Category: World Classics

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The Complete Peanuts volume 11: 1971-1972


By Charles M. Schulz & various (Fantagraphics Books/Canongate Books UK)
ISBN: 978-1-60699-1456-9 (US HB/Digital edition), 978-0857864079 (UK HB)

This book includes Discriminatory Content produced in less enlightened times.

Peanuts is unequivocally the most important comic strip in the history of graphic narrative. It is also the most deeply personal. Cartoonist Charles M Schulz crafted his moodily hilarious, hysterically introspective, shockingly surreal philosophical epic for half a century: 17,897 strips spanning October 2nd 1950 to February 13th 2000. He died – from complications of cancer and in suitably mythopoeaic manner – the day before his last strip was printed.

At its height, Peanuts ran in 2,600 newspapers, in 21 languages and 75 countries. Many of those venues still run it in perpetual reprints, as they have ever since his death. During his lifetime, book collections, a merchandising mountain and television spin-offs had made the publicity-shy doodler an actual billionaire at a time when that really meant something…

None of that matters. Peanuts – a title Schulz loathed, but one the Syndicate forced upon him – changed the way comics strips were received and perceived: proving cartoon comedy could have edges and nuance and meaning as well as soon-forgotten pratfalls and punchlines.

For this 11th compendium we begin with a photo-portait of the man at work followed by an effusive Foreword from film & theatre star Kristin Chenoweth, recalling her time (1998-1999) as part of the gang. This is thanks to her stage triumph as Sally in musical phenomenon You’re a Good Man, Charlie Brown and here she shares memories and thoughts on Schultz; and thoughts on what makes the little sister tick on stage and on page…

As always, however, our pictorial focus and primary point of contact remains quintessential loser Charlie Brown who, alongside and yet simultaneously far behind fanciful, increasingly multi-personalitied, high-maintenance mutt Snoopy, remains squarely at odds with a mercurial supporting cast. They all timelessly hang out, doing what at first sight looks like Kids Stuff in an ever-more complex and adverse universe of perverse happenstance. But remember now, with this collecton it’s the socially aware, all-change era of “the Seventies”, when lots of untouchable notions were being deconstructed and reconsidered everywhere… even on the funny pages.

Individual strip slices focus on play and copious leisure time; varying degrees of musicality; childish pranks; interpersonal alignments; mounting pressures of evermore oppressive education and mass media lensed through wide (but often squinty) young eyes that witness it all with unguarded openess. These moments come pre-leavened by agonised teasing, aroused and/or crushed hope, naïve, baffled generalisations and observations with our little tots occasionally acting a bit too much like grown-ups.

With this tome’s tales, themes and tropes defining the series (especially in the wake of so many animated TV specials) became mantra-like and endlessly variable for the growing radership. Focus now is less on Charlie Brown and more on those around him but this time everybody’s hunger for acceptance has been subsumed into a deliciously overarching environmental constant that grows more abundant in its fallout… everyone is growing aware  of relationships and LOVE…

Of course, most human interactions still find our boy a pitiable outlier who only really understands sports – or so he thinks. People come and go but although Mean Girl Violet and Pig-Pen might be fading into the background, a core grpup consisting of musical prodigy Schroeder, self-taught psychoanalyst/dictator-in-waiting Lucy van Pelt, her brilliant but off-kilter little brother Linus and Charlie’s sister Sally are all abundantly on view, but regularly ensnared in the sundry traps of romance and attraction, and seem to be leaving our boy behind…

Snoopy, by strutting his many and varied imaginry selves – such as a predatory vulture waiting to pick off frozen kids in the snow – plays many key roles. These include the savvy sports-beagle; the pronosticating owner of an eerily insightful “Beagle Board”; a reputed war hero/author and so many more, but he too has a dubious, inexplicable relationship. His time with his secretary – a tiny, ditzy bird called Woodstock – is open to frequent comment, much of it from the beagle himself…

Our titular star still pines for the unattainable  “Little Red-haired Girl” who so tragically moved away before he could summon the nerve to speak to her…

The kids and critters are primarily fixtures honed to generate joke-routines and gag-sequences around signature foibles, but some (like African American Franklin and even author-Snoopy) enjoy more serious roles too and have become signposts for specific cntemporary themes. In this book one extended instance is when Snoopy’s favourite writer (Helen Sweetstory of The Six Bunny-Wunnies fame) is removed from the school library, as the strip homed in on the then-growing real-world crime of parentally-steered book-banning…

Another star on the rise is Patricia Reichardt AKA tomboy Peppermint Patty (who had debuted four years earlier on August 22nd 1966). She had been a strong, opinionated female achetype and a counsellor to younger girls, when not inadvertantly outshining Charlie Brown in sporting endeavours, but here gains far greater feminist prominence. Her key moments include making a stand for personal female individuality after School introduces more feminine dress codes (but only for half the students); struggling with learning issues and slowly, painfully finding herself falling for utterly oblivious, deeply lonely “Chuck” Brown.

That overstrained relationship is agony to watch unfold (…crash, burn and then begin all over again) with Patty growing increasingly upset and unnerved by new kid Marcie (she of the bottle-specs and 1000-yard stare) who tags along, calling her “Sir”…

Sally Brown has grown from frail infant to needy complainer, and just enough to become another trigger for Charlie’s relentless self-excoriation. As she ages (a rare event in a strip about eternal tots) and forms her own anxieties, she declaims loud opinions and propounds steadfastly misinformed views, with him relegated to being her dumber, protective but outgunned and baffled big brother. Sally now gets all the best lines yet still struggles with school in many strips depicting her attitudes to study and homework, which reveal the contest is pretty even and not at all one-sided…

Resigned to – but far from uncomplaining about – life as a loser in the gunsights of cruel and capricious fate, the boy Brown is still helpless in the clutches of openly sadistic Lucy. When not sabotaging his efforts to fly a kite or kick a football or while endlessly sabotaging his beloved baseball games, she monetises his discomfort with spiteful verve via a 5¢ walk-in psychoanalysis booth, ensuring that whether at play, in competition, in despair, allowing hope to flower or just brooding, the round-headed kid truly endures the character-building trials of the damned.

In this era, the beagle is the true star of our show, with his primary quest for fame or at least more and better food playing out against a magnificently baroque inner life. There are wild encounters with birds, skateboarding, dance-offs, ice skating and snow-sport trysts, philosophical ruminations, martial assignations and ever-more-popular catchphrases to learn. As burgeoning whimsy and dreams of writing bestsellers blossom, we catch constant glimpses of the dog’s WWI other life, but also acknowledge the the world’s growing teen scene with his reinvention in new personas like college frat boy Joe Cool and cosmopolitan rake Joe French.

Perhaps his most momentous new alter ego is The Attorney who so often steps in to lend legal sagacity to the kids in times of growing litigiousness and political protest…

Naturally all of these shadow-dogs harbour fondness for little Woodstock and abiding animus for natural enemy Lucy, whose life is also plagued by mounting hurdles. Paramount are her weirdo brother Linus (who has become obsessed with undiscovered cryptids like Gully Cats and Queen snakes)  and his comfort blanket; that dog; failure to boss everyone around enough, that dog and piano-boy Schroeder’s utter inability to realise that he loves her…

Timeless episodes of play, peril, peewee psychoanalysis, philosophical ponderings, anxiously anticipatory cinema-visits and personal recrimination are cunning beards for some heavy topics. Always realised in stark monochrome are more new characters, more plot developments (like the threatened return of Snoopy’s childhood nemesis Lila!) and the founding of even more traditions we all revere to this day.

As suggested, the beagle is the only force capable of challenging – if not fully countering -Lucy. Over these two years, her campaign to curb the weird dog; cure her brother of comfort blanket dependency; seduce Schroeder and generally reorder reality to her preferences reach astounding heights and appalling depths, but Snoopy keeps trying and scores many minor victories. In the main, though, Lucy continues to consistently suck all the joy out of the white wonder stuff, green summers, fallen leaves, refreshing rain, hobbies, sports, music and anthing else other people like. Except skipping. Playing with a jump rope is still acceptable…

Hilariously, her reality takes a solid knock when Mr & Mrs Van Pelt announce the imminent arrival of a new baby sister, an intruder shellshocked Lucy instantly names “Rerun”…

From the start Schulz established way points in his year: formally celebrating certain calendar occasions – real or invented – as perennial shared events: St. Valentine’s Day, Mothers & Fathers’ Days, Fourth of July strips and the like are accompanied in their turn by yearly milestones lincluding Christmas, Easter, Halloween/Great Pumpkin Day and Beethoven’s Birthday.

Here they are augmneted by another American ritual as many of the cast return to (and are dismissed from) summer camp. This results in fresh heartbreak for all after Patty finally meets the nigh-legendary Little Red-haired Girl and realises all hope is lost. There’s even more endless heartbreak heading for Charlie Brown too, as he looks on and can do nothing. The poor oaf still has no idea how to begin to respond to closer ties with his dream girl or why even Patty cares…

Sports fun looms large and terrifying as ever, but star athlete-turned-coach/manager Snoopy is more interested in new passions than boring old baseball, hockey, tennis and football. These include fishing, swimming, skiing, skating and new sensation Frisbee-ing, as well as embracing the ups and downs of perilous passtime “Ha-Ha, Herman!” and watching Lucy learn some hard truths while rollerskating…

Even she finds far more absorbing pastimes but still revels in crushing the spirits of her teammates in whatever endeavour they are failing at. Linus endures more disappointment in two Great Pumpkin seasons as well as his rare-animal searches, and before you know it, there’s the traditional countdown to Christmas and another year filled with weird, woolly and wonderful moments…

Neatly interspersed with the daily doses of gloom, the Sunday page debuted on January 6th 1952: a half-page slot offering more measured fare than 4-panel dailies. Thwarted ambition, sporting failures, crushing frustration – much of it psychoanalysis or sport related – abound, alternating with Snoopy’s inner life of aviation, war stories, star gazing, shooting the breeze with bird buddies, weather woes, fame and food fiascos. These and other signature sorties across the sabbath indulgences afforded Schulz room to be his most imaginative, whimsical and provocative… or just plain jokey…

Tentpole moments to relish this time include intensification of the magnificently barbed romantic triangle involving Lucy, Schroeder & Beethoven; Linus kicking the blanket habit only to be dragged back in under again; more Snoopy v Lucy deathmatches as well as a claws & paws clash of our dog and the despised cat-next-door. Charlie Brown’s food feud with the beagle continues, as do assorted night terrors, Lucy’s unique solutions to complex questions; Valentines’ card coup counting, doggy dreams; sporting endeavours,  all counterpointed by Snoopy’s latest top secret mission for the Head Beagle and the paving over of his puphood home…

To Be Continued…

To wrap it all up, Gary Groth celebrates and deconstructs the man and his work in ‘Charles M. Schulz: 1922 to 2000’, preceded by a copious ‘Index’ offering instant access to favourite scenes you’d like to see again…

Readily available in many formats, this volume guarantees total enjoyment: comedy gold and social glue metamorphosing into an epic of spellbinding graphic mastery that still adds joy to billions of lives, and continues to make new fans and devotees long after its maker’s passing.
The Complete Peanuts: 1971-1972 (Volume Eleven) © 2009 Peanuts Worldwide, LLC. “Charles M. Schulz: 1922 to 2000” © 2009 Gary Groth. All rights reserved.

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The Adventures of Blake and Mortimer: The Complete Collection volume 1


By Edgar P. Jacobs, coloured by Philippe Biermé & Luce Daniels, with material by Brieg F. Haslé & Nicolas Thibaudin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-147-7 (Album HB), 978-1-80044-776-9 (Digital edition)

This book includes Discriminatory Content produced during less enlightened times.

Today in 1946, the European post war comics revolution began with the release of multi-national anthology periodical Le Journal de Tintin. This strip was the Other big draw of those early years and remains one of my all-time favourites…

Le Journal de Tintin launched on 26th September 1946, and evolved through the post-war Years to become a benchmark of quality comics storytelling. Initially “the magazine for the Youth from 7 to 77” was intended to create longform stories for later book publication by serialising stories in increments – a method still used to this day. It sold in a number of countries and regions in their own languages, initially combining new material with recycled and modified episodes of previous Tintin tales, before moving to all new material. Publication ceased in 1993, with the 29th June edition.

For the first three years LJdT was home to an astounding unfolding epic that enthralled the readership. The first of so many, The Adventures of Blake and Mortimer were converted into books which been tweaked over decades and are presented complete in this single volume, which gathers The Secret of the Swordfish part 1 The incredible Chase; Part 2 Mortimer’s Escape; and Part 3 SX1 Strikes Back, and includes fascinating background features by Brieg F Haslé and Nicholas Thibaudin…

Belgian Edgard Félix Pierre Jacobs (1904-1987) is rightly regarded as one of the founding fathers of the Continental comics industry. Although his output was relatively scant compared to some of his contemporaries, the iconic series he created formed the basis and foundation of the art form in Europe, and his splendidly adroit, roguish yet impeccably British adventurers Blake and Mortimer – from the premiere issue of Le Journal de Tintin onwards – became a staple of post-war European kids’ life, the way Dan Dare would in Britain across the 1950s.

E.P. Jacobs was born in Brussels, a precocious child who began feverishly drawing from an early age but was even more obsessed with music and the performing arts – especially opera. He attended a commercial school but, determined never to work in an office, pursued art and drama following his graduation in 1919. A succession of odd jobs at opera-houses; scene-painting, set decoration, acting and singing as an Extra supplemented his private performance studies, and in 1929 Jacobs won a Government award for classical singing. Sadly, his proposed career as an opera baritone was ended by the Great Depression, as the Arts sector took a nosedive following the stock market crash.

Picking up whatever stage work was going (including singing and performing) Jacobs segued into commercial illustration in 1940 and regular employment came from the magazine Bravo. While illustrating short stories and novels, Jacobs famously took over the syndicated Flash Gordon strip after occupying German authorities banned Alex Raymond’s quintessentially All-American Hero. This left the publishers desperately seeking someone to satisfactorily complete the saga., but Jacobs’ Stormer Gordon lasted less than a month before being similarly sanctioned by the Nazis. Thus Jacobs created his own epic science-fantasy feature in the legendary Le Rayon U: a milestone in both Belgian comics and science fiction adventure. The U Ray was a huge hit in 1943 and scored big all over again a generation later when Jacobs reformatted the original “text-block & picture” material to incorporate speech balloons before re-running the serial in Le Journal de Tintin, with subsequent releases forming a trio of graphic albums in 1974.

There are conflicting accounts of how Jacobs and Tintin creator Hergé got together and why they parted ways professionally, if not socially, but as to the whys and wherefores of the split, I frankly don’t care. What is known is this: whilst crafting the weekly U Ray, one of Jacob’s other jobs was scene-painting, and during the staging of a theatrical version of Tintin and the Cigars of the Pharaoh, Hergé and Jacobs met and became friends. If the comics maestro was unaware of Jacob’s comics output before then, he was certainly made aware of it soon after. Jacobs began working on Tintin, colouring the original monochrome strips of The Shooting Star from newspaper Le Soir for a forthcoming album collection. By 1944, Jacobs was performing similar service for Tintin in the Congo, Tintin in America, King Ottokar’s Sceptre and The Blue Lotus. By now, he was also contributing to the illustration as well, on extended epic The Seven Crystal Balls/Prisoners of the Sun.

Jacob’s love of opera made it into the feature as Hergé (who loathed the stuff) teasingly created bombastic Bianca Castafiore as a comedy foil and based numerous bit players (like Jacobini in The Calculus Affair) on his long-suffering assistant. After the war and liberation, publisher Raymond Leblanc convinced Hergé, Jacobs and other creatives to work for his new venture. Launching publishing house Le Lombard, he also started Le Journal de Tintin, an anthology comic. Edited by Hergé, with various language editions in Belgium, France and Holland starring the intrepid boy reporter plus a host of newer heroes.

Beside Hergé, Jacobs and writer Jacques van Melkebeke, the comic also featured Paul Cuvelier’s Corentin and Jacques Laudy’s ‘The Legend of the Four Aymon Brothers’. Laudy had been a friend of Jacobs’ since they worked together on Bravo, and the first instalment of foreboding epic thriller serial Le secret de l’Espadon starred a bluff, gruff British scientist Professor Philip Mortimer as well as an English Military Intelligence officer who was closely modelled on Laudy: Captain Francis Blake.

The complete serialised saga ran from issue #1 (26th September 1946 to September 8th 1949): and confirmed Jacobs’ status as a star in his own right. In 1950, with the first 18 pages slightly redrawn, Le secret de l’espladon V1 (The Secret of the Swordfish – The Incredible Chase) became Le Lombard’s first album release; with the concluding part published 3 years later. Those volumes were reprinted nine more times between 1955 – 1982, with an additional single complete deluxe edition released in 1964. In 1984 the story was reformatted and repackaged in English translation as 3 volumes with additional material (mostly covers from the weekly Tintin added to the story as splash pages). It was part of a European push to win some of Britain’s lucrative love of Tintin & Asterix, but ended after seven volumes, having failed to find an audience. Happily, Cinebook successfully reintroduced us to the dashing duo – albeit after publishing later adventures first – and you can revel in their wonderment in either paperback album or eBook formats. Or in this Complete edition…

Hergé & Jacobs purportedly suffered a split in 1947 when the former refused to grant the latter a by-line on new Tintin material, but since they remained friends for life and Jacob’s continued to produce Blake and Mortimer for the Belgian weekly, I think it’s fair to say that if such was the case it was a pretty minor spat. I suspect The Secret of the Swordfish was simply taking up more and more of the brilliant, diligent artist’s time and attention…

The U Ray also provided early visual inspiration for Blake, Mortimer and implacable nemesis Colonel Olrik, who bear more than passing resemblances to heroic Lord Calder, Norlandian boffin Marduk and viperous villain Dagon.

