Posts

Posted on

Batman: The Brave and the Bold volume 1


By Matt Wayne, J. Torres, Andy Suriano, Phil Moy, Carlo Barberi, Dan Davis & Terry Beatty (DC Comics)
ISBN: 978-1-4012-2650-3 (TPB)

The Brave and the Bold began in 1955 as an anthology adventure comic featuring short complete tales about a variety of period heroes: a format which mirrored that era’s filmic fascination with historical dramas. Devised and written by Bob Kanigher, issue #1 led with Roman epic Golden Gladiator, medieval mystery-man The Silent Knight and Joe Kubert’s now-legendary Viking Prince. Soon, the Gladiator was increasingly alternated with Robin Hood, but the manly adventure theme carried the title until the end of the decade when the burgeoning costumed character revival saw B&B transform into a try-out vehicle in the manner of Showcase.

Used to premiere concepts and characters such as Task Force X: The Suicide Squad, Cave Carson, Hawkman, Strange Sports Stories and the epochal Justice League of America, the comic soldiered on until issue #50 when it provided another innovative new direction which once again truly caught the public’s imagination.

That issue paired two superheroes – Green Arrow & Martian Manhunter – in a one-off team-up, as did succeeding ones: Aquaman with Hawkman in #51, WWII Battle Stars Sgt. Rock, Captain Cloud, Mme. Marie & the Haunted Tank in #52 and Atom & Flash in #53. The next team-up – Robin, Aqualad & Kid Flash, evolved after further try-outs into the Teen Titans and after, Metal Men/the Atom and Flash/Martian Manhunter appeared, brand new hero Metamorpho, the Element Man debuted in #57-58.

From then it was back to the extremely popular superhero pairings with #59, and although no gone realised it at the time, this particular conjunction – Batman with Green Lantern – would be particularly significant….

After a return engagement for the Teen Titans, two issues spotlighting Earth-2 champions Starman & Black Canary and Wonder Woman witth Supergirl, an indication of things to come materialised as Batman duelled hero/villain Eclipso in #64: an acknowledgement of the brewing TV-induced mania mere months away…

Within two issues, following Flash/Doom Patrol and Metamorpho/Metal Men, Brave and the Bold #67 saw the Caped Crusader take de facto control of the title and the lion’s share of the team-ups. With the exception of #72-73 Spectre</Flash and Aquaman/Atom) the comic was henceforth a place where Batman invited the rest of company’s heroic pantheon to come and play…

Decades later, the Batman Animated TV series masterminded by Bruce Timm and Paul Dini in the 1990s revolutionised the Dark Knight and subsequently led to some of the absolute best comicbook adventures in his decades-long publishing history with the creation of the spin-off print title.

With constant funny book iterations and tie-ins to a succession of TV cartoon series, Batman has remained popular and a sublime introducer of kids to the magical world of the printed page.

One relatively recent incarnation was Batman: the Brave and the Bold, which gloriously teamed up the all-ages small-screen Dark Knight with a torrent and profusion of DC’s other heroic creations, and once again the show was supplemented by a cool kid’s comic book full of fun, verve and swashbuckling dash, cunningly crafted to appeal as much to the parents and grandparents as those fresh-faced neophyte kids…

This stellar premier collection (available in paperback but aggravatingly not in digital editions) gathers the first 6 issues in a hip, trendy, immensely entertaining package suitable for newcomers, fans and aficionados of all ages and, although not necessary to the reader’s enjoyment, a passing familiarity with the TV episodes will enhance the overall experience (and they’re pretty good too)…

Following the format of the TV show, each tale opens with a brief vignette adventure before telling a longer tale. Issue #1 has the Caped Crimebuster and Aquaman putting paid to robotic rogue Carapax. This feeds into main feature ‘The Panic of the Composite Creature’ (by Matt Wayne, Andy Suriano & Dan Davis) wherein Batman and the pulchritudinous Power Girl save London from Lex Luthor‘s latest monster-making mechanism.

Phil Moy illustrates Superman and the Gotham Guardian mopping up the terrible Toyman before ‘The Attack of the Virtual Villains’ finds the Bat and Blue Beetle in El Paso battling evil Artificial Intellect The Thinker, in a compelling and extremely challenging computer-game world…

After an introductory battle between Wonder Woman , Dark Knight and telepathic tyrant Dr. Psycho‘s zombie villains, ‘President Batman!’ (Wayne, Suriano & Davis) sees the Great Detective substitute for the Commander-in-Chief, with Green Arrow as bodyguard when body-swapping mastermind Ultra-Humanite attempts to seize control of the nation.

Then, in full-length thriller ‘Menace of the Time Thief!’, Aquaman and his bat-eared chum prevent well-intentioned Dr. Cyber from catastrophically rewriting history, following a magical and too brief prologue wherein sorcerer Felix Faust is foiled by a baby Batman and the glorious pushy terrible toddlers Sugar and Spike…

Torres, Carlo Barberi & Terry Beatty stepped in for both the chilling vignette wherein the nefarious Key is caught by Batman and a Haunted Tank whilst ‘The Case of the Fractured Fairy Tale’ opens as the awesome Queen of Fables starts stealing children for her Enchanted Forest and the Caped Crusader needs the help of both Billy Batson and his Shazam!-shouting adult alter ego Captain Marvel…

This initial outing concludes with a preliminary clash between Hourman and Batman against the crafty Calculator, after which ‘Charge of the Army Eternal!’ (Torres, Suriano & Davis) finds villainous General Immortus at the mercy of his own army of time-lost warrior bandits and desperately seeking the help of the Gotham Gangbuster and ghostly Guardian Kid Eternity..

Although greatly outnumbered, the Kid’s ability to summon past heroes such as The Vigilante, Shining Knight, Viking Prince and G.I. Robot proves invaluable, especially once the General inevitably betrays his rescuers…

This fabulously fun rollercoaster ride also includes informative ‘Secret Bat Files’ on Luthor, Power Girl, Thinker, Blue Beetle, Ultra-Humanite, Green Arrow, Dr. Cyber, Aquaman, Queen of Fables, Captain Marvel, General Immortus and Kid Eternity, and the package is topped off with a spiffy cover gallery courtesy of James Tucker, Scott Jeralds & Hi-Fi.

The links between kids’ animated features and comicbooks are long established and, I suspect, for young consumers, indistinguishable. After all, it’s just adventure entertainment in the end…

Despite being ostensibly aimed at TV viewing kids, these short, sweet sagas are also wonderful, traditional comics thrillers no self-respecting fun-fan should miss: accessible, entertaining, well-rendered yarns for the broadest range of excitement-seeking readers, making this terrific tome a perfect, old fashioned delight. What more do you need to know?
© 2009 DC Comics. Compilation © 2008, 2009 DC Comics. All Rights Reserved.

Posted on

The Spirit: An 80th Anniversary Celebration


By Will Eisner & various (Clover Press)
ISBN: 978-1-95103-805-2 (TPB)

It is pretty much accepted today that Will Eisner was one of the prime creative forces that shaped the comicbook industry, but still many of his milestones escape public acclaim in the English-speaking world.

