting complete adventure for #11. Occurring on ‘October 30? over 99 years beginning in 1918, the tale compares the progress of an ambitious German General granted a wish for glory by a treacherous spirit of war, with three ghostly Americans determined to fix a long-standing mistake whatever the cost…

DeZuñiga draws the introduction to #12, featuring tales of ‘Egypt’ starting with Kanigher & Talaoc’s tale of an ancient warlord who learned to regret spitting on the ‘God of Vengeance’, whilst ‘Hand of Hell’ (Kanigher & DeZuñiga) sees Anubis similarly deal with one of Rommel’s least reputable, most sadistic deputies. Arnold Drake & Don Perlin then switch locales to Roman Britain where a centurion takes an accidental time-trip and ultimately overthrows the Druids in ‘The Warrior and the Witch-Doctors!’

Weird War Tales #13 opens with Oleck & Nestor Redondo’s ‘The Die-Hards’, with Nazis realising there are even worse killers than they haunting their latest conquered village, before Drake & Niño determine that ‘Old Samurai Never Die’ when a would-be shogun offends the patron spirit of Bushido. ‘Loser’s Luck’ – by Michael J. Pellowski, George Kashdan & DeZuñiga – details harsh choices facing the unfortunate winners of the next, last war…

Mayer, DeZuñiga & Alcala reunite in #14 to tell an eerie tale of doomed love and military injustice from the days before Pearl Harbor which begins with a ‘Dream of Disaster’, incorporates a deadly flight with a ‘Phantom for a Co-Pilot’ and marines who arrive ‘Too Late for the Death March!’ before finally meeting ‘The Ghost of McBride’s Woman’ and vindicating an unsung hero…

A little lad enamoured of war’s glory learns a lesson in WWT #15 when his dead grandfather takes him back to WWI to see how ‘…Ace King Just Flew in from Hell’ (Drake & Perlin) before Oleck & Talaoc reveal the doom of ‘The Survivor’ of a Viking raid which offends a sorceress, and Oleck & Alcala detail the shocking fate of a fanatical crusader who succumbs to ‘The Ultimate Weapon’ of a Saracen wise man. Drake & Alcala describe transplant science gone mad in #16’s ‘More Dead than Alive!’, whilst the first of a Niño double bill sees him delineate Oleck’s ‘The Conquerors’ who eradicate humanity – but not the things that predate on them – whilst Drake’s ‘Evil Eye’ sees a little boy inflict hell’s wrath on both Allies and Axis alike…

In #17, Kanigher & George Evans disclose how a dishonourable French Air Ace is punished by ‘Dead Man’s Hands’ before Pellowski, E. Nelson Bridwell & Ernie Chan reveal how a murdered soldier is avenged by ‘A Gun Named Marie!’ WWT #18 has Drake & DeZuñiga sketch the brief career of ‘Captain Dracula!’ as he marauds through (mostly) German forces in Sicily before Mayer & Talaoc return for the cautionary tale of a greedy German sergeant in France whose avarice makes him easy prey for the ‘Whim of a Phantom!’

Drake & Talaoc start #19 with the full-length story of an agent who infiltrates the Nazi terror weapon known as ‘The Platoon That Wouldn’t Die!’, and #20 reverts to short stories with Oleck & Perlin’s ‘Death Watch’ of a doomed coward who should have waited one more day before deserting, before Drake & Alcala’s period saga of a witchcraft vendetta ‘Operation: Voodoo!’ and their Battle of Britain chiller wherein a burned-out fighter pilot learns ‘Death is a Green Man’.

This blockbusting blend of military mayhem, magical melee and martial madness concludes with Weird War Tales #21 and ‘One Hour to Kill!’ by Drake & Frank Robbins, wherein an American soldier is ordered to go back in time to assassinate Leonardo Da Vinci and prevent the invention of automatic weapons. Mayer & Bernard Baily then detail just how a foul-up GI becomes an unstoppable hero ‘When Death Took a Hand’…

Classily chilling, emotionally intense, superbly illustrated, insanely addictive and Just Plain Fun, this is a deliciously guilty pleasure that will astound and delight any lover of fantasy fiction and comics that work on plot invention rather than character compulsion.
© 1971, 1972, 1973, 2012 DC Comics. All Rights Reserved.

Today in 1937 Herman creator Jim Unger was born, whilst in 1967, pioneering Golden Age artist Homer Fleming (Craig Kennedy, The Whip, Chuck Dawson, Captain Jim of the Texas Rangers, Classics Illustrated) died.

Also in 1967, British weeklies Pow! and Mandy both launched, as did tabloid treasure The Beezer way back in 1956 today.

