Popeye Classics volume 6


By Bud Sagendorf, edited and designed by Craig Yoe (Yoe Books/IDW)
ISBN: 978-1631403255 (HB) eISBN: 978-1-62302-786-5

How many cartoon classics can you think of still going after a century? Here’s one…

There are a few fictional personages to enter communal world consciousness – and fewer still from comics – but a grizzled, bluff, uneducated, visually impaired old sailor with a speech impediment is possibly the most well-known of that select bunch.

Elzie Crisler Segar was born in Chester, Illinois on 8th December 1894. His father was a general handyman, and the boy’s early life was filled with the kinds of solid, dependable blue-collar jobs that typified his generation of cartoonists. He worked as a decorator, house-painter and also played drums; accompanying vaudeville acts at the local theatre.

When the town got a movie-house, he played for the silent films, absorbing all the staging, timing and narrative tricks from keen observation of the screen. Those lessons would become his greatest assets as a cartoonist. It was while working as the film projectionist, at age 18, that he decided to become a cartoonist and tell his own stories.

Like so many others in those hard times, he studied art via mail, in this case W.L. Evans’ cartooning correspondence course out of Cleveland, Ohio, before gravitating to Chicago where he was “discovered” by Richard F. Outcault – regarded by most in the know today as the inventor of modern newspaper comic strips with The Yellow Kid and Buster Brown.

The celebrated pioneer introduced Segar around at the prestigious Chicago Herald. Still wet behind the ears, the kid’s first strip, Charley Chaplin’s Comedy Capers, debuted on 12th March 1916.

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

Within a year Segar was producing Thimble Theatre, which launched December 19th 1919 in the New York Journal. It was a smart pastiche of cinema and knock-off of movie-inspired features like Hairbreadth Harry and Midget Movies, with a repertory of stock players to act out comedies, melodramas, comedies, crime-stories, chases and especially comedies for vast daily audiences. It didn’t stay that way for long…

The core cartoon cast included parental pillars Nana and Cole Oyl; their lanky, highly-strung daughter Olive, diminutive-but-pushy son Castor and the homely ingenue’s plain and (very) simple occasional boyfriend Horace Hamgravy (latterly, just Ham Gravy).

Segar had been successfully, steadily producing Thimble Theatre for a decade when he introduced a brusque, vulgar “sailor man” into the daily ongoing saga of hapless halfwits on January 17th 1929. Nobody suspected the giddy heights that stubborn cantankerous walk-on would reach…

Many Happy Returns, you old matelot, you…

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

After Segar’s far-too-premature death in 1938, Doc Winner, Tom Sims, Ralph Stein and Bela Zambouly all worked on the strip, even as the Fleischer Studio’s animated features brought Popeye to the entire world, albeit a slightly different vision of the old salt of the funny pages. Sadly, none of them had the eccentric flair and raw inventiveness that had put Thimble Theatre at the forefront of cartoon entertainments. But then, finally, Bud arrived…

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

When Sagendorf became the main man, his loose, rangy style and breezy scripts brought the strip itself back to the forefront of popularity and made reading it cool and fun all over again. Bud wrote and drew Popeye in every graphic arena for 24 years and when he died in 1994, he was succeeded by controversial “Underground” cartoonist Bobby London.

Young Bud had been Segar’s assistant and apprentice, and from 1948 onwards was exclusive writer and illustrator of Popeye’s comicbook adventures. These launched in February of that year in a regular monthly title published by America’s unassailable king of periodical licensing, Dell Comics.

When Popeye first appeared, he was a rude, crude brawler: a gambling, cheating, uncivilised ne’er-do-well. He was soon exposed as the ultimate working-class hero: raw and rough-hewn, practical, but with an innate, unshakable sense of what’s fair and what’s not; a joker who wanted kids to be themselves – but not necessarily “good” – and someone who took no guff from anyone…

Naturally, as his popularity grew, Popeye mellowed somewhat. He was still ready to defend the weak and had absolutely no pretensions or aspirations to rise above his fellows, but the shocking sense of dangerous unpredictability and comedic anarchy he initially provided was sorely missed… but not in Sagendorf’s comicbook yarns…

Collected in their entirety in this beguiling full-colour hardback (also available in digital editions) are issues #25-29 of Popeye’s comic book series, produced by the irrepressible Sagendorf and collectively spanning July-September 1953 to July-September 1954.