William Erwin Eisner was born on March 6th 1906, in Brooklyn, and grew up in the ghettos of the city. They never left him. After time served inventing much of the visual semantics, semiotics and syllabary of the medium he dubbed “Sequential Art” in strips, comicbooks, newspaper premiums and instructional comics, he then invented the mainstream graphic novel, bringing maturity, acceptability and public recognition to English language comics.

In 1978 a collection of four original short stories in comics form released in a single book, A Contract With God and Other Tenement Stories. All the tales centred around 55 Dropsie Avenue: a 1930’s Bronx tenement housing poor Jewish and immigrant families. It changed the American perception of cartoon strips forever.

Eisner wrote and drew a further 20 further masterpieces, opening the door for all other comics creators to escape the funny book and anodyne strip ghettos of superheroes, funny animals, juvenilia and “family-friendly” entertainment. At one stroke comics grew up.

Eisner constantly pushed the boundaries of his craft, honing his skills not just on the legendary Spirit but with years of educational and promotional material. In A Contract With God he moved into unexplored territory with truly sophisticated, mature themes worthy of Steinbeck and F. Scott Fitzgerald, using pictorial fiction as documentary exploration of social experience.

Restlessly plundering his own childhood and love of human nature as well as his belief that environment was a major and active character in fiction, in the 1980s Eisner began redefining the building blocks unique to sequential narrative with a portmanteau series of brief vignettes that told stories and tested the expressive and informational limits of representational drawings on paper.

From 1936 to 1938, Eisner worked as a jobbing cartoonist in the comics production firm known as the Eisner-Eiger Shop, creating strips for domestic US and foreign markets. Using the pen-name Willis B. Rensie he conceived and drew the opening instalments of a huge variety of characters ranging from funny animal to historical sagas,

Westerns, Detectives, aviation action thrillers… and superheroes – lots of superheroes …

In 1940 Everett “Busy” Arnold – head honcho of the superbly impressive Quality Comics outfit – invited Eisner to take on a new challenge. The Register-Tribune newspaper syndicate wanted a 16-page weekly comic book insert to be given away with the Sunday editions. Despite the terrifying workload such a commission demanded, Eisner jumped at the opportunity, creating three strips which would initially be handled by him before two of them were handed off to his talented assistants. Bob Powell inherited Mr. Mystic whilst masked detective Lady Luck fell into the capable hands of Nick Cardy (then still Nicholas Viscardi), and later the inimitable Klaus Nordling.

Eisner kept the lead strip for himself, and over the next twelve years The Spirit became the most impressive, innovative, imitated and talked-about strip in the business. In 1952 the venture folded and Eisner moved into commercial, instructional and educational strips. He worked extensively for the US military in manuals and magazines like P*S, the Preventative Maintenance Monthly, generally leaving comics books behind.

In the wake of “Batmania” and the 1960s superhero craze, Harvey Comics released two giant-sized reprints with a little material from the artist, which lead to underground editions and a slow revival of the Spirit’s fame and fortune via black and white newsstand reprint magazines. Initially, Warren Publishing collected old stories, even adding colour sections with painted illumination from such contemporary luminaries as Rich Corben, but with #17 the title reverted to Kitchen Sink, who had produced the first two underground collections.

Eisner found himself re-enamoured with graphic narrative and saw a willing audience eager for new works. From producing new Spirit covers for the magazine (something the original newspaper insert had never needed) he became increasingly inspired. American comics were evolving into an art-form and the restless creator finally saw a place for the kind of stories he had always wanted to tell.

He began crafting some of the most telling and impressive work the industry had ever seen: first in limited collector portfolios and eventually, in 1978, A Contract With God.

If Jack Kirby is American comics’ most influential artist, Will Eisner undoubtedly was – and remains – its most venerated and exceptional storyteller. Contemporaries originating from strikingly similar Jewish backgrounds, each used comic arts to escape from their own tenements, achieving varying degrees of acclaim and success, and eventually settling upon a theme to colour all their later works. For Kirby it was the Cosmos, what Man would find there, and how humanity would transcend its origins in The Ultimate Outward Escape. Will Eisner went Home, went Back and went Inward.

The Spirit debuted on June 2nd 1940 in the Sunday edition of newspapers belonging to the Register and Tribune Syndicate. “The Spirit Section” expanded into 20 Sunday newspapers, with a combined circulation of five million copies during the 1940s and ran until October 5th 1952. This trade paperback and digital collection re-presents a selection of classic adventures from the original 12-year canon, in stark stunning monochrome, with five digitally recoloured by Laura Martin and Jeromy Cox. Furthermore, each episode is preceded by an essay from Industry insiders and unashamed fans.

Leading the charge and providing a fascinating breakdown on the history of the masked marvel is former publisher (one of 15 to date) Denis Kitchen, who provides ‘A Brief History and Appreciation of The Spirit‘ before the Cox-coloured ‘Who is The Spirit?’ reveals how a battle of wills between private detective Denny Colt and scientific terror Dr. Cobraleads to the hero’s death and resurrection as the ultimate man of mystery…

Editorial wonder Diana Schutz deconstructs one of Eisner’s most metaphysically mirthful yarns as ‘No Spirit Story Today’treats us all to monochrome madness with a deadline crunch inspiring a Central City cartoonist to break the fourth wall.

Dean Mullaney then spills the beans over atomic era intrigue as Martin’s hues add bite to the 1947 armageddon spoof‘Wanted’, with the entire world as well as our hero hunting a little man with a deadly secret…

According to Bruce Canwell’s essay, Li’ Abner parody ‘Li’l Adam’ was part of a scheme between Eisner and Al Capp to mutually boost popularity of their respective properties. The jury’s still out, but there no doubt that the Spirit portion is one of the wackiest episodes in the gumshoe’s case files, unlike the moody, compelling tragedy of ‘The Strange Case of Mrs. Paraffin’ (previewed by Charles Brownstein), wherein the ghostly gangbuster strives to convince a widow that she is not also a murderess…

Paul Levitz examines authorial inspiration in anticipation of a return to black & white and The Spirit’s battle against arsonist ‘The Torch’: a potentially passé romp rendered hilariously unforgettable by Eisner’s wry poke at advertising sponsorship, after which Beau Smith fondly recalls his mentor’s gift for teaching using modern magic realist western ‘Gold’ as his exemplar…

Coloured by Cox and discussed by Craig Yoe, ‘Matua’ is a deft and winsome tribute to myths and legends disguised as a poke at monster movies with the Spirit wandering the Pacific Islands and meeting an awakened colossal beast, after which Greg Goldstein focusses on ‘Sound’ as a monochrome adventure again takes a peek behind the curtain of a cartoonist’s life.

Eisner always had a superb team to back him up and here letterers Sam Rosen and Abe Kanegson combine with design assistant Jules Pfeiffer to make the wordforms the surreal stars of this picture show about another murdered pencil pusher…

Rounding out this tribute to eight tumultuous decades of Spiritual Enlightenment, is a Will Eisner Art Gallery of latterday sketches, pin-ups and covers by the master.

