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I’d Love to Draw


By Andrew Loomis (Titan Books)
ISBN: 978-1-78116-920-9 (HB)

Win’s Christmas Recommendation: an old-school introduction to peace and recreation… 9/10

Got some time on your hands? Fancy taking up a new hobby or rekindling an old interest?

There are many books – both academic and/or instructional – designed to inculcate a love of comics whilst offering tips, secrets and an education in how to make your own sequential narratives.

There are far more intended to foster and further the apparently innate and universal desire to simply make art and do so proficiently and well. There are however, precious few that do it with as much style, enthusiasm, delight and cunning craft as this recent re-release by one of the most influential and meritorious masters of illustration America ever produced.

William Andrew Loomis was born in Syracuse, New York in 1892 and grew up in Zanesville, Ohio during the period when almost all published illustration was crafted by talented hands rather than mechanical contrivances like cameras or computers.

Aged 19, Loomis moved back to New York to study under George Bridgman and Frank DuMond at the Art Students League before enlisting to fight in The Great War. On returning to America, he studied at the Art Institute of Chicago whilst setting up his own agency as a jobbing illustrator. Successful from the start, he began supplementing his income during the 1930s by teaching at the American Academy of Art and eventually began compiling his lecture and class material into such popular and effective instructional tomes as Fun with a Pencil and Figure Drawing for All It’s Worth.

His many beautiful and inspirational books influenced generations of artists before eventually slipping out of print. Titan Books began resurrecting them a few years ago and this tome (with an Introduction and a lavishly informative commentary by comics legend and grateful fan Alex Ross) continues the master’s works in an epic-scaled (315 x 235mm) luxuriously sturdy monochrome hardback which is a treasure to behold. Even when demonstrating the simplest stance or construction shape, Loomis’ utter joy in putting lines or shapes or shades on paper shines through…

This deeply idiosyncratic, wonderfully expansive and copiously illustrated collection begins with ‘Getting Started’: explaining the theory of ‘Basic Forms’ whilst offering page after page of illuminating examples before carefully and enthusiastically getting to grips with the thorny discipline of ‘Perspective’ in all its daunting forms.

The third pillar of artistic accomplishment is tackled head-on in ‘Light’, with a plethora of examples and exercises explaining all the necessities and useful tricks before the comfortable crash-course gravitates to Part Two and ‘Getting the Fun Out of It!’

Here the first port of call is perfecting ‘The Head’, which incorporates basic construction, carriage, positions and techniques before moving on to caricature and portraiture, after which ‘The Figure’ meticulously traces body form and development from stick-skeletons and sketch layouts to varieties of rendering, fast action visual notation, The Nude and the fundamentals of full illustration.

The foundation course concludes with the third and most important part: ‘The Fun of Sketching’: opening with an effusive overview of the practice of ‘Sketching’ – incorporating Line and Form Combined, Exaggeration to Project Character, Solid or Tonal Caricature, Portrait Sketching and much, much more.

Everything ends in an enthralling and enthusiastic ‘Closing Chat’ from the great man encouraging everyone to pick up a pencil and get on with it…

Loomis died in 1959 with one last art manual – Eye of the Painter & Elements of Beauty – published posthumously, yet his professional artistic philosophy, folksy wit and great personal charm still shine throughout this book. His gentle yet thorough instruction of the eternal unchanging verities of visual creation still makes the rewarding act of drawing not only achievable but desirable for everyone.

Perhaps this splendid volume is aimed more squarely at the progressing cartoonist, rather than at utter neophytes, and provides as much a philosophy of creativity as strict instruction, but I’d Love to Draw! will well serve any budding artists and storytellers whilst keeping idle hands and minds amused, absorbed and entertained for hours. If you already have the urge to make pictures but want a little encouragement, this marvellous manual will offer a steadying hand and all the support you could dream of.
© Andrew Loomis, The Estate of Andrew Loomis 2014. All rights reserved.

Introduction and additional text © Alex Ross 2014.

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Two Dead


By Van Jensen & Nate Powell (Gallery 13/Simon & Schuster)
ISBN: 978-1-50116-895-6 (TPB)

Win’s Christmas Gift Recommendation: A Dark Winter’s Tale you must not miss… 9/10

It’s been a while since we covered a crime yarn and this new release looks like making a few well-deserved waves, so let’ go back a lifetime or two and look at events that have passed into history while regrettably remaining all too fresh, familiar and immediate… like any wound…

Before moving into screen scripting and writing comics and graphic novels such as Pinocchio, Vampire Slayer, Cryptocracy and Valkyrie Beer Delivery – as well as established properties like The Flash, Superman, Wonder Woman and James Bond, Van Jensen worked as a crime reporter for the Arkansas Democrat Gazette. It was there and while palling around with local cops that he first learned of this case. The facts never let go of him and, years later, with the stunning collaboration of multi award-winning cartoonist Nate Powell (March, Come Again, About Face, Any Empire, Swallow Me Whole, The Silence of Our Friends) the events were dramatized here as Two Dead.

Even after separating the True Crime nature of the story, this is a chilling and unforgettably potent crime noir examining institutional racism, police bias and Post Traumatic Stress Disorders through the lens of history. It’s set in Little Rock, Arkansas where recently demobbed war hero Gideon Kemp is starting his new job as a police detective. It’s October 1946 and the FBI-trained family man just wants to put his past behind him and do good.