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Popeye Classics volume 1


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-61377-557-8 (HB) eISBN: 978-1-62302-264-8

This book includes Discriminatory Content produced in less enlightened times.

There are few comic characters that have entered communal world consciousness, but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Segar had been producing Thimble Theatre since December 19th 1919, but when he introduced a coarse, brusque “sailor man” into the saga of Ham Gravy and Castor Oyl on January 17th 1929, nobody suspected the giddy heights that walk-on would reach…

Happy birthday, Sailor Man!

In 1924 Segar created a second daily strip The 5:15: a surreal domestic comedy featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle which endured – in one form or another – as a topper/footer-feature accompanying the main Sunday page throughout the author’s career. It survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist Bud Sagendorf.

After Segar’s tragic, far too premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip even as animated features brought Popeye to the entire world. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments. Nonetheless, the strip continues to this day, with new Sunday episodes written and drawn by R. K. Milholland, whilst daily episodes are reprints by that man Sagendorf.

Born in 1915, Forrest “Bud” Sagendorf was barely 17 when his sister – who worked in the Santa Monica art store where Segar bought his supplies – introduced the kid to the master. Segar became his teacher and employer as well as a father-figure and, in 1958, Sagendorf took over the strip and all merchandise design duties, becoming Popeye’s prime originator…

When Sagendorf took over, his loose, rangy style and breezy inspired scripts brought the strip back to the forefront of popularity. Bud made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena for 24 years. Sagendorf died in 1994 after which Underground cartoonist Bobby London took over.

Bud had been Segar’s assistant and apprentice, and from 1948 onwards he wrote and drew Popeye’s comic book adventures in a regular monthly title published by America’s king of licensed periodicals, Dell Comics. When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not, a joker who wanted kids to be themselves – but not necessarily Good – and someone who took no guff from anyone. Naturally, as his popularity grew, Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows, but time and popularity eroded that power.

Such was not the case in Sagendorf’s comic book yarns…

Collected in their entirety in this beguiling full-colour hardback or digital edition are the first four 52-page quarterly funnybooks produced by the Young Master, spanning February/April 1948 to November 1948/January 1949.

These stunning, seemingly stream-of-consciousness stories are preceded by an effusively appreciative Introduction – ‘Society of Sagendorks’ – by inspired aficionado, historian and publisher Craig Yoe accompanied by a fabulous collation of candid photos and letters, plus strip proofs, original comicbook art and commissioned paintings, an Activity Book cover and greetings card designs contained in ‘A Bud Sagendorf Scrapbook’.

Popeye‘s fantastic first issue launched in February 1948 with no ads and duo-coloured (black & red) single page strips on the inside front and back covers. The initial instant episode finds mighty muscled, irrepressible “infink” Swee’ Pea enquiring ‘Were There Ever Any Pirates Around Here?’ before doing a bit of digging, after which full-coloured extended fun begins with ‘Shame on You! or Gentlemen Do Not Fight! or You’re a Ruffian, Sir!’

As everyone knows, the salty swab earns a lucrative living as an occasional prizefighter and here upcoming contender Kid Kabagge and his cunning manager Mr. Tillbox use a barrage of psychological tricks to put Popeye off his game. The key component is electing Olive Oyl President of the deeply bogus Anti-Fisticuff Society to convince her man to stop being a beastly ruffian and abandon violence. That only works until the fiery frail learns she’s been gulled…

Swee’ Pea then stars in ‘Map Back! Or Back Map!’ as sinister unprincipled villain Sam Snagg tattoos an invisible secret diagram onto the baby’s body(!) before falling foul of the boy’s garrulous guardian when trying to reclaim the kid and divine the location of Spinachovia’s hidden treasures. Wrapping up the full-length action is ‘Spinach Revolt’ as Popeye’s perfidious pater Poopdeck Pappy kicks up a fuss about constantly having to eat healthy food…

As the first Superman of comics, Popeye was not a comfortable hero to idolise. A brute who thought with his fists and had no respect for authority, he was uneducated, short-tempered, fickle (when hot tomatoes batted their eyelashes – or thereabouts – at him); an aggressive troublemaker, who wasn’t welcome in polite society… and wouldn’t want to be. Time changed Popeye and made him tamer but the shocking sense of unpredictability, danger and anarchy he initially provided was sorely missed… so in 1936 Segar brought it back again…

A memorable and riotous sequence of Dailies introduced ancient, antisocial crusty reprobate Poopdeck Pappy. The elder mariner was a hard-bitten, grumpy lout quite prepared – even happy – to cheat, steal or smack a woman around if she stepped out of line. He was Popeye’s prodigal dad and once the old goat was firmly established, Segar set Olive and her Sailor Man the Herculean task of “Civilizing Poppa”. Even at the time of this tale that’s still very much a work in progress…