Will Eisner is rightly regarded as one of the greatest writers in American comics but it is too seldom that his incredible draughtsmanship and design sense get to grab the spotlight. This book is a joy no fan or art-lover can afford to be without, and is especially recommended for newbies who only know Eisner’s more mature works.

By the Way: Although Eisner started out utilising the commonplace racial and gender stereotypes employed by so many sectors of mass entertainment, he was among the first in comics – or anywhere else – to eschew and abandon them. In these more enlightened, if not settled, times, it’s nice to see a statement addressing the historical and cultural problems not to mention potential distress these outdated sensibilities might cause right at the front of the collection. So, if funny books can do it, how come statues can’t?

THE SPIRIT and WILL EISNER are Registered Trademarks of Will Eisner Studios, Inc. Will Eisner’s The Spirit © 2020 Will Eisner Studios, Inc. All Rights Reserved. All other material © its respective contributor. © 2020 Clover Press, LLC. All Rights Reserved.

Posted on

The Golden Age Spectre Archives


By Jerry Siegel & Bernard Baily with various (DC Comics)
ISBN: 978-1-5638-9955-3 (HB)

There are a lot of comics anniversaries this year. Many will be rightly celebrated, but it appears that some few are going to be unjustly ignored. As a feverish fanboy wedged firmly in the past, I’m abusing my privileges here to kvetch yet again about another brilliant vintage book, criminally out of print and not slated for revival either physically or in digital formats. That means I’ll be occasionally recommending some items that might be a bit hard to find. But at least that means you might be buying from those poor beleaguered comics shops and specialists desperately in need of your support now, rather than some faceless corporate internet emporium…

In fact, considering the state of the market, how come DC doesn’t just convert its entire old Archive line into eBooks and win back a few veteran fans? Don’t ask me, I only work here…

The Spectre is one of the oldest characters in DC’s vast stable of characters, created by Jerry Siegel and Bernard Baily in 1939 before debuting with a 2-part origin epic in More Fun Comics #52 and 53 (cover-dated February and March 1940). He was the first superhero to star in the previously all-genres adventure anthology. For a few years, the Ghostly Guardian reigned supreme in the title with flamboyant and eerily eccentric supernatural thrillers, but gradually slipped from popularity as firstly Dr. Fate and successively Johnny Quick, Aquaman, Green Arrow and finally Superboy turned up to steal the show.

By the time of his last appearance in More Fun #101 February 1945, the Spectre had been reduced to a foil for his own comedic sidekick Percival Popp, the Super-Cop…

Just like Siegel’s other iconic creation, the Dark Man suffered from a basic design flaw: he was just too darn powerful. Unlike the vigorously vital and earthy early Superman however, the ethereal champion of justice was already dead, so he couldn’t be logically or dramatically imperilled. Of course, in those far-off early days that wasn’t nearly as important as sheer spectacle: grabbing the reader’s utter attention and keeping it stoked to a fantastic fever pitch. This the Grim Ghost could do with ease and always-increasing intensity.

Re-presenting the first 19 eerie episodes and following a fulsome Foreword from pre-eminent Comics historian Dr. Jerry Bails, detailing the state of play within the budding marketplace during those last months of the 1930s, the arcane action in this astoundingly enticing full-colour deluxe hardback collection commences with ‘The Spectre: Introduction’ from More Fun Comics #52.

This wasn’t the actual title: like so many strips of those early days, most stories didn’t have individual titles and have been only retroactively designated for compilations such as this.

The Ghostly Guardian was only barely glimpsed in this initial instalment. Instead, the action rests upon hard-bitten police detective Jim Corrigan, who is about to wed rich heiress Clarice Winston when they are abducted by mobster Gat Benson. Stuffed into a barrel of cement and pitched off a pier, Corrigan dies and goes to his eternal reward.

Almost…

Rather than finding Paradise and peace, Corrigan’s spirit is accosted by a glowing light and disembodied voice which, over his strident protests, orders him return to Earth to fight crime and evil until all vestiges of them are gone…

Standing on the seabed and looking at his own corpse, Corrigan began his mission by going after his own killers…

In #53 ‘The Spectre Strikes’ find the outraged revenant swiftly, mercilessly and horrifically ending his murderers and saving Clarice, before calling off the engagement and moving out of the digs he shared with fellow cop and best friend Wayne Grant. After all, a cold, dead man has no need for the living…

The origin ends with Corrigan implausibly sewing himself a green and white costume and swearing to eradicate all crime…

Splendidly daft, this 2-part yarn comprises one of the darkest and most memorable origins in comic book annals and the feature only got better with each issue as the bitter, increasingly isolated lawman swiftly grows into most overwhelmingly powerful hero of the Golden Age.

In MFC #54 the Supernatural Sentinel tackled ‘The Spiritualist’, a murderous medium and unscrupulous charlatan who almost kills Clarice and forever ends the Spectre’s hopes for eternal rest, after which #55 introduces ‘Zor’: a ghost of far greater vintage and power, dedicated to promulgating evil on Earth. He too menaces Clarice and only the intervention of the Heavenly Voice and a quick upgrade in phantasmal power enables The Spectre to overcome his malign menace.

More Fun Comics #56 was the first to feature Howard Sherman’s Dr. Fate on the cover but the Spectre was still the big attraction, even if the merely mundane bandits and blackmailers instigating ‘Terror at Lytell’s’ are no match for the ever-inventive wrathful wraith. Far more serious was ‘The Return of Zor’ in #57, as the horrific haunt escapes from beyond to frame Corrigan for murder and again endanger the girl Jim dare not love…

An embezzler turns to murder as ‘The Arsonist’ in #58, but is no match for the cop – let alone his eldritch alter ego – whilst ‘The Fur Hi-Jackers’ actually succeed in killing the cop, yet are still suffer the Spectre’s unique brand of justice.

In #60, ‘The Menace of Xnon’ sees a super-scientist using incredible inventions to frame the ghost – and even menace his ethereal existence – prompting The Voice to again increase its servant’s power. This means giving The Spectre the all-powerful Ring of Life – but not before the Ghostly Guardian has been branded Public Enemy No. 1.