He cannot, however, escape the pressure of a crushing and tragic mistake made during his service that still haunts him, blighting his days and nights…

From the start, the new job is a trial. Secretly enlisted by Mayor Sprick, Gideon is supposed to fight a deeply entranced organised crime presence in the town as a detective, while secretly getting the goods on his own boss. Veteran old school cop Abraham Bailey hasn’t met a problem yet that couldn’t be solved with volleys of gunfire and – despite being popular with the white voters in town – he’s becoming a problem for the powers that be.

Just how much so, and what ghosts and demons drive the ethically-challenged hardliner, neither conspirator can truly guess…

Little Rock is prosperous, growing and segregated, with a strong but hidden Klan presence. Across the poverty-ridden tracks, the coloured citizens live separate lives. Esau Davis makes ends meet here running errands and taking bets for mob chief Big Mike. He is well aware of the dangers of upsetting – or even being noticed by – white cops.

Originally the police had tried recruiting blacks into the force, but as they kept turning up dead, the authorities eventually let the program drop. Now Esau’s war hero brother Jacob tries to keep the peace in their part of town with an unpaid, unarmed volunteer militia, but they’re no match for gangsters or self-righteous police looking for easy arrests. They are especially unprepared for gun-happy Chief Bailey, who has an obsessive hatred of all criminals, likes keeping trophies of all his “justified” kills, and never met a door he couldn’t kick down or anybody who wasn’t guilty of something…

Every player is tormented by their own ghosts, but as Kemp and Bailey warily test each other out while successfully dogging the footsteps of the murderous mobster – who has his own appallingly bloody peccadillo to assuage – an uneasy trust is formed. Rather than expeditiously doing the Mayor’s bidding, by-the-book Gideon stalls and prevaricates as the war of decency against crime escalates, exposing corruption among the city’s leaders and dragging in honest Jacob, who is soon just another gun in Bailey’s relentless war.

With blood running and the death toll mounting, Gideon and Jacob are powerless to head off a brutal confrontation. It seems no one can atone or win achieve redemption here…

The ending is one you won’t forget…

Rendered by Powell in sepia and black line utilising a style gloriously reminiscent of classic Will Eisner, Two Dead is a superb and upsetting thriller, made irresistibly compelling by Jensen’s deft use of language, gift for building suspense and multiple narrative perspectives and, like all the great noir tales, revels in a world of villains with no heroes to balance them…
© 2019 by Blue Creek Creative, LLC and Nate Powell. All rights reserved.

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Marvel Team-Up Marvel Masterworks volume 5


By Bill Mantlo, Gerry Conway, Roger Stern, Sal Buscema, Ron Wilson, George Tuska & various (Marvel)
ISBN: 978-1-3029-2218-4 (HB)

Win’s Christmas Gift Recommendation: Simply Superb Merry Marvel Madness … 8/10

In the 1970s, Marvel grew to dominate the comic book market despite losing their two most innovative and inspirational creators. They did so less by experimentation and more by expanding proven concepts and properties. The only real exception to this was the mass creation of horror titles in response to the industry down-turn in super-hero sales – a move expedited by a rapid revision in the wordings of the increasingly ineffectual Comics Code Authority rules.

The concept of team-up books was not new when Marvel awarded their most popular hero the lion’s share of this new title, but they wisely left their options open by allocating an occasional substitute lead in the Human Torch. In those long-lost days, editors were acutely conscious of potential over-exposure – and since super-heroes were actually in a decline at that time, they may well have been right.

Nevertheless, after abortive companion title Spectacular Spider-Man (created for the magazine market in 1968) died after two issues, Marvel Team-Up was the second full Spider-Man title. Debuting in March 1972, it was a resounding hit.

This fifth fabulous compilation (in hardback and digital formats) gathers material from MTU #41-52, plus a crossover from Marvel Two-in-One #17, and a rare seasonal sage from tabloid rarity Marvel Treasury Edition #13, cumulatively spanning January-December 1976. The book opens with an informative assessment and appreciation from historian and archivist Bruce Canwell in his Introduction before we plunge into the many-starred dramas…

A major attraction of those early comics combos was an earnest desire to get things “done in one”, with tales that concentrated on plot and resolution with the guest du jour. Here, however, neophyte scripter Bill Mantlo begins an era of closer continuity with an extended time travel epic that took taking the wallcrawler to the farthest, weirdest corners of Marvel’s ever-expanding universe…

With artists Sal Buscema & Mike Esposito in control of the horizontal and vertical, a truly impressive and ambitious multi-part epic opens with the Amazing Arachnid visiting the past and a number of alternate tomorrows beginning with ‘A Witch in Time!’

Here mutant Avenger Scarlet Witch is abducted from her rightful time and place by infamous witch-hunter Cotton Matherwho uses Doctor Doom‘s time machine to drag her back to Salem, Massachusetts in 1692. Her plight is observed by Spider-Man who naturally follows, but after failing to save her, the webspinner is himself accused of infernal sorcery in that rabid Massachusetts township…

Whilst Mather fans hysterical flames of paranoia, the Avenger’s synthezoid husband time-travels to her side in #42’s ‘Visions of Hate!’, only to fall before the witchfinder’s mysterious power too. As the innocents of Salem prepare themselves for death, our heroes make their escape only to fall to Mather’s hitherto unseen benefactor The Dark Rider.

Just as the master manipulator reveals himself, however, the stakes change again when a severely affronted Victor Von Doom appears, angrily demanding to know who’s been playing with his toys in #43’s ‘A Past Gone Mad!’