Fed up with eating spinach, Pappy hides his meals and steals the wherewithal to secretly subsist on a diet of candy, cakes and sodas. He even inveigles the lad next door into being the mule in his scurrilous scheme, but cannot evade the digestive consequences of his actions…

The premiere outing ends with a brace of single pagers detailing how Swee’ Pea deals with persistent salesmen and a day’s fishing before issue #2 commences…

Master moocher Wellington J. Wimpy again has cause to declare ‘Sir! You are a cheapskate!’ before Swee’ Pea & Popeye are swept up in a controversial debate. In ‘That’s What I Yam! or ‘I Yam! I Yam’, the sailor believes his baby boy tough enough to wander around town unsupervised but has reasons to revise his opinion after the kid vanishes. Moreover, when he does resurface, the titanic tyke is subject to strange transformations and behaviours. It’s as if a class of trainee hypnotists have all been using the kid as a practise subject but forgot to bring him out of his trance afterward…

Pappy stars in ‘Easy Money’, with the greedy reprobate realising how much cash his sterling son earns for each boxing bout. Determined to get on the gravy train too, the oldster shaves off his beard and impersonates Popeye. By the time his boy catches wise, Pappy has conned Olive and Wimpy into his scheme and set up a punishing bout with a huge purse, so somebody is going to have to fight…

The issue ends with a two-tone short showing the hazards of bathing Swee’Pea and another full colour back cover gag as a bullying neighbour realises the folly of trying to spank Popeye’s boy…

Popeye #3 leads with an epic 32-page spooky maritime epic as the superstitious sailor reluctantly agrees to transport 250 “ghosk” traps to ghastly, radish – and phantom – infested ‘Ghost Island’: a cunning yarn of mystery and over-zealous imagination starring many cast regulars and preceded by a hilarious map of the route replacing the inside-front-cover gag…

Following up is an implausible account of Popeye apparently becoming a violent bully, beating up ordinary citizens in ‘Smash! or You Can Tell She’s My Girl, Because She’s Wearing Two Black Eyes!’ Happily, a doctor at the sailor’s trial is able to diagnose the incredible truth before things go too far, after which Swee’Pea indulges in too much sugar in the red & black bit and learns the manly way to play with dolls on the colour back cover…

The fourth and final inclusion in this outrageous, timelessly wonderful compilation begins with Wimpy up to his old tricks whilst Popeye hunts ducks, before another extended odyssey finds the Sailor Man and hangers-on Swee’Pea, Olive & Wimpy heading West on safari to capture a rare Ipomoea from sagebrush hellhole ‘Dead Valley’…

It’s a grim wilderness Popeye has endured before: an arid inferno no sane man would want to revisit unless a scientist hired him to. Sadly, that’s not the opinion of local bandit boss Dead Valley Joe who assigns all his scurvy gang the task of dissuading or despatching the uppity easterners before they uncover the region’s incredible secret…

Back home again, Olive Oyl receives a surprise ‘Gift from Uncle Ben!’ Sadly, the strange flying beast called a Zoop prefers Swee’Pea’s company, and her warm generosity in donating the beast takes a hard knock when a stranger offers a million bucks for it…

One final brace of Swee’ Pea shorts then sees the wily kid orchestrate free baseball views for his pals before indulging in food politics to win over a stray cat and wrap up in amiable style these jolly, captivating cartoon capers.

There is more than one Popeye. If your first thought on hearing the name is an unintelligible, indomitable white-clad sailor always fighting a great big beardy bloke and mainlining tinned spinach, that’s okay: the animated features have a brilliance and energy of their own (even the later, watered-down anodyne TV versions have some merit) and they are indeed based on the grizzled, crusty, foul-mouthed, bulletproof, golden-hearted old swab who shambled his way into Thimble Theatre and wouldn’t leave. But they are really only the tip of an incredible iceberg of satire, slapstick, virtue, vice and mind-boggling adventure…

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. This book is definitely one of the latter and if you love lunacy, laughter and rollicking adventure you must now read this.
Popeye Classics volume 1 © 2013 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2013 King Features Syndicate. ™ & © Heart Holdings Inc.

Today in 1851 pioneering US illustrator A/B. Frost (Br’er Rabbit) was born, and in 1877 Australian artist Cecilia May Gibbs (Gumnut Babies/Bush Babies/Bush Fairies, Bib and Bub, Snugglepot and Cuddlepie, Tiggy Touchwood).

In 1920 epic UK weekly comic Film Fun began with the first of its 2225 issues. Never appearing therein was erotic cartoonist Georges (Blanche Épiphanie) Pichard who was born in the same year.