With Corrigan now ordered to arrest his spectral other self on sight, #61 (another Dr. Fate cover) features ‘The Golden Curse Deaths’ wherein prominent citizens perish from a scientific terror with a deadly Midas Touch, after which ‘The Mad Creation of Professor Fenton’ pits the Phantom Protector against a roving, ravaging, disembodied mutant super-brain…

In #63, a kill-crazy racketeer gets his just deserts in the electric chair only to return and personally execute ‘Trigger Daniels’ Death Curse’ upon all who opposed him in life. Happily, The Spectre proves to be more than his match whereas ‘The Ghost of Elmer Watson’ is a far harder foe to face. Murdered by mobsters who also nearly kill Wayne Grant, the remnant of the vengeful dead man refuses to listen to The Spectre’s brand of reason. Thus, its dreadful depredations must be dealt with in fearsome fashion…

‘Dr. Mephisto’ was a spiritualist who utilised an uncanny blue flame for crime in #65, after which the Ghostly Guardian battles horrendous monsters called forth from ‘The World Within the Paintings’ (probably written by the series’ first guest writer Gardner Fox), before Siegel returns with ‘The Incredible Robberies’ putting the phantom policeman into fearful combat with diabolical mystic Deeja Kathoon to the death and beyond…

With MFC #68 The Spectre finally lost his protracted cover battle to Dr. Fate even though, inside, the ‘Menace of the Dark Planet’ features a fabulously telling tale of Earthbound Spirit against alien invasion by life-leeching Little Green Men. In his next exploit ‘The Strangler’ murders lead Corrigan into an improbable case with an impossible killer…

This terrifying titanic tome terminates with issue #70 and ‘The Crimson Circle Mystery Society’ in which a sinister cult employs a merciless phantasmal psychic agent named Bandar to carry out its deadly schemes…

Although still a mighty force of fun and fearful entertainment, The Spectre’s Glory Days and Nights were waning and more credible champions were coming to the fore. He would be one of the first casualties of the post-War decline in mystery men and not be seen again until the Silver Age 1960’s…

Moreover, when he did return to comics, the previously omnipotent ghost was given strict limits and as he continued to evolve through various returns, refits and reboots The Spectre was finally transmogrified into a tormented mortal soul bonded inescapably to the actual embodiment of the biblical Wrath of God. Revamped and revived in perpetuity, revealed to be the Spirit of Vengeance wedded to a human conscience, Jim Corrigan was finally laid to rest in the 1990s and HalGreen Lantern) Jordan replaced him. Returning to basics in more recent years, the next host was murdered Gotham City cop Crispus Allen.

They’re all worth tracking down and exhuming: spooky comic champions who have never failed to deliver an enthralling, haunted hero rollercoaster – or is that Ghost Train? – of thrills and chills.
© 1940, 1941, 2003 DC Comics. All Rights Reserved.

Posted on

Zorro in Old California


By Nedaud & Carlo Marcello (Eclipse Books)
ISBN: 978-0-91303-513-9 (HB) 978-0-91303-512-2 (Album PB)

Here’s a fabulous old classic that’s still generally available, but which really needs to relative immortality of a digital edition as well as simple revival. Let’s hope current license holders Dynamite Entertainment agree…

One the earliest masked heroes and still phenomenally popular throughout the world is perennial film favourite El Zorro, The Fox. He was originally created by jobbing writer Johnston McCulley in 1919 in a 5-part prose serial entitled ‘The Curse of Capistrano’: debuting and running in All-Story Weekly from August 6th to 6th September. The tale was subsequently published by Grossett & Dunlap in 1924 as The Mark of Zorro and further reissued in 1959 and 1998 by MacDonald & Co., and Tor, respectively.

Famously, Hollywood royalty Douglas Fairbanks and Mary Pickford read the tale in All-Story Weekly whilst on their honeymoon and immediately optioned the adventure to be the first film release from their new production company/studio United Artists.

The Mark of Zorro was a global movie sensation in 1920 and for years after, so New York based McCulley re-tailored his creation to match the extremely different filmic incarnation. The Caped Crusader aptly fitted the burgeoning genre that would soon be peopled by the likes of The Shadow, Doc Savage and the Spider as well as later comics champions such as Mandrake and the Phantom.

Rouben Mamoulian’s filmic remake of The Mark of Zorro further ingrained the Fox into the World’s psyche, and, as the prose exploits continued in a variety of publications, Dell began a comicbook version in 1949.

When Walt Disney began a hugely popular Zorro TV show in 1957, the comics series was redesigned to capitalise on it and the entertainment corporation began a decades-long strip incarnation of “their” version of the character in various regions of the world. This classy tome collects half of the dozen stories produced for a French iteration which originally ran in Le Journal de Mickey by veteran Italian artist Raphaël Carlo Marcello and relative enigma Nedaud, of whom I sadly know very little.

The celebrated and supremely stylish Marcello (1929-2007) moved to Paris in 1948 and began his long and prestigious career drawing Loana et le Masque Chinois in Aventures de Paris-Jeunes and Nick Silver for Collection Victoire. He then switched to newspaper strips for Opera Mundi in 1950, illustrating La Découverte du Monde and L’Histoire de Parisbefore adapting Ben Hur, Jane Eyre and the Bible.

In 1952, he joined Héroic, working on Oliver Twist, Gil Blas and Bug Jargal, then began a 15-year run (1955-1970) on Le Cavalier Inconnu in Pépito. He maintained ties to newspapers throughout and continued general interest literary adaptations for Mondial-Presse.

In 1956, he contributed Bob Franck to Bugs Bunny magazine and numerous strips to Lisette, Monty, Mireille, L’Intrépide/Hurrah and Rintintin. In 1970 he moved to Pif Gadget, collaborating on his signature series Docteur Justicewith prolific scenarist/writer Jean Ollivier as well as Amicalement Vôtre (a TV adaptation scripted Spanish by the legendary Victor Mora), Taranis (scripts by Ollivier & Mora), Tarao (by Roger Lécureux) and La Guerre du Feu.

Barely stopping for breath, Marcello illustrated John Parade, Patrouilleur de l’Espace, in Le Journal des Pieds Nickelés, the Larousse series L’Histoire de France en Bandes Dessinées, La Découverte du Mond and L’Histoire du Far West until 1985 when he joined Le Journal de Mickey to render Le Regard du Tigre, Le Club des Cinq and the subject of this collection.

Solidly based on the 1950s TV series, Zorro ran for a year (1985-1986): 12 rousing swashbuckling romps, the first half of which are collected in this slim, full colour European-format album. After these thundering epics, Marcello carried on improving, drawing sci fi extravaganza Cristal, epigrammatic short stories Voulez-vous de Nos Nouvelles?, Michael Jackson, Wayne Thunder, L’Épopée du Paris Saint-Germain and mature-reader series Nuit Barbare and Amok.

In 1991 he returned to his hometown of Vintimille where he ended his days drawing episodes of iconic Italian series Tex and Zagor for Il Giornalino and Bonelli publishing.

Here and now, however, Don Diego de la Vega is the foppish son of a noble house in old California when it was a Spanish Possession. He used the masked persona of Zorro the Fox to right wrongs, defend the weak and champion the oppressed – particularly the pitifully maltreated natives and Indians – gleefully thwarting the schemes of Capitan Monastario, his bumbling sergeant Garcia and the despicable Governor who were determined to milk the populace for all they had.

In his crusade Diego was aided by Bernardo (the “deaf-mute” manservant retained for the assorted TV and movies) and the good will of the overwhelmed and overtaxed people of Los Angeles.

Whenever Zorro appeared, he left his mark – a bold letter “Z” – carved into walls, doors, curtains, but never, ever, faces…

Written for an all-ages audience, these stories, each around 10 pages long, play out an exotic eternal, riotous game of tag, beginning with ‘Wanted!’ as a huge reward galvanises the town to hunt the Fox… until Zorro turns the tables by capturing the Capitan and ransoming him back, thereby emptying the military coffers.