The frantic battle against an immortal chronal predator seems predestined to fail until the time-tides are unexpectedly turned in MTU #44 with the last-minute arrival of mind-goddess Moondragon, but in the aftermath Spider-Man tragically discovers that history is well-nigh impossible to alter in ‘Death in the Year Before Yesterday!’

The arachnoid adventurer is the last to return to the 20th century but his departure in issue #45 results in deadly diversions and understandable ‘Future-Shock!’ as he overshoots his home time and lands in devastated (and now defined as an alternate future) New York City circa 2019 where Warrior of the Worlds Killraven helps him survive numerous attacks by mutants and Martians in terrifying tripods before sending the spider back on his way home..

Unfortunately, before he gets there the wallcrawler experiences another shocking stopover in ‘Am I Now or Have I Ever Been?’, with cyborg warrior Deathlok saving him from a mutant hive-mind in a Manhattan shattered by war a mere fifteen years after his own lost and longed-for era…

A scared, sad and sobered Spider-Man finally makes it home in Marvel Two-In-One #17 just in time for a crossover with Ben Grimm AKA the Thing. The blockbuster opens with ‘This City… Afire!’ by Mantlo, Sal B & Esposito where, after battling beside Ka-Zar in the dinosaur paradise of the Savage Land, big Ben is ignominiously returned to the Big Apple by mutated madman Basilisk. This manic malcontent has manifested an erupting volcano in the Hudson River and it needs to go…

Already reeling, Spidey swings into action for the cataclysmic conclusion in Marvel Team-Up #47 where Mantlo, Ron Wilson & Dan Adkins render the spectacular clash of heroes who boldly proclaim ‘I Have to Fight the Basilisk!’

Proving there’s no rest for the wicked or the righteous, MTU #48 begins another suspenseful extended saga when ‘Enter: the Wraith!’ (Mantlo, Sal B & Esposito) introduces Police Captain Jean DeWolff whilst Spidey and Iron Man struggle to stop a mad bomber using model planes to destroy city landmarks and Stark International properties. As the heroes fruitlessly pursue leads, the enigmatic Wraith turns his attention upon them, proving to be not only connected to Jean but some kind of psionic metahuman…

With Iron Man again the guest-star, issue #49 reveals that ‘Madness is All in the Mind!’ as the masked maniac resumes his irresistible psychic assaults: explosively attacking Manhattan even as the tragic story of Jean’s Police Commissioner dad and murdered cop brother comes out…

However, the connection between them and the unstoppable villain is only exposed after the webslinger and Golden Avenger recruit Master of Mystic Arts Doctor Strange who applies his unique gifts to the problem in #50’s ‘The Mystery of the Wraith!’

The saga concludes with Marvel Team-Up #51 and ‘The Trial of the Wraith!’: a legal confrontation steered by a most unusual panel of judges whose hidden abilities are not enough to prevent one last crack of the whip by the unrepentant renegade…

The thrills, spills and chills are followed with blatant fill-in ‘Danger: Demon on a Rampage!’: a rather rushed but action-heavy pairing of Spidey and Captain America from Gerry Conway, SB & Esposito which sees the heroes unite to take down Gallic mercenary Batroc and an enraged monster that has somehow slipped out of an adjacent dimension…

The bulging bonus section begins with a house ad for the Mighty Marvel Bicentennial Calendar of 1976 which follows in its entirety, featuring the artistic excellence of John Romita Sr, Frank Robbins & Frank Giacoia, Herb Trimpe, Bob Brown, Gil Kane, John Buscema, Ross Andru, Joe Sinnott, Sal Buscema, Frank Brunner, Jim Starlin & Alan Weiss, and Jim Mooney.

After original art and covers from the text of this collection, Gil Kane’s sketches and finished art for the covers and frontispieces of Marvel Treasury Edition #9 (Giant Superhero Team-Up) and Marvel Treasury Edition #13 (Giant Superhero Holiday Grab-Bag) precede a delightful lost gem from the latter: an all-new clash between the Fantastic Four and Avengers by Roger Stern, George Tuska & Don Perlin. Thankfully, as the battle – with snowballs in Central Park – escalates, Daredevil, the Defenders and Champions are on hand to maintain the proper seasonal spirit…

These stories all have an honest drive to entertain and most fans of the genre would find little to complain about. Although not really a book for casual or more maturely-oriented enthusiasts, there’s plenty of fun on hand here and younger readers will have a blast, so there’s no reason not to add this tome to your comics library…
© MARVEL 2020 Marvel.

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Prez: The First Teen President


By Joe Simon, Jerry Grandenetti & Creig Flessel, with Cary Bates, Neil Gaiman, Ed Brubaker, Frank Miller, Grant Morrison, Art Saaf, Mike Allred, Bryan Talbot, Mark Buckingham, Eric Shanower & various (DC Comics)
ISBN: 978-1-4012-6317-1 (TPB)

Win’s Christmas Gift Recommendation: Because We Believe … 9/10

I’ve been saving this fabulously funny, viciously satirical gem for the closing moments of an actual election, and now that my interference can’t possibly affect what has become the strangest and most contentious campaign in US history and the icing on the Great Big Cake celebrating the utter devaluation of democracy, I think it well past time to offer the world a different vision of leadership and governance before it’s too late…

It won’t change anything in the grand scheme of things, but at least we can comfortably claim that this time around it can’t possibly get any stranger than fiction, right?

