E.C. Segar’s Popeye volume 2: “Well, Blow Me Down”

By Elzie Crisler Segar (Fantagraphics Books)
ISBN: 978-1-56097-874-9 (HB)

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894.His father was a handyman, and Elzie’s early life was filled with the kinds of solid blue-collar jobs that typified his generation of cartoonists. He worked as a decorator and house-painter, and played drums, accompanying vaudeville acts at the local theatre. When the town got a movie house he played for the silent films, absorbing the staging, timing and narrative tricks from the close observation of the screen that would become his bread-and-butter as a cartoonist. He was working as the film projectionist when, aged 18, he decided to become a cartoonist and tell his own stories.

Like so many others, Segar studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio (from where Jerry Siegel & Joe Shuster would launch Superman upon the world), before gravitating to Chicago where he was “discovered” by Richard F. Outcault – arguably the inventor of newspaper comic strips with The Yellow Kid and Buster Brown – who got him an introduction at the prestigious Chicago Herald. Still wet behind the ears, Segar’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

In 1918 he married Myrtle Johnson and moved to William Randolph Hearst’s Chicago Evening American to create Looping the Loop, but Managing Editor William Curley saw a big future for Segar and promptly packed the newlyweds off to New York and the King Features Syndicate.

Within a year Segar was producing Thimble Theatre – launched December 19th 1919 – in the New York Journal. A pastiche of Movie features similar to Hairbreadth Harry and Midget Movies it boasted a standardised repertory cast who acted out melodramas, comedies, crime-stories, chases and especially comedies, for huge daily audiences. The core cast included parental pillars Nana and Cole Oyl, their lanky daughter Olive, diminutive-but-pushy son Castor and Olive’s plain and simple, sometime boyfriend Horace Hamgravy (later just Ham Gravy).

In 1924 Segar followed up with second daily strip The 5:15: a surreal domestic sitcom featuring weedy commuter and would-be inventor John Sappo and his formidable wife Myrtle (obviously quite a common name, hmm?).

A born storyteller, Segar had from the start an advantage even his beloved cinema couldn’t match. His brilliant ear for dialogue and accent shone out from his admittedly average adventure plots, adding lustre to stories and gags he always felt he hadn’t drawn well enough. After a decade or so and just as cinema caught up with the invention of “talkies” he finally discovered a character whose unique sound and individual vocalisations blended with a fantastic, enthralling nature to create a literal superstar.

Popeye the sailor, brusque, incoherent, plug-ugly and stingingly sarcastic, shambled on stage midway through the adventure ‘Dice Island’, (on January 17th 1929: see E.C. Segar’s Popeye volume 1: “I Yam What I Yam!”) and once his part was played out, simply refused to leave. Within a year he was a regular, and as the strip’s circulation skyrocketed, he became the star. Eventually the strip was changed to Popeye and all of the old gang except Olive were consigned to oblivion…

Popeye inspired Segar. The near decade of funny thrillers that followed revolutionised the industry, laid the groundwork for the entire superhero genre (but sadly, usually without the leavening underpinnings of his self-aware humour) and captivated the whole wide world.

The astonishingly unique cast of characters invented during this period – Sea Hag, Toar, Poopdeck Pappy, Swee’pea, Eugene the Jeep, Alice the Goon, George W. Geezil, and especially J. Wellington Wimpy (potentially as big and innovative a star as Popeye) and even Professor O.G. Wotasnozzle in the Sappo daily strip which had evolved into the Sunday Popeye “Topper” – all individually verge on manic brilliance, and combined to make Popeye a global figure to rival Tarzan and Sherlock Holmes and, latterly, Mickey Mouse. To most of the world Popeye was real…

All the attendant peripherals of a major brand gravitated to Popeye. There were toys, games premiums, books, comics, film, radio shows, and especially those incredible animated cartoons. Tragically, Segar died at the height of his creative powers and with so much more magic still to make on 13th October 1938; sole creator of an incredible galaxy of imagination, but his legacy briefly lived on through his brilliant assistant Forrest “Bud” Sagendorf – although the syndicate appointed Doc Winner, Tom Sims, Ralph Stein and Bela Zaboly to work on the printed strip before letting Bud loose on it in 1959 – whilst the animated features increasingly became the main means of bringing Popeye to the world. It just wasn’t the same, though.

When Sagendorf returned, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool once more. He wrote and drew Popeye until Bobby London took over in 1986.

These superb hardback collections are the perfect means of discovering or rediscovering Segar’s magical tales. The second huge and still readily-available volume (almost 14 ½ by 10½ inches) from 2007 contains a fascinating essay from historian Donald Phelps, a testimonial from Mort “Beetle Bailey” Walker – which includes the beautiful inspirational drawing Segar sent the young fan in 1934 – and another batch of incredible tales from the daily and Sunday strips.

The dailies black-&-white section (covering December 22nd 1930 to June 6th 1932) sees Popeye, Castor and Olive soar to stardom in the fabulous western spoof ‘Clint Gore, the Outlaw’ and strike a blow for the Depression-era poor by inventing a financial institution that gives money away in ‘A One-Way Bank’, before resuming their globe-trotting adventuring in ‘The Great Rough-House War’ and its immediate sequel ‘Tragedy in the Land of Saps’ wherein the very peculiar King Blozo of Nazilia seeks aid to end a war with the neighbouring kingdom of Tonsylania – although the real problem seems to be his own over-ambitious Generals and the fact that all his soldiers are cowards…

This classy screwball epic displays Segar’s trenchant skill with the sharp swift scalpel of satire as well as broad slapstick, and has glorious overtones of if not actual influences upon the Marx Brothers gem “Duck Soup.” With an initially reluctant Popeye compelled by his sense of duty to become King of the unlovable Nazilians, it’s also where the superman sailor reveals for the first time the strength inducing properties of spinach…

From there Popeye and Olive head back to the wild, wild west to visit ‘Skullyville, Toughest Town in the World’ and we’re treated (I think that’s the word) to the unforgettable yet frankly grisly vision of Olive Oyl as a bar-hall dancer in a raucous, ridiculous romp that’s jam-packed with lampooned cowboy clichés and hilariously brilliant original gags.

The full-colour Sunday pages cover March 1st 1931 to October 2nd 1932, with increasingly absurdist Sappo toppers thoroughly complimenting the whacky shenanigans of the lead feature.

May 8th is particularly noteworthy for the first appearance of insane Professor O.G. Wotasnozzle – another Segar walk-on who would usurp his host feature…

The Popeye strip continues the uproarious and exceedingly violent boxing career of the one-eyed sea-dog, who took on all exceedingly monstrous comers, including the awesome man-mountain Tinearo, Kid Klutch (a giant gorilla) and even a robot boxer as the increasingly obsessive and belligerent Mr. Kilph, crazed by his inability to beat the grizzled sailor-man, slipped slowly into utter wackadoodleness.

When not beating the stuffing out of his opponents Popeye pursues his flighty, vacillating and irresolute Olive with desperate verve, if little success, but his life is forever changed when the ever-so-corruptible and adorably contemptible J. Wellington Wimpy makes his debut.

The engaging Mr. Micawber-like coward, moocher and conman debuted on 3rd May 1931 as an unnamed referee in the bombastic month-long bout against Tinearo, but he obviously struck a chord with Segar who gradually made him a (usually unwelcome) fixture. Always ravenous, ever happy and eager to take a bribe, we learned his name in the May 24th instalment and he utters the first of his many immortal catchphrases a month later.

It was June 21st – but “I would gladly pay you Tuesday for a hamburger today”, like most phrases everybody knows, actually started as ‘Cook me up a hamburger, I’ll pay you Thursday’

There’s far more of Wimpy’s incredible presence in volume 3, but for now another aspect of Popeye’s complex character is revealed in an extended sequence running from May 29th 1932 through July 17th, one that quickly secured his place in reader’s hearts.