In ‘The Assassins’, bandits posing as patriotic rebels capture the masked hero as part of their plan to murder the Governor and loot the ever-growing township, whilst ‘Double Agent’ sees Monastario blackmail a girl into betraying the wily avenger, but once again misjudges Zorro’s ability to connect with the downtrodden Californios…

‘The Scarecrow’ sees the hero thwart a plot to discredit the Fox’s reputation as the unscrupulous Capitan employs a murderous masked impostor, after which ‘Tight as a Noose’ sees Monastario arrest Diego’s father Don Alejandro for treason to entrap the mysterious vigilante, before this rip-roaring rollercoaster ride concludes with ‘The Winds of Rebellion’ as the latest illegal tax rouses the town council against the Capitan and Zorro gets involved to prevent bloodshed and potentially appalling state reprisals…

Full-bodied, all-action and beautifully realised, these classy adventures of a global icon are long overdue for a comprehensive and complete re-release, but until then at least this terrific tome is still readily available in both hardback and softcover through many online retailers.
® and © 1986 Zorro Productions, Inc. All Rights Reserved.

Posted on

Captain America Marvel Masterworks volume 11


By Jack Kirby, with Frank Giacoia, John Verpoorten, Mike Royer, Dan Green, John Tartaglione & various (Marvel)
ISBN: 978-1-3029-1702-9 (HB)

These days Captain America is as much a global symbol of the Land of the Free and the Home of the Brave as Uncle Sam or Apple Pie ever were. Thus, I’m enjoying a lazy and rather obvious way to celebrate Independence Day (for them and perhaps us if we’re successfully incorporated as the nation’s 51st State soon…) by recommending this bellicose blockbuster featuring material first seen in 1976 as the nation commenced its third century of existence…

Created by Joe Simon & Jack Kirby in an era of frantic patriotic fervour, he was a dynamic and highly visible response to the horrors of Nazism and the threat of Liberty’s loss, but quickly lost focus and popularity after hostilities ceased. Fading away during post-war reconstruction only to briefly reappear after the Korean War: a harder, darker sentinel ferreting out monsters, subversives and the “commies” who lurked under every American bed.

Then he vanished once more until the burgeoning Marvel Age resurrected him just in time to experience the Land of the Free’s most turbulent and culturally divisive era.

He quickly became a mainstay of the Marvel Revolution during the Swinging Sixties, but lost his way somewhat after that, except for a glittering period under scripter Steve Englehart. Eventually, however, he too moved on and out in the middle of the 1970s.

Meanwhile, after nearly a decade drafting almost all of Marvel’s successes, Jack Kirby had jumped ship to arch-rival DC in 1971, creating a whole new mythology and dynamically inspiring pantheon. Eventually he accepted that even he could never win against any publishing company’s excessive pressure to produce whilst enduring micro-managing editorial interference.

Seeing which way the winds were blowing, Kirby exploded back into the Marvel Universe in 1976 with a signed promise of free rein, to concoct another stunning wave of iconic creations – 2001: a Space Odyssey, Machine Man, The Eternals, Devil Dinosaur (plus – so nearly – seminal TV paranoia-fest The Prisoner), as well as drafting a wealth of bombastic covers for almost every title in the company.

He was also granted control of two of his previous co-creations – firmly established characters Black Panther and Captain America – to do with as he wished…

His return was much hyped at the time but swiftly became controversial since his intensely personal visions paid little lip service to company continuity: Jack always went his own bombastic way. Whilst those new works quickly found many friends, his tenure on those earlier inventions drastically divided the fan base.

Kirby was never slavishly wedded to tight continuity and preferred, in many ways, to treat his stints on Cap and the Panther as creative “Day Ones”. This was never more apparent than in the pages of the Star-Spangled Sentinel of Liberty…

This sterling collection – available in sturdy hardback and reassuring tree-friendly digital formats – reprints Captain America and the Falcon #201-214 and the fourth Captain America Annual, cumulatively spanning September 1976-October 1977. It also offers an Introduction by Mark Waid revealing how, when Kirby came aboard as writer, artist and editor, his biggest battle was against unnamed editorial staff who sought to sabotage his efforts…

At the end of the previous volume the original Fighting American had saved the nation from a conclave of aristocratic oligarchs attempting to undo two hundred years of freedom and progress with their “Madbomb”. After saving the nation, the Star-Spangled Avenger reunites with his partner for issue #201, set in the aftermath of their struggle…

Inked by Frank Giacoia, the tone shifts to malevolent moodiness and uncanny mystery with the introduction of ‘The Night People!’: a street-full of maladjusted maniacs who periodically phase into and out of New York City, creating terror and chaos with every sunset. When Falcon Sam Wilson and girlfriend Leila are abducted by the eerie encroachers, they are quickly converted to their crazed cause by exposure to the ‘Mad, Mad Dimension!’ the vile visitors inhabit during daylight hours. This leaves Cap and folksy new millionaire colleague Texas Jack Muldoon hopelessly outgunned when their last-ditch rescue attempt results in them all battling an invasion of brutally berserk other-dimensional beasts in ‘Alamo II!’

On bludgeoning, battle-hardened top-form, the Star-Spangled Avenger saves the day once more, but no sooner are the erstwhile inhabitants of Zero Street safely re-ensconced on Earth than ‘The Unburied One!’ finds the indefatigable champions battling against a corpse who won’t play dead. The concluding chapter reveals the cadaver has become home to an energy-being from the far future as (inked by John Verpoorten) ‘Agron Walks the Earth!’ Thankfully, not even its pulsating power and rage can long baulk the indomitable spirit and ability of America’s Ultimate Fighting Man…

The non-stop nightmares resume in #206 as ‘Face to Face with the Swine!’ (Giacoia inks) sees the Star-Spangled Sensation illegally renditioned by secret police to deepest Central America. Here he subsequently topples the private kingdom and personal torture ground of psychotic sadist Comandante Hector Santiago, unchallenged monarch of the prison of Rio del Muerte…

Never one to go anywhere meekly, Cap escapes and begins engineering the brute’s downfall in ‘The Tiger and the Swine!!’ but soon finds the jungles conceal actual monsters. When they exact primal justice on the tormentors, Cap’s escape with the Swine’s cousin Donna Maria down ‘The River of Death!’ is interrupted by the advent of another astounding “Kirby Kreation” …‘Arnim Zola… the Bio-Fanatic!!’

The former Nazi geneticist is absolute master of radical biology, abducting Cap and Donna Maria to his living castle and inflicting upon them a horde of diabolical homunculi at the behest of a mysterious sponsor, even as the Falcon is closing in on his long-missing pal.