At a time when American comic books were just coming into their adolescence – if not maturity – Prez was a hippie teenager created by industry royalty. In the early 1970s, Joe Simon made one of his irregular yet always eccentrically fruitful sojourns back to DC Comics, managing to sneak a bevy of exceedingly strange concepts right past the usually-conservative powers-that-be and onto the spinner racks and newsstands of the world.

Possibly the most anarchic and subversive of these postulated a time (approximately twenty minutes into the future) when and where teenagers had the vote. The first-time electorate – idealists all – elected a diligent, honest young man who was every inch the hardworking, honest patriot every American politician claimed to be…

In 2015 that concept was given a devilishly adroit makeover for the post-millennial generation and the result was the superbly outrageous cartoon assessment of the State of the Nation known as Prez: Corndog-in-Chief. Once you’re done here, you should read that too and then ferociously lobby DC to release the concluding chapters in that saga…

Back here, however, and in 1972, Simon (Captain America, Fighting American, The Fly, Black Magic, Young Romance) was passionately doing what he always did: devising ways for ever-broader audiences to enjoy comics…

This carefully curated trade paperback compilation (also available in digital formats) deftly gathers every incidence of the best leader they never had from original run Prez #1-4 (September 1973-March 1974), through unpublished tales from Cancelled Comics Cavalcade #2, through guest cameos and revivals in Supergirl #10, The Sandman #54, Vertigo Visions: Prez #1, The Dark Knight Strikes Again and The Multiversity Guidebook #1.

It all begins in the little town of Steadfast where average teen Prez Rickard makes a minor splash by fixing all the clocks to run on time, whilst throughout the urban USA, dissent, moral decay and civil breakdown terrify the populace in an election year. Corrupt businessman and political influencer Boss Smiley, wants to capitalise on the new amendment allowing 18-year olds to vote and picks young Rickard as his perfect patsy, but all his chicanery comes awry when newly elected Prez turns out to have a mind and agenda of his own…

With early – if rather heavy-handed – salutes to ecological and native rights movements, ‘Oh Say Does That Star Spangled Banner Yet Wave?’ by Simon, veteran illustrator Jerry Grandenetti set the scene for a wild ride unlike any seen in kids’ comics…

Equal parts hallucinogenic political satire, topical commentary and sci-fi romp, the mandate mayhem expanded with second issue ‘Invasion of the Chessmen’, as a global goodwill tour threatens to bring worldwide peace and reconciliation until America’s chess master provokes an international incident with the chess-loving Soviet Union. Cue killer robots in assorted chess shapes and a sexy Russian Queen and watch the fireworks…

‘Invasion of America’ in issue #3 tackles political assassination and social repercussions after Prez decides to outlaw guns. I think no more need be said here…

The original run ended with the fourth saga, which examined international diplomacy as Transylvania dispatches its latest Ambassador to Washington DC: an actual werewolf paving the way to devious conquest and a ‘Vampire in the White House’ (inked by Creig Flessel)…

Although the series was cancelled, a fifth tale was in production when the axe fell. It appeared with other prematurely curtailed stories in 1978’s Cancelled Comics Cavalcade #2 and in monochrome appears here as ‘The Devil’s Exterminator!’ with a bug infestation in DC tackled by a mythical madman. When Congress refuses to pay his sky-high bill ($5 million or three lunches in today’s money!), Clyde Piper abducts all the children, and PotUS is forced into outrageous executive action…

There was one final 1970s appearance. Supergirl #10 (October 1974) featured ‘Death of a Prez!’ by Cary Bates, Art Saaf & Vince Colletta wherein the youthful Commander in Chief was targeted for assassination by killer witch Hepzibah, using an ensorcelled Girl of Steel to do her dirty work… with predictable results…

Prez Rickard vanished in a welter of superhero angst and science fiction spectacle after that but made a quiet reappearance in Neil Gaiman’s iconic Sandman story arc World’s End. Illustrated by Michael Allred, Bryan Talbot & Mark Buckingham, ‘The Golden Boy’ (The Sandman #54 October 1993) offers a typically askance view of the boy leader’s origins, his enemies, the temptations of power and the ends of his story. This generated enough interest to spark follow-up one-shot Vertigo Visions: Prez #1 (September 1995) wherein Ed Brubaker & Eric Shanower crafted ‘Smells Like Teen President’. After being missing for years, America’ youngest President is being trailed by a young hitchhiker who might well be his son…

The moving search for family, identity, belonging and purpose is followed by a typically iconoclastic vignette by Frank Miller & Lynn Varley taken from The Dark Knight Strikes Again (December 2001) with the Leader of the Free(ish) World exposed as a computer simulation before the history lesson concludes with Grant Morrison, Scott Hepburn & Nathan Fairbairn’s page on Hippie-dippy ‘Earth 47’ and its comic book landmarks (Prez, Brother Power, The Geek, Sunshine Superman and other) as first seen in The Multiversity Guidebook #1 (January 2015).

I used to think comics were the sharpest reflection of popular culture from any given era. That’s certainly the case here, and maybe there are even lessons to be learned from re-examining them with the eyes of experience. What is irrefutable, and in no way fake news, is that they’re still fun and enjoyable if read in a historical context.

So read this, vote if you can and get ready. I can guarantee not even funnybook creators can predict what’s coming next…
© 1973, 1974, 1978, 1993, 1995, 2001, 2002, 2015, 2016 DC Comics. All Rights Reserved.