The sailor was a rough-hewn orphan, who loved to gamble and fight, not too smart and superhumanly powerful, but he was a big-hearted man with an innate sense of decency who hated injustice – even if he couldn’t pronounce it. When Mary Ann, a starving little girl, tries to sell him a flower he adopts her, taking her from the brutal couple who use her in a begging racket. He grows to love her and there’s a genuine sense of happy tragedy when he finds her real parents and gives her up. That such a rambunctious, action-packed comedy adventure serial could so easily turn an audience into sobbing, sentimental pantywaists is a measure of just how great a spellbinder Segar was…

These tales are as vibrant and compelling now as they’ve ever been and comprise a world classic of graphic literature that only a handful of creators have ever matched. Despite some astounding successors in the drawing seat, no one has ever bettered Segar’s Popeye and these superb volumes are books you’ll treasure for the rest of your life. Don’t miss them.
© 2006 Fantagraphics Books Inc. All comics and drawings © 2006 King Features Inc. All rights reserved.

Popeye: The Great Comic Book Tales by Bud Sagendorf

By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1-60010-747-4 (HB)                eISBN: 978-1-68406-381-9

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 vaudevillian archetypes Ham Gravy and Castor Oyl on January 17th 1929, nobody suspected the giddy heights that walk-on would reach…

Yes, folks, its’s Happy 90th Anniversary for the old swab, who’s still going strong under the aegis of veteran cartoonist Hy Eisman (Kerry Drake, Little Iodine, Bunny, The Katzenjammer Kids, Little Lulu). Parent strip Thimble Theatre turns one hundred this year too, so there’s that to celebrate as well…

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 even survived his untimely death, eventually becoming the trainee-playground of Popeye’s second great stylist Bud Sagendorf…

After Segar’s tragic and far too premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the printed strip even as animated short features brought Popeye to the entire world via the magic of movies. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments…

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 who became his teacher and employer as well as a father-figure. In 1958, Sagendorf took over the strip and all the merchandise design, becoming Popeye’s prime originator…

When Sagendorf took over, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. He wrote and drew Popeye in every graphic arena – including the majority of licensed merchandise – for 24 years. Sagendorf retired in 1986 after which “Underground” cartoonist Bobby London took over the Sailorman’s voyages and died in 1994.

Bud had been Segar’s assistant and apprentice, and from 1948 onwards he wrote and drew Popeye’s comicbook 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 the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in this enchanting full-colour hardback (also available in a digital edition) is an admittedly arbitrary and far from definitive selection of the Young Master’s compelling funnybook canon from Dell, spanning February/April 1948 to September 1957. Other yarns are readily available in IDW’s Popeye Classics series and I’ll be plugging those in the fullness of time.

The stunning, seemingly stream-of-consciousness stories are preceded here by an effusively appreciative Introduction from Jerry Beck before ‘Ahoy, Ya Swabs!’ relates history and recollection from inspired aficionado and historian/publisher Craig Yoe augmented by a fabulous collation of candid photos, original comicbook art, more.

Especial gems are Bud’s 1956 lessons on backgrounds from the Famous Artists Cartoon Course, series of postcards and the Red Cross booklet produced for sailors.

Popeye’s fantastic first issue launched in February 1948, with no ads and duo-coloured (black and red) single page strips on the inside front and back covers. From that premiere issue a full-coloured crisis comes as ‘Shame on You! or Gentlemen Do Not Fight! or You’re a Ruffian, Sir!’ sees our salty swab earning a lucrative living as an occasional prize-fighter. That all ends when 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 his sweetie Olive Oyl President of the fictitious Anti-Fisticuff Society to convince her man to stop being a beastly ruffian and abandon violence. It only works until the fiery frail learns she’s been gulled…

Next up is the lead tale from #9, (October/November) as ‘Misermites! or I’d Rather Have Termites!’ details how the peaceful coastal town of Seawet is plagued by an invasion of plundering dwarves. When the petty pilferers vanish back to their island with “orphink kid” Swee’ Pea as part of their spoils, Popeye and Wimpy give chase and end up battling a really, really big secret weapon…

‘Witch Whistle’ comes from Popeye #12 (April/May 1950) and sees the sailor revisit the embattled kingdom of Spinachovia where old King Blozo is plagued by a rash of vanishing farmers. The cause is sinister old nemesis the Sea Witch whose army of giant vultures seem unbeatable until Popeye intervenes…

‘Interplanetary Battle’ comes from Popeye #21 (July-September 1952) and taps into the growing fascination with UFOs as Wimpy innocently seeks to aid his old pal. When no prize fighter on Earth will box with Popeye, the helpful vagabond broadcasts a message to the universe and what answers the call is a bizarre shapeshifting swab with sneaky magic powers…

An engaging Micawber-like coward, cad and conman, the insatiable J. Wellington Wimpy debuted on in the Newspaper strip on May 3rd 1931 as an unnamed and decidedly partisan referee in one of Popeye’s pugilistic bouts. The scurrilous but polite oaf struck a chord and Segar gradually made him a fixture. Always hungry, keen to solicit bribes and a cunning coiner of many immortal catchphrases – such as “I would gladly pay you Tuesday for a hamburger today” and ‘Let’s you and him fight’ – Wimpy was the perfect foil for a simple action hero and increasingly stole the entire show… and anything else unless it was extremely well nailed down…

From Popeye #25 (July-September 1953), ‘Shrink Weed’ then details how some “wild spinach” reduces the old salt and baby Swee’ Pea to the size of insects with potentially dire and outrageous consequences before the entire cast visit ‘The Happy Little Island’ (Popeye #27, January-March 1954) and confront subsurface creatures doing their darndest to spoil that jolly atmosphere.

An epic thrill-fest manifests in ‘Alone! or Hey! Where is Everybody? or Peoples is All Gone!’ (#32, April-June 1955) as humans are abducted from all over the coast, leading Popeye into another ferocious battle with evil machines and his most persistent enemy, after which another family sea-voyage results in the cast being castaway on an island of irascible invisible folk in ‘Nothing!’ (#34, October-December 1955) before the fun concludes in sheer surreal strife as Popeye #41 (July-September 1957) displays capitalism at its finest when Olive gets a new boyfriend: one with a regular job and prospects. Stung to retaliate, Popeye devises ‘Spinach Soap!’ to secure his own fortune, but being un-ejjikated, rough-and-ready appoints Wimpy as his boss. Big mistake…

There is more than one Popeye. Most of them are pretty good, and some are truly excellent. The one in this book is definitely one of the latter and if you love lunacy, laughter and rollicking adventure you must now read this.
Popeye: The Great Comic Book Tales by Bud Sagendorf © 2018 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2018 King Features Syndicate. ™ Heart Holdings Inc.

Adventures of Tintin: The Shooting Star

By Hergé & various; translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont)
ISBN: 978-1-40520-621-1 (PB)

Georges Prosper Remi – AKA Hergé – created a true masterpiece of graphic literature with his astounding yarns tales of a plucky boy reporter and his entourage of iconic associates. Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and the Hergé Studio, Remi completed 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

It’s only fair, though, to ascribe a substantial proportion of credit to the many translators whose diligent contributions have enabled the series to be understood and beloved in 38 languages. The subtle, canny, witty and slyly funny English versions are the work of Leslie Lonsdale-Cooper & Michael Turner.

On leaving school in 1925, Remi worked for Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-like editor Abbot Norbert Wallez. The following year, the young artist – a passionate and dedicated boy scout – produced his first series: The Adventures of Totor for monthly Boy Scouts of Belgium magazine.

By 1928 Remi was in charge of producing the contents of the parent paper’s children’s weekly supplement Le Petit Vingtiéme and unhappily illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette when Abbot Wallez urged the artist to create an adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues?

And also, perhaps, highlight and expose some the Faith’s greatest enemies and threats…?