Indomitable against every kind of shapeshifting horror, Captain America battles on, enduring a terrible ‘Showdown Day!’(with Mike W. Royer taking over the inking), whilst back home Steve Rogers’ girlfriend Sharon Carter uses her resources as SHIELD’s Agent 13 to trace wealthy Cyrus Fenton and expose ‘Nazi “X”!’ as Zola’s sponsor and the Sentinel of Liberty’s greatest nemesis…

With his time on the title counting down, Kirby ramped up the tension in #212 as ‘The Face of a Hero! Yours!!’ finds Zola preparing to surgically insert the Red Skull into Cap’s form, triggering a cataclysmic clash which leaves the hero bloodied and blind, but ultimately victorious…

With the hero recuperating in a US hospital, Dan Green steps in to ink #213 as ultimate assassin ‘The Night Flyer!’ targets the ailing Cap at the behest of unfettered capitalist villain Kligger (from the insidious Corporation), inadvertently restoring his victim’s vision in time for spectacular – if abrupt – conclusion ‘The Power’ (Royer inks)…

Reading slightly out of sequence here, Captain America Annual #4 wraps up the Kirby contributions to the career of the Star-Spangled Avenger with ‘The Great Mutant Massacre!’: a feature- length super-shocker which again eschews convoluted back-story and the cultural soul-searching which typified the character before and after Kirby’s tenure.

It sees America’s Super Soldier strive against humanity’s nemesis Magneto and his latest mutant recruits Burner,Smasher, Lifter, Shocker, Slither and Peeper. This riot of rampaging action and end-of-the-world wonderment pits the Sentinel of Liberty against a Homo Superior hit-squad aiming to take possession of a super-powered being whose origins are far stranger than anybody could conceive…

This tome then concludes with a wonderful gallery of original art pages and covers for fans to drool over…

The King’s commitment to wholesome adventure, breakneck action and breathless wonderment, combined with his absolute mastery of the comic page and unceasing quest for the Next Big Thrill, always make for a captivating read and this stuff is as good as anything Jack crafted over his decades of creative brilliance.

Fast-paced, action-packed, totally engrossing Fights ‘n’ Tights masterpieces no fan should ignore and, above all else, fabulously fun tales of a true American Dream…
© 2019 MARVEL

Posted on

Boo$ter Gold: The Big Fall


By Dan Jurgens, Mike DeCarlo, John Verpoorten, & various (DC Comics)
ISBN: 978-1-7795-0075-5 (HB)

After the cosmos-crunching Crisis on Infinite Earths re-sculpted the DC Universe in the mid-1980s, a host of characters got floor-up rebuilds for the tougher, no-nonsense, straight-shooting New American readership of the Reagan-era. Simultaneously, a number of corporate buy-outs such as Blue Beetle, Captain Atom and The Question joined the DC roster with their own much-hyped solo titles. There were even a couple of all-new big launches for the altered sensibilities of the Decade of Excess such as the superb Suicide Squad and a Shiny, Happy Hero named Booster Gold.

A true icon of capitalist brand-aware America, the newcomer has suffered numerous setbacks and relaunches, before finally finding his proper place as the guardian of DC’s timestream and continuity. This engaging hardback and eBook compilation covers his early days, re-presenting Booster Gold volume 1 #1-12 (spanning February 1986 to January 1987), and offers fascinating bonus background material as well as a backwards-looking revelatory Introduction from Dan Jurgens.

The blue and yellow paladin appeared amidst plenty of hoopla in his own title – the first post-Crisis premiere of the publisher’s freshly integrated superhero line- and presented a wholly different approach to the traditional DC costumed boy-scout.

Created, written and drawn by Dan Jurgens with inks by Mike DeCarlo ‘The Big Fall’ introduces a brash, cocky, mysterious metahuman/obnoxious golden-boy jock who has set up his stall as a superhero in Metropolis. Unlike any other costumed champion, BG actively seeks corporate sponsorships, sells endorsements and has a management team in place to maximise the profit potential of his crusading celebrity…

Accompanied everywhere by sentient flying-football-shaped robot Skeets, the glitzy showboat soon encounters high-tech criminal gang The 1000 and their super-enforcer Blackguard. This earns him the unrelenting ire of sinister mastermind The Director and the shallow approbation of models, actresses, headline-hungry journalists, politicians and the ever-fickle public…

In issue #2’s ‘Cold Redemption’, Blackguard is aided and abetted by thought-casting mercenary Mindancer as the Director’s campaign of malice leads to another close call for Booster. Soon after, his highly public private life takes a tawdry turn in ‘The Night Has a Thousand Eyes’ when opportunistic starlet Monica Lake begins briefing the ravenous media on her “relationship” with the Man of Gold. He is unable to refute the claims since he was knee-deep in hired thugs and super-villains at the times she claims to have shared with him…

That cataclysmic combat in #4 results in a tremendous ‘Crash’ when urban vigilante The Thorn drops in to help scuttle the 1000’s latest scheme, but once the dust settles Booster finds himself in real trouble as business manager Dirk Davis is so busy licensing his boss for a comicbook that he fails to head off an IRS audit.

It appears Booster Gold has no official record and has never paid a penny in taxes…

Happily, in ‘Face Off’, our hero saves an entire stadium of ice hockey fans from avaricious terrorist Mr. Twister, earning himself a reprieve from the Federal authorities, after which an alien refugee crashes in Metropolis’ Centennial Park in #6’s ‘To Cross the Rubicon’. This sets up Man of Gold to finally meet Man of Steel for the long-awaited origin saga…

Michael Jon “Booster” Carter was a rising sports star in the 25th century who fell in with a gambling syndicate and began fixing games for cash pay-outs. When he was caught and banned from competition, he could only find menial work as a night-watchman in The Space Museum. Whilst there, he struck up a friendship with automated tour-guide and security-bot Skeets, and devised a bold plan to redeem himself.

Stealing a mysterious flight ring and force-field belt plus energy-rods, an alien super-suit and wrist-blasters, Booster used the Museum’s prize exhibit, Rip Hunter‘s time machine, to travel to the fabled 20th Century Age of Heroes and earn all the fame and glory his mistakes had cost him in his own time…

Superman, already antagonistic because of Booster’s attitude, is ready to arrest him for theft when the almost-forgotten alien attacks…

They all awaken on a distant world, embroiled in a vicious civil war and personally still at odds. As a result of ‘The Lesson’ and a vicious battle, Superman and Booster both accept some uncomfortable truths and agree to tolerate each other when they return home. Meanwhile, back in Metropolis, Dirk Davis and company PA Trixie Collins hire hotshot scientist Jack Soo to build a super-suit that would enable Booster to hire a camera-friendly, girly eye-candy sidekick…

More questions are answered in 2-parter ‘Time Bridge’ when the 30th century Legion of Super-Heroes discover evidence that their flight-rings and forcefield technology were being used by a temporal fugitive named Michael Carter. Dispatched to 1985 by the Time Institute, Ultra Boy, Chameleon Boy and Brainiac 5 arrive soon after the fugitive Carter and become involved in his very first case. The Director and shape-shifting assassin Chiller were planning to murder and replace Ronald Reagan but, in the best superhero tradition, Carter and the Legionnaires misunderstood each other’s intentions and butted heads…

The plot might have succeeded had not Skeets intervened, allowing Carter to save the day and get official Presidential approval. Ronnie even got to name the new hero…

Back in 1986, the long-building final clash with the Director opens in #10 with ‘Death Grip of the 1000’ as Dirk’s daughter is kidnapped and he’s coerced into betraying Booster, just as the nefarious super-mob unleash a horde of robotic terrors on Metropolis to wear out the Man of Gold and catalogue his weaknesses…

After Trixie is also abducted in ‘When Glass Houses Shatter’, the 1000 increase the pressure by setting blockbusting thug Shockwave on Booster, resulting in the utter destruction of the hero’s corporate HQ and home before a frenzied and frenetic final clash in ‘War’, which leaves a proud owner of an extremely pyrrhic victory…

To Be Continued…

Supplementing these blockbuster battle frenzies, ‘The Making of Booster Gold’ takes us back to the beginning and reveals how the series came about, reprinting Jurgens’ original series proposal, first character and costume studies, augmented by models of Skeets and premium give-aways, assorted press release materials and house ads, and the editorial pages from #1.