The stunning, nigh stream-of-consciousness slapstick sagas are preceded by an effusively appreciative ‘Society of Sagendorks’ mission statement by inspired aficionado, historian and publisher Craig Yoe, offering a mirthful mission statement after which the regular collation of ephemera and a merchandise dubbed the ‘Bud Sagendorf Scrapbook’ shares cover art domestic and foreign; themed key-rings, art from Segar Russell (Broom-Hilda) Myers and excerpts from Bud’s Artists Cartoon Course (1960). Also included are ghosted Thimble Theatre strips he did during the Tom Sim/Bela Zaboly era, commissioned cast sketches and assorted trivia such as packaging for the Popeye Funny Face Maker and a TV syndication ad.

We rejoin the ceaseless parade of laughs, surreal imagination and thrills with #25 which opens and closes with a prose yarn adorning both inside front and back covers. ‘Bread Time!’ reveals how a cow named Harriet deals with her unlikely passion for baked goods before the comic capers commence with ‘Shrink Weed!’ as some “wild spinach” reduces the old salt and baby Swee’Pea to the size of insects with potentially dire and outrageous consequences…

Sagendorf was a smart guy in tune with popular trends and fashions as well as understanding how kids’ minds worked. His tales are timeless in approach and delivery. In the era of rapid television expansion, cowboys were King, with westerns dominating both large and small screens as well as plenty of comics. Thus, many sagas featured Popeye as a horse-riding sagebrush wanderer who ran a desert railroad when he wasn’t prospecting…

‘Live Game’ finds infant Swee’Pea contending with a little Indian boy and his pet bear before teaming up to play a prank on the adults after which back-up feature Sherm features another bright spark youngster. Here the kid succumbs to the juvenile blandishments of the girl next door in ‘Ah Love!’

Issue #26 opens and closes with text tale ‘Cat Fish’ as an inner-city moggy imaginatively satisfies a yearning for fresh fodder, whilst ‘Popeye and the Gang’ face an invasion of ‘Spookers!’ intent of avenging themselves on senior reprobate Poopdeck Pappy after which ‘Popeye and Swee’Pea in “Kid Raising!!”’ finds Popeye and Olive using book learning to counter Swee’Pea’s pester power.

Following the trend for sci fi fun, new feature ‘Axle and Cam on the Planet Meco’ introduces a robotic father and son in a wild romp featuring a spare-parts scavenging rogue called the Black Mechanic

Popeye #27 (January-March 1954) starts with a prose parable about a blacksmith’s cat discovering a new toy in ‘Space Ball!’ before the entire cartoon cast visit ‘The Happy Little Island’ and confront subsurface creatures doing their darndest to spoil that jolly atmosphere.

Popeye and Swee’Pea then clash as the little nipper tries boosting his strength with a spinach overdose in ‘Full Power!’, before Axle and Cam on the Planet Meco! sees the clever kid construct a junk yard dog from junk yard junk…

In #28 ‘Fowl! Fowl!’ offers a text yarn about an alley cat promising a slap-up feed for his pals before ‘Popeye and Swee’Pea! in “Moneybag! Or Buddy, Can You Spare a Nugget?”’ sees old moocher Wimpy bamboozle himself when he sees Swee’Pea playing with Popeye’s bullion bags…

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

He’s no match for the kid, though…

Calamity strikes courtesy of the sinister Sea Hag next as ‘“Weed Shortage” or “Pass the Spinach!”’ finds the sailor man scuppered by a global spinach blight. Captured by his frightful foe, the weakened water warrior needs the motivation of Wimpy and sweety-pie Olive to save his own bacon…