One year later Cuban Spy vs Spy/Mad magazine mastermind Antonio Prohias was born. As was Spanish artist Alfonso Azpiri (Black Hawk [UK Tornado], Bethlehem Steele, Lorna) in 1947 and Ann Nocenti in 1957 and the astonishing Genndy Tartakovsky in 1970.

Sadly we lost Belgian Pascal Garray in 2017, a quiet star who worked for years largely unheralded on The Smurfs, and Benoît Brisefer/Steven Sterk/Benny Breakiron.

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The Definitive Betty Boop: The Classic Comic Strip Collection


By Max Fleischer, Bud Counihan, with Hal Seeger & various (Titan Comics)
ISBN: 978-1-84856-707-8 (HB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Betty Boop is one of the most famous and long-lived fictional media icons on the planet and probably the one who has generated the least amount of narrative creative material – as opposed to simply merchandise – per year since her debut.

She was created at the Fleischer Cartoon Studios, most likely by either by Max Fleischer himself or top cartoonist and animator Grim Natwick – depending on whomever you’ve just read – and had a bit part in the monochrome animated short feature Dizzy Dishes: the seventh “Talkartoon” release from the studio, screened for the first time on August 9th 1930.

A calculatedly racy sex-symbol from the start, albeit anthropomorphised into a sexy French Poodle (!!), Betty was primarily based on silent movie star and infamous “It-Girl” Clara Bow. Or, according to some historians, it was far more than just her distinctive sound Betty took from popular contemporary star Helen Kane. In those pioneering days of “talkies”, Betty was voiced by a succession of actresses including Margie Hines, Kate Wright, Ann Rothschild and ultimately Mae Questel, who all mimicked Bow’s soft, seductive (no, really!) Brooklyn accent. Or possibly Kane’s. There’s a court case involved in this history so opinions are hard held and still very divided…

Although frequently appearing beside early Fleischer Studios stars Bimbo (a homely puppy dog also called Fitz) and Koko the Clown – who both debuted in Fleischer’s earliest screen offerings Out of the Inkwell – Betty had become a fully, if wickedly shaped, human girl by 1932’s Any Rags, and she quickly co-opted and monopolised all the remaining Talkartoons, before graduating to the Screen Songs featurettes. Betty ultimately won her own animated cartoon series to become “The Queen of the Animated Screen”, reigning until the end of the decade.

A Jazz Age flapper in the Depression Era, the delectable Boop was probably the first sex-charged teen-rebel of the 20th century, yet remained winningly innocent and knowledgeably chaste throughout her career. Maybe that’s why she became so astoundingly, incredibly popular – although her appeal diminished appreciably once the censorious Hayes Production Code cleaned up all that smut and fun and sophistication oozing out of Hollywood in 1934 – even though the Fleisher Studio was proudly New York born and bred.

Saucy singer Helen Kane – who had performed in a sexy “Bow-esque” Brooklyn accent throughout the 1920s and was billed as “The Boop-Oop-A-Doop Girl” – famously sued for “deliberate caricature” in 1932. As well as a renowned actor, she was sharp enough to briefly steal the show and actually become the star of the first Betty newspaper strips…

When Kane’s lawsuit failed, Betty took over the paper outlets in her own name, but couldn’t withstand a prolonged assault by the National Legion of Decency and Hayes Code myrmidons. With all innuendo removed, salacious movements restricted and wearing much longer skirts, Betty gained a boyfriend and family, whilst newspaper strip scripts consciously targeted younger audiences. The tabloid feature folded in 1937 and her last animated cartoon stories were released in 1939. The only advantage to Betty’s screen neutering and new wholesome image was that she suddenly became eligible for inclusion on the Funnies pages of family newspapers, alongside the likes of Popeye, Little Orphan Annie and Mickey Mouse….

This superb collection gathers every pre-war iteration associated with Betty Boop – including ones she isn’t in – and is augmented by fond remembrances from Mark Fleischer and Virginia Mahoney in their Foreword ‘About our grandad, Max Fleischer…’ and comes with an informative Introduction tracing Betty’s wild ride of a career. Supplementing his text with candid behind-the-scenes photos and contemporary art as well as advertising items and memorabilia of the time, cartoonist Brian Walker (son of Beetle Bailey and Hi & Lois creator Mort Walker) traces the celluloid and tabloid star’s creation, rise, fall and latter day resurgence in ‘Made of Pen and Ink, she can win you with a Wink’.