One minor word of warning: by having the overarching enemies of mankind be a secret Asiatic “Yellow Peril” empire of evil, there’s potential for offence – unless one actually reads the text and finds that the presumed implicit racism is countered throughout by plenty of “good” ethnic characters and “evil” white folk. And remember the ultimate enemy Olrik could pass for a British stockbroker or political party candidate any day of the week…

This complete edition offers the entire epic in one almighty go and is sublimely supplemented by factual and contextual gold, mined by Brieg F. Haslé and Nicolas Thibaudin.

Delivered as The Secret Notebooks of Blake, Jacobs, and Mortimer, fun facts are broken down into engaging preparatory dossiers, divided by year and packed with candid preparatory material, designs and sketches. For 1946 we see a Synopsis of the first book; meet Jacobs ‘In his own words’; share ‘Mortimer’s Confidences’ and go ‘Behind the Scenes’ to examine extraordinary ‘Jacobsian Machines’ with ‘The Golden Rocket’. Then ‘Emblematic Characters’ reviews Olrik and we see ‘What Lies Behind a page’ with narrative techniques deconstructed in ‘The Third Word War Live… on Radio!’ before the initial episode begins…

The Secret of the Swordfish Part 1 – The Incredible Chase

Humanity’s next world war begins with ‘The Incredible Chase’ as a unknown army hidden in the Himalayas prepares to launch a global Blitzkrieg on a world slowly recovering from its second planetary conflagration. Wicked Basam Damdu, Emperor of Tibet, has assembled an arsenal of technological super-weapons and the world’s worst rogues such as insidious Colonel Olrik in a bid to seize control of Earth. However, a bold British-Asian spy has infiltrated the hidden fortress and surrenders his life to get off a warning message.

In England, physicist and engineer Philip Mortimer and MI5 Captain Francis Blake discuss the worsening situation at an industrial installation where the boffin’s radical new aircraft engine is being completed. When warning comes that the war begins that night, the old friends swing into immediate action. As super-bombers rain destruction down on all the world’s cities, Mortimer’s dedicated team prepares his own prototype, the Golden Rocket, for immediate launch, lifting off just as Olrik’s bombers appear over the desolate compound. Despite heavy fire, the Rocket easily outdistances rapacious Imperial forces, leaving ruined homes in its wake and the fleeing Britons flying into a hostile world now controlled by brutal maniac Basam…

Whilst attempting to join British Middle East resistance forces who possess another prototype super-plane, teething troubles and combat damage create tense moments in the fugitives’ flight. When the Rocket encounters a flight of jets, the test ship’s superior firepower enables it to fight free, but only at the cost of more structural deterioration. Fully failing now, the Rocket goes down in the rocky wilds between Iran and Afghanistan. Parachuting free of the doomed ship, Blake, Mortimer and the crew are machine-gunned by pursuing Empire jets…

Only three men make it to the ground safely and after days of struggle Blake, Mortimer and the indomitable Jim are cornered by Iranian troops who have joined Olrik’s forces. Sensing disaster, the Britons hide the plans to Mortimer’s super-plane, but one of the Iranians sees the furtive act. When no one is looking – especially his superiors – Lieutenant Ismail hurriedly scoops up the documents. Somehow, he misses one…

Under lock & key and awaiting Olrik’s arrival, the prisoners are accosted by Ismail, who sees opportunity for personal advancement which the Englishmen turn to their own advantage. Denouncing him, Blake instigates a savage fight between Ismail and his captain. During the brief struggle Jim sacrifices himself, allowing Blake & Mortimer’s escape with the recovered plans. Stealing a lorry, the desperate duo drive out into the dark desert night.

Followed by tanks into mountain passes, the wily pair trap their pursuers in a ravine just as hill partisans attack. The Imperial collaborators are wiped out and – upon trading information with the freedom fighters – the Englishmen take a captured vehicles to a distant rendezvous with the second Golden Rocket. Lack of fuel forces them to stop at a supply dump where they are quickly discovered, but by setting the dump ablaze, the heroes escape again. In the desert Olrik has arrived and found a sheet of notes left behind by Ismail. The cunning villain is instantly aware of what it means…

Fighting off aerial assaults from Empire jets and streaking for the mountains, Blake & Mortimer abandon their tank. Forced to travel on foot, they at last reach the meeting point where British-trained Sergeant Ahmed Nasir awaits them. The Indian served with Blake during the last war and is delighted to see him again, but as the trio make their way to the target site, they become aware that Olrik has already captured their last hope…

Only temporarily disheartened, the trio use commando tactics to infiltrate Olrik’s camp, stealing not the heavily-guarded prototype but the villainous Colonel’s own Red-Wing super-jet. Back on course to the British resistance forces, the seemingly-cursed fugitives are shot down by friendly fire: rebels perceiving the stolen plane as another enemy target.

Surviving this crash too, they are ferried in relative safety by apologetic tribesmen to enemy-occupied town Turbat. Whilst hiding, a spy of the Empire’s newly-appointed Wazir recognises the Englishmen. When Nasir realises they are in trouble, he dashes to the rescue but is too late to prevent Mortimer from being drugged. Sending the loyal Sergeant on ahead, Blake fights frantically to revive his comrade, even as Imperial troopers rapidly mount the stairs to their exposed upper room…

To Be Continued…

But only after Section 1947 offers more bonus material infilling the making of the tale. Here The Secret Notebooks… contribute another volume Synopsis while ‘In his own words’ concentrates on successor scripter Jean Van Hamme before Mortimer’s confidences reviews pertinent covers. ‘Behind the scenes’ focuses on the wide-ranging locations of the tale; Jacobsian Machines highlights ‘The Red Wing’ and Emblematic Characters explores the antecedents of arch villain Basam Damdu, whilst What Lies Behind a page and Setting The Mood delve into how Mortimer’s imprisonment is expressed, prior to the saga resuming…

 

The Secret of the Swordfish Part 2 – Mortimer’s Escape

This second instalment escalates the tale to another epic level, as the frantic action resumes with soldiers bursting into an empty chamber before being themselves attacked by the Khan. After a bloody firefight our heroes emerge from their cunning hiding place and flee Turbat, which has been seized by a furious spur-of-the-moment rebellion. Unknown to the fugitives, devious spy Bezendjas is hard on their heels and soon finds an opportunity to inform Olrik.

With the city in flames and fighting in every street, the callous colonel abandons his own troops to pursue Nasir, Blake & Mortimer into the wastes beyond the walls. On stolen horses the heroes endure all the ferocious hardships of the desert, but cannot outdistance Olrik’s staff-car. After days of relentless pursuit, they reach the rocky coastline and almost stumble into another Empire patrol. Whilst ducking them, Blake nearly falls to his doom…

Narrowly escaping death, the trio continue to climb steep escarpments and it is dusk before the Intelligence Officer realises that he has lost the precious plans and documents they have been carrying since fleeing England. Realising that someone must reach British resistance forces at their hidden Eastern base, the valiant comrades split up. Blake and Nasir continue onwards whilst Mortimer returns to the accident site. Finding the plans is a stroke of sheer good fortune, immediately countered by an ambush from Olrik’s troops. Despite a Herculean last stand, the scientist is taken prisoner, but only after successfully hiding the lost plans…

Three months later, Olrik is called to account in the exotic city-fortress of Lhasa. Basam-Damdu’s ruling council are unhappy with the Colonel’s lack of progress in breaking the captive British scientist, and even more infuriated by a tidal-wave of sabotage and armed rebellion throughout their newly-conquered territories. Even Olrik’s own spies are warning that his days as an agent of the Yellow Empire are numbered…

Given two days to make Mortimer talk, the Colonel returns to his base in Karachi just as another rebel raid allows Nasir to infiltrate the Empire’s HQ. Blake is also abroad in the city, having joined British forces in the area…

With less than a day to act, the MI5 officer rendezvous with a British submarine and travels to a vast atomic-powered secret installation under the Straits of Hormuz. Here, the Royal Navy are stoically preparing for a massive counter-attack on the Empire. With raids liberating interned soldiers all the time, ranks of scientists, technicians and soldiers are swelling daily.

Meanwhile, Nasir has his own desperate plan to free Mortimer, still adamantly refusing to talk of the mysterious “Swordfish” Olrik’s agents continually hear of…

Aware of his danger and the Sergeant’s efforts, Mortimer instead cunningly informs Nasir of the lost plans’ location, even as the impatient Emperor’s personal torturer arrives from Lhasa.

Always concerned with the greater good, Blake and a commando team secure the concealed plans and are met by Nasir who has been forced from Karachi after realising Bezendjas has recognised him. It appears that time has run out for their scholarly comrade…

Mortimer, however, has taken fate into his own hands. When the devious doctor Sun Fo begins his interrogation, the Professor breaks free and escapes into the fortress grounds during an earth-shattering storm. Trapped in a tower with only a handgun, he is determined to sell his life dearly, but is rescued by Blake and Nasir in a Navy Helicopter. Using the storm for cover, the heroes evade jet pursuit and an enemy naval sweep to link up with a British sub and escape into the night…

To Be Concluded…


Haslé & Thibaudin conclude The Secret Notebooks of Blake, Jacobs, and Mortimer with 1949 providing more bonus material reconstructing the embattled world. A Synopsis and overview includes In his own words spotlighting Philippe Biermé (President of the Edgar P. Jacobs Foundation) and successor artist Ted Benoit before Mortimer’s confidences considers more historical inspirations for story characters, Behind the scenes reviews more iconic covers and reformatting the serial for book publication; Jacobsian Machines shares design secrets of The Swordfish and Emblematic Characters denounces Razul the Bezendjas. What Lies Behind a page and Setting The Mood concludes the briefing with a closer look at key scene The Spider Crab Pit before the saga concludes with The Secret of the Swordfish Part 3 – SX1 Strikes Back!

After three years of stunning intrigue, mystery and action, E.P. Jacobs’ groundbreaking saga of a battle for global peace and universal liberty concluded in a spectacular duel beneath the Earth and all-out war in the skies of the embattled world. SX1 Strikes Back sees a tension-drenched race against time as Blake, Mortimer and the shattered dregs of Britain’s military forces prepare for a last-ditch strike using the Professor’s greatest inventions to win freedom for the oppressed peoples of Earth…

It opens with a stunning reprise of past events – cunningly compiled from six full-page illustrations (original covers from weekly Le Journal de Tintin), before a bold commando raid liberates a trainload of British prisoners. Brought to a fabulous subterranean fortress, the assorted scientists and engineers discover an underground railway, factory, armaments-facilities and even an atomic pile, all furiously toiling to complete the mysterious super-weapon dubbed “Swordfish”. The P.O.W.s readily join the volunteers, blithely unaware that supremely capable scoundrel Olrik is amongst them in devilish disguise…

Days pass and as preparations for the Big Push produce satisfactory results, a slew of disastrous accidents lead to one inescapable conclusion: there is a saboteur in the citadel…

Eventually Olrik grows overconfident and Mortimer exposes the infiltrator in a crafty trap. However, in a fraught confrontation the Colonel escapes after almost causing a nuclear catastrophe. Fleeing across the seabed, the harried spy narrowly avoids capture by diver teams and a hungry giant octopus! The flight takes its toll upon Olrik and he barely reaches land alive. Luckily for him, Bezendjas has been checking out that region of coastline and finds the exhausted scoundrel trapped in his stolen deep-sea suit. After a lengthy period, the dazed desperado recovers and delivers his hard-won information. All too soon, Imperial forces are converging on the British bastion.

As air and sea forces bombard the rocky island and sea-floor citadel, Olrik dispatches crack troops to break in via a concealed land entrance, resulting in a staggering clash in the depths of the Earth.

They were almost in time…

After months of desperate struggle, Mortimer and his colleagues have rushed to complete the incredible Swordfish: a hypersonic attack jet with uncanny manoeuvrability and appallingly destructive armament. Astoundingly launched from beneath the sea, a sleekly sinister plane single-handedly shoots the Empire jets out of the skies before sinking dozens of attacking ships. Ruthlessly piloting SX1 is Francis Blake; and even as he wreaks havoc upon the invading force, he is joined by SX2: a second, equally unstoppable super-jet…

Before long the Yellow Empire is in full retreat. A squadron of Swordfish is completed and with the once-occupied planet in full revolt, Lhasa soon tastes the flaming death it callously inflicted upon a peaceful, unsuspecting and now extremely vengeful world. They are only just in time: the insane and malignant Emperor is mere moments away from launching a doomsday flight of atomic missiles to every corner of the planet he so briefly owned…

This Cinebook Complete edition also includes fascinating illustrated essay ‘Jacobs: 1946, The Swordfish, starting point of a masterful work’, first seen in The World of Edgar P. Jacobs, plus a biographical feature and chronological publication chart of Jacobs’ and his successors’ efforts.

Gripping and fantastic in the truest tradition of pulp sci-fi and Boy’s Own Adventures, Blake and Mortimer are the very epitome of dogged determination; always delivering grand, old-fashioned heroic Blood-&-Thunder thrills & spills in timeless fashion and with astonishing visual punch. Despite an epic body count and dated milieu, any kid able to suspend modern mores and cultural disbelief (call it alternate Earth history or Bakelite-Punk if you want) will experience the adventure of their lives – and so will their children.

Original editions © Éditions BLAKE & MORTIMER/Studio Jacobs (Dargaud – Lombard S.A.) 1984, 1985, 1986 by E.P. Jacobs. Cahier Hachette© Éditions BLAKE & MORTIMER/Studio Jacobs (Dargaud – Lombard S.A.) 2012, Brieg F. Haslé et Nicolas Thibaudin. All rights reserved. English translation © 2024 Cinebook Ltd.
Win’s Christmas Gift Recommendation: Spot On Epic Retro-Wonderment… 10/10

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Asterix and Obelix All at Sea


By Uderzo, translated by Anthea Bell & Derek Hockridge (Sphere)
ISBN: 978-0-75284-778-8 (Album PB), 978-0-75284-717-7 (Album HB), 978-1-44401-337-5 (Digital edition)

This book contains Discriminatory Content included for comedic effect.

It’s still Asterix & Obelix’s 87th Anniversary (for the strip) and 85 years since the first collected Album!

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

When World War II began he spent time with farming relatives in Brittany and joined his father’s furniture-making business. Brittany beguiled and fascinated Uderzo: when a location for Asterix‘s idyllic village was being mooted, the region was the only choice. In the post-war rebuilding of France, Uderzo returned to Paris and became a successful artist in the recovering nation’s burgeoning comics industry.

An inveterate traveller, the artistic prodigy met Rene Goscinny in 1951. Soon becoming fast friends, they resolved to work together at the new Paris office of Belgian Publishing giant World Press. Their first collaboration was in November of that year; a feature piece on savoir vivre (how to live right or gracious living) for women’s weekly Bonnes Soirée, following which an avalanche of splendid strips and serials poured forth. Jehan Pistolet and Luc Junior were created for La Libre Junior and they resulted in a western starring a “Red Indian” who eventually evolved into the delightfully infamous Oumpah-Pah. In 1955, Uderzo drew Bill Blanchart for La Libre Junior, replaced Christian Godard on Benjamin et Benjamine and in 1957 added Charlier’s Clairette to his portfolio.

The following year, he made his debut in Tintin, as Oumpah-Pah finally found a home and a rapturous audience. Uderzo also drew Poussin et Poussif, La Famille Moutonet and La Famille Cokalane. When Pilote launched in 1959, Uderzo was a major creative force for the new magazine, collaborating with Charlier on Tanguy et Laverdure and launching – with Goscinny – a little something called Asterix…

Although the gallant Gaul was a massive hit from the start, Uderzo continued working on Les Aventures de Tanguy et Laverdure, but once the first hilarious historical romp was collected in an album as Astérix le gaulois in 1961 it became clear the series would demand most of his time – especially since the incredible Goscinny never seemed to require rest or run out of ideas.

By 1967 Asterix occupied all Uderzo’s time and attention, so in 1974 the partners formed Idéfix Studios to fully exploit their inimitable creation. In case you were unaware, Idéfix is also the Franco-Belgian name for Obelix’s little white dog. When Goscinny passed away three years later, Uderzo had to be convinced to continue the adventures as writer and artist,  but eventually resumed to produce a further ten volumes up until 2010 when he retired.

After nearly 15 years as a weekly comic serial subsequently collected into book-length compilations, in 1974 the 21st (Asterix and Caesar’s Gift) was the first published as a complete original album before serialisation. Thereafter each new release was an eagerly anticipated, impatiently awaited treat for the strip’s millions of fans…

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

Many of the intoxicating epics are set in various exotic locales throughout the Ancient World, with these Garrulous Gallic Gentlemen reduced to quizzical tourists and bemused commentators in every fantastic land and corner of the civilisations that proliferated in that fabled era. The rest – more than half of the canon – unfold in Uderzo’s beloved Brittany, where, circa 50 B.C., a little hamlet of cantankerous, proudly defiant warriors and their families resisted every effort of the mighty Roman Empire to complete the conquest of Gaul.