Axle and Cam on the Planet Meco then clash as the junior robot starts copying human kids and their bizarre games, and dad tries to set him straight…

Closing the comic capers for now, Popeye #29 (July-September 1954) opens with prose poser ‘Nine for Nine’ wherein Garry the Cat plays fast and loose with his stockpile of spare lives. Popeye then excels in another epic confrontation with the Sea Hag, who unleashes magical menace ‘The Boo-Bird!’ in the certainty that the old salt has no defence. Yet again, the villain underestimates Olive and the restorative power of spinach…

When Popeye refuses to give his kid a dime, Swee’Pea consults Wimpy and crafts a brilliant get-rich quick scheme in ‘Pay Dirt!’ after which ‘Axle and Cam!’ sees dad swept off his feet by the boy’s latest fun invention…

Outrageous and side-splitting, these all-ages yarns are evergreen examples of surreal narrative cartooning at its most inspirational. Over the last nine decades Thimble Theatre’s most successful son has unfailingly delighted readers and viewers around the world. This book is simply one of many, but definitely top-tier entertainment for all those who love lunacy, laughter, frantic fantasy and rollicking adventure. If that’s you, add this compendium of wonder to your collection.
Popeye Classics volume 6 © 2015 Gussoni-Yoe Studio, Inc. All Rights Reserved. Popeye © 2015 King Features Syndicate. ™ Heart Holdings Inc.

Who is Wonder Woman?


By Allan Heinberg, Terry Dodson & Rachel Dodson (DC Comics)
ISBN13: 978-1-4012-1233-9 (HB) 978-1-4012-7233-3 (TPB)

Wonder Woman debuted in October 1941. With such a big anniversary and her second movie out at last (sort of) this year seems ideal to focus some attention on her lesser-known graphic triumphs. Here’s one I prepared earlier…

When the Amazing Amazon was relaunched in the wake of mega-crossover events Infinite Crisis and 52 with art stars Terry & Rachel Dodson illustrating the scripts of TV heavy hitter Allan Heinberg (Grey’s Anatomy, The O.C. and Sex and the City among others), there was much well-deserved media attention. However, the comic was plagued by missed deadlines and most of the series’ initial momentum was lost. After the fourth issue the saga was simply abandoned unfinished. A new writer stepped in with very impressive results (although that’s a tale for another time and, a separate review) while the original creators regrouped. The initial story-arc was eventually concluded in Wonder Woman Annual volume 2, #1.

When all the dust settled, the completed adventure was collected in this impressive if slim hardback and paperback and we can finally judge the story on its actual merit – unless you only read digital editions. Still. It can’t be long now, can it?

Following the reality realignments of Infinite Crisis, there was a hiatus of a year when Batman, Superman and Wonder Woman vanished. Sort of…

This story opens with an Amazon warrior battling some of Wonder Woman’s most fantastic villains and menaces, but she’s not Princess Diana of Themyscira. Rather Donna Troy, the original Wonder Girl, has taken the role – and excelled – but said oldest enemies have joined forces under the aegis of a mysterious mastermind and captured the replacement – as well as the new Wonder Girl…

Enter Sarge Steel, super spy Nemesis and the latest recruit to the Department of Metahuman Affairs, field agent Diana Prince! In case you’re a complete neophyte regarding Amazon continuity, that’s supposed to be a big, bewildering shock because Diana is secretly the original Wonder Woman herself…

What follows is an enjoyable romp with glamorous and spectacular “big visuals” art from the Dodsons, as Diana ultimately resumes her place in DC’s Trinity of megastars whilst also assuming a valid “ordinary” human life to complement the superwoman persona – although that’s a fairly relative term when said life consists of a super-spy day job.

This big, bold extravaganza repositions Wonder Woman at the heart of DC continuity and attempts to rationalise the disparate, if not clashing, elements that kept various versions of the character at the forefront of debate for decades. Most fans ask not Who is Wonder Woman but rather, Which version is Best?