Having recently discovered the word balloon in imported newspaper strips, Remi decided to incorporate this simple yet effective innovation into his own work. He would produce a strip both modernistic and action-packed.

Beginning January 10th 1929, Tintin in the Land of the Soviets appeared in weekly instalments, running until May 8th 1930.

Accompanied by his garrulous dog Milou (Snowy to us Brits), the clean-cut, no-nonsense boy-hero – a combination of Ideal Good Scout and Remi’s own brother Paul (a soldier in the Belgian Army) – would report back all the inequities of the world, since the strip’s prime conceit was that Tintin was an actual foreign correspondent for Le Petit Vingtiéme

The odyssey was a huge success, assuring further – albeit less politically-charged and controversial – exploits to follow. At least that was the plan…

During the Nazi Occupation of Belgium, Le Petit Vingtiéme was closed down and Hergé was compelled to move the popular strip to the occupiers’ preferred daily newspaper Le Soir. He diligently continued producing strips for the duration, but in the period following Belgium’s liberation was accused of being a collaborator and even a Nazi sympathiser.

It took the intervention of Resistance hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist and by providing the cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands.

With this tale we enter the Golden Age of an iconic creator’s work. Despite being produced whilst Belgium was under the control of Nazi Occupation Forces during World War II, the qualitative leap in all aspects of Hergé’s creativity is potent and remarkable.

After his homeland fell to the invaders in 1940, Georges Remi’s brief military career was over. He was a reserve Lieutenant, working on The Land of Black Gold when called up, but the swift fall of Belgium meant that he was back at his drawing board before year’s end, albeit working for a new paper on a brand-new adventure. He would not return to the unfinished Black Gold, with its highly anti-fascistic subtext, until 1949.

L’Étoile mystérieuse ran in Le Soir (the little nation’s premiere French-language newspaper and a crucial tool for the Germans to control minds, if not hearts) from October 20th 1941 to May 21st 1942: the second of six extraordinary tales of light-hearted, escapist thrills, blending strong plots and deep characterisation to create a haven of delight from the daily horrors of everyday life then and remain a legacy of joyous adventure to this day.

On completion it was collected as a full-colour book in 1942 and later serialised in French newspaper Coeurs Vaillants (from June 6th 1943). It was among a flurry of reissues of earlier albums – all but Tintin in America and The Black Island, both set in countries Germany was still at war with…

In 1954 it was remastered by Studio Hergé, to remove certain anti-Semitic and anti-American passages and imagery he had been forced to include by the paper’s controllers, and comes to us as a stunning piece of apocalyptic, sci-fi flavoured adventure…

The remastered edition of The Shooting Star was one of the first tales re-issued after World War II, due no doubt to its relatively escapist plot… it’s practically an old-fashioned pulp thriller.

It begins with the world gripped in terror as a fiery meteor is detected hurtling towards Earth. The end times are narrowly averted only by the sheerest chance, as the heavenly body narrowly misses our frail planet, although when a relatively small chunk breaks off, scientists find that it contains an unknown metal of immense potential value. And so begins a fantastic race to find and claim the fallen meteorite…

A party of European scientists charters the survey ship “Aurora”, with boozy stalwart Captain Haddock commanding and Tintin aboard as official Press representative. Frantically sailing north to the Pole, they discover that they are in competition with the unscrupulous forces of the evil capitalists of the Bohlwinkel Bank, whose rival expedition uses every dirty trick imaginable to sabotage or delay the scientists.

After a truly Herculean effort and by sheer dint of willpower – not to say spectacular bravery – Tintin is the first to claim their floating prize and successfully defends it from the villainous Bohlwinkel crew, but the fallen star itself is a far greater menace, as its mysterious and exotic composition induces monstrous gigantism in earthly organisms. Tintin and Snowy must survive assaults by mutated insects and plants before the breathtaking conclusion of this splendid tale.

Manifestly as the world experienced a new Dark Age, Hergé was concentrating on the next -Golden – one…

These ripping yarns for all ages are an unparalleled highpoint in the history of graphic narrative. Their unflagging popularity proves them to be a worthy addition to the list of world classics of literature, and stories you and your entire clan should know.
The Shooting Star: artwork © 1946, 1974 Editions Casterman, Paris & Tournai. Text © 1961 Egmont UK Limited. All rights reserved.

Milton Caniff’s Steve Canyon 1947

By Milton Caniff (Checker Book Publishing Group)
ISBN: 978-0-97102-49-9-1

Milton Caniff wasn’t an overnight sensation. He worked long and hard before he achieved stellar status in the comic strip firmament. Before Terry and the Pirates brought him fame, and Steve Canyon secured his fortune and reputation, the strip which brought him to the attention of legendary Press Baron “Captain” Joseph Patterson (in many ways the co-creator of Terry) was an unassuming daily feature about a little boy hungry for adventure.

Caniff was working for The Associated Press as an entry-level jobbing cartoonist when a gap opened in their strips department. AP was an organisation that devised and syndicated features for the thousands of local and small newspapers which could not afford to produce the cartoons, puzzles, recipes and other fillers that ran between the local headlines and the regional sports.

Over a weekend Caniff came up with Dickie Dare, a studious lad who would read a book and then fantasize himself into the story, taking his faithful little white dog Wags with him. The editors went for it and the strip launched on July 31st 1933. Caniff produced the adventures for less than eighteen months before moving on, but his replacement Coulton Waugh steered the series until its conclusion two decades later.

As well as being one of the greatest comic-strip artists of all time, Caniff was an old-fashioned honest American Patriot, from the time when it wasn’t a dirty word or synonym for fanatic.

The greatest disappointment of his life was that he was never physically fit enough to fight. Instead, during World War II he not only continued the morale-boosting China Seas epic Terry and the Pirates newspaper strip seven days a week, he also designed art, brochures and posters (all unpaid) for the War Department and made live appearances for soldiers and hospital residents. Even that wasn’t enough.

Again unpaid, he devised Male Cale: a strip to be printed in the thousands of local military magazines and papers around the world. Originally using established characters from Terry, Caniff swiftly switched (for reasons best explained in Robert C Harvey’s wonderful Meanwhile… a Biography of Milton Caniff) to a purpose-built (and was she built!) svelte and sexy ingénue who would titillate, amuse but mostly belong to the lonely and homesick American fighting men away from home and under arms.

Funny, saucy, even racy but never lewd or salacious, Miss Lace spoke directly to the enlisted man – the “ordinary Joe” – as entertainer, confidante and trophy date. She built morale and gave brief surcease from terror, loneliness or boredom. Although comparisons abound with our own Jane, the rationales behind each combat glamour girl were poles apart. Miss Lace spoke to and with the soldiers, and she wasn’t in normal papers. She was simply and totally theirs and theirs alone.

After leaving the incredibly successful and world-renowned Terry and the Pirates Caniff created another iconic comic hero in the demobbed World War II pilot Steve Canyon. The reasons for the move were basically rights and creative control, but it’s also easy to see another reason. Terry, set in a fabled Orient – even with the contemporary realism the author so captivatingly imparted – is a young man’s strip and limited by locale.

The worldly, if not war-weary, Canyon was a mature adventurer who could be sent literally anywhere and would appeal to the older, wiser readers of Atom-Age America, now a fully active, if perhaps reluctant, player on the world stage.

Canyon also reflects an older creator who has seen so much more of human nature and frailty than even the mysterious East could provide. Put another way, William Shakespeare could write Romeo and Juliet as a young man, but needed more than passion and genius to produce King Lear.

Steve Canyon began on 13th January 1947, after a long period of public anticipation following a very conspicuous resignation from Terry. Always a master of suspense and adept at manipulating his reader’s attention, Caniff’s eponymous hero didn’t actually appear until January 16th (and then only in a “file photograph”).

The public first met Stevenson Burton Canyon, former bomber pilot, medal winning war-hero, Air-Force flight instructor and latterly, independent charter airline operator in the first Sunday colour page, on 19th January 1947.