There was a brief flurry of renewed activity during the 1980s, which led to a couple of TV specials, a comic book from First Comics (Betty Boop’s Big Break, 1990) and a second newspaper strip. Betty Boop and Felix was crafted by Walker and his brothers Neal, Greg, and Morgan, wherein the glamour queen shared adventures with fellow King Features nostalgia icon Felix the Cat. It ran from July 23rd 1984 – January 31st 1988, but even counting those – and we aren’t here – that’s still a pretty meagre complete comics canon for a lady of Betty’s longevity, pedigree and stature…

Confusion and contention abound in Betty’s print career and that’s mirrored in this book. Her first regular strip was as a daily feature in black-&-white, but you’ll see that last, because the comics experience begins in full colour with an experimental Out of the Inkwell – Koko the Klown Sunday strip starring the manic mime in silent surreal romps that have the cachet of being Fleischer’s first work for King Features Syndicate. They ran from November 25th – December 15th 1934 and are followed by The Original Boop Boop-A-Doop Girl: a Sunday feature spanning August 5th to October 12th 1934. As negotiations between Fleischer and King Features stalled in 1933, Helen Kane approached the Syndicate and offered herself as a straight knock-off for the cartoon star. The resultant domestic comedy strip ran for just 11 weeks, and only in the tabloid New York Sunday Mirror. It was dropped as soon as Fleischer signed with King Features…

Attributed to Kane and drawn by Ving Fuller, the succession of manic gag pages are basic, innocently racy vaudeville one-liners, but do still evoke a certain nostalgic charm…

Whilst we’re on a possibly touchy subject: a lot of attitudes to women and visualisations of minorities won’t really pass an earnest examination here, and readers should be aware that these were all created in a different time for far less enlightened audiences. A little patience and forbearance will be your best guides on some pages…

Running from November 25th 1934 to November 27th 1937, the full colour Sunday strips starring the original and genuine Betty Boop were drawn by Bud Counihan: a veteran ink-slinger who had created the Little Napoleon strip in the 1920s before becoming Chic Young’s assistant on Blondie. They commenced a few months after the daily feature and might be a little confusing as they encompass a large supporting cast for aspiring starlet Betty as she navigates a tiresome and treacherous career in Hollywood. I’d advise reading the dailies first and ending your reading enjoyment here, but it’s your choice…

These gag episodes feature the freshly-sanitised, family-oriented heroine of the post-Hayes Code era, but for devotees of the period and comics fans in general, the strip still retains a unique and abiding charm. Counihan’s Betty is still oddly, innocently coquettish yet confidant: a saucy thing with too-short skirts and skimpy apparel. Some outfits – especially bathing costumes – would raise eyebrows even now, and although the bald innuendo that made her a star is absent, these tales of a street-wise young thing trying to “make it” in Tinseltown are plenty sophisticated when viewed through the knowing, sexually adroit and informed eyes of 21st century readers. Well some of them, anyway…

Produced as full-page strips, the Sundays are broadly slapstick, with moments of cunning wordplay: single joke stories regarding the weirdness of acting and the travails of fandom. There’s a succession of blandly arrogant romantic leading men (mostly called Van something-or-other) but none stick around for long as Betty builds her career, and eventually scenarios change to a western setting as cast and crew begin making Cowboy Pictures, leading to many weeks’ worth of “Injun Jokes”, but ones working delightfully and hilariously counter to expected unpleasant stereotypes of those times. However, the introduction of fearsome lower-class virago Aunt Tillie – chaperone, bouncer and sometime comedy movie extra – moves the strip into an unexpected direction and begins Betty’s life as an extra in her own show…

Soon, a clear and unflinching formula sets in with Bubby (see below), Aunt Tillie and her diminutive new beau Hunky Dory increasingly edging Betty out of the spotlight and even occasionally off the page entirely. By 1937 the show was over…

The Betty Boop daily strip began on July 23rd 1934: a raw, raucous comedy gig that ran until March 18th 1935 in an extended sequence of gag-a-day encounters blending into an epic comedy-of-errors. Here Betty’s lawyers do litigious battle with movie directors and producers to arrive at the perfect contract for all parties. That’s clearly a war that still rages to this day and once again it’s happening under the cost restrictions of what is, after all, another Great Depression like the one Betty was a constant momentary antidote to…

Jokes come thick and fast in the same vein, with lawyers, entourage and all extras providing the bulk of the humour whilst Betty stands in for the Straight Man in her own strip… Except for a recurring riff about losing weight to honour her contract, which stipulates she cannot be filmed weighing more than 100 pounds! Geez! Her head alone has got to weigh at least… sorry, I know… it’s just a comic…

Like most modern stars, Betty had a dual career and there’s a lot of recording industry and song jokes as well as fan affrontery and boyfriend woes, as well as the introduction of the first of an extended cast: Betty’s streetwise baby brother Bubby (originally Billy). He’s a riotous rapscallion intended to act as a chaotic foil to the star’s affably sweet, knowingly dim complacency, and he’s another celluloid wannabe in waiting…

By no means a major effort of the Golden Age of Comics Strips, Counihan’s Betty Boop (like most licensed syndicated features the strip was “signed” by the copyright holder, in this case Max Fleischer) remains a hugely effective, engaging and entertaining work, splendidly executed and well worthy of the attentions of fans with a penchant for history or feeling for fashion.