Perhaps, in cases of such vigorous debate, maybe it’s safest simply to get them all…
© 2006, 2007 DC Comics. All Rights Reserved.

Invisible ink: My Mother’s Secret Love Affair with a Famous Cartoonist


By Bill Griffith (Fantagraphics Books)
ISBN: 978-1-60699-895-3 (HB)

Starting life as an underground feature in 1971, Bill Griffith’s absurdist commentary on American society Zippy the Pinhead has grown into such a prodigious and pervasive counter-culture landmark that it’s almost a bastion of the civilisation it constantly scrutinises and ridicules.

What I never suspected before and – according to the revelations stunningly catalogued and depicted in this powerful and absorbing Graphic Memoir, nor did he – was the subtle influence the gods of cartooning had been constantly exerting upon his family’s lives for generations…

As much a detective yarn and fond memorial to simpler (but just as complex) times as a straight biography, Invisible Ink: My Mother’s Secret Love Affair with a Famous Cartoonist reveals how the cartoonist and social commentator (already long-schooled in the proud achievements of artistic ancestor and photographic pioneer William Henry Jackson) uncovered further pictorial predecessors and briefly became an impassioned genealogist and investigator after an elderly uncle decided it was time to pass on a boxful of dusty family memorabilia.

An uneventful yet evocative journey from Connecticut to North Carolina – miles slowly passing as the traveller is immersed in internet research – starts memories flowing and when Uncle Alan hands over a historical treasure trove the naturally contemplative cartoonist’s childhood memories are triggered and his instincts for a good story are piqued…

Griffith’s thoughts continually return to his own childhood in Levittown when he and his passionate, beautiful, aspiring-author mother regularly posed for neighbour and legendary pulp illustrator Ed Emshwiller’s many magazine covers. By the time the voyager stops discussing the past, Bill is powerfully aware of just how real and earthy and fallibly human his relatives were. As yet, however, the discourse still offers no insight into why his own cold, abusive father turned out the way he did…

Meticulous Alan is a mine of useful minutiae with his catalogue of familial foibles and passed-down stories, but even he is un aware of Barbara Griffith (nee Jackson)’s greatest indiscretion: a 15-year, full-on, tempestuous love affair with cartoonist, cartooning-teacher, publisher, comicbook pioneer, crime-writer and indefatigably restless entrepreneur Lawrence Lariar: an innocuously smooth operator who, although moderately successful for his entire life, was, in many ways, the Forgotten Man of Comics.

With the flow of information now going both ways, Bill shares the day in 1972 when word came of his dad’s imminent death and of how, in a moment of overwhelmed, grieving guilt  – and with the family all gathered at the hospital – his mother-the-widow of mere minutes confessed that she had been wife in all but name to another man since 1957…

As Bill further re-examines his own memories, cross-referencing with pictures, diaries and his mother’s epic unpublished novel which clearly and cleanly transfers her complicated life into the refuge of putative fiction, a series of pictures begins to form…

Startlingly frank, scrupulously detailed, diligently analytical and brilliantly reconstructed using a variety of styles, this is a fact-filled, graphic tour de force elevating the players to the rank of archetypes whilst still leaving them authentic, living creatures we are convinced we know.

Superbly applying the techniques of fiction to the discipline of documentary, Invisible Ink (available in hardback and digital editions) is a wonderful exemplar of real-world comics and one no serious reader can afford to miss.
© 2015 Bill Griffith. All rights reserved.

Spirit of Wonder


By Kenji Tsuruta, translated
ISBN: 978-1-56971-288-7 (Tankōbon PB)

Just re-read this and it’s still great…

Despite carrying all the trappings of a blistering science fiction comedy romp, acclaimed author/illustrator Kenji Tsuruta’s beguiling fantasy Spirit of Wonder is a sweet romantic comedy with genteel, anything is possible sentimental yearning as the driving force.