The land is divided by the notional conquerors into provinces of Celtica, Aquitania and Amorica, but the very tip of the last just refuses to be pacified…

Whenever the heroes were playing at home, the Romans, unable to defeat the last bastion of Gallic insouciance, futilely resorted to a policy of absolute containment. Thus the little seaside hamlet was permanently hemmed in by heavily fortified garrisons Totorum, Aquarium, Laudanum and Compendium. The Gauls couldn’t care less, daily defying and frustrating the world’s greatest military machine simply by going about their everyday affairs, protected by the miraculous magic potion of resident druid Getafix and the shrewd wits of the diminutive dynamo and his simplistic, supercharged best friend Obelix.

Firmly established as a global brand and premium French export from the mid-1960s onwards, Asterix the Gaul continues to grow in quality as new creators toil ever onward, crafting further fabulous sagas and building a stunning legacy of graphic excellence and storytelling gold…

Uderzo’s sixth solo session was Asterix and Obelix All at Sea (released in 1996 as La Galère d’Obélix) as the 30th volume of the ever-unfolding saga. It opens in the cruel and callous capital of civilisation wherein the Master of the World is having a bit of a bad day. Not as bad, however, as his Grand Admiral Crustacius, who has just allowed a bunch of oar slaves to mutiny and steal Julius Caesar’s personal galley…

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

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

Meanwhile, in the faraway subject of the rebels’ discussions, Asterix & Obelix are in argumentative mood too, but their clash is put aside when word comes that the entire complement of all four encircling garrisons are massing on the far side of the forest. Always eager for a little martial recreation, the villagers dose up on Druid Getafix’s strength-boosting potion. Once again, Obelix is frustrated in his attempt to get a share of the tantalising elixir and stumbles off in high dudgeon. The generally genial giant had fallen into a vat of potion as an infant and grown up a permanently superhuman, eternally hungry hulk who hates being told no and doesn’t believe more of the mouth-watering miracle mixture might harm him…

The Romans are utterly unaware of the danger insouciantly sauntering towards them, engaged as they are in military drills to celebrate the imminent arrival of Admiral Crustacius. Thoroughly thrashing the amassed legions, the victorious Gauls wonder why Roman-bashing addict Obelix is absent and Getafix, dreading the worst, dashes back to discover his greatest fears realised. The intransigent idiot has foolishly imbibed deeply from the potion and been turned to stone and nothing the druid can conceive will cure the calcified colossus!

It’s during this time of trouble that Spartakis and his freed men arrive, seeking sanctuary. As the welcoming villagers carry the huge ornate galley into the village, the Obelix ordeal takes a strange turn as his stony spell wears off and the former fighting fool returns to flesh and blood – albeit as the feeble little boy he was before ever falling into the potion pot. The little wimp can’t even eat roast boar anymore…

The puny pipsqueak is the darling of the town but cannot abide his weak, ineffectual status. The situation becomes truly intolerable after he is captured by Crustacius and shipped off to Rome. After suitably castigating the troops, Asterix, Getafix and faithful mutt Dogmatix give chase in Caesar’s ship, crewed by Spartakis and his valiant band of brothers. Powered by potion, the pursuers easily overtake the Romans, who have been hampered by Obelix’s obnoxious antics and the predations of the perennially, phenomenally unlucky pirates to whom (after the period of traditional chastisement) Asterix awards Caesar’s appropriated galley. Crucially, however, in his haste the little warrior leaves behind a barrel of potion when his comrades and little Obelix all transfer to a new, less conspicuous vessel.

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

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

Meanwhile on Caesar’s galley, Crustacius has found Getafix’s stashed potion and powered up, dreaming of ousting his foul-tempered boss and making himself Emperor, even as leagues away, a Roman boarding party invades the pirate galley and menaces the powerless Gauls. With Asterix about to be killed, little Obelix goes berserk and the emotional overload restores him to his corpulent, hyper-charged older self, much to the distress of the Roman soldiers…

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

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

This rollicking fantasy and paean to family and friendship cemented Uderzo’s reputation as a storyteller whilst his stunning illustrative ability affords glimpses of sheer magic to lovers of cartoon art. Asterix and Obelix All at Sea proves the potion-powered paragons of Gallic Pride will never lose their potent punch. If you still haven’t experienced this sublime slice of French polish and graphic élan, it’s never too late…
© 1996 Les Editions Albert René Goscinny/Uderzo. Revised English translations © 1998, 2002 Les Editions Albert René, Goscinny/Uderzo. All rights reserved.

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DC Finest: Fourth World – When the Old Gods Die


By Jack Kirby, with Vince Colletta, Curt Swan, Werner Roth, Murphy Anderson, Neal Adams, Frank Giacoia, Dick Giordano Heck, Dennis O’Neil, Bob Kanigher, John Costanza, Ben Oda, Mark Evanier, Steve Sherman, Marv Wolfman & various (DC Comics)

ISBN: ?978-1-79950-831-1 (TPB)

This book includes Discriminatory Content produced in less enlightened times.

Jack Kirby was born today in 1917. This is part one of his absolute greatest work and I’ll happily fight you if you disagree…

When Jack Kirby returned to the home of Superman in 1970, he brought with him one of the most powerful concepts in comic book history. The epic grandeur of his Fourth World saga grafted a whole new mythology over the existing DC universe and blew the developing minds of a generation of readers.

It began in Superman’s Pal Jimmy Olsen where he revived his Golden Age kid-team The Newsboy Legion, introducing large-scale cloning in the form of The Project and hinting that the city’s gangsters had extraterrestrial connections, Kirby moved on to new titles The Forever People, New Gods & Mister Miracle; an interlinked triptych of projected finite length titles that together would form a mosaic of staggering potency and grandeur. The groundbreaking titles introduced rival races of gods, dark and light, risen from the ashes of a previous Armageddon to battle forever… and then their eternal conflict spread to Earth…

Kirby’s concepts, as always, fired and inspired his contemporaries and successors. The gods of Apokolips and New Genesis became a crucial keystone of unfolding DC continuity and integral foundation of that entire fictional universe thereafter, surviving numerous revisions and retcons which periodically bedevil long-lived comics fans. Many major talents dabbled with the concept over the years and a host of titles have come and gone starring Kirby’s creations.

This trade paperback collection reshapes the chronology slightly, rejecting strict release date order for a more syncretic narrative, but does include sidebar material never included in previous collected editions. Here you will see the pertinent contents of Superman’s Pal, Jimmy Olsen #133-139 & #141-143; The Forever People #1-4; Mister Miracle #1-4; The New Gods #1-3, plus relevant (but non-Kirby) material from Superman’s Girl Friend Lois Lane #111, 114 & 115 and Superman #233, all collectively spanning cover-dates January – November 1971.

After his previous acrimonious departure from National/DC, Kirby had found fresh fields and an equally hungry new partner in Stan Lee at the remnants of ailing Atlas Comics (AKA once-mighty Timely Comics). There he launched and spearheaded a revolution in comics storytelling, but after just over a decade of a continual innovation and wonderment, Jack felt increasingly stifled. His efforts had transformed the dying outfit into industry-leader Marvel, but success had left him trapped in a profitable rut. Thus, he moved back to DC to generate another tidal wave of sheer imagination and pure invention. The result was experimental adult magazines Spirit World & In the Days of the Mob followed by a stunning reworking of Superman’s Pal Jimmy Olsen. By the time he had finished, all DC continuity was changed. The latter was a prelude to his landmark Fourth World saga comprising interlinked contemporaneous titles: the very definition of something game-changing and far too far ahead of its time…

Incidentally, on many levels Jimmy Olsen was an ideal match for the King and not an incongruous display of breast-beating or do-or-die audition. Olsen was an idealistic, heroic young man in the thick of the incredible at all times, and Kirby had a long history with such boy heroes. He and Joe Simon had invented the comic book “kid gang” subgenre and for the next two years Kirby revived it with his new take on The Newsboy Legion, albeit interlaced with a future-embracing backstory and aspirational wonder, rather than the poverty, privation and ongoing war of survival embodied by the Forties iteration.

As previously stated, in this tome we don’t start in Metropolis’ Suicide Slum, but long away and far ago as the scene is set by a history lesson from the distant past…

Cover-dated February/March 1971, New Gods #1 opened with an ‘Epilogue’ and closed on a ‘Prologue’ as Kirby & contractually assigned inker Vince Colletta declared ‘Orion Fights for Earth!’ Despite a promise of complete autonomy, the King had surrendered much to get his dream rolling. Crushing deadlines and ridiculous expected monthly page counts were one thing, but his choice of inkers was vetoed, and he had to compromise and accept insulting art edits drawn by regular Superman artists perennially pasted onto Superman’s trademarked face to present something DC demanded. Nevertheless, the work was everything and he persevered…

Here we learned that (relatively) soon after creation began, gods were born, lived and died – primarily by warring with each other. When the Old Gods perished in a cosmos-shaking conflagration their perfect primal world was sundered. When the chaos cooled, fragments had congealed into two new but lesser planets: the dark vicious globe of Apokolips and gleaming pristine orb New Genesis. Over millennia, a fresh generation of superior beings of might and majesty populated the spinning spheres, but sadly, a tragic trait New Gods shared with their progenitors was a capacity for destruction and taste for conflict. Denizens of both worlds always and inevitably found new ways to end each other’s immortal lives.

The tale proper begins on joyous, spiritual New Genesis years after the latest all-out war with Apokolips ceased. Mighty Orion arrives in paradisical Supertown where divine patriarch Highfather communes with cosmic mystery The Source. The ineffable metaphysical conduit despatches the turbulent, ever-anxious wolf in their fold to the antithetical diabolical hell-world, only to find despot Darkseid gone and – against all treaties – captive humans from Earth being “examined” for signs of the tyrant’s dream. For both races the basic tool is Mother Box: sentient circuitry connected to The Source and lifelong cyber-symbiotic companion, able to communicate, advise and manipulate the physical world.

The lord of Apokolips wants to do away with all that and personally control everything. Furthermore he’s decided this means possessing an irresistible, intangible ultimate weapon. The Anti-Life Equation is a cheat code for totalitarianism: the instant negation of choice and free will, and anyone using it would command all that lives. Darkseid’s obsessive search for it had led him to Earth and now he had kidnapped a cross-section of humans to test his extraction methodology. That he is gone and his realm is governed by Mass Control Units means the Evil One has found his key to success…

After batting his way onto the dire world against Parademons, Darkseid’s Dog Cavalry and assorted terror weapons, Orion frees the mortals as New Genesis God of Knowledge Metron delivers advice and a message. Thus, after outwitting and outfighting vile brute Kalibak the Cruel, the peaceful God of War uses a matter-transmitting Boom Tube to return them all to Earth. Darkseid and his elite warrior caste are waiting for him. They have already infiltrated Earth through its criminal class and begun testing humanity in search of the unique mind holding the Equation. Apparently, a sufficient amount of instilled terror should shake it loose…

The Forever People #1’s ‘In Search of a Dream!’ sees Kirby wonders unfold following a spectacular and contemporarily astute UFO sighting wherein friends of Jimmy Olsen witnessed the arrival of a quartet of weird wild kids on the strangest bike on – or off – Earth. Because they took pictures, Clark Kent’s life changed forever….

He had just completed a bruising interview that made him question his role and purpose on Earth when Jimmy’s snapshots of those weird kids offer Superman a glimpse of a place where he can be one guy among equals. Curiosity and a painful need to find the newcomers drive the Man of Steel to find them, and brings him into first known contact with the absolute embodiment of intellectual and philosophical totalitarianism. Darkseid had been infiltrating our world, quietly seeking a unique mind concealing a metaphysical ultimate weapon. The Anti-Life Equation was instant, irresistible negation of free will and with it the right despot would command all that lives. Darkseid’s obsessive search had led him to Earth and now he had kidnapped a psychic youngster from a world called New Genesis. Her name was Beautiful Dreamer…

All this Superman learned later, after being ambushed by alien-armed racketeers Intergang and saved by her friends Big Bear, Vykin the Black, Serifan & Mark Moonrider. They were all from that promised land Superman had glimpsed and had abandoned Eden to “get involved”, helping their friend and Earth. They called themselves Forever People…

Apparently benevolent, curious kids open to new experiences and welcoming the myriad choices the future holds, they were also trained to handle trouble. When Darkseid’s forces counterattacked and took out Superman they revealed one final trick, combining into an unbeatable enigmatic gestalt being called Infinity Man…

When Darkseid ceded the day, he left a booby trap only Superman could tackle and in return the kids let him travel to Supertown on their fabled paradise planet New Genesis. However, they stressed that any decent, right-thinking person’s place was here, fighting evil by facing Darkseid. For the briefest moment, need overwhelmed duty before, inevitably, the Man of Tomorrow turned back and took up the new never-ending battle…

After Forever People #1, crossovers with DC mainstays were largely sidelined in favour of a tense and relatively isolated new normal. Those kids were Kirby’s way of depicting how conflict affected peripheral players and dragged them in and down, whilst the most important component was seeing seasoned soldiers do their work. New Gods would focus on the war itself. With that all going on, next came something utterly unexpected: a non-hero reflecting a changing world, and seeking to ride the turbulent era’s zeitgeist by looking out for himself and breaking loose of expectations and societal shackles…

Cover-dated February/March 1971, the premiere issue of Mister Miracle – Super Escape Artist sprang the last piece of the puzzle on readers, opening with a sedate set of mysteries counterpointed by emotional tension and explosive action. The star – based on Jack & Roz Kirby’s friend (comics genius, magician/escapologist) Jim Steranko – was a fugitive runaway avoiding (perhaps dodging?) his responsibilities and searching for deeper truths. No matter how wild things got, that set-up was pure reportage…

Inked by Colletta ‘Murder Missile Trap!’ introduces aging entertainer Thaddeus Brown, an old war horse trying to get back in the saddle, practicing his old escapology act to win an unwise wager with Metropolis’ Intergang boss Steel Hand. A terrifying test run is interrupted by a young stranger who observes with shock Brown’s apparent suicide and the panic of equally aged assistant Oberon even as he rushes in to help them. That act of getting involved leads to orphan Scott Free inheriting the identity and stage persona of Mister Miracle after Steel Hand cheats and has Thaddeus shot and killed. Angry, intrigued and ready to settle down at last (or for a while at least), the wanderer (who has an astounding carpet bag of high-tech tricks) wins justice for his predecessor by beating a spectacular rocket trap before opting to try something strange but substantial for a change. However, the coils of his past are already preparing to ensnare him…

That premiere issue (and this collection) also offered a text feature by Marvin Wolfman wherein readers could enjoy ‘A Visit With Jack Kirby’ before New Gods #2 confirms that there are no civilians in war in ‘O’ Deadly Darkseid!’ After fighting off a savage ambush on arrival and confronting Darkseid himself, Orion drafts the shaken, rescued human hostages as his point men and intel unit. Private eye Dave Lincoln, secretary Claudia Shane, student Harvey Lockman and aging insurance salesman Victor Lanza are scared but resolved to help their world however possible, even as the dread tyrant reviews his forces scattered all over Earth applying a range of schemes to make humanity scream and shatter and give up that equation.

As New Genesis’ comrades volunteer for the fight on this isolated island Earth, the call to arms comes in Lincoln’s backyard as God of Depravity DeSaad triggers his gigantic Fear Machine to feed off the paralysing horror it generates. However, thanks to sentient miracle computer Mother Box, his innate personal power and the star-shattering Astro-Force he commands, Orion easily wins the initial skirmish…

This scene & agenda setting saga is complemented with Mark Evanier & Steve Sherman’s prose filler ‘To and From The Source’ prior to FP #2 finding our young explorers exuberantly enjoying their dalliance with a primitive culture. The reunited quintet joyously interact with toiling humanity, and find shelter in a mostly deserted slum with disabled kid Donnie and his aging Uncle Willie. The visiting star kids’ hunger to learn is sadly curtailed when Darkseid steps up his hunt for the equation. The monster’s reasoning says abject terror could shake loose the formula from whoever is afflicted with it, and to that end he orders bug-behemoth Mantis to declare shattering ‘Super War!’ on humanity.

Arguably marginally less powerful than the Master of Apokolips, Mantis can only be countered by Infinity Man, and the Forever People happily ask living computer Mother Box to perform the ritual that will call him and subtract them from existence, sparking a cataclysmic clash. The drama is again augmented by an Evanier & Sherman essay, specifically ‘Buzzing in the Boom Tube’ as is Mister Miracle #2 with ‘Miracle Talk’.

The comics magic preceding it considers the prosaic life of a showman, as amidst a beguiling setting Scott & Oberon plan a theatrical comeback, Sadly, the old stagehand/retainer learns just how different the new kid really is and his suspicions of a wider, wilder side are confirmed as the orphanage Scott fled comes looking for him. Vicious Apokolyptian virago Granny Goodness unleashes the techno-terrors of matter-warping monster Overlord, trapping the targets in the insidious, infernal ‘X-Pit!’ and provoking a battle for their lives and sanity…

Kirby’s arrival coincided with a major overhaul of DC’s biggest gun, and is represented here by the last three pages of Superman #233. The Mn of Tomorrow had been a mega-media star since his launch, with internationally syndicated comics, books, newspaper strips, movie and animated serials plus hugely successful radio and TV shows (live action and animated) making the franchise globally recognizable. Whenever that happens, inevitably overkill and overexposure inescapably set in and the core property needs to be carefully overhauled or vanish forever. Incoming editor Julie Schwartz knew his market and was open to new ideas, and his creative changes were just appearing as 1970 ended. The new direction was also vanguard and trigger for a wealth of controversial, socially-challenging “realistic” story content unseen since the feature’s earliest days: a wave of tales ultimately described as “Relevant”…

As the sixties closed Superman was in dire need of editorial revision. That officially began with Superman #233 in a groundbreaking serial by scripter Dennis J. “Denny” O’Neil, and illustrators Curt Swan & Murphy Anderson: a deliberate very public abandonment of tired old supervillains, fanciful Kryptonian scenarios and otherworldly paraphernalia instantly poked the readership and revitalised the Man of Tomorrow, attracting new readers and began a period of engagingly human-scaled stories making Superman a “must-buy” character all over again.