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Wallace & Gromit in A Grand Day Out


By Nick Park, illustrated by David Lopez (Egmont)
ISBN: 978-1-40524-532-6 (HB) 978-0-56338-008-5 (PB)

No matter how old you get, there are always new experiences to enjoy and endure. Here I am, in my personal end of days, gearing up for my first ever digital Yule season. With that in mind, I’ll be thinking of appropriate reading matter that we should all start sorting out now...

Hard though it is to believe, Wallace and Gromit have been delighting us for over thirty years and this delightful commemorative edition celebrated the fact in fine style by coming full circle. According to Nick Park’s informative Foreword the ingenious, quintessentially English cheese-loving duo were originally conceived as an art school graphic novel, before the Plasticene lure of movement and sound diverted the concept to the world of animation.

David Lopez sensitively adapts with a soft, water-coloured grace the classic tale of an ingenious man and his dog on an epic hunt for cheese that leads them to the moon and a unique confrontation with the dreamy robot that guards its edible treasures.

Lovingly rendered, perfectly timed, the skilful blend of low comedy and whimsy is just as memorable in two dimensions as four, and this book is going to make a lot of kids – of all ages – wonderfully happy.

Is it ever too soon to start recommending what to buy for Christmas? If not then consider this a “must have”…
© and ™ Aardman Animations Ltd. 2009

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Mandrake the Magician: The Hidden Kingdom of Murderers – Sundays 1935-1937


By Lee Falk & Phil Davis (Titan Books)
ISBN: 978-0-85768-572-8 (HB)

Win’s Christmas Gift Recommendation: Because We Believe in Magic… 10/10

Regarded by many as the first superhero, Mandrake the Magician debuted as a daily newspaper strip on 11th June 1934. An instant hit, it was soon supplemented by a full-colour Sunday companion page which launched on February 3rd 1935.

Creator Lee Falk had actually sold the strip to King Features Syndicate years earlier as a 19-year old college student, but asked the monolithic company to let him finish his studies before dedicating himself to it full time. With his schooling done, the 23-year old master raconteur settled in to begin his life’s work: entertaining millions with his astounding tales.

Falk – who also created the first costumed superhero in moodily magnificent mystery man The Phantom – spawned an actual comicbook subgenre with his first creation. Most publishers of the Golden Age boasted at least one (and usually many more) nattily attired wonder wizards amongst their gaudily-garbed pantheons; all roaming the world making miracles and defeating injustice with varying degrees of stage legerdemain or actual sorcery.

Characters such Mr. Mystic, Ibis the Invincible, Sargon the Sorcerer, and an assortment of “…the Magicians” such as Zanzibar, Zatara, Kardak and so many, many more, all borrowed heavily and shamelessly from the uncanny exploits of the elegant, enigmatic white knight who graced the pages of the world’s newspapers and magazines.

In the Antipodes, Mandrake was a stalwart regular of the Australian Women’s Weekly, and also became a cherished star in the UK, Italy and Scandinavia. Over the years he has been a star of radio, movie chapter-serials, a theatrical play, television and animation as part of the cartoon series Defenders of the Earth. With that has come the usual merchandising bonanza of games, toys (including magic trick kits), books, comics and more…

Falk worked on Mandrake and “The Ghost who Walks” until his death in 1999 (even on his deathbed he was laying out one last story) but he also found time to become a playwright, theatre producer and impresario, as well as an inveterate world-traveller.

A man of many talents, Falk drew the first few weeks himself before uniting with sublimely imaginative cartoonist Phil Davis, whose sleekly understated renditions took the daily strip – and especially these expansive full-page Sunday offerings – to unparalleled heights of sophistication: his steady assured realism the perfect tool to render the Magician’s mounting catalogue of wondrous miracles…

Those in the know are well aware that Mandrake was educated at the fabled College of Magic in Tibet, thereafter becoming a suave globe-trotting troubleshooter, always accompanied by his faithful African partner Lothar and beautiful, feisty companion (and eventually, in 1997, bride) Princess Narda of Cockaigne, solving crimes and fighting evil. Those days, however, are still to come as the comics section opens in this splendidly oversized (315 x 236 mm) full-colour luxury hardback – and digital equivalents – with ‘The Hidden Kingdom of Murderers’ (which ran from February 3rd to June 2nd 1935) as the urbane Prince of Prestidigitation and his herculean companion are approached by members of the international police to help expose a secret society of criminals and killers acting against the civilised world from their own hidden country.

After officer Duval is assassinated, Mandrake and Lothar – accompanied by panther woman Rheeta and surviving cop Pierce – embark upon a multi-continental search which, after many adventures, eventually brings them to a desolate desert region where they are confronted by bloody-handed Bull Ganton, King of Killers.

With the master murderer distracted by Rheeta, Mandrake easily infiltrates the odious organisation and quickly begins dismantling the secret society of two million murderers. By the time Ganton wises up and begins a succession of schemes to end Mandrake, it’s too late…

That deadly drama concluded, Mandrake and Lothar head to India to revisit old haunts and end up playing both peacemaker and cupid in the ‘Land of the Fakirs’ (running from June 9th to October 6th).