Set in a charming alternate time and place so like our own world, it follows the Byzantine trials and tribulations of feisty, beautiful tavern owner Miss China and her truly bizarre, indigent and obnoxious upstairs tenants – genuinely bonkers Professor Breckenridge and his gorgeous, hunky assistant Jim Floyd

Creator Tsuruta (Emanon, Wandering Island) was born in 1961 and studied optical science, intending to pursue a career in photography before happily making the jump to narrative storytelling as manga artist, designer, book illustrator and anime creator.

A lifelong fan of “hard science” science fiction authors like Robert A. Heinlein and the comics of Tetsuya Chiba and Yukinobu (Saber Tiger) Hoshino, Tsuruta began selling his own works in 1986 after years of producing self-published dōjinshi whilst working as an assistant to established manga stars. His short fantasy serial Hiroku te suteki na uchū ja nai ka (‘What a Big Wonderful Universe It Is’) was published in Kodansha’s Weekly Morning magazine and his path was set.

Soon after, he began this enticing, enchanting scientific romance of gently colliding worlds which ran in both Weekly Morning and monthly magazine Afternoon – between 1987 and 1996 – before making the smooth transition to animated features and an award-winning TV series.

This English edition comes courtesy of Dark Horse Comics who published the first few translated episodes as a 5-issue monochrome miniseries in 1995-6.

In a comfortable faux-Victorian milieu, the exotic immigrant Lady China runs the Ten-Kai Tavern in the sleepy yet cosmopolitan port-town of Bristol. The generally peaceful burg hardly ever-changes, but China’s life is one of constant struggle to make a comfortable living, especially as she rents her upstairs rooms to a couple of crackpot deadbeats who continually mess up the place with their idiotic contraptions and persistently fail to pay rent.

The older guy is truly annoying and doesn’t care about anything beyond his latest weird invention but his assistant is a rather sweet and delightful young man who has captured China’s fast-beating heart…

The wonderment begins on another belated rent day with ‘Miss China’s Ring or Doctor Breckenridge and the Amazing Ether Reflector mirror!’ wherein the frustrated landlady is again forced to employ her formidable martial arts skills to get the insufferable scholar’s attention – if not the long-delayed and constantly accruing cash payable.

It’s really not a good time: Breckenridge is entertaining potential investors in his latest creation which promises safe travel to the Moon…

The meeting does not end well and both landlady and tenant depart unsatisfied, whilst in another part of town, Jim – whose responsibilities include doing everything and somehow finding the money to pay for it – is picking up a vital component from pretty “florist” Lily (a girl with amazing connections able to procure anything wayward inventors might ever require).

Unfortunately, China sees the object of her desire spending what should be rent money on a very pretty flower girl and goes ballistic…

Floyd adores China too, but as a typical guy is utterly unable to tell her. He can, however, thanks to his mad mentor Breckenridge and some astounding discoveries left by his own vanished father – another technological miracle man – give her the moon.

Literally…

Jim gives China a ring as a birthday present but she is too furious to care. She wants rent not trinkets from a flighty gadabout. If only she could calm down enough, she would see that the gift is carved from actual moon rock, but beaten into a strategic retreat, Jim realises he needs to make a somewhat grander gesture…

Heartbroken, China falls asleep and is much calmer when she awakes. Bringing her troublesome tenants tea, she looks up into the sky and sees the message Jim has carved into the shining luminous lunar surface…

Stunned and troubled, she moves through the days in a dream. Even with the evidence above his head Breckenridge still can’t get anyone to bankroll him and is driven to unwise acts. Soon the entire world is imperilled by his etheric meddling and the moon is plummeting on a deadly collision course with Bristol.