Although only the portentous ending is included here, the innovations began with ‘Superman Breaks Loose’ as a government experiment to harness Kryptonite as an energy source goes explosively wrong. Closely monitoring, the Metropolis Marvel is blasted across the desert surrounding the isolated lab, but somehow survives a supposedly fatal radiation-bath. Then, reports begin filtering in from all over Earth: every piece of the deadly mineral has been transformed to harmless, common iron! As he goes about his protective, preventative patrols, the liberated hero experiences an emotional high at the prospect of all the good he can now accomplish. He isn’t even phased when the Daily Planet’s new owner Morgan Edge (a key character created by Kirby and Darkseid’s top secret agent) shakes up Clark Kent’s cosy civilian life: summarily ejecting him from the print game to remake him as a roving TV journalist. (for more see DC Finest: Superman – Kryptonite Nevermore)…

As much humour feature as adventure series, Superman’s Pal Jimmy Olsen was a long-running but increasingly lacklustre spin-off feature spawned by the TV show that had very much reached its end. Latterly, Leo Dorfman had begun the process of ending the cascade of comedic transformations and body-shaming events, remaking Jimmy into a competent, confident action hero and serious investigative journalist. This was in tune with a rebellious new era but stalled when the worlds of DC forever altered on the pages of what was then considered one of their least appreciated and poorest-selling titles. According to fan myth & legend, none of it apparently mattered when Kirby took over. By all popular accounts, he had asked for DC’s worst performing title to prove what he could do, and used that gesture to spearhead a wave of changes whilst adapting grand schemes his old employers at Marvel were too timid to countenance on their pages…

Jack’s first in-universe foray was Superman’s Pal Jimmy Olsen #133, cover-dated October and on sale from August 25, 1970. Suddenly readers were thrown into a bravely strange new world where, out of nowhere, extremely shady incoming Daily Planet owner Morgan Edge gifts Jimmy with a fantastic supercar – the “Whiz Wagon” – demanding that he and his previously unseen pals ‘The Newsboy Legion!’ (technically the “New Newsboy Legion” comprising the sons of Tommy, Big-Words, Gabby & Scrapper, with the addition of African-American, scuba diving addict Flipper Dipper) deliver an exclusive scoop on a bizarre counterculture movement in the wilds outside Metropolis. The mysterious subjects are all weird hippie-types and don’t trust anyone over age 25, so Edge needs to send youth combined with experience, However, the one who can’t be trusted is Edge himself. He has undisclosed connections to crime combine Intergang and a chilling stone-faced alien dubbed Darkseid…

After very publicly surviving an assassination attempt, Clark Kent goes into hiding, allowing Superman to take off after Jimmy and the boys as they probe fantastic unsuspected region dubbed the Wild Area. Here Olsen survives trial by combat to become leader of futuristic biker gang The Outsiders, before being sucked into their quest for meaning by hunting a moving mountain inhabited by techno-pacifists “The Hairies”…

Linking up with the Man of Steel as tremors rock the organically grown refuge city of Habitat, Jimmy and the Newsboys chase the ultimate test of existence alongside other motor nomads, unaware that pal Superman already knows the secret they’re seeking. What Jimmy isn’t aware of is that Edge has boobytrapped the Whiz Wagon to satisfy his vile master’s desire to destroy what might be the next step in human evolution and a threat to his own schemes…

The total reboot closed with the King introducing himself to a prospective new audience text titbit ‘Jack Kirby – CONTINED’ but although Kirby & Colletta put their hearts and souls into the job, and despite Publisher Carmine Infantino’s promise of strict non-intervention, meddling with the concept began early, as regular Superman art staff redrew Superman and Jimmy’s faces. We’ll never know what they tried to do to the overall story arc…

Without pause for breath, exposition or recap SPJO #134 saw Jimmy and his petrol-head wild bunch catch up to monstrous mechanised white whale ‘The Mountain of Judgement!’ after astoundingly taking out Superman with weapons casually discarded by inveterate tinkerers the Hairies. Thankfully, Edge’s bomb is easily defused by the techno-hippies who all share an incredible secret; one the Action Ace is fully aware of. In short order, Jim and the lads are briefed on “The Project”: the US government’s cracking of the human genome and extensive duplication/experimentation on life forms. This had already resulted in cloning the dead, mass-producing soldiers & staff to order and even modifying or reconfiguring chromosomal structures to create “D.N.A.liens”. These included the genetically pacifist techno-wizard Hairies. Moreover, the whole Project is run for the government by none other than slum-kids made good the original Newsboy Legion!

Although commonplace now, the notion of cloning was practically unknown in 1970 and Kirby took the idea and ran with it: blending eternal questions about Life itself with Spy Fi tropes, gangsterism and Bond movie settings, all packed with freaks and monsters and underpinned by a constant threat posed by a mysterious mastermind and his own experimental devils. The inspired auteur was also pulling out all the stops visually and his experimental concepts were backed up by equally innovative art and photo collages. The issue ends with Kirby’s rumination on technology in ‘The Whiz Wagons are Coming!’

Followed by similar thoughts in ‘THE HAIRIES – Super-Race or Man’s Second Chance’, SPJO #135 introduces Simyan & Mokkari, whose raid on the Project’s genetic storehouse provides raw material to constantly reproduce wilder and wilder versions of our heroes in their own hidden ‘Evil Factory!’ Being utterly without restraint or ethical scruple, their goal of destroying the Project for Darkseid is well-advanced, and – as previously stated – Jimmy’s genes are a particularly promising medium for random transformations…

Their control of what they make is less impressive though, and a superstrong, giant Jimmy infused with artificial Kryptonite is teleported without plan into the Project simply to save Simyan & Mokkari from dying at the oversized hands of their own experiment. Although it almost kills Superman and his juvenile pals, the day is saved by the Senior Newsboys’ passion project – a new regrown and modified iteration of their murdered WWII superhero patron Jim Harper – The (Golden) Guardian – in concluding, action-packed background-filling expository chapter ‘The Saga of the D.N.A.liens!’ (cover-dated March 1971). Chronologically this led into the launch of Kirby’s official Fourth World titles Forever People, New Gods and Mister Miracle #1.

Scene set, Jimmy’s further exploits were generally Fourth World adjacent: a forge and funnel for concepts linking Superman to the ongoing narrative of Gods and Armageddons whilst exploring Mankind’s dangerous tendencies and corruptible natures. In Superman’s Pal Jimmy Olsen #137, the Newsboys and Jimmy learn more about their own (utterly non-consensual) contributions to the Project. Without their knowledge Scrapper has been mass-produced as foot-soldiers and guards in different sizes – from six feet to six inches – and innumerable Gabbys man switchboards and communications consoles! As they reel in shock, the Evil Factory strike again. As Jimmy meets The Project’s emergent telepath and resident D.N.A.lien Dubbilex, elsewhere Darkseid demands results forcing Simyan & Mokkari to rashly unleash another Olsen variant on the hidden science citadel. Gifted with astounding strength and uncanny energy powers ‘The Four-Armed Terror!’ has been bred to feed on nuclear radiation and just one of them carves a wave of destruction that extends into the Wild Area on its path to the Project’s atomic power plant. Superman and the boys are easily disposed of and discarded, with the crisis escalating even further after the Apokolyptian biologists lose control of the other quadra-killers and beam the entire rampaging herd into the subterranean Project’s tunnels, forcing Superman to pull out all the stops to get free and save everything in cataclysmic closing chapter ‘The Big Boom!’

Cover-dated June/July 1971, New Gods #3 explored metaphysics and the unknowable. Dwelling in spaces far beyond the rational and mundane, New Gods are subject to forces beyond mortal understanding. One of them is the embodiment of cessation who personally calls for each of them as they perish. ‘Death is the Black Racer!’ opens with glorious, jovial innocent God of Illumination Lightray barely escaping his moment with the great shadow – thanks to coldly methodical Metron, but the close escape finds the cosmic force diverted and deposited on Earth. Throughout the overlapping clashes and conflicts there is undeniable indications that even gods are being moved and shaped by greater forces that have larger plans in motion. Thus the macabre soul collector inexplicably nests within the immobile form of paralysed Vietnam veteran Willie Walker, and – apparently inadvertently – derails a plot by Apokolips-backed mob Intergang to destroy all communications in Metropolis to create chaos and panic…

Elsewhere, having explored isolation versus community, introduced outside negation of free will and the concept of terror as addictive sustenance (Darkseid’s vile deputy DeSaad feasts on fear, pain and torture), Forever People #3 tackles head-on the saga’s core concepts. ‘Life vs. Anti-Life!’ probes conformity, personal freedoms, informed choices, organised bigotry and the tyranny of psychological and physical fascism as the wonder kids are tracked down by Justifiers: human zealots who willingly surrendered individual autonomy to what appears to be a televangelist telling them what they want to hear. Defeat doubt by surrendering to Anti-Life. It is Good to kill those who are better or weaker than you. I’m sure we’ve all dabbled with those notions…

Equipped with terrifying Apokolips weapons, Justifiers burn libraries, attack minorities and even drive the kids out of their tatty slum home and onto the attack, infiltrating Apokolyptian infiltrator/demagogue Glorious Godfrey’s appalling recruitment rally. Shockingly, when Infinity Man faces Darkseid, the devil defeats our mysterious angel and the traumatised kids are captured…

Still seeking his separate way Mister Miracle #3 opens a bravura double-issue imbroglio as Scott Free agrees to an honourable duel with dishonourable disembodied robot-wearing intelligence Doctor Bedlam. Darkseid’s war code is strict and binding and finds the escape artist challenged to make his way out of a packed 50-storey skyscraper. The problems comes because the edifice is sealed tight and every person inside it is a raving homicidal maniac thanks to mental murderer Bedlam’s administering of ‘The Paranoid Pill!’…

As stated before, Kirby’s Fourth World impacted other titles, particularly the Fourth Estate of Superman’s supporting cast. Here, crafted by Bob Kanigher, Werner Roth & Colletta, ‘The Dark Side of the Justice League!’ from Superman’s Girl Friend Lois Lane #111 (July 1971) sees the feisty newsmaker targeted by a miniature, corrupted JLA grown by the Evil Factory. Turned into a unsuspecting bio-weapon to kill The Man of Steel, the plot fails as The Project had anticipated such a problem and provided Lane with what every girl needs: her own cloned well-armed protection force…

Forever People #4 then horrifically subverts the American Dream as theme park Happyland is revealed as ‘The Kingdom of the Damned’: a sprawling factory built to mass-produce terror by exploiting whimsy and fantasy. Here DeSaad torments countless human victims while others innocently see nothing but toys and robots dancing and playing for their pleasure. To this set-up the captive waifs of New Genesis are added as DeSaad feeds, but they have all underestimated the power of Mother Box who seeks aid and finds it in the form of zen wrestler ‘Sonny Sumo’…

At this juncture DC comic books expanded to 52 pages and as well as reprints, Kirby’s Korner ran short background vignettes. The lost history of the previous war of pantheons was filled in as here when ‘The Young Gods of Supertown Introducing Lonar’ finds a wandering historian picking through cosmic rubble on New Genesis and uncovering a living, breathing remnant of that cataclysmic conflict

This cliffhanger moment is somewhat offset by a trio of Forever People pinups: ‘The Super-Kids of the Century!’, ‘Beautiful Dreamer vs Darkseid!’ and ‘The Infinity Man…

Despite those promises of non-interference, DC editors and promotional staff perpetually sought to “goose up” Kirby’s flagship title. Always a team player, the King acquiesced to a guest-appearance by currently-hot comedian Don Rickles and oddly (in the manner of Marmite) it either worked uproariously or appalled readers. I thought it was a genuinely hilarious hoot. Further undercutting the narrative, the saga was bifurcated by a reprint 80-Page Giant of pre-Kirby Olsen escapades in SPJO #140 (not included here).

Nevertheless #139 & 141 (July’s ‘The Guardian Fights Again!!!’ and September’s ‘Will the Real Don Rickles Panic?’) comprise a compelling tale of Edge’s unfolding evil, Intergang’s growing influence and the creeping menace of Darkseid, as the tyrant allows his tech to be used to send Clark Kent into hyperspace destined for Apokolips whilst Jimmy and the Golden Guardian are poisoned by slow-acting incendiary Pyro-Granulate: a slow death that will turn them into human torches unless they find an antidote.

Slowing them down is equally doomed Galaxy Broadcasting staffer Goody Rickles whom Edge wants gone because he looks like the star Edge wants to sign up – and is really, really annoying…

The conclusion is compounded by text feature ‘The Newsboy Legion Returns’ by Evanier & Sherman and a Kirby self-portrait… before the last Mister Miracle inclusion (#4). As Oberon frets back at the Brown mansion, he is visited by another old friend of Scott’s. However, master warrior Big Barda is not out to assassinate the runaway. She seems more interested in his wellbeing and fate and teleports to the trap site in time to watch Mister Miracle deftly avoid ‘The Closing Jaws of Death!’ and humiliate another Apokolips monster. Barda is another abstention from the Apokolips method and a rowdy runaway like no other who will change Scott Free’s life forever in the next volume…

Extracted from Superman’s Girl Friend Lois Lane #114, two brief pages by Kanigher, Roth & Colletta’s ‘The Foe of 100 Faces’ act as a set-up to ‘My Death… by Lois Lane!’ (SGFLL #115) wherein Morgan Edge attempts to kill his nosy top reporter as she closes in on his darkest secret and takes Superman with her. His biggest mistake, however, is attempting to suborn supernal force The Black Racer to do his dirty work…

With Kent, Lane and Superman reasonably safe, Kirby next addressed the rise in horror and supernatural tales via a 2-parter (reeler?) beginning in #142 with ‘The Man from Transilvane!’ Here, seemingly mystic vampire Count Dragorin and his wolfman assistant Lupek target and “turn” Edge’s PA Laura Conway in their desperate hunt for long-missing mad scientist Dabney Donovan. He was a planetologist who apparently built worlds in his secret laboratory and shaped entire civilisations by screening movies across their skies. Like all sensible scientists, Donovan planned to end his research project on a certain day and set up programmed measures involving his ‘Genocide Spray!’ (SPLO #143 ) with no consideration of the beings he had made and discarded… but Jimmy and Superman certainly did…

Elsewhere, the Newsboy Legion had their own case, one that again led to Intergang but also the thug who murdered the original Jim Harper/Guardian…

From SPJO #142, Kirby added short background-enhancing vignettes and here 2-pager ‘Strange Stories of the D.N.A. Project!! “Hairie” Secrets Revealed!!!’ offered a glimpse of the techno-hippies and their Mountain of Judgment, whilst the next issue added drama to fact-finding with ‘Strange Stories of the D.N.A. Project!! The Alien Thing!!!’ detailing the terrifying results of creating the first non-human clone…

To Be Continued…

DC Finest: Fourth World – When the Old Gods Die collects foundational chapters of Kirby’s legendary saga; a bold new cosmic playground for so many to forever build upon. Almost overnight and in one broad flourish, Kirby had created one of the most powerful concepts in comic book history. The Fourth World inserted a whole new mythology into the existing DC Universe and blew the developing minds of a generation of readers and especially those who would become the next generation of creators. Who knows what could have happened if the publishers had had a little more courage, patience and vision?
© 1970, 1971, 2007 DC Comics. All Rights Reserved.

Today in 1917 Jack Kirby was born. Also on that date in 1917 pioneering Italian artist Aurelio Galleppini (Tex Willer, Occhio Cupo) arrived, sharing birthdays with Dell Barras (Savage Sword of Conan, Dark Angel, Deaths Head II, Web of Spider-Man) in 1957; colourist Pamela Rambo in 1968 and French ace Joann Sfar (Dungeon, The Rabbi’s Cat, Klezmer, Little Vampire) in 1971.

The great Frederick Burr (Happy Hooligan, And Her Name Was Maud, Alphonse and Gaston) died today in 1937, as did Belgian superstar Willy Vandersteen (Spike and Suzy, Bessy, De Rode Ridder) in 1990 and Dutch Master Bert Bus (Olaf Noord, Theban, de eerste wereldreiziger, Cliff Rendall, Stef Ardoba, Malorix, Russ Bender, Archie the Robot) in 2017.

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Corto Maltese: Under the Sign of Capricorn (A Corto Maltese USA Graphic Novel)


By Hugo Pratt, translated by Dean Mullaney & Simone Castaldi (CONG SA)
ISBN: 978-2-940552-42-9 (Digital edition), ASIN: B0BZ4YY5BK

This book include Discriminatory Content included for dramatic effect.

Born in Rimini on June 15th 1927, Ugo Eugenio Prat, AKA Hugo Pratt, wandered the world in his early life, and became one of its paramount comics creators. His enthralling pictorial inventions since Ace of Spades (whilst still a student at the Venice Academy of Fine Arts in 1945) were many and varied. His signature character – based in large part on his own exotic formative years – is mercurial soldier (perhaps sailor is more accurate) of fortune Corto Maltese who will be celebrating 60 inglorious years of disservice in July 2027.