With the huge merchandising empire built around the effervescent cartoon Gamin/Houri, (everything from apparel to wallpaper, clocks to drinking paraphernalia) surely there’s room today to address her small brief but potent contributions to the comics arts. If you think so, this book is for you…

Betty Boop © 2015 King Features Syndicate, Inc./Fleischer Studios, Inc. ™ & © Hearst Holdings, Inc./Fleischer Studios, Inc. All rights reserved. Foreword © 2015 Mark Fleischer & Ginny Mahoney. Introduction © 2015 Brian Walker.

Today in 1877, pioneering Swedish cartoonist/comics creator Oskar Emil “O.A.” Andersson was born, and in 1911 the amazing Jack Burney (Superman, Batman, Starman) also arrived. In 1957 Belgian star Bernard “Yslaire” Hislaire was born followed a year later by Ms. Tree co-creator Terry Beatty with writer/editor Bob Harras coming one year later. Sam (Zero Girl, The Maxx, Wolverine) Keith, arrived in 1963.

Sadly in 1998 we lost astoundingly adept Canadian import Win Mortimer (Superman, Batman, Legion of Super-Heroes).

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Jonah Hex: Welcome to Paradise


By John Albano, Michael Fleischer, Tony DeZuñiga, Doug Wildey, Noly Panaligan, George Moliterni, José Luis García-López & various (DC Comics)
ISBN: 978-1-4012-2757-9 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

Western stories are shaped by an odd duality. The genre can almost be sub-divided into two discrete halves: the sparkly, shiny version that dominated kids’ books, comics and television for decades, as typified by Zane Grey stories and heroes such as Roy Rogers and Gene Autry… and the other stuff. That kind of cowboy tale – grimy, gritty, excessively dark – was done best for years by Europeans in such strips as Jean-Michel Charlier’s Lieutenant Blueberry or Bonelli & Galleppini’s Tex Willer which gradually made their way into US culture through the films of Sam Peckinpah and Sergio Leone. Jonah Hex is the USA’s greatest example of the latter sort…

DC (or National Periodicals as it then was) had generated a stable of clean-cut gunslingers since the collapse of the super-hero genre in 1949, with such dashing – and highly readable – luminaries as Johnny Thunder, The Trigger Twins, Nighthawk, Matt Savage and dozens of others in a marketplace that seemed insatiable in its voracious hunger for chaps in chaps. However, all things end, and by the early sixties, sagebrush stalwarts had dwindled to a few venerable properties. As the 1960s closed, thematic changes in the cinematic Cowboy filtered through to a comics industry suffering its second superhero sundown in twenty years. Although a critical success, the light-hearted Western series Bat Lash couldn’t garner a solid following, but DC, urgently pursuing a genre readers would warm to, retrenched and revived an old title, gambling once again on heroes who were no longer simply boy scouts with sixguns.

All-Star Western #1 was released with an August/September 1970 cover date, packed with Pow-Wow Smith reprints. It became an all-new anthology with the second bi-monthly issue. The magazine was allocated a large number of creative all-stars, including Robert Kanigher, Neal Adams, Gray Morrow, Al Williamson, Gil Kane, Angelo Torres and Dick Giordano, all working on such strips as Outlaw!, Billy the Kid and cult sleeper hit El Diablo, combining shoot-’em-up shenanigans with supernatural chills, in deference to the real hit genre that saved comics in those dark days: horror comics.

It wasn’t until the tenth issue and introduction of a grotesquely disfigured, irascible bounty hunter created by writer John Albano & Tony DeZuñiga that the company found its greatest and most enduring Western warrior.

This superb collection of the garish gunman’s early appearances has been around for a few years, with no apparent sign of a sequel yet, so consider this another heartfelt attempt to generate a few sales and more interest – especially as the company has recently released a collection of those aforementioned 70s western treats in its DC Finest range…

Our star is the very model of the modern anti-hero. Jonah Hex first appeared in All-Star Comics #10, a coarse and callous bounty hunter clad in shabbily battered Confederate Grey tunic and hat, half his face lost to some hideous past injury; a brutal thug little better than the scum he hunted – and certainly a man to avoid…

Collecting key stories from All-Star Western #10, Weird Western Tales #14, 17, 22, 26, 29, 30 and Jonah Hex #2 & 4 (ranging from March 1972 to September 1977), the grisly gunplay begins with Albano & DeZuñiga’s ‘Welcome to Paradise’ which introduced the character and his world in a powerful action thriller, with a subtle sting of sentimentality that anyone who has seen the classic western Shane cannot fail to appreciate.