Luckily, the uniquely physical and practical talents of Miss China are of some use in averting disaster if not setting things totally aright…

‘The Flight of Floyd’ opens with the Mad Professor oafishly seeking to make amends by giving China a flying broomstick, before concluding that he will never understand women. The lovelorn landlady simply wishes she could make Jim pay attention to her, superstitiously wishing upon a shooting star, but the object of her infatuation is preoccupied with completing his missing father’s gravity disrupter and with off-handed tactlessness explains that she’s doing it wrong…

Once again the cause of increasing China’s woes, the hapless Floyd decides to use his Gravitation Gate to make things right – by creating a permanent rain of meteors for the lovely landlady to wish upon, momentarily forgetting that whilst pretty in the evening sky, a bombardment of incandescent rock packs a bit of a punch when hitting terra firma…

The marvellous merriment concludes with ‘China Strikes Back parts 1 and 2, or Doctor Breckenridge and the Astounding Instantaneous Matter Transmitter!’, which finds times hard in Bristol as the town shivers under a blanket of snow, and cash-strapped, customer-starved Lady China is forced to get increasingly heavy with her free-loading lodgers. She is also taking out her bad moods on the townspeople and the few customers still frequenting the inn for food and drinks.

However, when she once again busts in the upstairs door in search of her overdue payments, she finds the Professor and Jim have vanished, taking all their ludicrous junk with them.

They haven’t gone far, however. In fact, they haven’t gone anywhere at all, but simply set up a system by which China’s entrances and exits teleport her to and from an empty set of duplicate rooms, leaving the unscrupulous tinkerers free to stay at the tavern without being bothered.

Sadly, they hadn’t bothered to soundproof the floors of the upper rooms or warn black market tech dealer Lily of their latest innovation and when China discovers the scam – in the most embarrassing manner possible – Jim is forced into a fury of improvisation before he’s able to make things right…

This enchanting blend of Steampunk and gleeful science whimsy is a sharp, wry and fantastically ingenious human drama, filled with gentle good humour and warmth, rendered with such astonishing sensitivity and imagination that the most outrageous scenes appear thoroughly rational, authentic and real – although sadly some people might focus far too much on the innocent, unconscious and completely casual nudity rather than the superb story and characterisations on display.

Filled with extra cover illustrations, pin-ups and an engaging interview with the creator, Spirit of Wonder is a treat for every open-hearted, big-minded romantic and one no fantasy fan should be denied. Let’s hope it will be back in circulation ASAP…
© 1996 Kenji Tsuruta. All rights reserved.

Sub-Mariner Marvel Masterworks volume 4


By Roy Thomas, Marie Severin, John Buscema, Sal Buscema, Jack Katz & various (Marvel)
ISBN: 978-0-7851-5048-0 (HB)

Prince Namor, the Sub-Mariner is the offspring of a water-breathing Atlantean princess and an American polar explorer; a hybrid being of immense strength, highly resistant to physical harm, able to fly and exist above and below the waves. Created by young, talented Bill Everett, Namor technically predates Marvel/Atlas/Timely Comics.

He first caught the public’s attention as part of the elementally appealing fire vs. water headlining team in the October 1939 cover-dated Marvel Comics #1 which became Marvel Mystery Comics with issue #2. He shared honours and top billing with The Human Torch, but had originally been seen (albeit in a truncated monochrome version) in Motion Picture Funnies: a weekly promotional giveaway handed out to moviegoers earlier in the year.

Rapidly emerging as one of the industry’s biggest draws, Namor gained his own title at the end of 1940 (Spring 1941) and was one of the last super-characters to go at the end of the first heroic age. In 1954, when Atlas (as the company then was) briefly revived its “Big Three” (the Torch and Captain America being the other two) costumed characters, Everett returned for an extended run of superb darkly timely fantasy tales, but even his input wasn’t sufficient to keep the title afloat and Sub-Mariner sank again.

When Stan Lee & Jack Kirby began reinventing comic book superheroes in 1961 with the groundbreaking Fantastic Four, they revived the awesome and all-but-forgotten amphibian as a troubled, semi-amnesiac anti-hero. Decidedly more bombastic, regal and grandiose, the returnee despised humanity; embittered at the loss of his sub-sea kingdom (seemingly destroyed by American atomic testing) whilst simultaneously besotted with the FF’s Susan Storm.