Pratt was a consummate storyteller with a unique voice and starkly refined graphic style that should not work, but so wonderfully does. Usually and preferably viewed in stark monochrome, his tales blended pared-down, relentlessly modernistic narrative stylism with complex and memorable characters, often bordering on pure archetypes.

By placing a modern, morally ambivalent antihero in an era where his actions and responses to old-world duties and attitudes should make him a scoundrel and villain, yet keeping him true to an utterly personal, ironclad yet chimerical ethical integrity that went beyond considerations of race, class or gender, Pratt created an adventurer yardstick against which we cannot help but measure all other heroes. There and then, as empires faded and colonies fell, itinerant Corto Maltese dealt with and was moved by people, not money, national concepts and institutions or traditions. He was ever a whimsical man of action and a faithful humanist with a gift for being in the wrong place at the right time. We’ll return to him momentarily…

After working in both Argentinean and, from 1959, on English comics and true blue characters like Battler Briton, Hugo Pratt made a name for himself. In the UK he produced weekly serial fare and especially complete stories for our (extremely popular) digest graphic novel lines including Super Picture Library, Air Ace Picture Library, Action Picture Library and Thriller Picture Library. These were half-sized, 64-page monochrome booklets with glossy soft-paper painted covers presenting complete stories in 1-4 panels per page. This was a luxury of layout and page design he would return to in his later years. Particularly suited to combat titles, Pratt worked on exotic jungle yarns for War Picture Library, Battle Picture Library, War at Sea Picture Library and more. In the mid-1960s Pratt resettled in Italy and (in 1967) produced with Florenzo Ivaldi a number of features for monthly comic anthology Sgt. Kirk. In addition to the titular Western star, Pratt created pirate strip Capitan Cormorand; detective Lucky Star O’Hara, and a moody South Seas saga called Una Ballata del Mare Salato (A Ballad of the Salty Sea) and now regarded as the first official adventure of the insalubrious mariner. When the anthology folded in 1970, Pratt moved to France and took Una Ballata’s breakout character to French weekly Pif Gadget before eventually settling in at legendary Belgian periodical Le Journal de Tintin. Corto Maltese proved as much a Wild Rover in reality as in his historic and eventful career…

The sailor was soon seen all over Europe, filling a dozen multi-translated albums. His peripatetic exploits (both short-form tales and extended sagas in black-&-white yarns) were shared in no particular order and spanned 1967 to 1989, covering the old rogue’s wanderings between the turn of the 20th century and the 1930s. Corto won international awards and his own eponymous title, running between October 1983 and July 1993. Hugo Pratt died on August 20th 1995.

In 2014, current rights owner CONG SA regenerated the dormant property with new Corto albums created by writer Juan Díaz Canales (Blacksad) & illustrator Rubén Pellejero (El silencio de Malka) generating 5 new albums thus far. A year later, US publisher IDW began releasing English language translations (repaginated & “colorized”) of prime Pratt to mixed reviews, and in 2022 Spanish parent company CONG: Hugo Pratt Art Properties started a line of curated collections as eBooks, of which Under the Sign of Capricorn is the first. It’s still in color – but sensitively done – so if you’re a graphic purist who can’t abide the hues, you might prefer to track down the mid-1980s Corto Maltese volumes from NBM that we covered way back in 2007…

Chronologically, Under the Sign of Capricorn was the third captain’s log of salty seadog sagas. It’s 1916 – one year after the events of Ballad of the Salty Sea – as we open with ‘The Secret of Tristram Bantam’ wherein Corto broods, smokes, drinks and ponders at the Java Inn, Paramaribo, in the debilitating heat of Dutch Guyana. A magnet for trouble and sucker for sob stories, despite his hostess’s warnings he adopts drunken wretch and target of bullies Professor Jeremiah Steiner and is simultaneously sought out by a runaway English schoolboy beset with dreams and premonitions…

Current possessor of certain valuable papers indicating the location of the fabled lost kingdom of Mû, young Tristram’s father was an “associate” of worldly knife-throwing Madame Java and has sought her out as a possible means of meeting his disreputable half-sister Miss Morganna Dias do Santos Bantam of San Salvador de Bahia. All this has made Tristan the unwitting subject of nefarious scrutiny from his own lawyer Milner in London, the firm’s Javanese representative Kerster, locals like voodoo queen Ogun Ferraille and assorted murderous thugs. This results in a succession of murder attempts and the sinking of Maltese’s beloved boat…

Captain Maltese has heard many ridiculous and unprofitable fables in his time but is compelled in this instance by just how many rogues and killers are trying to take the papers from his new pint-sized admirer, and with Steiner and the kid in tow sets off to solve the mystery and find Mu…

The mystery deepens in ‘Rendez-Vous in Bahia’ as Bantam’s yawl The Dreaming Boy sails for Bahia to find Morgana. She has their father’s notes about the lost continent, documents Tristan has only tantalisingly glimpsed in dreams, These are getting more compelling and engrossing as the voyagers arrive meet a native shaman and accidentally expose a convict trafficking scheme. Recently arrived big boss Milner tries to save himself by killing Tristan but instead loses his own life thanks to Corto’s skill with cards and weapons, leaving the trail apparently clear sailing from now on…

‘Chapter Three: Sureshot Samba’ sees the seekers reach Itapoa, where Corto, Tristan and Steiner meet Bocca Dorata AKA Gold Mouth: a great sorceress who raised Morgana and taught her black and white magic. The enigmatic sage somehow knows far too much about Corto’s past and origins for comfort, but nevertheless he accepts her proposal to ferry weapons and cash to Cangaceiros. There, rebel natives led by local legend Sureshot fight in the Brazilian Sertão against landholding European tycoons, murderous mercenaries, corrupted Federal Colonel Gonçalves and his requisitioned river gunboat. After all, £1000 is not to sneezed at…

Corto deals with his opponents and competes his mission with startling violences and efficiency and assures a swift brutal change in political fortunes…

Still houseguests of Gold Mouth, in ‘The Basilian Eagle’ reluctant slave liberators/freedom fighters Corto, Tristan & Steiner are caught in the backwash of the Great War. As they sail the coast seeking a wrecked Spanish galleon loaded with gold – it supposedly foundered near Marajò Island, at the mouth of the Amazon – they are trapped by global politics and international intrigue as colonial powers Great Britain and Germany square off in Brazil. Wallowing in innocent avarice, our derelict adventurers become unwitting competitors with a German Baron and apparent naval “deserters”. Enfolded in the byzantine scheme hatched by Bocca Dorata, Corto’s fate comes down to actions of rogue operatives, a double/triple agent dubbed “Jawbreaker”, overwhelming greed and gunboat diplomacy…

In earlier-set tales, Corto Maltese visited Russia and made an enemy for life of wild rogue/ spiritual anthesis Rasputin (no relation). Now that ferocious frenemy shows up in ‘So Much for Gentlemen of Fortune’ in an adventure centred on the search for fabulous pirate treasure, set in Saint Kitts in the Antilles. Still reading and rereading those papers brought by Tristam, Corto & Steiner happen upon a singular grave and a clue leading to confrontations and untenable alliances with contemporary freebooters Rasputin and Ambiguity di Poincy, all similarly in search of the amalgamated hoard of creole corsair Prying Barracuda, Calico Rackman, Agonia La Bella of Rochelle and Blackbeard Teach…

The game of double dealing leads to vast wealth and huge surprises, but in the end such friendships are doomed and savage bloodletting leaves everyone dead broke or both and Corto counting the cost of what and who he’s lost…

Concluding episode ‘The Seagull’s Fault’ lays the groundwork for more tales in a bizarre murder-mystery set on an island near British Honduras. Wounded and amnesiac, our Not-a-Hero reels on a bloody beach as his life ebbs away. As he blankly watches his totem animal fly, peck and probe, “John Smith’s” memories lie just beyond reach. Maybe it wouldn’t be so bad if the stranger he can’t see would stop shooting at him…

It gets no clearer when lovely angel Soledad and her brutish Caribi minder arrive, as their tender ministrations in the gothic pile they call home soon prove to be barbed and double edged. If only he could remember what all this has to do with legendary pirate and merciless “Evangelist” Judas Lokäarth. Surely, though, that long-missing maniac is dead and gone?

Compelling, enticing and invitingly addictive, these bleak but witty, darkly romantic, captivatingly cosmopolitan stories will grip you and never let go. These are treasures you must unearth and cherish forever.
© 1971 Cong S.A., Switzerland. Corto Maltese® and Hugo Pratt™ © Cong S.A. Translation © 2019 Dean Mullaney and Simone Castaldi, All rights reserved.

Today in 1915 artist, inker, letterer & colourist George Roussos (Batman, Johnny Quick, Airwave, Vigilante, Superman, Starman, CrimeSuspensStories, Flash Gordon, The Phantom, Sgt Fury, Fantastic Four, Avengers et al) was born, followed in 1930 by cartoonist Bill Rechin (Out of Bounds, Crock), and in 1968 artist Jeff Johnson (Wonder Man, Amazing Spider-Man, Way of the Rat, Weapon X, Greem Lantern) and writer/filmmaker Greg Pak (City Boy, John Wick, Eternal Warrior, World War Hulk, Incredible Hercules, Firefly, Agents of Atlas).

This day marks the passing of three giants: inventor of comic books Max Gaines in 1947; British legend Dudley. D. Watkins in 1969 and Hugo Pratt in 1995.

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Hal Foster’s Prince Valiant volume 15: 1965-1966


By Hal Foster (Fantagraphics Books)
ISBN: 978-1-68396-025-6 (HB)

These books include Discriminatory Content included for dramatic effect

Prince Valiant in the Days of King Arthur premiered on Sunday February 13th 1937: a fabulous rainbow-hued weekly peek into a world where history met myth to produce something greater than both. Canadian illustrator-turned pioneering comics creator Harold “Hal” Foster developed the feature after a groundbreaking and astoundingly popular run on the Tarzan of the Apes comic strip, seeking something that could be his personal domain.

Prince Valiant offered action, adventure, exoticism, romance and a surprisingly high quota of laughs in its engrossing depiction of noble knights, scheming kings and wicked barbarians played out against a glamorised, dramatized Dark Ages backdrop. The never-ending story traces the eventful life a refugee lad of royal blood, driven from an ancestral Scandinavian homeland – Thule – and who grows up to roam the world, attaining a paramount position amongst the fabled heroes of Camelot.

Foster wove his generational epic romance over decades, tracing the progress of a feral wild boy who became a paragon of chivalric virtue: knight, warrior, saviour, secret agent, avenger and ultimately family patriarch through a constant storm of wild, robust and joyously witty wonderment. The restless champion visited many far-flung lands, siring a dynasty of equally puissant heroes whilst enchanting generations of readers and thousands of creative types in all the arts.

The glorious strip saga spawned films, animated series, comic books and all manner of toys, games, books and collections. Prince Valiant was – and remains – one of the few adventure strips to have run continuously from the thunderous 1930s to the present day (well north of 4000 episodes and still going strong) – and, even here at the end-times of newspaper strips as an art form, it continues in hundreds of papers and via the internet.

Foster soloed on the feature until 1971 when John Cullen Murphy (Big Ben Bolt) succeeded him as illustrator and the originator continued as writer and designer. That ended in 1980, when Foster fully and finally retired. Cullen Murphy’s daughter Mairead took over colouring and lettering whilst her brother John assumed the writer’s role, and in 2004 the senior Cullen Murphy also retired, since when the strip has soldiered on under the aegis of other extremely talented artists such as Gary Gianni, Scott Roberts and latterly Thomas Yeates & Mark Schultz.

This luxuriously oversized (362 x 264 mm) full-colour hardback (tragically, the series is still unavailable digitally) re-presents pages spanning January 3rd 1965 to December 25th 1966, (individual Strips #1456 to 1559) and comes with all the regular bonus trimmings. Preceding two years’ worth of graphic narrative wonderment, historian/editor Brian M. Kane conducts an interview with a veteran comic book artist/comics strips illustrator. Heavily illustrated, the Foreword ‘Sir Robert of Dell: the Prince Valiant Art of Bob (Rip Kirby; Flash Gordon; Doctor Solar, Man of the Atom; Turok, Son of Stone; Lassie) Fujitani’ shares many secrets at the front, and the titanic tome ends with a flurry of illustrated essays and the rear.

These include fabulous King Features promotional material and inducements to newspapers plus Kane’s critical appraisal and discussion of the strip in other media. ‘Not Just For Sundays: Prince Valiant’s Adventures Beyond the Fourth Estate’ details collected editions from around the world; spin-offs and edited collections for the children’s book trade; novelisations (mainly by Max Trell); Hal Foster’s other books and curated compendia that fuelled the global demand for the apparently inexorable knight extant. Heavily illustrated with a wealth of book and comics covers (by Foster, John Cullen Murphy or Mike Grell) and candid photos, the reprint round-up also includes a gallery of covers by Michael Wm. Kaluta that graced the all-new sagas published by Marvel in 1994 (as written by Charles Vess & Elaine Lee and illustrated by the deeply underrated John Ridgway).

What Has Gone Before: valued vassal and infallible secret asset of King Arthur of Britain, Prince Valiant has travelled the world carrying out missions for his liege lord, embattled Christendom, honour and decency. His greatest comrades are stalwart Knights like Sir Gawain, Sir Kay and Sir Launcelot and barbarous Viking pirate Baltar. Val’s life of duty and action won him a glorious, implacable and equally incomparable wife in Mediterranean monarch Queen Aleta of the Misty Isles. Their first son Arn was born on an unknown continent and since has thrived on a life of constant peril. He stands on the brink of manhood and his own path of Royal service.

Val’s offspring currently number four: Arn, precocious twin girls Karen & Valeta and recent addition Galan, arriving during Aleta’s last peril-packed stay in her Misty Isles homeland. Arn rapidly advanced from Court Page to Novice and began official combat training. He swiftly became a Batchelor-at-Arms and constantly excels. Some battles are purely personal as when vindictive Mordred attempted to traduce Aleta’s honour by orchestrating a vicious scandal involving her and Lancelot, but the plot was foiled by clear thinking and valiant action…

In combination with his father, Arn’s gifts proved invaluable in repelling invasion by Saxon hordes and foiling rebellions in Scotland, Cornwall and Wales, as well as an international insurrection when savage Skogul Oderson united disparate Nordic tribes into a united force to ravage his grandfather’s kingdom of Thule. In the aftermath of that triumph, Valiant’s large family wintered in those chilly climes. While taking their ease, Arn and Boltar’s son Hatha talked much of the lost lands of Arn’s birth, recalling the prophecy that Valiant’s heir (deemed “son of the Sun Woman and the Bringer of Harvests”) would one day return to Vinland (the Americas) and his Niagara birthplace to do great deeds…

It should be noted that Hatha’s mother Tillicum is a princess of the Algonquin folk the Vikings befriended 15 years previously. She accompanied the Sun Woman on her return north and east, becoming Aleta’s bondswoman, royal nursemaid and confidante…

Now, as the year reaches mid-point Arn yearns to fulfil his mother’s promise of his return, not only to prove his manhood, but also to make good his family honour, forge trade alliances, and do mighty deeds. The most import of these goals is the first… receiving his father’s approval and mother’s grudging acquiescence. As winter approaches, Arn and Hatha must ready a ship – the province of Valiant’s old friend and ingenious shipwright Gundar Harl – and recruit a competent crew who can survive the perilous voyage and handle anything they might meet on the other side…

Arn further prepares by learning the Algonquin language from Tillicum and discovers her gift for strategic planning. He is delighted when she invites herself along for the trip – a gesture that convinces many holdouts that mayhap the callow youth might make them all rich after all…

Preparations are geared to a spring embarkation and Arn spends every moment seeking to anticipate problems and solve them. Disbelief and dwindling confidence in his proposed crew is offset by Arn undertaking a perilous midwinter sortie to the chilly home of his grandfather Aguar and convincing the hard-headed businessman to back the venture. That gained, Arn almost dies on the return trip, but survives to recruit even more men from local lads who would rather fight than farm…

Arn’s relentless proselytising (he even recruits a skald to visit outlying homesteads singing of the glorious exploit to come in hopes of boosting support and manpower) pays dividends and the voyage begins with the Prince, Hatha, Tillicum and Gundar leading an untried crew across largely unknown waters. Early upsets are all deftly dealt with by Arn and his nursemaid: pirates, rebellious crewmen, deadly winds, dire doldrums, pack ice and resource shortages, before they make landfall in the chilly climes of Vinland…

Here the real adventure begins as the explorers make their way down from the far north to the more hospitable shores of what will be New England a thousand years hence. Arn manipulates the understandably anxious tribes and stage-manages a charm offensive that sees him accepted as the supernatural “Bringer of Harvests” promised by the Sun Woman, as he introduces new weapons and tactics, farming implements, fresh food production methods, new ways to fight and fish, permanent sustainable dwellings and a staggering haul of trade goods. In the course of an epic exploration of the region via the St Lawrence river and overland, Arn learns the art of ruling and that physical wealth means nothing. Hatha narrowly escapes marriage, Tillicum reunites with her long-abandoned father and Viking knowhow saves the Algonquin from eradication by tribal nemeses the Iroquois, and apparently unkillable (chainmail-clad) Arn raises their status with the so-far neutral Ottowa and Huron. In the aftermath of a colossal tribal war, preparations begin for the return to Thule with their trade items (amber, seeds, furs, pemmican and precious minerals) being constantly computed and weighed against sufficient provisions to sustain them for the entire trip home. However, even readying themselves to leave generates tension and clashes with Mohawk and Mohegan enclaves before Gundar declares his modified dragonship refitted and ready to go…

During this rite of passage and voyage of bloody discovery life continued to present challenges in civilised Thule. As their children endured the return trip, both Valiant and Boltar were at the end of their patience and the Prince unwisely organised a tournament to amuse the warriors and himself. Sadly, unlike Arthur’s knights rowdy reivers have no understanding of ritual combat and the event was called off; barely before the competitors killed each other…

Soon after the debacle their boys triumphantly return, but their exploits and triumphs are not celebrated for long, as a ship from Camelot follows, bidding Valiant back into service. Beyond Hadrian’s Wall, life-long foes the Picts and Caledonians have somehow buried past grievances and are massing to attack England together. Arthur needs his greatest operative to find out how the miracle occurred and how best to counter it. Disguised as a vagabond sell-sword Val infiltrates the alliance and discovers Mordred is the unifying force, and embarks on a rapid but brutal solution. There is no love lost between the factions and less trust even now, so it only takes a few covert – and rather macabre – dirty tricks to set clan against clan. Sadly, Mordred sees his old enemy’s hand in the affair and determines to be revenged…

Arn would have joined the undercover mission, but as the latest Man of the House his job was to escort Aleta and the family back to Arthur’s court. By the time they arrive, Mordred and his half-brothers Agravaine and Gaheris have enacted a scheme to targeting Valiant’s loved one, but which is humiliating foiled by playful romance-obsessed Karen & Valeta and their burly handmaiden Katwin. Upon his return to Court, Valiant seeks out Mordred and lays down the law…

The year and the book close on lighter notes as skinny-dipping Aleta accidentally starts a mermaid panic after taking up bathing in Britain’s chilly seas, before her husband is called upon to apply his diplomatic skills to end a succession crisis. A staunch supporter of Arthur, King Bedwin of Dimore had trained his son Prince Harwick to carry on his wise reign and peaceful policies. Now though, as death approaches the aged monarch, Harwick has vanished and Bedwin’s brothers make ready for civil war should the son not be available to take over. When Val traces the absent heir apparent, he finds an obnoxious layabout dedicated only to fishing and carousing, but still smart enough to trick an oath of non-interference out of Arthur’s agent…

As war clouds gather, Valiant seems utterly stifled by his own honour and beliefs..