By then, eager readers had glimpsed his friends and future enemies, how acquaintances felt about him and even been introduced to ultra-rich, super-spoiled Copper Calhoun, the latest in a startlingly long line of devastating Femme Fatales created by Caniff to bedevil his heroes and captivate his audiences. And thus, the magic began…

This series of collections from Checker re-presents the strip in yearly segments (regrettably, with the Sundays printed in the same black-&-white as the daily episodes) and this one begins as Calhoun manoeuvres Canyon’s Horizons Unlimited charter line into flying her to countries where her pre-war holdings were disrupted. That seemingly simple job results in deadly peril from both strangers and trusted employees. There’s also a goodly helping of old-fashioned intrigue, jealousy and racketeering in the mix too…

The action and tragedy lead directly to an encounter with a couple of deadly female con-artists in ‘Delta’, and a gripping, yet light-hearted, romp in the booming petroleum industry in ‘Easter’s Oil’ which also introduces off-the-wall supporting character Happy Easter and the lascivious Madame Lynx, who would play such large and charismatic roles in the strip’s future.

The first volume ends with ‘Jewels of Africa’, a classic of suspense with modern-day pirate and wrecker Herr Splitz falling foul of our heroes in a world rapidly becoming a hotbed of International tension.

As Caniff’s strip became more and more a compass of geo-political adventure, his skill with human drama became increasingly mature and intense. This was comic strip noir that was still irresistible to a broad spectrum of readers. And that’s as true now as it was then. Steve Canyon is magnificent comic art at its two-fisted best.

These stories are also available in a fancy IDW hardcover archive, but although lovely it does suffer from small print – unless you have a digital edition – so if you love stunning artwork stick with this cheap-&-cheerful monochrome version.
© 2003, Checker Book Publishing Group, an authorized collection of works © Ester Parsons Caniff Estate 1947.

All characters and distinctive likenesses thereof are trademarks of the Ester Parsons Caniff Estate. All rights reserved.

Flash Gordon Volume 1

By Alex Raymond with Don Moore (Checker BPG)
ISBN: 978-0-97416-643-8 (HB)

By many lights Flash Gordon is the most influential comic strip in the world. When the hero debuted on Sunday January 7th 1934 (with the superb Jungle Jim running as a supplementary “topper” strip) as an answer to the revolutionary, inspirational, but clunky Buck Rogers of Philip Nolan & Dick Calkins (which also began on January 7th but in 1929), a new element was added to the wonderment: Classical Lyricism.

Where Rogers had traditional adventures and high science concepts, the new feature reinterpreted Fairy Tale, Heroic Epics and Mythology, spectacularly draping them in the trappings of the contemporary future, with varying ‘Rays’, ‘Engines’ and ‘Motors’ substituting for trusty swords and lances – although there were also plenty of those – and exotic craft and contraptions standing in for Galleons, Chariots and Magic Carpets.

Most important of all, the sheer artistic talent of Raymond, his compositional skills, fine line-work, eye for concise, elegant detail and just plain genius for drawing beautiful people and things, swiftly made this the strip that all young artists swiped from.

When all-original comic books began a few years later, literally dozens of talented kids used the clean lined Romanticism of Gordon as their model and ticket to future success in the field of adventure strips. Most of the others went with Milton Caniff’s expressionistic masterpiece Terry and the Pirates (which also began in 1934 – and he’ll get his go another day).

Thankfully there are a few collections knocking about, but I’m plumping here for the 2003 Checker hardcover which combines quality reproduction with affordability…

The very first tale begins with a rogue planet about to smash into the Earth. As panic grips the planet, polo player Flash and fellow passenger Dale Arden narrowly escape disaster when a meteor fragment downs the airplane they are on. They land on the estate of tormented genius Dr. Hans Zarkov, who imprisons them on the rocket-ship he has built. His plan? To fly the ship directly at the astral invader and deflect it from Earth by crashing into it!

And that’s just in the first, 13-panel episode. ‘On the Planet Mongo’ ran every Sunday until April 15th 1934, when, according to this wonderful full-colour book, second adventure ‘Monsters of Mongo’ began, promptly followed by ‘Tournaments…’ and ‘Caverns of Mongo’.

To the readers back then, of course, there were no such artificial divisions. There was just one continuous, unmissable Sunday appointment with sheer wonderment.

The machinations of the utterly evil but magnetic Ming, emperor of the fantastic wandering planet; Flash’s battles and alliances with all the myriad exotic races subject to the Emperor’s will and the gradual victory over oppression captivated America, and the World, in tales that seemed a direct contrast to the increasingly darker reality in the days before World War II.

In short order the Earthlings become firm friends – and in the case of Flash and Dale, much more – as they encounter beautiful, cruel Princess Aura, the Red Monkey Men, Lion Men, Shark Men, Dwarf Men, King Vultan and the Hawkmen.

The rebellion against Ming begins with the awesome ‘Tournaments of Mongo’, a sequence spanning November 25th to February 24th 1935 – and where Raymond seemed to simply explode with confidence.

It was here that the true magic began, with every episode more spectacular than the last. Without breaking step Raymond moved on, and the next tale, which leaves this book on something of a cliffhanger, sees our hero enter ‘The Caverns of Mongo’.

Don Moore “assisted” Raymond with the writing, beginning soon after the strip first gained popularity, and Moore remained after Raymond departed. The artist joined the Marines in February 1944, and the last page he worked on was published on April 30th of that year. Mercifully, that still leaves a decade’s worth of spectacular, majestic adventure for us to enjoy. Why don’t you join me?
© 2003 King Features Syndicate Inc. ™ Hearst Holdings, Inc.

Asterix Omnibus volume 2: Asterix the Gladiator, Asterix and the Banquet, Asterix and Cleopatra

By René Goscinny & Albert Uderzo, translated by Anthea Bell & Derek Hockridge (Orion Childrens Books)
ISBN: 978-1-4440-0424-3

It’s been a painful year for lovers of comics, with many of our greatest practitioners – famous or otherwise – leaving us. I’m going to spend the remainder of the year dwelling on them and recommending examples of their work we can read to commemorate them in the best way possible… through enjoyment.

Suffolk-born Anthea Bell OBE came from prestigious stock. She was born in 1936 and translated numerous works from history books such as WG Siebald’s Austerlitz to the works of Hans Christian Andersen to fantasies such as Cornelia Funke’s Inkworld books Either singly or with Derek Hockridge, however, she found true immortality: translating thousands of pages of European comics and Bande Dessinée. She was a smart and dedicated woman and brilliantly adroit with worlds and concepts in many tongues. Her creative punning and naming techniques in the Asterix books garnered praise all over the world and many aficionados believe the strip is actually funnier in English than in any other language.

I can certainly confirm that’s the case with German…

Among her many triumphs are the aforementioned Asterix, Le Petit Nicolas, Lieutenant Blueberry and Iznogoud.

She died on 18th October 2018 and can never be replaced.

Asterix the Gaul is probably France’s greatest literary export: a wily wee warrior who resisted the iniquities, experienced the absurdities and observed the myriad wonders of Julius Caesar’s Roman Empire with brains, bravery and a magic potion which bestowed incredible strength, speed and vitality.

One of the most popular comics in the world, the chronicles have been translated into more than 100 languages; 8 animated and 3 live-action movies, assorted games and even into a theme park (Parc Astérix, near Paris). More than 325 million copies of 34 Asterix books have been sold worldwide, making Goscinny & Uderzo France’s bestselling international authors.

The diminutive, doughty hero was created as the transformative 1960s began by two of the art-form’s greatest masters, René Goscinny & Albert Uderzo and even though their perfect partnership ended in 1977 the creative wonderment still continues – albeit at a slightly reduced rate of rapidity.