When Princess Jana, daughter of Mandrake’s old acquaintance Jehol Khan is abducted by rival ruler Rajah Indus of Lapore, the Magician ends his mischievous baiting of the street fakirs to intervene. In the meantime, Captain Jorga – who loves Jana despite being of a lower caste – sets off from the Khan’s palace to save her or die in the trying…

After many terrific and protracted struggles, Mandrake, Lothar and Jorga finally unite to defeat the devious and duplicitous Rajah before the westerners set about their most difficult and important feat; overturning centuries of tradition so that Jorga and Jana might marry…

Heading north, the peripatetic performers stumble into amazing fantasy after entering the ‘Land of the Little People’ (13thOctober 1935 to March 1st 1936), encountering a lost race of tiny people embroiled in a centuries-long war with brutal cannibalistic adversaries. After saving the proud warriors from obliteration, Mandrake again plays matchmaker, allowing valiant Prince Dano to wed brave and formidable commoner Derina who fought so bravely beside them…

With this sequence illustrator Davis seemed to shake off all prior influences and truly blossomed into an artist with a unique and mesmerising style all his own. That is perfectly showcased in the loosely knit sequence (spanning 8th March to 23rd August 1936) which follows, as Mandrake and Lothar return to civilisation only to narrowly escape death in an horrific train wreck.

Crawling from the wreckage, our heroes help ‘The Circus People’ recapture and calm the animals freed by the crash, subsequently sticking around as the close-knit family of nomadic outcasts rebuild. Mighty Lothar has many clashes with jealous bully Zaro the Strongman, culminating in thwarting attempted murder, whilst Mandrake uses his hypnotic hoodoo to teach sadistic animal trainer Almado lessons in how to behave, but primarily the newcomers act as a catalyst, making three slow-burning romances finally burst into roaring passionate life…

Absolutely the best tale in this tome and an imaginative tour de force which inspired many soon-to-be legendary comicbook stars, ‘The Chamber into the X Dimension’ (30th August 1936 to March 7th 1937) is a breathtaking, mind-bending saga starting when Mandrake and Lothar search for the missing daughter of a scientist whose experiments have sent her literally out of this world.

Professor Theobold has discovered a way to pierce the walls between worlds but his beloved Fran never returned from the first live test. Eager to help – and addicted to adventure – Mandrake and Lothar volunteer to go in search of her and soon find themselves in a bizarre timeless world where the rules of science are warped and races of sentient vegetation, living metal, crystal and even flame war with fleshly humanoids for dominance and survival.

After months of captivity, slavery, exploration and struggle our human heroes finally lead a rebellion of the downtrodden fleshlings and bring the professor the happiest news of his long-missing child…

Concluding this initial conjuror’s compilation is a whimsical tale of judgement and redemption as Mandrake uses his gifts to challenge the mad antics of ‘Prince Paulo the Tyrant’ 14th (March 14th – 29th August 1937).

The unhappy usurper stole the throne of Ruritanian Dementor and promptly turned the idyllic kingdom into a scientifically created madhouse. Sadly, Paulo had no conception of what true chaos and terror were until the magician exercised his mesmeric talents…

This epic celebration also offers a fulsome, picture-packed and informative introduction to the character – thanks to Magnus Magnuson’s compelling essay ‘Mandrake the Magician Wonder of a Generation’ – plus details on the lives of the creators (‘Lee Falk’ and ‘Phil Davis Biography’ features) plus a marvellous Davis pin-up of the cast to complete an immaculate confection of nostalgic strip wonderment for young and old alike.
Mandrake the Magician © 2016 King Features Syndicate. All Rights Reserved. “Mandrake the Magician Wonder of a Generation” © 2016 by Magnus Magnuson.

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Blackwood


By Hannah Eaton, (Myriad Editions)
ISBN: 978-1-908434-71-5 (PB) eISBN: 978-1-908434-72-2

It’s all about personal tastes in the end, but when I assessed the many horror-themed and Halloween-adjacent review copies despatched from kind creators, PR sentinels and hopeful publishers this month (thank you one and all!), from very early on I knew we had to end on this one. Read on, read Blackwood itself and learn just why…

As nations and cultures, we all think we’re special, but every so often a piece of art comes along and you think “no other nationality could have produced this…” That’s an especially inescapable conclusion after indulging in the glorious melange that is this intriguing annal of Albion.

Rendered and reproduced as soft and subtle pencil drawings, Blackwood is quintessentially English: channelling our beloved countryside, quirky folk of different classes (co-existing if not actually living in harmony), witchcraft, cosy murder-mysteries, corrupt councils, devil-worshipping mystic masons, ordinary people well in over their heads, inbred insularity and racism, an extremely reserved, controlled sense of events getting away from you. There’s also a chilling sense that there’s always more going on under the surface of civility and respectability than meets your eye…

Best of all, as this tale of identical rural murders occurs simultaneously 65 years apart, we get to see – up close and personal – just how much and how little society has changed, especially when the modern-day killing draws in troublesome nosy strangers from outside the community… and even foreigners…

Augmented by an Afterword detailing the generational tale’s real-world inspirations, this is a yarn that only comes from gifted, thoughtful artists like Hannah Eaton (check out Naming Monsters while you’re at it) who have seen a bit of the world before settling down to devise their own.

Channelling delicious notes of Gary Spencer Milledge’s Strangehaven and the first series of Gracechurch, this very human-scaled drama is funny, scary and seductively compelling, like the best Scandi-dramas, but with tea and a Victoria Sponge all laid on.

Is Blackwood a heartfelt paean to a forgotten place and time or a devious attack on oppressive social structures and change-based bias that still hold us apart and down? Yes, no, maybe and mind your own business. It is a chilling, delightful and utterly compelling mystery that, once read, will not be forgotten.

So, go do that then, right?
© Hannah Eaton 2020. All rights reserved.