To Be Continued…

A mesmerising non-stop panorama of visual passion and precision, Prince Valiant is a tremendous procession of boisterous action, exotic adventure and grand romance; blending epic fantasy with dry wit and broad humour, and soap opera melodrama with dark vividly authentic violence. Lush, lavish and captivatingly lovely, it is an indisputable landmark of comics fiction and something no true fan should miss.
All comics © 2017 King Features Syndicate. All other content and properties © 2016 their respective creators or holders. This edition © 2015 Fantagraphics Books. All rights reserved.

Today in 1892 cartoonist and animator Otto Messmer (Fun, Feline Follies, Felix the Cat) was born, sharing the natal celebrations with fellow cartoon gamechanger Hal Foster (Tarzan, Prince Valiant). In 1916 Golden Age art star Paul Gustavson (The Angel, The Human Bomb, A-Man, Alias the Spider, Quicksilver) was born; as was British writer Dick Foreman (Black Orchid, Hellblazer) in 1952; illustrator Brian Stelfreeze (Black Panther, CyCops, Shadow of the Bat, Gun Candy) in 1962 and Italian artist Enrico Marini (Batman: Dark Prince Charming, Gipsy, The Scorpion) in 1969.

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Moomin: The Complete Tove Jansson Comic Strip volume 2


By Tove Jansson with Lars Jansson (Drawn & Quarterly)
ISBN: 978-1-897299-19-7 (Album HB) 978-1-770465-49-7 (Digital edition)

Tove Marika Jansson was born into an artistic, intellectual and practically Bohemian Swedish family in Helsinki, Finland on August 9th 1914, making today her 112th anniversary, so hyvää vuosipäivää to her and all you fans…

Her father Viktor was a sculptor, whilst mother Signe Hammarsten-Jansson enjoyed a successful career as illustrator, graphic designer and commercial artist. Tove’s brothers Lars and Per Olov became a cartoonist/writer and photographer respectively. The family and its close intellectual, eccentric circle of friends seem to have been cast rather than born, with a witty play or challenging sitcom as the piece they were all destined to act in.

After a period of intensive study from 1930-1938 (University College of Arts, Crafts and Design, Stockholm, the Graphic School of The Finnish Academy of Fine Arts, then L’Ecole d’Adrien Holy and L’Ecole des Beaux-Arts, Paris), Tove became a successful exhibiting artist through the troubled period of the war. Intensely creative in many fields, she published the first fantastic Moomins adventure in 1945: Småtrollen och den stora översvämningen (The Little Trolls and the Great Flood or more euphoniously The Moomins and the Great Flood): a whimsical epic of gentle, inclusive, accepting, understanding, bohemian, misfit trolls and their strange friends. Always an over-achiever, from 1930 to 1953 she worked as an artist and cartoonist for Swedish satirical magazine Garm, achieving a measure of notoriety with an infamous political sketch of Hitler in nappies (a political method of self-expression currently back in vogue with many modern im-Potentates), lampooning the Appeasement policies of Chamberlain and other European leaders in the build-up to World War II. Tove was also a much-in-demand illustrator for many magazines and children’s books. She had been selling her own comic strips as early as 1929…

Moomintroll was literally her signature character. The lumpy, big-eyed goof began life as a spindly sigil beside her signature in political works. She called him “Snork” and claimed she had designed him in a fit of pique as a child – the ugliest thing a precocious little girl could imagine – as a response to losing an argument about Immanuel Kant with her brother.

The term “Moomin” came from maternal uncle Einar Hammarsten who attempted to stop Tove pilfering food when she visited by warning her that a Moomintroll guarded the kitchen, creeping up on trespassers and breathing cold air down their necks. Over childhood years and far beyond, Snork/Moomin filled out, became timidly nicer (if a little clingy and insecure), a placid therapy-tool to counteract the grimness of the post-war world.

The Moomins and the Great Flood was relatively unsuccessful but she persisted, as much for her own therapeutic benefit as any other reason, so in 1946 the sequel Kometjakten (Comet in Moominland) was published. Many commentators believe this terrifying tale a skilful, compelling allegory of Nuclear destruction, with both it and 1948’s third illustrated saga Trollkarlens hatt (Finn Family Moomintroll – occasionally The Happy Moomins) translated into English in 1952. The success prompted British media giant Associated Press to commission a newspaper strip about her seductively sweet, sensibly surreal surrogate family.

Jansson had no prejudices regarding strip cartoons. Her earlier works included Lunkentus (Prickinas och Fabians äventyr, 1929); Vårbrodd (Fotbollen som Flög till Himlen, 1930) and Allas Krönika (Palle och Göran gå till sjöss, in1933). She had already successfully adapted Comet in Moominland for Swedish/Finnish paper Ny Tid. Thus, Mumintrollet och jordens undergång (Moomintrolls and the End of the World) was proven a popular feature and Jansson readily accepted a chance to extend her message across the world.

In 1953, The London Evening News launched the first of 21 Moomin serial sagas which captivated readers of all ages. Tove’s involvement ended in 1959, a casualty of her own success and a punishing publication schedule. So great was the pressure that she had early on recruited brother Lars to help. He proudly and most effectively continued the feature until its end in 1975. Free of the strip, she returned to painting, writing and her other creative pursuits: generating book illustrations, plays, murals, public art, stage designs, costumes for dramas and ballets, a Moomin opera, 9 more Moomin-related picture-books & novels, as well as 13 books and short-story collections more obviously intended for grown-ups.

Her awards are too numerous to mention (literally dozens of international art and literary plaudits), but consider this: how many modern artists – let alone comics creators – get their faces on the national currency or have commemorative coins struck bearing their image?

Tove Jansson died on June 27th 2001 but her timorous critters and their better, nicer world has proliferated beyond belief.

Tove could deploy slim economical line and pattern to create sublime worlds of fascination, and her dexterity made simple forms into incredibly expressive and potent symbols. In this second oversized (312 x 222mm) monochrome hardback (or electrical options are available for the screen of your preference!) compilation commences with ‘Moomin’s Winter Follies’, wherein the rotund, gracious and deeply considerate young troll has an accident on ice that prompts the family to begin their annual preparations for the winter’s hibernation.

However, after all these efforts lead to nothing but petty disaster, boldly unconventional Moomin Pappa decides that tradition isn’t everything and decrees that they shall all stay awake for the icy months ahead…

The family and their many friends are soon bedevilled by the obnoxiously enthusiastic Mr. Brisk who cajoles the easygoing Moomins to indulge in his abiding passion for winter sports. Results are painful and far from impressive, but ruggedly athletic Brisk does turn the head of overly romantic and lonely Mymble. As usual, the object of her affections is blithely oblivious, with eyes only for the upcoming Winter Games, but when beauteous Snorkmaiden also starts succumbing to Brisk’s physical charms, Moomin is forced to take up ski-jumping just to win back her attention.

When that goes poorly, he is tempted into contemplating murder until cooler heads, his own gentle nature and the onset of spring produces a milder and more suitable solution…

Moomins are placid free spirits, bohemians untroubled by hidebound domestic mores and societal pressures. Moomin Mamma is warm and capable but overly concerned with propriety and appearances, whilst Pappa spends most of his time trying to rekindle his adventurous youth or dreaming of fantastic journeys. However, when prideful snobbish Mrs. Fillyjonk moves in next door, her snooty attitudes unfavourably affect the entire family, resulting in the hiring of ‘Moomin Mamma’s Maid’.

The search for a suitable servant results in disruption and discontent before dour, distressed and doom-obsessed Misabel – along with her direly depressed dog Pimple – further blight the formerly happy household. Misabel suffers from secrets and persecution complexes, and when Fillyjonk goes missing, a detective starts hanging around, adding to the general aura of anxiety until Moomin Mamma shakes herself out of her status-induced funk and starts a campaign to cheer up and change the latest additions to her wildly imaginative, but oddly welcoming, home…

‘Moomin Builds a House’ sees Mymble’s eccentrically forgetful yet fruitful mother come to visit, inflicting her latest batch of wild & wilful youngsters (17, or thereabouts!) on the normally compassionate and understanding trolls. The children are, to put it mildly, little monsters: destructive, practical joking, firestarter hellions who would put the Belles of St. Trinian’s to shame and to rout…

Soon, impressionable Moomin is driven out of his home and, egged on by the worst of the brood Little My, attempts to build his own house in the woods. With none of Moomin Pappa’s craft skills, the lad’s efforts are far from satisfactory but nonetheless his flighty paramour Snorkmaiden soon joins him, intent on making the shaky edifice their romantic hideaway. Sadly, with Little My still around, their best laid plans quickly come unstuck…

This utterly incomparable and heartwarming box of graphic delights concludes with a brilliantly satirical salutary romp as ‘Moomin Begins a New Life’, wherein an itinerant thinker enters the valley, sharing his secret recipe for “How to be Happy”. Although self-proclaimed, The Prophet is remarkably convincing and, seeing how his pronouncements and suggestions have changed the lives of all their friends and neighbours, the graciously impressionable Moomins attempt to adjust their behaviour to maximise their joy, unaware that they are already as happy and content as anyone can be…

With the entire locality blissed out, the well-intentioned Prophet then convinces the constable to release all the folk in jail, allowing mischievous trickster and devoted scofflaw Stinky to resume his prankish shenanigans. After convincing Pappa to set up an illicit still producing hard liquor – which incites Snorkmaiden to run off with another young man – Stinky subsequently convinces desolate, deserted Moomin to turn to the dark side, becoming a glamorous highwayman and jewel thief to win her back…

Having spread malice and disorder, Stinky’s next stunt is badly misjudged. He invites a puritan, fire-&-brimstone rival philosopher dubbed the Black Prophet to come and save all the sinners. Thankfully, as the rival Prophets’ war of words escalates, Moomin Mamma at last reaches the end of her patience and intervenes…

Following the Wild Things wonderment is short essay ‘Tove Jansson: To Live in Peace, Plant Potatoes, and Dream’: a comprehensive biography and commentary by Alisia Grace Chase, PhD celebrating the astound achievements of this genteel giant of literature and the arts.

These are truly magical tales for the young laced with the devastating observation and razor-sharp mature wit which enhances and elevates only the greatest kid’s stories into classics of literature. These volumes are an international treasure and no fan of the medium – or biped with even a hint of heart and soul – can afford to be without them.
© 2007 Solo/Bulls. All other material © its creators. All rights reserved.

Today in 1907 nonstop cartoonist Mel Graff (Adventures of Patsy, Secret Agent X-9, Captain Easy) was born, sharing the day with utterly unique Tove Jansson who joined the party in 1914 as did eventual pulp scribe turned Atlas Comics & EC genre anthology author Daniel Keyes (Flowers for Algernon) in 1927.

Mandrake the Magician artisan Fred Fredericks came along in 1929; Belgian creator William Vance (XIII, Marshall Blueberry, Bob Morane, Bruno Brazil) in 1935; British cartoonist Posy Simmons (Bear, Mrs Weber’s Diary, Gemma Bovary, Tamara Drewe) in 1955 and comic book craftsman Bob McLeod (New Mutants, Conan, Wonder Woman, Superman) in1951. Ultra stylist Rick Leonardi (Spider-Man 2099, Uncanny X-Men, Cloak and Dagger, Batman Beyond) arrived in 1957, sharing cake & candles with Fish Police creator Steve Moncuse, and Gene Luen Yang (Chinese Born American, Superman Smashes the Klan, Monkey Prince) popped by in 1971.

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Roy Crane’s Captain Easy, Soldier of Fortune: The Complete Sunday Newspaper Strips volume 1


By Roy Crane, Les Turner & various (Fantagraphics Books)
ISBN: 978-1-60699-161-9 (Album HC)

This book includes Discriminatory Content produced in less enlightened times.

Amongst the many cartoon and comics anniversaries this year there are household names still with us (albeit in exceedingly altered forms) and tragically masterpieces of the form that have faded from popular memory, even though their influence remains in every panel we might peruse…

Modern comics evolved from newspaper gag and comic strips. These pictorial features were, until relatively recently, utterly ubiquitous and hugely popular with the public and highly prized by publishers who used them as an irresistible sales weapon to guarantee and increase circulation and profits. It’s virtually impossible for us today to understand the overwhelming power of the comic strip in America (and wider world) from the Great Depression to the end of World War II. With no television, broadcast radio far from universal, and movie shows at best a weekly treat for most folk, household entertainment was mostly derived from the strip sections of daily and especially Sunday Newspapers. “The Funnies” were the most common recreation for millions who were well served by a fantastic variety and incredible quality of adventures and exploits.

From the very start humour was paramount; hence the terms Funnies and “Comics”, and from these gag and stunt beginnings – a blend of silent movie slapstick, outrageous fantasy and the vaudeville shows – evolved a thoroughly entertaining mutant hybrid: Roy Crane’s Wash Tubbs. Debuting on April 14th 1924, Washington Tubbs II was a comedic gag-a-day vehicle not much different from family favourite Harold Teen (by Crane’s friend and contemporary Carl Ed). Depiction of pretty girls was a key component of the daily show, and when it launched, Tubbs was a diminutive yet ambitious young store-clerk. However, gradually the strip moved into mock-heroics, then through cosy, non-confrontational action, to become a full-blown, light-hearted, rip-roaring adventure series… after the introduction of ancestral he-man and prototype moody swashbuckler Captain Easy in the landmark episode for 6th May, 1929. Incidentally Wash Tubbs ran until 1949, at which time it merged into Crane’s spin-off feature: the previously Sunday-only Captain Easy, Soldier of Fortune.

As the daily episodes had become ever-more exotic and thrill-packed, the globetrotting little dynamo had shown a clear need for a sidekick who could believably handle the strenuous combat side of things, and thus – in the middle of a Europe-set war yarn – Wash liberated a mysterious fellow American from a jail cell and history was made…

Before long the mismatched pair were travelling companions, hunting treasure, fighting thugs and rescuing a bevy of startlingly comely maidens in distress. The bluff, two-fisted, surly, comprehensively capable, utterly dependable, down-on-his-luck “Southern Gen’leman” was something not seen before in comics: a raw, square-jawed hunk played completely straight rather than as the buffoon or music hall foil of such classic serials as Hairsbreadth Harry or Desperate Desmond.

Moreover, Crane’s seductively simple blend of cartoon exuberance and stylish design was a far more accessible. exuberant and powerful medium for action storytelling than the rather static illustrative style favoured by artists like Hal Foster: just beginning to make waves on the groundbreaking new Tarzan Sunday page. Tubbs & Easy were as exotic and thrilling as the Ape-Man, but rattled along like the surreal and tempestuous Popeye, full of vim, vigour and vinegar, as attested to by a close look at the early work of the would-be cartoonists who followed the strip with avid intensity: Floyd Gottfredson, Milton Caniff, Jack Kirby, Will Eisner and especially young Joe Shuster…

After a couple of abortive attempts starring his little hero, Crane bowed to the inevitable and created instead a full-colour Sunday page dedicated to his increasingly popular hero-for-hire.

Captain Easy debuted on 30th July 1933 (Heppy Buthday, Suh!), in wild-&-woolly escapades set prior to his first fateful rendezvous with Tubbs.