When Pilote launched in 1959 was Asterix was a massive hit from the start. For a while Uderzo continued working with Charlier on Michel Tanguy, (Les Aventures de Tanguy et Laverdure), but soon after the first epic escapade was collected as Astérix le gaulois in 1961 it became clear that the series would demand most of his time – especially as the incredible Goscinny never seemed to require rest or run out of ideas (after the writer’s death the publication rate dropped from two books per year to one volume every three to five).

By 1967 the strip occupied all Uderzo’s time and attention. In 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation and when Goscinny passed away three years later Uderzo was convinced to continue the adventures as writer and artist, producing a further ten volumes since then.

Like all great literary classics, the premise works on two levels: for younger readers as an action-packed comedic romp of sneaky, bullying baddies regularly getting their just deserts and as a pun-filled, sly and witty satire for older, wiser heads, enhanced here by the brilliantly light touch of the translators who played such a massive part in making the indomitable Gaul so very palatable to the English tongue.

Launched in Pilote #1 (29th October 1959, with the first page appearing a week earlier in a promotional issue #0, June 1st 1959), the stories were set on the tip of Uderzo’s beloved Brittany coast in the year 50BC, where a small village of redoubtable warriors and their families resisted every effort of the all-conquering Roman Empire to complete their conquest of Gaul. Unable to defeat these Horatian hold-outs, the Empire resorted to a policy of containment and the little seaside hamlet is perpetually hemmed in by the heavily fortified garrisons of Aquarium, Laudanum, Petibonum and Barbaorum (the latter two becoming Compendium and Totorum for us Brits).

The Gauls don’t care: they daily defy the world’s greatest military machine by just going about their everyday affairs, protected by a magic potion provided by the resident druid and the shrewd wits of a rather diminutive dynamo and his simplistic best friend…

With these volumes a key pattern was established: the adventures would henceforth – like a football match – alternate between Home and Away, with each globe-trotting escapade balanced by an epic set in and around he happily beleaguered Gaulish village (if you’re counting, home tales were odd numbered volumes and travelling exploits even-numbered…)

Asterix the Gladiator debuted in Pilote #126-168 (1963) with the canny rebel and his increasingly show-stealing pal Obelix (who had fallen into a vat of potion as a baby and was a genial, permanently superhuman, eternally hungry foil to the smart little hero) despatched to the heart of the Roman Empire on an ill-conceived mission of mercy…

When Prefect Odius Asparagus seeks to give Julius Caesar a unique gift he decides upon one of the indomitable Gauls who had been giving his occupying forces such a hard time.

Thus, he has village Bard Cacofonix abducted and bundled off to Rome. Although in two minds about losing the raucous harpist, pride wins out and the villagers mount a rescue attempt, but after thrashing the Romans again they discover that their lost comrade is already en route for the Eternal City…

Asterix and Obelix are despatched to retrieve the missing musician and hitch a ride on a Phoenician galley operated under a bold new business plan by captain/general manager Ekonomikrisis. On the way to Italy the heroes first encounter a band of pirates who would become frequent guest-stars and perennial gadflies.

The pirates were a creative in-joke between the close-knit comics community: Barbe-Rouge or Redbeard was a buccaneering strip created by Charlier & Victor Hubinon that also ran in Pilote at the time.

As Asterix and Obelix make friends among the cosmopolitan crowds of Rome, Caesar has already received his latest gift. Underwhelmed by his new Bard, the Emperor sends Cacofonix to the Circus Maximus to be thrown to the lions just as his chief of Gladiators Caius Fatuous is “talent-spotting” two incredibly tough strangers who would make ideal arena fighters…

Since it’s the best way to get to Cacofonix, our heroes join the Imperial Gladiatorial school; promptly introducing a little Gallic intransigence to the tightly disciplined proceedings. When the great day arrives, the lions get the shock of their lives and the entertainment-starved citizens of Rome “enjoy” a show they will never forget…

As always, the good-natured, comedic situations and sheer finesse of the yarn rattles along, delivering barrages of puns, oodles of insane situations and loads of low-trauma slapstick action, marvellously rendered in Uderzo’s expansive, authentic and continually improving big-foot art-style.

Asterix and the Banquet originated in Pilote #172-213 (1963), inspired by the Tour de France cycle race.

After being continually humiliated by the intractable Gauls coming and going as they please, Roman Inspector General Overanxius instigates a policy of exclusion and builds a huge wall around the little village, determined to shut them off from their country and the world. Modern world leaders might get a clue from this book, here… if they read books. Even books with pictures…

Incensed, Asterix best the smug Prefect that Gauls can go wherever they please and to prove it invites the Romans to a magnificent feast where they can sample the culinary delights of various regions. Breaking out of the stockade and through the barricades, Asterix and Obelix gather produce from as far afield as Rotomagus (Rouen), Lutetia (Paris, where they also picked up a determined little mutt who would eventually become a star cast-member), Camaracum (Cambrai) and Durocortorum (Rheims), easily evading or overcoming the assembled patrols and legions of man-hunting soldiers. However, they don’t reckon on the corrupting power of the huge – and growing – bounty on their heads and some Gauls are apparently more greedy than patriotic…

Even with Asterix held captive and all the might of the Empire ranged against them, Gaulish honour is upheld and Overanxius, after some spectacular fights, chases and close calls, eventually is made to eat his words – and a few choice Gallic morsels – in this delightful, bombastic and exceedingly clever celebration of pride and whimsy.

Asterix and Cleopatra ran from 1963-1963 in issues #215-257 and, although deriving its title from Shakespeare’s Antony and Cleopatra, is actually a broad visual spoof of the 1963 movie blockbuster Cleopatra (the original collected album cover was patterned on the film poster).

Rome is a big empire to run but Caesar always has time to spare for the fascinating Queen of Egypt – even though she can be a little overbearing at times…

When Caesar calls her people decadent, Cleopatra announces that her Egyptians will build a magnificent palace within three months to prove their continued ingenuity and vitality.

Her architect Edifis is less confidant and subcontracts the job, recruiting his old friend Getafix the Druid to help, with Asterix, Obelix and faithful pooch Dogmatix coming along to keep him out of trouble…

After another short, sharp visit with the pirates, the voyagers reach the Black Lands only to find the building site an utter shambles. Edifis’ arch rival Artifis has stirred up unrest among the labourers and consequently sabotaged the supply-chain, entombing the visitors in a deadly tourist-trap and even frames Edifis by attempting to poison the Queen.

For all these tactics the ingenious Gauls have a ready solution and the Palace construction continues apace, but when Caesar – determined not to lose face to his tempestuous paramour – sends his Legions to destroy the almost-completed complex, it’s up to the two smallest, smartest warriors to come up with a solution to save the day, the Palace and the pride of two nations…

Outrageously fast-paced and funny and magnificently illustrated by a supreme artist at the very peak of his form, Asterix and Cleopatra is one of the very best epics from a series that has nothing but brilliant hits.

This is supremely enjoyable comics storytelling and if you’re still not au fait with these Village People you must be as Crazy as the Romans ever were…
© 1964-1965 Goscinny/Uderzo. Revised English translation © 2004 Hachette. All rights reserved.

The Graphic Canon of Children’s Literature

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

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

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

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

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

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

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

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

They certainly did for me…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Batman: The Golden Age volume 5

By Bill Finger, Don Cameron, Ruth “Bunny” Lyon Kaufman, Horace L. Gold, Joseph Greene, Joe Samachson, Bob Kane, Jerry Robinson, George Roussos, Dick Sprang, Jack Burnley, Ray Burnley, Fred Ray, Norman Fallon & various (DC Comics)
ISBN: 978-1-4012-8461-9 (TPB)

Win’s Christmas Gift Recommendation: Timely and Evergreen Family Adventure… 10/10

Debuting a year after Superman, “The Bat-Man” (and latterly Robin, the Boy Wonder) confirmed DC/National Comics as the market frontrunner and conceptual leader of the burgeoning comicbook industry.