From the first bullets blazing, blistering set-up Albano was constantly hinting at the tortured depths hidden behind Hex’s hellishly scarred visage and deadly proficiency. With the next issue the comic had been re-titled Weird Western Tales (aligning it with the company’s highly successful horror/mystery books) and adventures continually plumbed the depths of human malice and depravity…

Even at the very start the series sought to redress some of the most unpalatable motifs of old style cowboy literature and any fan of films like Soldier Blue or Little Big Man or familiar with Dee Brown’s iconoclastic book Bury My Heart at Wounded Knee will feel a grim sense of vicarious satisfaction and redress at most of the stories here. There’s also a huge degree of world-weary cynicism that wasn’t to be found in other comics until well past the Watergate Scandal, when America as nation lost its social and political innocence…

From Weird Western #14, ‘Killers Die Alone!’ (Albano & DeZuñiga) is a vicious tear jerker of a tale where Hex’s only friend valiantly dies to save him from the vengeance of killers who blame the bounty hunter for their brother’s death. Then comes a reckoning that is the stuff of nightmares. ‘The Hangin’ Woman’ (WWT #17) is a classy, gripping thriller wherein Hex runs afoul of a sadistic harridan ruling her hometown with hemp and hot lead before meeting an ending both ironic and much-deserved…

It was left to incoming writer Michael Fleisher (assisted at first by Russell Carley) to reveal Hex’s secrets, beginning with Weird Western Tales #22’s ‘Showdown at Hard Times’. A chance meeting in a stagecoach put a cabal of ex-Confederate soldiers on the trail of their ex-comrade for some unspecified earlier betrayal and it inevitably ended in a sixgun bloodbath, whilst creating an ominous returning nemesis for the grizzled gunslinger.

Train-robbers were the bad guys in the superb traditionally-informed caper ‘Face-Off with the Gallagher Boys!’ – scripted by Fleischer and illustrated by the inimitable Doug Wildey – after which further details of Jonah’s chequered past are revealed in #29’s ‘Breakout at Fort Charlotte’, limned by Noly Panaligan. It was the first chapter of a 2-part extravaganza that gorily concluded in #30 with ‘The Trial’ (illustrated by George Moliterni) as a battalion of Confederate veterans and former comrades-in-arms pass judgement on the man they believed to be the worst traitor in the history of the South…

Inevitably, Hex graduated from Weird Western Tales into his own solo title and the final brace of tales in this primal primer are both drawn by the magnificent José Luis García-López. In ‘The Lair of the Parrot!’, Fleischer has the doom-drenched demon-faced desperado sucked into a scheme designed by US Secret Service agent Ned Landon to infiltrate the gang of flamboyant Mexican bandit and border raider El Papagayo. Hex is none too happy when he finally realises Landon is playing both sides for personal gain, leaving the bounty hunter to the brigand’s tender mercies after framing him for murder in Texas…

The tale continues and concludes in ‘The Day of the Chameleon!’ as a disguise artist steals Hex’s identity to perpetrate even more brazen crimes at the behest of a rich and powerful man determined to destroy the bounty hunter at all costs…

Happily, Jonah has unsuspected allies determined to save him from the villain and his own prideful, stubborn nature…

With a cover gallery by DeZuñiga, Luis Dominguez and García-López, this outrageous assemblage of uncanny exploits proves Jonah Hex is the most unique character in cowboy comics: darkly comedic, riotously rowdy, chilling and cathartically satisfying. His saga is a Western for those who despise the form whilst being the perfect modern interpretation of a great storytelling tradition. No matter what your reading preference, this is a collection you don’t want to miss.
© 1972-1975, 1977, 2010 DC Comics. All Rights Reserved.

Today in 1886 Bud Fisher’s Mutt and Jeff “ghost” Arthur “Bugs” Baer was born, as was Blondie’s originator Chic Young in 1901. In 1908 picture story pioneer Wilhelm Busch, creator of Max and Moritz died. In 1915 the inimitable Dick Breifer was born – and you should go look at Frankenstein: The Mad Science of Dick Briefer – for what you need to know there. Writer-Artist for The Heap, GI Joe and other Golden Age standards, Ernie Schroeder was born in 1916 and in 1938 Raggedy Ann & Raggedy Andy and Mr Twee Deedle creator Johnny Gruelle died.