This first sublime archival volume (long-overdue for rerelease and a digital edition) begins with the sullen mercenary undertaking a mission for the Chinese government… spying on the city of ‘Gungshi.’ In that heyday of popular exploration and dashing-aviator exploits, the bold solo flight over the Himalayas to Chinese Turkestan was stirring enough, but when Easy then infiltrates a hidden citadel, it heralds the beginning of a rollercoaster romp with sword-wielding Mongols, sultry houris, helpless dancing girls, fabulous beasts and wicked bandits. The heady, intoxicating dramatic brew captivated entire families across the planet, week after addictive week…

With an entire page and vibrant colours to play with, Crane’s imagination ran wild and his fabulous visual concoctions achieved a timeless immediacy that made each page a unified piece of sequential art.

The effect and influence of Crane’s pages can be seen in so many strips since; especially the works of close-contemporaries such as Hergé and giants-in-waiting like Charles Schulz.

These pages were a clearly as much of joy to create as to read. In fact, the cited reason for Crane surrendering the Sunday strip to his assistant Les Turner in 1937 was controlling NEA Syndicate’s abrupt and arbitrary demand that all its strips be henceforward produced in a rigid panel-structure to facilitate them being cut up and re-pasted as local editors dictated.

Crane simply walked away, concentrating on the daily feature. In 1943, he quit the Syndicate to create aviation adventure strip Buz Sawyer.

At the end of the initial blockbuster, cinematic epic Easy is a hero to the people of Gungshi, if not its aristocracy, who plot to oust him via the subtlest of means. The second adventure ‘The Slave Girl’ opened on 21st January 1934, depicting the occidental hero bankrupted in saving the beautiful Rose Petal from the auction block: a chivalrous gesture leading to war with the rival city of Kashno, and a brutally hilarious encounter with South Sea pirates…

In an era where ethnic stereotyping and casual racism were commonplace and acceptable – if not actually the mandatory shortcuts of social interaction – the introduction of a vile, unscrupulous Yank as the exploitative villain was – and remains – a surprising delight.

Rambling Jack is every inch the greedy “ugly American” of later, more informed decades, and by contrasting Easy’s wholesome quest to make his fortune with the venal explorer’s rapacious ruthlessness, Crane makes a telling point for the folks back home. It also makes for great reading, as Chinese bandits also enter the fray, determined to plunder both cities and everybody else in their path. Nevertheless, with the help of a lost British flyer Easy is finally victorious, but on returning to his Chinese employers he spots something whilst flying over the Himalayas that radically derails his plans…

‘The Sunken City’ is an early masterpiece of comics fiction, with Easy recruiting cockney comedy stooge ‘Arry Pippy, a demobbed British Army cook, to help reconnoitre a drowned metropolis submerged for centuries in a hidden inland sea, and one he had he had spotted from the air only through sheer chance. Of course, simply to get there the pair must trek through rampant jungles, survive blowpipe-wielding cannibals and avoid the greatest threat our valiant rogue has ever faced…

If I’ve given the impression that this has all been grim-‘n’-gritty turmoil & tension thus far, please forgive me: Roy Crane was an utterly irrepressible gag-man and his enchanting chapter-play serial abounds with breezy light-hearted banter, hilarious situations and outright farce… a sure-fire formula cinema directors still plunder to this day. Easy is the Indiana Jones, Flynn (The Librarian) Carsen and Jack (Romancing the Stone) Cotton of his day and inarguably blazed the trail for all of them and whoever I’ve left out… even Lara Croft…

In a deep-sea diver’s suit, Easy & ‘Arry examine piscine wonders and trace the submerged grandeur of the lost city, encountering some of the most magical and fanciful sea beasts ever recorded in comics, before literally striking gold. Typically, when more cannibals attack those dredged up treasures are lost and Easy finds himself captive and betrothed to the most hideous witch-hag imaginable…

Risking everything, the desperate treasure-seekers make a break for it only to re-encounter ‘The Pirates’ (April 14th – July 7th 1935), but before they get too far the husband-hungry sorceress and her faithful person-eaters come after Easy, leading to a brutal, murderous conclusion…

After years in the Orient, Easy & Pippy succumb to a hankering for less dangerous company and make their way to Constantinople and Europe. Sadly, trouble is never far from the moody mercenary and in ‘The Princess’ (14th July – December 1st 1935), his gentlemanly instincts compel him to rescue a beautiful woman from the unwelcome attentions of munitions magnate Count Heyloff, a gallant gesture that embroils our hero in a manufactured war between two minor nations. This tale addressed contemporary American sentiments that another world conflict was brewing, and it’s obvious that Crane’s opinion was the deeply held common conviction that the whole international unrest was the result of rich men’s greedy manipulations and machinations. Just like today…

Dark, bittersweet and painfully foreboding, this yarn sees Easy become the focus of Heyloff’s vengeance, and the sum total Airforce for tiny underdog nation Nikkateena in their bitter struggle for survival against the equally-duped and deceived country of Woopsydasia. Crane kept the combat chronicle light but on occasion his true feelings showed through in some of the most trenchant anti-war art ever seen.

This superb hardback and colossal initial collection is the perfect means of discovering or rediscovering Roy Crane’s rip-snorting, pulse-pounding, exotically racy adventure pioneer. The huge pages in this volume (almost 14½ inches by 10½ inches, or 210 x 140 mm for the metric crowd dominating global measuring these days) also offer a fascinating, informative introductory biography of Crane by historian Jeet Heer; a glowing testimonial from Charles Schulz; contemporary promotional material, extra drawings and sketches, plus a fascinating feature explaining how pages were coloured in those long-ago days before computers and other jumped-up adding machines…

This is primal comics storytelling of the very highest quality: unforgettable, spectacular and utterly irresistible. These tales rank alongside the best of Hergé, Tezuka, Eisner and Kirby, and led inexorably to the greatest creations of all of them. You have the chance to experience the strips that inspired the giants of our art form, and celebrate the achievements, so how can you possibly resist?
Captain Easy Strips © 2010 United Features Syndicate, Inc. This edition © 2010 Fantagraphics Books, all other material © the respective copyright holders. All rights reserved.

Today in 1892 Alfred Harmsworth launched landmark British comics storypaper The Wonder, sharing the date with DC Thomson’s The Beano, debuting in 1938. In 1955, Ken Reid’s hilarious timeless feature Grandpa began in The Beano. Of course you already know Captain Easy launched on July 30th 1933.

Births on this day include colourist Tom Ziuko in 1955; Turkish cartoonist Turhan Selçuk and French author/artist Hervé Darmenton AKA “Achde” (Fort Braillard, Woker, Les Damnés de la route, CRS=Détresse, Lucky Luke ) in 1961 and illustrator Chris Sprouse (Tom Strong, Supreme, Hammerlocke, The Rocketeer, Legion of Super-Heroes) in 1966.

Today in 1992 Joe Shuster died.

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Superman The Golden Age Sundays volume 2 1946-1949


By Alvin Schwartz, Wayne Boring & various (IDW/Library of American Comics)
ISBN: 978-1-63140-109-1 (HB)

This book includes Discriminatory Content produced in less enlightened times..

After years wallowing in obscurity most of Superman’s newspaper strip exploits were at last made available to aficionados and the curious newcomer in tomes such as this one, compiled under the auspices of the Library of American Comics. Sadly, that bounty has dried up and the books are becoming as rare as the original strips. Hopefully the whole canon will one day make it into digital editions. Until then though, we fortunate ones can share what we have, like this epic transitional selection seeing the close of a Golden era in advance of a fresh, bold, daringly Atomic Age…

The comic book industry would be utterly unrecognisable without Superman. Jerry Siegel & Joe Shuster’s bold and unprecedented invention was fervidly adopted by a desperate and joy-starved generation and quite literally gave birth to a genre if not an actual art form. The Man of Tomorrow was shamelessly copied, adapted by countless inspired writers and artists for numerous publishers, spawning an incomprehensible army of imitators and variations within three years of his summer 1938 debut.

Yes, 88 YEARS… and still counting!

The intoxicating blend of breakneck, breathtaking action and visceral wish-fulfilment expressed by the newborn Action Ace swiftly expanded to encompass cops-&-robbers crimebusting, socially reformist dramas, science fiction and fantasy, romance and comedy; and – once war in Europe and the East engulfed America – absorbed and reinforced patriotic relevance for a host of gods, heroes and monsters, all dedicated to profit through exuberant, eye-popping excess and dashing derring-do. Superman was master of the world and whilst transforming and dictating the shape of the fledgling funnybook industry, relentlessly expanded into all areas of entertainment media.

We might think of the Cleveland boys’ iconic invention as the epitome and acme of comic strip creation, but the truth is that very soon after his debut in Action Comics #1 the Man of Steel was a fictional multimedia monolith in the same league as Sherlock Holmes, Popeye and Tarzan. Diehard comics fans regard our purest, most enduring icons in primarily graphic narrative terms, but the likes of Batman, Spider-Man, The Hulk and their hyperkinetic ilk long ago outgrew four-colour origins to become fully mythologized modern media creatures, instantly recognised in mass markets across all platforms and age ranges. Far more people have viewed or heard the Man of Steel than have ever read his comics.

His globally syndicated newspaper strips reached untold millions, and by the time of his 20th anniversary – at the very start of what we know as the Silver Age of Comics – he had been a thrice-weekly radio serial regular and starred in a series of astounding animated cartoons, as well as two films and a novel by George Lowther. Superman was a perennial wellspring for toys, game, puzzle and apparel manufacturers and had just ended his first smash live-action television serial. In his future were many more shows, a stage musical, a ton of blockbuster movies and near-seamless succession of games, bubblegum cards and TV cartoons beginning with The New Adventures of Superman in 1966 and continuing ever since. Even superdog Krypto has got in on the all screens act. However, in his formative years the moving picture option was simply an expensive novelty for most. The Action Ace achieved true mass market fame through a different medium: one not that far removed from his print origins.

Although pretty much a spent force these days, for most of the last century newspaper strips were the Holy Grail American cartoonists/graphic narrative storytellers hungered for. Syndicated across the country – and frequently the world – they might be seen by millions if not billions of readers and were generally accepted as a more mature and sophisticated form of literature than comic books. At that time it also paid far better, and rightly so. Some of the most enduring and entertaining characters and concepts of all time were created to lure readers from one particular paper to another and many of them grew to be part of a global culture. Flash Gordon, Dick Tracy, Buck Rogers, Blondie, Charlie Brown and so many more escaped humble, even tawdry newsprint origins to become meta-real: existing in the minds of earthlings from Albuquerque to Zanzibar. Some still do…

Superman was the first comic book character to make that leap; about six months after exploding out of Action Comics. The daily Superman strip launched on 16th January 1939, augmented from November 5th of that year by a full-colour Sunday page. Originally crafted by Siegel & Shuster and their studio (Paul Cassidy, Leo Nowak, Dennis Neville, John Sikela, Ed Dobrotka, Paul J. Lauretta & Wayne Boring), the mammoth task soon required the additional artistic gifts of Jack Burnley and ancillary writers Whitney Ellsworth, Jack Schiff & Alvin Schwartz. The McClure Syndicate feature ran uninterrupted until May 1966, and at its peak appeared in over 300 daily and 90 Sunday newspapers with a combined readership surpassing 20 million. For most of the post-war years, Boring & Stan Kaye limned the spectacular Sundays (latterly supplemented by Win Mortimer & Curt Swan). The majority of strips from 1944 to 1958 were written by largely unsung, nigh-forgotten scribe Alvin Schwartz.

Born in 1916, Schwartz was an early maestro of comic books, writing Batman, Superman, Captain Marvel, and for many other titles and companies. Whilst handling the Superman strip he freelanced on Wonder Woman and other superheroes as well as DC’s genre titles such as Tomahawk, Buzzy, A Date with Judy and House of Mystery. After numerous and ever-escalating clashes with new Superman Editor Mort Weisinger, Schwartz quit comics for commercial writing: selling novels, essays, documentaries and docudramas for the National Film Board of Canada. He worked miracles in advertising and market research, developing selling techniques like psychographics and typological identification. A member of the advisory committee to the American Association of Advertising Agencies, he died in 2011.

After too many years wallowing in obscurity most of Superman’s newspaper strip exploits are finally available to aficionados and the curious newcomer in tomes such as this one compiled under the aegis of the Library of American Comics.

Showcasing Schwartz & Boring in their purest prime, these Sundays (numbered as Pages #354 to #520, collectively spanning August 11th 1946 to October 16th 1949) depict an almost omnipotent Man of Steel in domestically-framed tales of emotional dilemma, pedestrian criminality and surreal situations rather than muscle-flexing bombast, faux angst and bludgeoning action. Here humour, wit, mystery, fashion, satire and wonder reign supreme.

Following affable appreciation of the creators and the times in Mark Waid’s ‘An Introduction’ and a selection of contemporaneous Superman comic book covers in ‘A Wayne Boring Gallery’ the weekly wonderment recommences in all its vibrant glory. Sadly, the serials are untitled, so you’ll just have to manage with my meagre synopses of individual yarns…

Kicking off is a beguiling domestic dilemma as Lois Lane is overwhelmed looking after a neighbour’s boy whilst preparing to collect her sternly formidable, imminently visiting Aunt Matilda. Snowed under mounting physical and mental loads, she ropes in Superman to backstop her, only to discover there are many tasks – like baking a cake whilst watching a boisterous brat – that even the miraculous Man of Steel cannot manage…

Next up and beginning with Page 358 (September 8th 1946) the Action Ace faces criminal mastermind Tom Catt who plunders Metropolis in “Curiosity Crimes” dependent on the victims’ own innate nosiness. After a cascade of cat & mouse clashes the cunning crook ultimately falls because he didn’t follow his own advice about obtrusive inquiry and foolhardy felines…

More distracting nonsense results after social thinktank The Skeptics prove by rational debate that Superman doesn’t exist and seek to legally end the fraud being perpetrated upon the world. It takes a number of impossible tasks diligently performed by our hero before the cranky coots are convinced to change their minds, after which Page 371 (December 8th 1946) briefly returns the Man of Tomorrow to his war years and wish-fulfilling Superman’s Service for Servicemen scheme as he helps demobbed G.I. Steve Kennedy adapt to peacetime, work woes and officious in-laws making life intolerable…

Keeping our frame of reference domestic, a new year and fresh sequence (Page 375, January 5th 1947) saw the invulnerable hero hounded by an indefatigable go-getting salesman from Dynamic Insurance. Elmer Doolittle’s career – and future wedded bliss – depend on selling Superman a policy. Luckily, the goal never actually specified what kind of policy…

March 9th (Page 384) signalled a return to fantastic fantasy as an invisible beast causes havoc in the heartlands and farmers call for help to bring the “Nosuch Animal” to brook. Sadly, when Superman intervenes the unseen terror loses its camouflage gift and is exposed as a living example of a dinosaur… a Paleomatzoball. Moreover, this rampaging colossus loves rough handling and develops a disastrous romantic attachment to the Man of Steel before our embarrassed involuntary swain devises a timely solution to their mutual problem…

The “peace dividend” delivered by the end of the war is scrutinised next as Clark visits Boom Town and sees how a former manufacturing mecca was infiltrated and overrun by mobsters, gamblers and racketeers once the military – and their trustworthy, well-trained police – were transferred elsewhere. When the entrenched thugs begin attacking the municipality’s new law enforcement recruits, the Man of Steel steps up to school the neophytes and ensure crime never pays there again…

Circuses were a big draw and popular pastime of the postwar years and from Page 400 (June 29th) Superman & Lois were lured into that limelight when swindlers targeted Cap’n Tobey’s Mammoth Carnival. When the doddering owner is gulled into promising the world that the Metropolis Marvel is his new top attraction, Superman naturally helps out by showing up, but his good deed only allows a cartel of gangsters to use his scheduled performances as opportunities to try new ways to assassinate the Action Ace… with no appreciable result…

Next (from 28th August) two more former G.I.’s enlist the Man of Steel in a business venture, hoping his promotion of their new hot dog line (“Teenie Weinies”) will ensure success, Sadly, the enthusiastically spectacular super sales campaign only lands our hero with a lawsuit for restraint of trade when established fast food rivals cry unfair competition against their own brand of “Yankie Frankies”! Ordered to cease and desist, our hero still manages one stellar and out of this world act of promotion before capitulating…

One of the earliest examples of a recurring Silver Age Superman trope comes next as Page 414 (October 5th 1947) sees exotic nuclear radiation (another increasing popular maguffin of the forthcoming Atomic Age) accidentally reduce the mighty Man of Tomorrow to the size and relative age – but thankfully not intellect or emotional development – of an infant. Unable to appear as Clark, “Superbabe” recruits vagabond Edward Benton who resembles his adult self to impersonate Kent until a remedy is found, only to see the double fall for Lois and attempt to steal his civilian life and wed her under false pretences. Unable to operate as hero or tolerate the loss of Lois, the Caped Kryptonian risks a deadly potential cure, sabotages Lois’ wedding day and risks exposing his greatest secret to stop the mad escapade…

After that soap opera scandal carries us over the Holiday season, accidental time travel – beginning with February 22nd 1948’s Page 434 – sees Superman stranded in the past and ensnared by the irresistible wiles of seductive, lethally ambitious Egyptian Queen Cleopatra. Thankfully, former beau Mark Antony is able to break her spell before the Man of Tomorrow returns to today, just in time to foil an impending Martian invasion (May 2nd – July 18th over Pages 444-455) by impersonating an “ordinary human” abducted to their testing labs…

He even acts as a matchmaker for their lonely leader before returning to Earth and his strangest encounter yet after he’s “adopted” by talking dog Angus who needs a safe, secure home for his homeless human orphan kid pal Nicky Nichols. Of course, once he’s over the shock and disbelief, Superman is delighted to provide them and even reunite Nicky with his missing-but-not-dead mother… once he’s stopped every grifting chancer’s exploitative schemes to make money out of the mouthy mutt…