Having established the parameters of the metahuman with their Man of Steel, the physical mortal perfection and dashing derring-do of the strictly-human Dynamic Duo rapidly became the swashbuckling benchmark by which all other four-colour crime-busters were judged.

Batman: The Golden Age is a series of paperback feasts (there are also weightier, pricier, more capacious hardback Omnibus editions available, and digital iterations too) re-presenting the Dark Knight’s earliest exploits.

Presented in original publishing release order, the tomes trace the character’s growth into the icon who would inspire so many and develop the resilience needed to survive the stifling cultural vicissitudes that coming decades would inflict upon him and his partner, Robin.

Re-presenting a glorious and astounding treasure-trove of cape-&-cowl classics and iconic covers from Detective Comics #75-81, Batman #16-20 plus contemporary companion tales from World’s Finest Comics #10-11: this book covers groundbreaking escapades from April/May 1943 to December/January 1944: as the Dynamic Duo continually develop and storm ahead of all competition.

I’m certain it’s no coincidence that many of these Golden Age treasures are also some of the best and most reprinted tales in the Batman canon. With chief writers Bill Finger and Don Cameron at a peak of creativity and production, everybody on the Home Front was keen to do their bit – even if that was simply making kids of all ages forget their troubles for a brief while. These tales were crafted just as the dark tide was turning and an odour of hopeful optimism was creeping into the escapist, crime-busting yarns – and especially the stunning covers – seen here in the work of Jerry Robinson, George Roussos, Bob Kane Jack Burnley, Dick Sprang, Fred Ray and Stan Kaye…

The supplemental writers all pushed the boundaries of the adventure medium whilst graphic genius Sprang began to slowly supersede Kane and Burnley: making the feature uniquely his own while keeping the Dynamic Duo at the forefront of the vast army of superhero successes.

War always stimulates creativity and advancement and these sublime adventures of Batman and Robin more than prove that axiom as the growing band of creators responsible for producing myriad adventures of the Dark Knight hit an artistic peak which only stellar stable-mate Superman and Fawcett’s Captain Marvel were able to equal or even approach.


The compelling dramas open with the landmark Batman #16 (cover-dated April/May 1943) and one of three tales by Cameron. ‘The Joker Reforms!’ (Kane, Robinson & Roussos art) sees the Clown Prince suffer a blow to the head and enjoy a complete personality shift… but not for long…, after which Ruth “Bunny Lyons” Kaufman scripted a bold and fascinating Black Market milk caper in ‘The Grade A Crimes!’ for Ray & Jack Burney to dynamically delineate.

‘The Adventure of the Branded Tree’ (Cameron and the Burnleys) has the Gotham Gangbusters heading to lumberjack country for a vacation to become embroiled in big city banditry before the issue wraps up with hilarious thriller-comedy ‘Here Comes Alfred!’ (Cameron, Kane, Robinson & Roussos) which foists a rotund, unwelcome and staggeringly faux-English manservant upon the Masked Manhunters to finally complete the classic core cast of the series in a brilliantly fast-paced spy-drama with loads of laughs and buckets of tension…

Detective Comics #75 (May 1943) introduces a new aristocrat of crime in pompous popinjay ‘The Robber Baron!’ (Cameron, Jack Burnley & Roussos) before the Joker resurfaces in #76 to ‘Slay ‘em With Flowers’: a graphic chiller by Horace L. Gold, Robinson & Roussos.

Next up is Batman #17 which opens with the gloriously human story of B. Boswell Brown: a lonely, self-important old man who claims to be ‘The Batman’s Biographer!’ Unfortunately, ruthless robber The Conjurer gives the claim far more credence than most in a tense thriller by Cameron, Kane, Robinson & Roussos…

Counterbalancing the dark whimsy is ‘The Penguin Goes A-Hunting’ (Cameron, Jack & Ray Burnley): a wild romp wherein the Perfidious Popinjay undertakes a hubris-fuelled crime-spree after being left off a “Batman’s Most Dangerous Foes” list.

The same creative team concocted ‘Rogues Pageant!’ wherein murderous thieves in Western city Santo Pablo inexplicably disrupt the towns historical Anniversary celebrations after which Joe Greene, Kane & Robinson detail the Dynamic Duo’s brutal battle with a deadly gang of maritime marauders in the appealing ‘Adventure of the Vitamin Vandals!’

The creation of Superman propelled National Comics to the forefront of their fledgling industry and in 1939 the company was licensed to produce a commemorative comicbook celebrating the start of the New York World’s Fair, with the Man of Tomorrow prominently featured among the four-colour stars of the appropriately titled New York World’s Fair Comics.

A year later, following the birth of Batman and Robin, National combined Dark Knight, Boy Wonder and Action Ace on the cover of the follow-up New York World’s Fair 1940.The spectacular 96-page anthology was a tremendous success and the oversized bonanza format was established, becoming Spring 1941’s World’s Best Comics#1, before finally settling on the now-legendary title World’s Finest Comics from the second issue, beginning a stellar 45-year run which only ended as part of the massive clear-out and de-cluttering exercise that was Crisis on Infinite Earths.

Until 1954 and the swingeing axe-blows of rising print costs, the only place Superman and Batman ever met was on the stunning covers by the likes of Burnley, Fred Ray and others. Between those sturdy card covers, the heroes maintained a strict non-collaboration policy.

Here World’s Finest Comics #10 (Summer 1943) features Finger, Robinson & Roussos’ ‘The Man with the Camera Eyes’: a gripping battle of wits between the Gotham Guardians and a crafty crook with an eidetic memory, before Finger, Kane & Roussos introduce a fascinating new wrinkle to villainy with the conflicted doctor who operates ‘The Crime Clinic’ in Detective #77. Crime Surgeon Matthew Thorne would return many times over the coming decades…

Issue #78 (August 1943) pushes the patriotic agenda with ‘The Bond Wagon’ (Joseph Greene, Burnley & Roussos) as Robin’s efforts to raise war funds through a parade of historical look-alikes is targeted by Nazi spies and sympathisers, after which Batman #18 starts with a spectacular, visually stunning crime-caper wherein the Gotham Gangbusters clash again with rascally rotund rogues Tweedledum and Tweedledee whilst solving ‘The Secret of Hunter’s Inn!’ (Samachson & Robinson).

‘Robin Studies his Lessons!’ (Samachson, Kane & Robinson) sees the Boy Wonder grounded from all crime-busting duties until his school work improves – even if it means Batman dying for want of his astounding assistance!

Bill Finger and the Burnley bros craft ‘The Good Samaritan Cops’: another brilliantly absorbing human interest drama focused on the tense but unglamorous work of the Police Emergency Squad before the action culminates in a shocking and powerful final engagement for manic physician and felonious mastermind Matthew Thorne. ‘The Crime Surgeon!’ (Finger, Kane & Robinson) here tries his deft and devilish hand at masterminding other crooks’ capers…

Over in Detective Comics #79 ‘Destiny’s Auction’ – Cameron & Robinson – offers another sterling moving melodrama as a fortune teller’s prognostications lead to fame, fortune and deadly danger for a failed actress, has-been actor and superstitious gangster…

World’s Finest Comics #11’s Batman episode reveals ‘A Thief in Time!’ (Finger & Robinson inked by Fred Ray), pitting our heroes against future-felon Rob Callender, who falls through a time-warp and thinks he’s found the perfect way to get rich.

Detective #80 sees the turbulent tragedy of deranged, double-edged threat Harvey Kent, finally resolved after a typically terrific tussle with ‘The End of Two-Face!’ (Finger, Kane, Robinson & Roussos), after which Batman #19 unleashes another quartet of compelling crime-busting cases.