In 1953, Hugo Pratt & Héctor Germán Oesterheld’s Sergeant Kirk debuted in Argentinian weekly comic Misterix #225.

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Bernet


By Jordi Bernet & various, edited by Manual Auad (Auad Publishing)
ISBN: 978-0-96693-812-8 (HB)

In anticipation of the impending Legend Testers collection from Rebellion Studios expected next week, here’s a glance at a translated treat from a bygone era confirming why you should adore this graphic genius as much as I do. It’s well worth the search and I’ll be cribbing from it heavily when I get around to the turbulent time troubleshooters themselves…

When you’re a life-long thrill-starved kid enchanted by comics, the first stage of development is slavishly absorbing everything good, bad and indifferent. Then comes the moment that you see subtle nuances which inexplicably makes some features favourites whilst others become simply filler.

I first recognised Jordi Bernet’s work on UK thriller serial The Legend Testers… and by “recognised” I mean the very moment I first discerned that somebody actually drew the stuff I was mesmerised by, and that it was better than the stuff either side of it. This was 1966 when British comics were mostly monochrome and never had signatures or credits, so it was years before I knew who had sparked my interest.

Jordi Bernet Cussó was born in Barcelona in 1944, son of a prominent, successful humour cartoonist. When his father died suddenly Jordi, aged 15, took over his father’s strip Doña Urraca (Mrs. Magpie). A huge fan of Alex Raymond, Hal Foster and especially expressionist genius Milton Caniff, Jordi yearned for less restrictive horizons and left Spain in the early 1960s and moved into dramatic storytelling.

He worked for Belgium’s Le Journal de Spirou, and Germany’s Pip and Primo, before finding a home in British weeklies. Bernet worked for UK publishers between 1964 and 1967, and as well as the Odhams/Fleetway/IPC anthologies Smash, Tiger and War Picture Library, also produced superb material for DC Thomson’s Victor and Hornet. He even illustrated a Gardner Fox horror short for Marvel’s Vampire Tales #1 in 1973, but mainstream America was generally denied his mastery (other than a few translated Torpedo volumes and a Batman short story) until the 21st century reincarnation of Jonah Hex which he truly made his own…

His most famous strips include thrillers Dan Lacombe (written by his uncle Miguel Cussó), Paul Foran (scripted by José Larraz) the saucy Wat 69 and spectacular post-apocalyptic barbarian epic Andrax (both with uncle Cussó again). When fascist dictator Franco died, Bernet returned to Spain and began working for Cimoc, Creepy and Metropol, collaborating with Antonio Segura on the sexy adult fantasy Sarvan and the dystopian SF black comedy Kraken, and with Enrique Sánchez Abuli on the gangster and adult themes tales that have made him one of the world’s most honoured artists. These culminated on the incredibly successful crime saga Torpedo 1936.

This magnificent commemoration of his career thus far spans those years when he first echoed his father’s style through to the sleek minimalist, chiaroscuric, emphatic line economy that drills into readers hindbrains like hot lead from a smoking 45. Also on view, as well as the violence there’s ample example of his sly, witty (and just as hot!) sex comedy material. Bernet is an absolute master of the female form and his adult material – created with Carlos Trillo – such as Custer, Clara De Noche and Cicca is truly remarkable and unforgettable.

This glorious deluxe hardback gathers together a vast quantity of covers; book illustrations; sketches; drawings, pin-ups &studies; advertising work and that Batman stuff, with a separate chapter on Bernet’s Beauties, a biography (which could, I must admit, have done with one last proof-read before going to press) and full checklisting of his works and awards. There are heartfelt artistic contributions and tributes from some of his vast legion of fans: Will Eisner, Joe Kubert, Jordi Langaron, Carlos Nine, Josep M. Bea, Luca Biagnini, Al Dellinges, Josep Toutain, Eduardo Risso, Horacio Altuna, Carlos Gimenez, Sergio Aragonés, Carlos Trillo, Juan Gimenez and Hobie MacQuarrie, but the true delights here are the 16 complete stories – Torpedo 1936, Sarvan, Custer, Clara De Noche and Kraken – as well as westerns, war stories, comedies and crime thrillers.

This is an incredible tribute to an incredible creator, and one no artist with professional aspirations can afford to miss, but parents be warned – there’s lots of nudity and violence beautifully depicted here – so be sure to read it yourselves first. Just in case…
All art and characters © 2009 their respective copyright holders. All Rights Reserved.

Today in 1955, sleek design master/airbrush aviation nut Ken Steacy was born, and we lost master craftsmen Victor (Redbeard, Buck Danny) Hubinon in 1979 and Bernard Krigstein in 1990. If you read nothing else by “Krig”, go find “Master Race” (Impact Comics #1, April 1955) and learn something important…