Even more enticing is ‘The Secret Origin of Booster Gold #6’, detailing how John Byrne’s reimagination of Superman in Man of Steel caused some frantic rewriting of the published BG issue. The hidden benefit of that is five pages of unused pencils that had to be scrapped to accommodate the new reality offer an intriguing “What If?” to end proceedings here…

As a frontrunner of the new DC, Booster Gold was a radical experiment in character that didn’t always succeed, but which definitely and exponentially improved; as the months rolled by the time traveller grew into one of DC’s best books.

Perhaps not to every Fights ‘n’ Tights fan’s taste, these formative fictions are absolutely vital to your understanding of the later classics and have a dated charm that may well suit you, too.
© 1986-1987, 2019 DC Comics. All Rights Reserved.

Posted on

Bluebeard – A Feminist Fairy Tale


By Metaphrog (Papercutz)
ISBN: 978-1-5458-0412-4 (HB)

The power of fairy tales lies in their ability to reach every generation and impart timeless truths, usually at an age when we’re just starting to grasp how big and wide and scary the world is…

Franco-Scots couple Sandra Marrs and John Chalmers began crafting amazing and beguiling comics in 1995 with their superb series Strange Weather Lately. Garnering much praise and many awards, the Glasgow-based duo continued elevating the status and quality of the medium through their graphic novel series starring Louis and via creative collaborations both within and outside the industry as well as through lectures around the world.

In 2015 they began updating classic fairy tales. Papercutz published The Red Shoes and Other Tales and followed up in 2017 with The Little Mermaid. Now their latest effort takes a jaundiced modern look at one of fiction’s earliest misogynist serial killers in Bluebeard – A Feminist Fairy Tale…

Written by Chalmers and painted by Marrs in eerily enchanting, luxuriously vivid hues, the story is told from the point of view of young Eve, in the summer she turns eighteen. A child of a large but poor family, she lives in a bucolic hamlet dominated by a large castle on a high peak. This is the home of wealthy mystery man Bluebeard – a gentleman of frightful repute who engenders many unpleasant stories among the village gossips…

Eve has loved Tom for as long as she’s known him. They played in the dangerous woods and even saved and reared a fallen dove chick together. When her grandmother died, only Tom and older sister Anne could comfort her, even though her parents and brothers did their best…

The village was never really enough to support the population and hunger was common, but nothing like the time when constant rains destroyed both crops and wild foods. That’s when a liveried servant arrived with an invitation. The entire family was to enjoy the benefits of Bluebeard’s castle for a week.

It was glorious, but over far too soon, and while they were enjoying the lavish hospitality father endured a discrete and unwelcome conference with the lord and was given a stark choice. In return for supplies to sustain them all, the Count required the hand in marriage of one of his daughters. Either Eve or Anne, it mattered not to him…

A quirk of chance and the denial of choice ends Eve’s dreams of life with Tom, but she fulfils her familial duty. However, her new husband is everything his reputation portends and her fate seems grim and certain, until she defies his commands and begins to chart her own course…

Charming and chilling by turns, this modern interpretation – available in hardback and digital editions – celebrates the classic tale whilst offering a more assertive competent role for the leading ladies and will delight reads of all ages who need to know that change is possible and control is worth the effort.
© 2020 Metaphrog.

Posted on

Pure Trance


By Junko Mizuno (jaPress/Last Gasp)
ISBN: 978-0-86719-878-2 (HB)

If you’re over a certain age or have eclectic tastes in art and music, you might feel a pang of nostalgia at this remastered work of coyly adults-only fiction: the first subversively compelling creation of iconic Manga master Junko Mizuno.

Since her emergence in 1995, the author has become renowned – more accurately, infamous – for mixing childhood innocence with grim, gory action and unwholesome or stridently clashing, wildly inappropriate content in a sub-genre now dubbed Gothic or Noir kawaii (where kawaii describes cutely drawn protagonists and subjects).

Moreover, the skewed sensibilities of such works as Cinderalla, Hansel & Gretel, Princess Mermaid, Momongo no Isshō (the Life of Momongo), Little Fluffy Gigolo Pelu and Ravina the Witch has escaped the comics ghetto to be embraced by a larger fashion-based audience with art exhibitions (Heart Throbs and Tender Succubus), art-books (Hell Babies, Collector File and Flare) and high-end designer toys for adults which include plush animals, vinyl figures, stationery, postcards, stickers, original art T-shirts and a line of condoms and erotic paraphernalia.

Her shojo-derived style (that’s “stories for girls”, in case you’re wondering) also borrows heavily from the most iconic imagery of the 1960s and early 1970s, particularly the Graphic Psychedelia which grew out of Pop Art. Her stars and support characters are huge eyed, large-headed poppet girls, drawn to look young or, more accurately, actively, innocently, illicitly under-aged: all acting in simplified environments where detail is reduced to bare minima.

The stories are always sharply at odds with her drawing style – like cartoons for toddlers, but involving unpleasant visits to the gynaecologist or being consumed by cannibals – and much of her material incorporates splashy full colour despite the overwhelming preponderance of black and white material in Japan.

Rereleased in tactilely-satisfying hardback and ebook editions, Pure Trance is strictly monochrome throughout and was the auteur’s first official book, even though it is, in fact, a compilation of a minicomics series created to be given away with CD music albums. From 1996-1998 these deeply disturbing Sci Fi adventures of hard-pressed nurses and beauticians in a dystopian future were included in Pure Trance volumes 11 to 20.

I can’t help but wonder what the blissed-out music fans made of the creepily tongue-in-cheek horror stories, but at least the work reached a more amenable audience when Mizuno revised and updated the pamphlets in 1998 for a single book edition. That was first translated into English in 2005 and now it’s back again…

I hesitate to attempt a précis of this wonderfully baroque extravaganza of sugar ‘n’ spice, unnecessary surgical procedures, creeping mutant terrors, animal antics, walk-in Eating Disorder clinics, fetish and bondage catalogues and the indomitable triumph of the human spirit over its own darkest desires, but the chilling whimsy unleashed here is a brilliant and intoxicating progression that needs some highlighting, so…

In the aftermath of WW3, Earth is a toxic wasteland and humanity has retreated underground. Deep beneath Tokyo, society carries on but is currently beleaguered by a plague of uncontrollable hunger: an unappetising condition dubbed “hyperorexia” which is caused by the life-sustaining Pure Trance pill everyone takes. In a bleak commercialised underworld, the condition is treated by dedicated clinicians in specialised hospitals…

Our story focuses on Overeaters Treatment Center 102 and its deviant director Keiko Yamazaki; an officious, drug-abusing, sadistic tyrant who makes life hell for the poor nurses under her command. Her cruel practises – such as humiliation, torture and eating any animal (artificial or real) unfortunate enough to fall into her clutches – eventually sparks a revolution, but not before some of her subordinates make a daring and desperate dash for the abandoned surface world to discover things both amazing and life-changing…

Supplemented by info pin-ups highlighting the many characters wandering about and accompanied by sidebar inserts detailing people, places, beasts, items of interest and key moments under the designation “Pure Trance Trivia”, this epic exploration of an uncanny alternate tomorrow is both splendid and terrifying.