There’s no mistaking the magnificent artwork of rising star Dick Sprang who pencilled every tale in this astounding issue, beginning with Cameron’s ‘Batman Makes a Deadline!’ as the Dark Knight investigates skulduggery and attempted murder at the City’s biggest newspaper. He also scripted breathtaking fantasy masterpiece ‘Atlantis Goes to War!’ with the Dynamic Duo rescuing that fabled submerged city from overwhelming Nazi assault.

The Joker rears his garish head again in anonymously-penned thriller ‘The Case of the Timid Lion!’ (perhaps William Woolfolk or Jack Schiff?) with the Harlequin of Hate enraged and lethal whilst tracking down an impostor committing crazy capers in his name… Samachson, Sprang and inker Norman Fallon then unmask the ‘Collector of Millionaires’ with Dick Grayson covertly investigating his wealthy mentor’s bewildering abduction and subsequent replacement by a cunning doppelganger…

‘The Cavalier of Crime!’ (Detective #81, by Cameron, Kane & Roussos) introduces another bizarre, baroque costumed crazy who tests his rapacious wits and sharp-edged weapons against the Dynamic Duo – naturally and ultimately to no avail…

The Home Front certainly seemed a lot brighter, as can be seen in Batman #20 which opens with the Joker in ‘The Centuries of Crime!’ (Cameron, Jack & Ray Burnley) with the Mountebank of Mirth claiming to have discovered a nefariously profitable method of time-travelling, whilst ‘The Trial of Titus Keyes!’ (Finger, Kane & Robinson) offers a masterful courtroom drama of injustice amended, focussing on the inefficacy of witness statements…

‘The Lawmen of the Sea!’ (Finger & the Burnley boys) finds the Dynamic Duo again working with a lesser known Police Division as they join The Harbor Patrol in their daily duties, uncovering a modern-day piracy ring, before the issue and this collection concludes on an emotional high with ‘Bruce Wayne Loses Guardianship of Dick Grayson!’ as a couple of fraudsters claiming to be the boy’s last remaining relatives petition to adopt him. A melodramatic triumph by Finger, Kane & Robinson, there’s still plenty of action, especially after the grifters try to sell Dick back to Bruce Wayne

This stuff set the standard for comic superheroes. Whatever you like now, you owe it to these tales. Superman gave us the idea, and writers like Finger and Cameron refined and defined the meta-structure of the costumed crime-fighter. Where the Man of Steel was as much social force and wish fulfilment as hero, Batman and Robin did what we ordinary mortals wanted and needed to do.

They taught bad people the lesson they deserved.

The history of the American comicbook industry in almost every major aspect stems from the raw, vital and still powerfully compelling tales of DC’s twin icons: Superman and Batman.

It’s only fair and fitting that both those characters are still going strong and that their earliest adventures can be relived in chronological order in a variety of formats from relatively economical newsprint paperbacks to deluxe hardcover commemorative Archive editions – and digital formats too.

These are the stories that cemented the popularity of Batman and Robin and brought welcome surcease to millions during a time of tremendous hardship and crisis. Even if these days aren’t nearly as perilous or desperate – and there ain’t many who thinks otherwise! – the power of such work to rouse and charm is still potent and just as necessary. You owe it to yourself and your family and even your hamster to Buy This Book…
© 1943, 1944, 2018 DC Comics. All Rights Reserved.

The Juggler of Our Lady – the Classic Christmas Story

By R. O. Blechman with a Foreword by Jules Feiffer and Introduction by Maurice Sendak (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80030-1

Win’s Christmas Gift Recommendation: A truly immaculate confection… 10/10

Christmas is not just about shiny new toys and sparkly knitwear. It’s just as much about unearthing or revisiting old, beloved and almost totally forgotten treasures.

Here’s a superb case in point – a magnificent hardback picture-perfect gift that’s still readily available – thanks to the perspicacious souls at Dover Books…

Oscar Robert Blechman is a glittering star in America’s graphic arts firmament and an international superstar. Brooklyn-born in 1930, he has excelled as cartoonist, illustrator, author, animator/Director, editorial cartoonist, Editorial Director and ad-man.

He’s won awards for his commercials and TV specials and been venerated in an exhibition at The Museum of Modern Art. His anti-Vietnam cartoons graced The Village Voice through the early 1970s whilst his cartoons and illustrations appeared in such prestigious vehicles as Punch, The New Yorker, Trump, Harper’s Bazaar, Esquire, Show, Theater Arts and Humbug.

He’s also produced fascinating graphic narratives such as Georgie and can reasonably claim to have produced one of the very first English-language Graphic Novels… and thus beginneth today’s lesson…

In 1952 Blechman used his groundbreaking and soon-to-be phenomenally influential minimalist line-style – deftly augmented with judicious watercolours – to make a much-told tale all his own.

The Juggler of Our Lady was his first book: initially published by Henry Holt, and superbly fetishized and commemorated through brother-cartoonist Maurice Sendak’s fondly emotional Introduction in this sublime new pocket hardback edition. The slim tome became a landmark in graphic narrative and is beloved by generations.

Anatole France’s 1892 tale Le Jongleur de Notre Dame is probably the most widely accepted version of the original medieval religious-miracle legend but there have been so many others that the story is as much part of most people’s seasonal landscape as Santa Claus or Rudolph the Red-Nosed Reindeer.

Blechman’s reinvigoration retains all the awe and wonder, whilst adding such a potent blend of wry humour, pitiful humility and gentle hope to the mix that it can make a grown man weep. In 1958 his book became an animated Terrytoons TV short with a huge impact when it was adapted by Al Kouzel & Gene Deitch and narrated by that legendary Spirit of Christmas Fun Boris Karloff…

You know the story: Cantalbert is an itinerant juggler who loves his work. He feels that if more people juggled there would less time for war and misery and folk would act better, feel better and be better.

Nobody, however, will listen and the despondent performer – hungry for spirituality – joins a monastery. Even here he does not fit in and is saddened by his lack of suitable talents to venerate The Lord and especially The Virgin Mary…

Everything comes to a head on Christmas Eve when the monks all display the magnificent presents they have made for the Madonna and poor Cantalbert has nothing worthy to give.

Later, when all is quiet, the sad juggler offers the only thing he knows and loves to the statue of The Virgin and something wonderful happens…

Deftly deconstructed and wondrously appreciated in a Foreword by Comics and Cartooning Titan Jules Feiffer, The Juggler of Our Lady is a masterpiece of graphic dexterity and an utterly beguiling experience no lover of the storytelling arts should be without.

Text and illustrations © 1997 R. O. Blechman. Foreword © 1997 2015 Jules Feiffer. Introduction © 1980 Maurice Sendak. All rights reserved.
Check out www.doverpublications.com, your internet retailer or local comic or bookshop.

Krazy & Ignatz 1939-1940: “A Brick Stuffed with Moom-bims”

By George Herriman, edited by Bill Blackbeard (Fantagraphics Books)
ISBN: 978-1-56097-789-6

Win’s Christmas Gift Recommendation: En Ebsoloot Epitome of Graphic Wundah… 10/10

In a field positively brimming with magnificent and eternally evergreen achievements, the cartoon strip Krazy Kat is – for most cognoscenti – the pinnacle of pictorial narrative innovation; a singular and hugely influential body of work which shaped the early days of the comics industry and elevated itself to the level of a treasure of world literature.

Krazy and Ignatz, as it is dubbed in these gloriously addictive commemorative tomes from Fantagraphics, is a creation which must be appreciated on its own terms. Over the decades the strip developed a unique language – simultaneously visual and verbal – whilst exploring the immeasurable variety of human experience, foibles and peccadilloes with unfaltering warmth and understanding… and without ever offending anybody. Baffled millions, but offended… no.

It did go over the heads and around the hearts of far more than a few, but Krazy Kat was never a strip for dull, slow or unimaginative people: those who simply won’t or can’t appreciate the complex, multi-layered verbal and cartoon whimsy, absurdist philosophy or seamless blending of sardonic slapstick with arcane joshing. It is still the closest thing to pure poesy that narrative art has ever produced.