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The Joker: His Greatest Jokes


By Bill Finger, Bob Kane, David Vern, John Broome, Denny O’Neil, Gerry Conway, Doug Moench, Paul Dini, Tom Seeley, Lew Sayre Schwartz, Sheldon Moldoff, Bob Brown, Irv Novick, José Luis García-López, Don Newton, Don Kramer, Sami Basri, Otto Schmidt, Jerry Robinson, George Roussos, Charles Paris, Joe Giella, Dick Giordano, Dan Adkins, Alfredo Alcala, Wayne Faucher & various (DC Comics)
ISBN: 978-1-4012-9441-0 (TPB)

When this year started, I expected to spend lots more time celebrating and commemorating the comics anniversaries that had rolled around. We all know how and why that didn’t happen, so with some frantic re-jigging I’ve shoehorned one of the most enduring arch-foes in fiction in to this Halloween segment.

It’s safe to assume that almost everybody knows some iteration of the Joker – probably more than one – so kudos to the editors of this curated historical compilation for unearthing some of the less well-known clown-clashes here. Therefore, sit back and ponder just why the Monarch of Malignant Mirth known got to survive 80 gory-ous years and enjoy…

However, fascinating and informative as those features are, the real literary largesse is to be found in the 19 stirring tales which comprise the bulk of this tome…

A good old-fashioned chronological compendium of the Harlequin of Hate’s ever-changing, so-mutable antics and aggressive transgressions, this trade paperback/digital treat re-presents stories from Batman #8, 67, 145, 260, 353, 366, Detective Comics #388, 833-834, The Spectre #51 and Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1, and opens sans preamble with ‘The Cross Country Crimes’ (Batman #8, by Bill Finger, Bob Kane, Jerry Robinson & George Roussos; December 1941/January 1942) which sees the plundering poltroon rampage across America in a classic blend of larceny and lunacy.

A decade later, the edgy, implied violence was replaced by smart plotting and bizarre situations as David Vern, Kane, Lew Sayre Schwartz & Charles Paris’ ‘The Man Who Wrote the Joker’s Jokes’ (Batman #67, by October/November 1951) sees the Crime Clown hire literary ghosts to plot his capers before ultimately overreaching by blackmailing Batman into writing his next – and last – heist…

Finger & Sheldon Moldoff t told a tale within a tale as ‘The Son of the Joker’ (Batman #145; February 1962) sees butler Alfred penning his own brand of fanfic, detailing how the next generation of Caped Crusaders (an adult Dick Grayson and Bruce Wayne‘s son) clash with the inheritors of the Clown’s colours…

Detective Comics #388 (June 1969) saw John Broome make a major course correction, moving the Joker away from buffoonery back towards the insane killer we all cherish in ‘Public Luna-tic Number One!‘ – a classy sci-fi thriller totally reinventing the Laughing Loon, in no small part thanks to the artistic efforts of artists Bob Brown & Joe Giella.

‘This One’ll Kill You, Batman!’ by Denny O’Neil, Irv Novick & Dick Giordano from Batman #260 (January/February 1975) sees the grim, po-faced Darknight Detective racing to save his own life after being poisoned by Joker Toxin that acts like an irresistible, lethal laughing gas, after which ‘Last Laugh’ (Batman #353, November 1982) sees Gerry Conway, the incomparable José Luis García-López and inker Dan Adkins detail the Mountebank of Mayhem’s latest ego boost, by attempting to immortalise his face in mountainous stone whilst getting rid of his greatest enemy forever…

Batman #366 – from December 1983 and courtesy of Doug Moench, Don Newton & Alfredo Alcala offers some contemporary unrealpolitik as the Joker brings his singular taste for chaos to war-torn Guatemala as he attempts to take over the nation. He is foiled by a unique team consisting of journalist Vicki Vale, Batman and the hero’s latest recruit… a masked kid named Jason Todd…

‘A Savage Innocence’ (The Spectre #51, by John Ostrander & Tom Mandrake; March 1997) takes a peek behind the lunacy, as God’s instrument of Divine Wrath faces the Crazy Clown. After the Joker kills everyone in New York comedy club The Killing Joke, the Spectre enters the maniac’s mind and is horrifically compromised and converted…

Crafted by Paul Dini, Don Kramer & Wayne Faucher, ‘Trust’ (parts one and two, from Detective Comics #833-834; August and September 2007), ostensibly feature an encore performance for warped and homicidal stage magician Ivar Loxias, but all too soon, the chilling tale of slaughter and trickery guest-starring the bewitching Zatanna turns up a Joker in the stacked deck…

This box of exotic delights ends with a recent but thoroughly entertaining slice of catharsis from Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1 (August 2018). Written by Tom Seeley, with art by Sami Basri, Otto Schmidt & Jessica Kholinne, ‘Till Death Do Us Part’ finds the Grinning Ghoul diverted from his intended disruption of Batman and Catwoman‘s wedding, by old flame Harley Quinn, who feels there are unresolved issues from their own unique romantic interlude. She wants to talk it all out and she’s brought the necessary restraints and weaponry…

The Joker has spanned DC’s entire continuity, adding mirth, mayhem and madness to the shining clockwork universe. If you need to walk a bit wild and enjoy straying from the paths most taken, this intriguing confection might be just up your dark and threatening alley…
© 1941, 1951, 1962, 1969, 1974, 1982, 1983, 1997, 2007, 2018, 2019 DC Comics. All rights reserved.

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Joker (10th Anniversary Edition)


By Brian Azzarello & Lee Bermejo, with Mick Gray & Patricia Mulvihill (DC Comics Black Label)
ISBN: 978-1-4012-9428-1 (HB)

I’m going to voice what is probably a minority opinion here, so please be aware that this is possibly one of those books that you’ll need to make your own mind up about – but then again, aren’t they all?