Everything, especially the legion of pretty girls, is drawn in the style of early Playboy icons, in the brand of cartoon stylisations that featured in movie title sequences like What’s New, Pussycat? or Yellow Submarine. Anybody British who remembers the children’s animation Crystal Tipps and Alistair, or the hippo from Rainbow, will feel a frisson of nostalgia – which is of course the point. The art is an irresistible velvet trap designed to reduce readers to a receptive state in which the author can make telling points about contemporary culture.

By co-opting children’s entertainment Mizuno addresses fundamental aspects of human existence in a form designed to shock, subvert, upset and most importantly, provoke. So, if some thought on the readers’ part extends beyond our old-fashioned, but still visceral gut-reaction to innocent girls in distress and the ridiculous and idealistic spiritual purity that used to be associated with such imagery, then she’s done her job…

This groundbreaking social satire is a supremely edgy and funny fantasy with plenty to say about society, relationships and the planet we should be safeguarding – especially now, when and where we’re all under similar pressures of isolation and survival.
© 2005, 2019 Junko Mizuno. All Rights Reserved.

Posted on

Liebestrasse


By Greg Lockard, Tim Fish, Héctor Barros, Lucas Gattoni (Greg Lockard/ComiXology Originals)
No ISBN: digital only.

I’m ending our salute to Gay Pride and LGBTQ publishing with a little something that encapsulates the core concept of the entire issue: the right to love and be loved by whoever you choose. In our history, that’s been a long hard battle and one not won yet, but if you never start anything, you’ll never finish and I firmly believe bigotry is ultimately self-defeating. I just wish it was a faster process and that our opposition was more reasonable and less fanatical…

Set firmly in the footsteps of Christopher Isherwood’s Berlin Stories, this tale of regret and thwarted love comes from writer Greg Lockard and artist Tim Fish, aided and abetted by Héctor Barros on colours with Lucas Gattoni providing letters and calligraphy.

The story opens covertly in the Land of the Free in 1952 as an aging, wealthy man seeks solace and the company of “his own kind” in a very special bar…

The next day, Sam Wells visits a modern art exhibition where a brief encounter with a young man of similar tastes triggers a flashback to an old friend. Soon after, Wells is flying to Berlin to establish new business contacts and, hopefully, relive the better moments of his past.

As he moves about the divided city, Wells’ mind flits back to 1932 when, as a young Mover & Shaker, he was posted to Germany to set up an overseas office for his company. For a young man of wealth and his particular tastes, the Weimar Republic offered many opportunities, temptations and, crucially, freedom from dangerous oversight. However, there was also a sense of oppressive menace, especially after meeting audacious, outspoken Philip Adler… and falling madly, passionately, head over heels in love.

Philip’s sister Hilde was already in the sights of the rising National Socialists for creating un-Aryan art, but his constant challenging of the party in words, and especially with his “degenerate” lifestyle, soon painted a target on all their backs, as well as on the numerous doomed and dancing-on-the-volcano’s-edge liberals Sam met at parties in in the music clubs…

As the months passed, the affair intensified – as did the danger – and inevitably, the hammer fell. For Sam that meant a beating and deportation, but for Philip there was no such callous leniency. Now decades later, Wells is back and has to face Hilde again…

Forceful, frantic, passionate and deeply moving, Liebestrasse is a powerful testament to the abiding power and wonder of passion and a sobering reminder of how far we’ve come: an irrefutable argument for live and let love…
LIEBESTRASSE © 2019 Greg Expectations, LLC & Timothy Poisson. All rights reserved.

Posted on

Little David


By David Cantero (Northwest Press)
eISBN: 978-1-9438900-0-2 (digital only)

Families are important: by all metrics the foundation of human society. If we swallow our arrogant exceptionalism for a moment, it’s also the binding concept of all mammalian life and a fair bit of the rest of Earth’s breathing occupants. You just need to be flexible, amenable to change and willing to re-examine and where necessary loosen any old hidebound definitions you might have acquired while growing up…

The concept is one we’re finally shedding: escaping centuries of oppressive preconditioning and the diktat of whatever autocratic – or, more usually, theocratic – hegemony presumes to run your life.

I’ll restate that just in case I wasn’t clear: human beings are all about families and what constitutes a family is open to interpretation…

David Cantero Berenguer (The Little Swallow Light, Cunitoons, People) was born in Cartagena, Spain and Рafter graduating in 1996 from the Royal Academy of Fine Arts in Li̬ge Рembarked on a stellar career as an author, cartoonist, illustrator, concept artist, designer and games maker. He is a prolific creator of books and graphic novels for kids and adults. Many of his works involve gay themes, ranging from inclusive all-ages chronicles (like the one under review here) to beguiling adult erotica.

First released in 2015 and deftly referencing Winsor McCay’s classic fantasy Little Nemo in Slumberland, Little David is a delicious selection of short gags wherein the ever-inquisitive titular star cavorts, chats and interacts with nine other kids, all cumulatively representing the wealth of options qualifying as family units today.

David himself has two dads, and pal Ulysses has a widowed mother, a stepdad and two half-brothers, whilst forthright Marie just has her mum. Abrasive Big Harry is full-nuclear in a biological clan of mum, dad and one sister, whereas Lenais a result of artificial insemination undertaken by her already-divorced mother. Anastasia has a mum and dad who conceived her in vitro, and PJ was adopted. Completing the menu, Ian has a trans dad and a mum whilst twins Yoko and Keiko have two mums and are the result of natural insemination…

That’s a heady mix and the subject of exactly the kind of innocently incisive, hilarious conversations you’d imagine a bunch of smart, curious kids to indulge in when the adults are absent and they’re trying to get to know each other.

The result is a charming and wittily compelling string of spit-take moments, especially as David (and his beloved stuffed unicorn Little Poo Poo) not only learn about many other ways of living but also explore various ways of dressing and expressing his own developing personality, interests and choices…

As innocently enchanting as Peanuts, as astute as Bloom County and as revelatory as Calvin and Hobbes, this peewee playground of family fun offers as sincerely inclusive and heartwarming kindergarten of comics messaging as you’d ever want your kids to see and is also a superb example of top rate cartooning to gladden the eyes.

Little David is a book every home and elementary school should have and use.
© 2015 David Cantero. All rights reserved.