Another extraordinary tyke turns up on Page 467 (October 10th) as radical theorists of The Educational Improvements Association attempt to hothouse a 3-year old prodigy with plenty of weird notions of her own. “Smartypants” is granted absolute freedom to do whatever she wants, with the Man of Steel sworn to make every wish come true. The result is utter anarchy (with unleashed dinosaurs!) and total chaos until the harassed, embattled boffins convene for a swift rethink before resorting to tried-&-trusted rearing methods…

November 28th (Page 474) saw Superman in whimsical mood as he puckishly teaches a rug salesman a lesson by making his smarmy, smug sales patter about magic carpets come true for downtrodden shopper Geoge Paley. Sadly, the prank goes exponentially awry as an ever-escalating war for possession of George’s flying rug breaks out, resulting in violence, loss of livelihood and litigation. Once he’s done settling all the crises he’s sparked, the Action Ace resolves to quit playing practical jokes…

Far-flung fantasy follows from Pages 484 to 493 (February 6th – April 10th 1949) as Superman gathers Amazon jungle flora for the Metropolis Botanical Society and stumbles upon a fabulous golden sword, a potent legend and a long-hidden civilisation in the Lost Valley of Ru. Holding the antique blade, the Man of Steel inadvertently fulfils an ancient prophecy and must marry the socially reforming Queen. That’s not what tyrannical nobles led by Baron Akhar want, and his machinations to thwart the prophecy and marry her himself – as well as the monarch’s embarrassing infatuation with the mighty caped stranger – lead to confusion, crisis and civil war before our hero can fix everything and flee back to the outer world’s relative calm…

The next serialised saga (Pages 494-505, April 17th to July 3rd) offers another human-interest drama given a super-powered spin as, having learned nothing, Superman hires a double to stand in for him at all onerous public functions he’s too polite to refuse. Sadly, affable, honest mimic Mike is soon innocently complicating the Action Ace’s double lives to the point of imminent calamity and when the hapless doppelganger is kidnapped, panic ensues following wildfire rumours of the hero losing his powers. Realising the jig is up, Superman takes drastic action…

Concluding this final Golden Age collection, Pages 506-520 (July 10th – October 16th 1949) detail a bizarre fantasy wherein Superman emulates the travels of Lemuel Gulliver in a story within a story. To cheer up a love-crushed youngster, the Metropolis Marvel recounts his travails on a distant heavy-gravity world where his powers fluctuated and he faced miniscule warriors and lumbering giants, overthrew a tyrant before brokering peace and even arranging a love match between representatives of each side!

The Golden Age Superman: – Sunday Pages 1946-1949 – was the last of two huge (312 x 245 mm), lavish, high-end twinned hardbacks re-presenting the Man of Steel’s exploits during WWII and the immediate aftermath. They were a welcome addition to the superb commemorative series of Library of American Comics which preserved in luxurious splendour such landmark strips as Lil Abner, Tarzan, Rip Kirby, Polly and her Pals and many of the abovementioned cartoon icons. It’s an unimaginable joy to see these neglected Superman stories again, offering a far more measured, domesticated and comforting side of one of America’s most unique contributions to world culture. It’s also a pure delight to see some of the most engaging yesterdays of the Man of Tomorrow. Join me, see for yourself and agitate for the entire library to be released in digital editions…
© 2014 DC Comics. All rights reserved. SUPERMAN and all related characters and elements are trademarks of DC Comics.

Today in 1883, Edwin Balmer – journalist/fantasist/author/co-creator of the Speed Spaulding sci fi strip – was born. The day also saw the deaths of groundbreaking cartoonist and animator Winsor McCay (Little Nemo in Slumberland, Gertie the Dinosaur, Dreams of a Rarebit Fiend) in 1934 and Reg’lar Fellers, It’s A Great Life If You Don’t Weaken, Wide Awake Willie creator Gene Byrnes in 1974.

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Hal Foster’s Prince Valiant volume 14: 1963-1964


By Hal Foster (Fantagraphics Books)
ISBN: 978-1-60699-970-7 (HB)

This book includes Discriminatory Content produced in less enlightened times.

Prince Valiant in the Days of King Arthur premiered on Sunday February 13th 1937: a fabulous rainbow coloured weekly peek into a world where history met myth to produce something greater than both. Pioneering creator Hal Foster developed the feature after a groundbreaking and astoundingly popular run on the Tarzan of the Apes comic strip.

Prince Valiant offered action, adventure, exoticism, romance and a surprisingly high quota of laughs in its engrossing depiction of noble knights and wicked barbarians played out against a glamorised, dramatized, mythologised Dark Ages backdrop. The never-ending story follows a refugee lad of royal blood, driven from ancestral Scandinavian homeland Thule, who grows up to roam the world, attaining a paramount position amongst the fabled heroes of Camelot.

Foster wove his complex epic romance over decades, tracing the progress of a feral wild boy who became a paragon of chivalric virtue: knight, warrior, saviour, avenger and ultimately family patriarch through a constant storm of wild, robust and joyously witty wonderment. The restless champion visited many far-flung lands, siring a dynasty of equally puissant heroes, enchanting generations of readers and thousands of creative types in all the arts.

The glorious epic spawned films, an animated series and all manner of toys, games, books and collections. Prince Valiant was – and remains – one of the few adventure strips to have run continuously from the thunderous 1930s to the present day (well north of 4000 episodes and still going strong) – and, even here at the end-times of newspaper strips as an art form, it continues in hundreds of US and international papers and globally through the internet.

Foster soloed on the feature until 1971 when John Cullen Murphy (Big Ben Bolt) succeeded him as illustrator whilst the originator remained as writer and designer. That ended in 1980, when he finally retired and Cullen Murphy’s daughter Mairead took over colouring and lettering whilst her brother John assumed the writer’s role. In 2004 the senior Cullen Murphy also retired, since when the strip has soldiered on under the auspices of other extremely talented artists such as Gary Gianni, Scott Roberts and latterly Thomas Yeates & Mark Schultz.

This luxuriously oversized (362 x 264 mm) full-colour hardback (tragically, the series is still unavailable digitally) re-presents pages spanning January 6th 1963 to December 27th 1964, (individual Strips #1352 to 1455) and comes with all the regular bonus trimmings. Comics book A-Lister Roger Stern (Superman; Avengers; Spider-Man; Doctor Strange; Incredible Hulk; Captain America) discusses and critically appraises the influential force of the newspaper strip on comic books in picture packed Foreword ‘Swiping Mr. Foster: A Legacy in Four Colors’, offering many potent comparisons and shameless swipes, after which Brian M. Kane expands the argument about Valiant’s lasting influence in ‘Might for Right: A Code of Honor for Sentinels of Liberty’.

The erudite scholar returns at this tome’s close: spotlighting the glorious range of the master storyteller in closing article ‘Land and Sea: Hal Foster’s Fine Art Paintings’ via a gallery of land-&-seascapes, nature studies and illustrative tableaux. Captivating as they are, though, the real wonderment is, as ever, the unfolding epic preceding them…

What Has Gone Before: following a failed and ruinous quest for the Holy Grail by the Round Table Knights, Valiant has compelled their return to Camelot and courtly duties. In the months following he visited the Great Tor at Glastonbury, met St Patrick and assisted a Papal mission from Rome assigned to erect a cathedral there. Wars erupted and plots were foiled, and an extended familial rift with long-suffering wife Aleta healed. A visit to Valiant’s Thule homeland brought more battle and death… and personal injury. With firstborn son Arn in tow, recuperation was concluded during a visit of the entire clan to Aleta’s ancestral kingdom in the Misty Isles, as Viking reiver Boltar escorted them to counter (other) Mediterranean pirates and brigands…

At their destination, the family defeated a colonising invasion by rival ruler Thrasos during which the queen delivered twin daughters, to make Valiant a proud father of four. His peace was shattered when fleeing prisoners of war abducted Arn and his commoner pals Paul & Diane, forcing Valiant and Viking shipwright Gundar Harl into frantic pursuit to prevent their being sold as slaves. However, by the time they caught up, cunning, capable Arn had already dealt with the problem. Even with the crisis averted peace was impossible to find. When pilgrims bound for the Holy Land were shipwrecked on the Misty Isles, Val was duty-bound to offer aid, and used his presence as escort to found a trade mission promoting the produce and wares of his island home. He also brought Arn, whose days of childhood indolence gave way to learning his proper place in the world…

Many rousing exploits marked their trail from Jaffa to the Dead Sea, and Damascus to Baghdad, before the pilgrimage ends in Aleppo where Boltar waits to ferry father and son back to a recovered and much wealthier Aleta. However, a brief period of glorious relaxation ends as King Arthur summons them to save Gaul from invading Goth hordes. With safe passage across Europe ended, England’s ruler also needed his greatest hero to carry a message to the Pope. As Aleta’s forces secured a sea route to Albion, Valiant & Arn’s perilous mission drew much action but ultimately no satisfaction from the embattled Pontiff. Undaunted, Valiant devised an alternative trade route between the Holy Father and increasingly imperilled Christian Britain: visiting what would become Spain and France, encountering a lost land where monks were guarded by monsters, dodging Goths and ousting a usurper all whilst reinstating the true ruler…

By the time the scattered family were reunited in England, the country endured a new kind of assault, as a charismatic priest was manipulated by his scurrilous scholar attendants/business managers to foment a religious revolution. After cleverly ending that near-insurrection, Val rejoined his family at the site of a church under construction near the fens where he grew up. The lure of his sire’s past beguiles Arn, who explored the boggy waterways and was soon hopelessly lost. Over tense weeks, he experienced the same privations his father had, before being rescued. Carrying huge wealth destined for Arthur’s coffers, the family thankfully took ship for Camelot, unaware that greedy, ambitious eyes were watching…

The illuminating wonders here resume with those eyes fatally blinking. Opportunistic fellow voyager Ethwald abducts Arn by guile, holding him to ransom for treasure Valiant safeguards for the king. Ethwald fears the knight’s prowess but is certain a father will do nothing to endanger his heir. He grievously underestimates the deadly wiles of outraged mother Aleta…

The majority of this two-year tome deals with the anticipation and results of a mass invasion by Angles and Saxons, but the slowly-building saga is built of many shorter episodes – adventures both tragic and even broadly comedic – in its ever-expanding tapestry. After returning to Camelot, the family are feted until Valiant is again called to defend the realm. Arn meanwhile, steadily advances from Page to Novice and begins official combat training. Soon he is made Batchelor-at-Arms and, when the vassal king of Wales dies, is drawn into war. The former Prince Cidwic hungers for fame, glory and riches, and – deploying his fierce Welshmen and a mercenary Pictish & Caledonian warband – besieges Carlisle in an attempt to annexe Scottish territories. The city is defended by a small contingent of cavalry and engineers led by Sir Kay, but as Arthur readies a rescue fleet to aid them, Valiant forms and leads a unit of swift-riding messengers from the Novices & Batchelors to keep lines of communication open. His youngest recruit is Arn…

When Cidwic regroups and fortifies his position, the boy plays a crucial role in supporting Kay’s forces and in the would-be conqueror’s eventual downfall. As diplomacy and reconciliation take over, Arthur rewards the boy with more responsibility: befriending new King Cuddock, Cidwic’s 12-year old son. As they bond and duty grows into true friendship, the king’s uncle Ruddah seeks to frame Arn for murdering the boy king, and learns to his eternal regret that youth does not equate to stupidity…

Plot foiled, Valiant & Arn make their slow way back to Court, partaking of many local jousts and tourneys that filled the autumn season and served to keep fighting men in peak form. As they compete, they encounter two impoverished, less than noble knights whose response to defeat leaves much to be desired and exposes the sordid underbelly of professional jousting. On reaching Camelot, a joyous family reunion almost ends in shame and bloodshed when cunning schemer Modred attempts to traduce Aleta’s honour and reputation by trapping her and Launcelot in a compromising situation. His vile scheme exposed, the villain flees and encounters a Saxon war party infiltrating the region around the Vale of the White Horse. The long dreaded war with the invaders is starting…

War-wise Arthur deems them to be scouting the land and sends his best men to observe them, with Arn and other knights-in-training as messengers. Sadly, Owen is still starry-eyed and vainglorious, and his inexperience leads to Arn’s capture. Thankfully, the prisoner is sharp-witted and well-disguised: convincing the Saxons he is a son of infamous pirate Boltar, while turning his situation to Britain’s advantage by memorising the plans of the vast invasion force marshalling overseas. Of course, his actions suggest to the keenly watching rescue party that the son of Valiant has turned traitor… before the boy orchestrates his escape and reports back to Arthur…

Although moving to a war footing, life at Court continues largely as before and prompts a personal crisis when a grand tournament intended to hone the fighting spirit of the nation’s champions sparks intrigue, and murder.. Visiting his kinsman Launcelot, Count Brecey of Brittany finds Aleta most pleasing and determines to make her his. That she is a queen with four children he can profitably marry off when he marries her is a huge additional benefit. Accustomed to taking whatever he wants, the overprivileged coward operates through his personal assassin Hugo, but that deadly wight proves no match for Valiant and his mighty warhorse Arvak, and as a web of sinister schemes unravels, Brecey abducts Aleta and runs for the coast. Thanks to the efforts of his victim and her hotly-pursuing spouse and first son, the Count doesn’t get far and – when caught – compounds his villainy with the worst kind of cowardice…

As summer approaches, Arthur’s preparations intensify, and the entire Court awaits news of a vast fleet of Angles, Jutes, Danes and Saxons. Tensions mount as word comes of established colonies, previously defeated by and sworn to Arthur, recant their oaths of allegiance and pick up the swords they had abandoned for peace and acceptance. The lure of imminent plunder is everywhere and the King is forced to remind is noble subjects of their promises to supply fighting men when the nation needs them. Valiant & Gawain are despatched to Cornwall where three local kings are at war with each other and “unable” to honour their word, whilst Arn travels to North Wales where his friend Cuddock is genuinely embattled, plagued by raids of marauding Scotti. As he will soon discover, the raiders are sponsored by the Saxon overlord as a distracting diversion…

Although one Cornish ruler is steadfast and readily provides promised forces for the army, weak, ambitious, greedy Kings Grundemede and Alrick-the-Fat need a sharp lesson in realpolitik and practical conjuring (learned long ago when young Valiant was attached to the wizard Merlin) before they grudgingly comply. Their missions successful, both the Cornish and Welsh embassages return with their new reinforcements to Camelot to make final preparations for the encroaching Saxon invasion. Thanks to Arn’s prior intelligence, the warlord’s colonising raiders head for Badon Hill, the ideal site for Arthur’s stout defence…

This astounding clash takes seven weeks to tell, but at the end England is barred to them for generations and the victorious armies return to their own lands. Switching from epic action to wry romantic comedy, Foster then plays with his stars as Aleta and the visiting queen of Alrick-the-Fat indulge in combat matchmaking; each seeking to wed heroic Sir Charles of Cornwall to their respective noblewoman protégés. However, their escalating wiles and schemes make a catastrophic impression on Aleta’s twins Karen & Valeta, who apply what they’ve seen to their own relentless pursuit of boy-king Cuddock, recuperating from nobly-earned wounds and far too naive to endure being the subject of the girls’ first crush…

Employing the clever conceit of lost historical scrolls, the narrative jumps forward some months before resuming with Valiant’s entire family en route to ancestral homeland Thule with bombastic brigand Boltar. That voyage is interrupted by news of marauders assembled by Skogul Oderson, who has united numerous warring tribes into a formidable force to ravage Thule. As the year ends, the far northern chieftain is spectacularly beaten, never counting on Valiant and wilderness scout Garm organising scattered self-serving homesteaders into a lethally effective guerrilla force to slowly whittle away the raider’s numerical advantage through guile, lethally inventive use of terrain and psychological warfare. The final instalment here presages even greater adventure as Boltar’s son and Arn discuss a return to the lost continent they had visited: a land latterly dubbed “the New World.”

To Be Continued…

A mind-blowing panorama of passion and visual precision, Prince Valiant is a potent procession of boisterous action, exotic adventure and grand romance; blending tremendous epic fantasy with dry wit and broad humour, soap opera melodrama with dark violence. Lush, lavish and captivating lovely, it is an true landmark of comics fiction which no fan can miss.
All comics © 2015 King Features Syndicate. All other content and properties © 2016 their respective creators or holders. This edition © 2016 Fantagraphics Books. All rights reserved.

Today in 1921 cartoonist and King Features editor Bill Yates (Professor Phumble) was born, followed in 1933 by uber enthusiast Shel Dorf (who founded the San Diego Comics Convention) and in 1945 French creator François Bourgeon (Les passagers du vent, Cyann Saga, Les Compagnons du crépuscule). In 1945; cartoonist supreme Bill Watterson (Calvin and Hobbes) in 1958; British writer Ian Edgington (Scarlet Traces, X-Men, Predator, The Red Seas, Aliens) in 1963 and mangaka Ken Akamatsu (Love Hina) in 1968.

In 2004 this date, Tim Rickard’s comic strip Brewster Rockit: Space Guy! first launched, but we lost astounding master Frank Bellamy (Fraser of Africa, Dan Dare, Thunderbirds, Garth) in 1976, Belgian Paul Cuvelier (Corentin, Line, Epoxy) in 1978 and manga artist Shinji Wada (Waga Tomo Frankenstein, Sukeban Deka, Ninja Hish?) in 2011.