Brian Azzarello & Lee Bermejo have, singly and in partnership, created some of the best and most popularly received comics tales of the last decade or so: tough, uncompromising, visually memorable yarns that explore the darkest facets of human nature, yet with a deep core of sardonic wit – thoroughly readable but always-challenging.

A book dedicated to the grotesque antithesis and ultimate foe of the coldly logical Dark Knight therefore, would seem like the ideal vehicle for their talents and particular world-views…

The Joker is getting out of Arkham Asylum. Incredibly, the Clown Prince of Crime and undisputed ruler of all Gotham City’s rackets has been judged sane. He’s coming out, and he’s going to want his old position back. The mobsters that now run the city are terrified but resigned. He’s coming back, so somebody has to go fetch him…

Made Man on a downward spiral, Johnny Frost volunteers to be the guy, becoming the terrifying clown’s chauffeur and bodyguard in the process. The Joker is a murderous time-bomb everybody expects to explode at any moment, and as soon as he hits the city, he recruits Killer Croc as his enforcer, and begins working his way back to the top of the heap, using his reputation and horrifying propensity for baroque bloodletting the way a rattlesnake uses his tail.

Many of Batman’s rogues’ gallery (Penguin, Two-Face, Riddler and so on) are in paying attendance in various uncharacteristic positions of nefarious authority, and the events – narrated with growing desperation by helpless witness Frost – spiral towards an inevitable and bloody climax of madness and conflict. Clearly constructed for modern movie audiences, this is more a post-modern take on the classic gangster plot of a ruthless thug reclaiming his territory, rather than a yarn featuring the bizarre costumed crooks older fans might be more familiar and comfortable with.

No matter how beautiful or well executed (and it really is), nor how much overlap there is with most recent film franchise, for many of us emotionally wedded to the overarching continuity, this just does not work as a Joker story. Scar-Face, Blackmask, Maxie Zeus, even a real criminal like Al Capone perhaps, but the Joker shouldn’t be a “Goodfella” with a grudge and some gory peccadilloes: he’s the ultimate expression of random, bloody chaos, a bundle of “Impulse Issues” wrapped tight in a spiky ball of psychosis…

Devised as a miniseries and “promoted” to a high-profile original hardback before release, this is a taut and nasty thriller, immaculately illustrated: but there’s very little Batman in there, and no Joker at all…

Please feel free to disagree, and this certainly is a unique work that should be seen by all with the stomach for it – especially in this 80th anniversary year. The book is available in numerous iterations, but this Black Label edition rerelease (in Hardcover and digital formats) offers further enticements in the form of bonus section ‘Held for Observation’. Here be evaluations from Azzarello & Bermejo, promotional art, the original miniseries proposal, cover art for Wizard Magazine, character studies, previous edition cover art, unused covers, lots of pre-coloured story pages, and an outrageously irreverent Calvin and Hobbes spoof strip by Azzarello & Bermejo which saw print as Joker and Lex in Superman/Batman #75 (Summer 2010).

Trust me, this joke you should get…
© 2008, 2013 DC Comics. All Rights Reserved.

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Love on the Isle of Dogs


By Jude Cowan Montague, (Friends of Alice Publishing)
ISBN: 978-1-9160306-7-1 (PB)

Terror comes in many forms but I imagine there’s nothing to beat the moment your best beloved turns into a monster. Tragically, that doesn’t happen all at once…

Jude Cowan Montague (Caretaker of Animals around the World, The Originals, The Wires, The Leidenfrost Effect, Young Hitch in Forbidden Flames: Young Alfred Hitchcock in the Sidney Street Siege [The Adventures of Young Alfred Hitchcock]) has lived a full life so far, and it isn’t anywhere near over yet.

Born in Manchester, the artist, writer, composer, film historian, poet and broadcaster now abides in London where this intriguing and frequently heart-rending personal memoir takes place, way back in the heady cauldron of Docklands in the 1990s.

Trust me, I was a newlywed then and there myself and it was not a good time to be starting a new life. At least me and mine got out relatively unscathed…

This is a is a beautiful, powerful and personal account of a time of tragedy kindly shared, so I’m curtailing my usual verbosity regarding plot and events, and concentrating on technical stuff to entice you to get your own copy. An internationally exhibited gallery artist and acclaimed writer of prose and poesy, the auteur here approaches the same vent in two ways, firstly as highly immediate, evocative, primitivist freeform strips and images in black, white and grey ‘Pictures’ and latterly reworked – like someone trying to make senses of events – in ‘Words’.

Way back then, an introspective creative type working in a Newham arts centre restarted a relationship with the perfect guy. A charmer, brilliant and the owner of a house he had built with his own hands on the legendary but counter-charismatic Isle of Dogs.

For a while it was all “living the dream”, until the accident and progressive brain injury. Then, oh so slowly, he grew into someone else: a guy who was sometimes still a great dad and provider of surprise pet dogs, but at others a terrified, angry, paranoid figure of fear who couldn’t recognise or remember his nearest and dearest.

And, unlike made up stories, love and devotion don’t always save the day…

Earnest and candid, Love on the Isle of Dogs is a full-on confrontation with the everyday dramas and joys that turn dazzling bright young things into your mum and dad. It’s as simple and shocking as that…
© 2020 Jude Cowan Montague 2020. All rights reserved.