Herriman was already a successful cartoonist and journalist in 1913 when a cat and mouse who had been noodling about at the edges of his outrageous domestic comedy strip The Dingbat Family/The Family Upstairs graduated to their own feature. Mildly intoxicating and gently scene-stealing, Krazy Kat subsequently debuted in William Randolph Hearst’s New York Evening Journal on Oct 28th 1913 and – largely by dint of the publishing magnate’s enrapt adoration and overpowering direct influence and interference – gradually and inexorably spread throughout his vast stable of papers.

Although Hearst and a host of the period’s artistic and literary intelligentsia (such as Frank Capra, e.e. Cummings, John Alden Carpenter, Gilbert Seldes, Willem de Kooning, H.L. Mencken and Jack Kerouac) all adored the strip, many local and regional editors did not; taking every potentially career-ending opportunity to drop it from the populace-beguiling comics section.

Eventually the feature found a true home and safe haven in the Arts and Drama section of Hearst’s papers. Protected there by the publisher’s doctrinaire patronage and enhanced with the cachet of enticing colour, the Kat & Ko. flourished unharmed by editorial interference or fleeting fashion, running generally unmolested until Herriman’s death in April 1944.

The saga’s basic premise is simple: Krazy is an effeminate, dreamy, sensitive and romantic feline, hopelessly in love with Ignatz Mouse; a venal everyman, rude, crude, brutal, mendacious and thoroughly scurrilous.

Ignatz is a truly, proudly unreconstructed male: drinking, stealing, fighting, conniving, constantly neglecting his wife and innumerable children and always responding to Krazy’s genteel advances by clobbering the Kat with a well-aimed brick. These he obtains singly or in bulk from noted local brick-maker Kolin Kelly. And by the time of these tales it’s not even a response, except perhaps a conditioned one: the mouse spends all his time, energy and ingenuity in bouncing a brickbat off the mild moggy’s bonce. He can’t help himself, and Krazy’s day is bleak and unfulfilled if the hoped-for assault doesn’t happen…

The smitten kitten always misidentifies (or does he?) these missiles as tokens of equally recondite affection showered upon him in the manner of Cupid’s fabled arrows…

The final crucial element completing an anthropomorphic eternal triangle is lawman Offissa Bull Pupp: completely besotted with Krazy, professionally aware of the Mouse’s true nature, yet hamstrung by his own amorous timidity and sense of honour from permanently removing his devilish rival for the foolish feline’s affections.

Krazy is, of course, blithely oblivious to the perennially “Friend-Zoned” Pupp’s dolorous dilemma…

Secondarily populating the ever-mutable stage are a stunning supporting cast of inspired bit players such as terrifying deliverer of unplanned babies Joe Stork; hobo Bum Bill Bee, unsavoury huckster Don Kiyoti, social climbing busybody Pauline Parrot, portal-packing Door Mouse, self-aggrandizing Walter Cephus Austridge, inscrutable, barely intelligible Chinese mallard Mock Duck, dozy Joe Turtil and a host of other audacious animal crackers all equally capable of stealing the limelight and even supporting their own features.

The exotic, quixotic episodes occur in and around the Painted Desert environs of Coconino (patterned on the artist’s vacation retreat in Coconino County, Arizona) where surreal playfulness and the fluid ambiguity of the flora and landscape are perhaps the most important member of the cast.

The strips themselves are a masterful mélange of unique experimental art, cunningly designed, wildly expressionistic and strongly referencing Navajo art forms whilst graphically utilising sheer unbridled imagination and delightfully evocative lettering and language: alliterative, phonetically and even onomatopoeically joyous with a compelling musical force (“you sim to be cuttin’ a mellin”, “or “it would be much mo’ betta if it was a pot of momma lade or eppil butta”).

Yet for all that, the adventures are poetic, satirical, timely, timeless, bittersweet, self-referential, fourth-wall bending, eerily idiosyncratic, astonishingly hilarious escapades encompassing every aspect of humour from painfully punning shaggy dog stories to riotous, violent slapstick.

Sometimes Herriman even eschewed his mystical mumblings and arcane argots for the simply sublime grace of a supremely entertaining silent gag in the manner of his beloved Keystone Cops

There’s been a wealth of Krazy Kat collections since the late 1970s when the strip was first rediscovered by a better-educated, open-minded and far more accepting generation. This delirious tome covers all the strips from 1937-1938 in a comfortably hefty (231 x 305 mm) softcover edition – and is also available as a madly mystical digital edition.

Preceded by candid photos and examples of some of Herriman’s personalised gifts and commissions (hand-coloured artworks featuring the cast and settings), the splendid madness is bolstered by Jeet Heer’s superb analysis of production techniques in ‘Kat of a Different Color’ before the jocularity resumes with January 1st 1939 – with the hues provided by professional separators rather than Herriman.

Within this jubilant journal of passions thwarted, the torrid triangular drama plays out as winningly as ever, but with a subtle shifting of emphasis as an old face gains far greater presence and impact whilst the one significant new face seems to be a scene-stealing rival for our fuzzy feline ingenue…

The usual parade of hucksters and conmen continue to feature, but the eternally triangular confusions and contusions – although still a constant – are not the satisfying punchlines they used to be, but rather provide a comforting continuity as the world subtly changes around the cast…

As well as frequent incarceration, Ignatz endures numerous forms of exile and social confinement, but with Krazy aiding and abetting, these sanctions seldom result in a reduction of cerebral contusions… a minor plague of travelling conjurors and unemployed magician also make life hard for the hard-pressed constabulary… which is expanding in personnel, if not wisdom…

Never long daunted, Bull Pupp indulges in a raft of home-away-from home improvements, and introduces mechanised, radiophonic and robotic policing, and sundry innovations in incarceration architecture…

As always, the mouse’s continual search for his ammunition of choice leads to many brick-based gags but now the mouse is often the receiver of painful retribution. His brief preoccupation with hornet’s nests ultimately proves to be a painful dead end though…

Of course, the mouse is a man who enjoys revenge served hot, cold or late…

A flurry of telescope buying adds an of nosy edge of conspiracy to proceedings, with spying as big a hobby for all citizens as stargazing and gossip used to be. At least, the traditional fishing, water sports, driving and the parlous and participatory state of the burgeoning local theatre scene remain hot topics in town…

And, welcomingly as ever, there is still a solid dependence on the strange landscapes and eccentric flora for humorous inspiration and all manner of weather and terrain play a large part in inducing anxiety, bewilderment and hilarity.

A big shift in status comes to old busybody Mrs Kwakk Wakk as she assumes a role akin to wise old crone and sarcastic Greek Chorus; upping her status from bit-player to full-on supporting cast. She has a mean and spiteful beak on her too…

The big change comes on July 7th 1940. Pupp is startled to see Ignatz going back to school and thinks it’s so he can ambush the Kat. That’s until he too meets the new teacher. Miss Mimi is French…

Soon class attendance is at record levels and the males are all making komplete fools of themselves…

This antepenultimate collection is again supplied with an erudite and instructional ‘Ignatz Mouse Debaffler Page’, providing pertinent facts, snippets of contextual history and necessary notes for the young and potentially perplexed.

Herriman’s epochal classic is a stupendous and gleeful monument to whimsy: in all the arenas of Art and Literature there has never been anything like these strips which have inspired comics creators and auteurs in fields as disparate as prose fiction, film, dance, animation and music, whilst fulfilling its basic function: engendering delight and delectation in generations of wonder-starved fans.

If, however, you are one of Them and not Us, or if you actually haven’t experienced the gleeful graphic assault on the sensorium, mental equilibrium and emotional lexicon carefully thrown together by George Herriman from the dawn of the 20th century until the dog days of World War II, this astounding compendium is a most accessible way to do so.
© 2007, 2015 Fantagraphics Books. All rights reserved.