Namor knocked around the budding Marvel universe for a few years, squabbling with other star turns such as the Hulk,Avengers, X-Men and Daredevil, before securing his own series as one half of Tales to Astonish, and ultimately his own solo title.

This fourth subsea selection – available in hardback and eBook editions – collects Prince Namor, the Sub-Mariner #14-25, spanning June 1969 to May 1970 and opens with another heartfelt appreciation and some creative secret-sharing from sometime-scribe and life-long devotee Roy Thomas in his Introduction.

Innovative action and shameless nostalgia vie for attention as Thomas, Marie Severin and Mike Esposito (moonlighting as Joe Gaudioso) decree ‘Burn, Namor… Burn!’ in Sub-Mariner #14, as the Mad Thinker apparently resurrects the original – android – Human Torch and sets him to destroy the monarch of Atlantis. This epic clash was one prong of an early experiment in multi-part cross-overs (Captain Marvel #14 and Avengers #64 being the other episodes of the triptych).

Inked by Vince Colletta, ‘The Day of the Dragon!’ finds Namor back in Atlantis after months away, only to find his beloved Lady Dorma has been abducted by old foe Dr. Dorcas. The trail leads to Empire State University and brutal battle against mighty android Dragon Man

“Gaudioso” returned for Namor’s voyage to a timeless phenomenon in search of mutated foe Tiger Shark who had conquered ‘The Sea that Time Forgot!’, after which the Sub-Mariner contends with an alien intent on draining Earth’s oceans in ‘From the Stars… the Stalker!’ pencilled in tandem by Severin and Golden Age Great Jack Katz, using nom de plume Jay Hawk.

The saga ends calamitously in ‘Side by Side with… Triton!’ (Thomas, Severin & Gaudioso) as, with the help of the aquatic Inhuman, Namor repels the extraterrestrial assault, but loses his ability to breathe underwater. Now forced to dwell on the surface, the despised Atlantean then crushingly clashes with an old friend in the livery of a new superhero in ‘Support your Local Sting-Ray!’ This bombastic battle yarn also offers a delicious peek at the Marvel Bullpen, courtesy of (ex-EC veterans) Severin and inker Johnny Craig’s deft caricaturing skills…

John Buscema returns for #20, with Thomas scripting and Craig inking a chilling dose of realpolitik. ‘In the Darkness Dwells… Doom!’ sees Namor lured by the promise of a cure to his breathing difficulties into the exploitative clutches of the mad Monarch of Latveria. Trapping the Sub-Mariner and keeping him, however, are two wildly differing concepts…

Informed of Namor’s condition, the armies of Atlantis are marshalled by Dorma and disgraced Warlord Seth in ‘Invasion from the Ocean Floor!’ (art by Severin & Craig) besieging New York and almost invoking a new age of monsters.

As Namor’s malady is treated by Atlantean super-science, a key component of a new Superhero concept begins.

Last of the big star conglomerate super-groups, the Defenders would eventually count amongst its membership almost every hero – and a few villains – in the Marvel Universe. No surprise there as initially they were composed of the company’s bad-boys: misunderstood, outcast and often actually dangerous to know.

The genesis of the team in fact derived from their status as publicly distrusted “villains”, but before all that later inventive approbation linked tales of enigmatic antiheroes as best exemplified by Prince Namor, and the Incredible Hulk. When you add the mystery and magic of Doctor Strange the recipe for thrills, spills and chills became simply irresistible…

Following on from Dr. Strange #183 (November 1969) – which introduced the infernal Undying Ones, an elder race of demons hungry to reconquer the Earth – February 1970’s Sub-Mariner #22 ‘The Monarch and the Mystic!’ brought the Prince of Atlantis into the mix, as Thomas, Severin & Craig relate a moody tale of sacrifice in which the Master of the Mystic Arts apparently dies holding the gates of Hell shut with the Undying Ones pent behind them.

In case you’re curious, the saga concludes on an upbeat note in Incredible Hulk #126 (April 1970). You might want to track down that yarn too…

Even restored to full capacity, there’s no peace for the regal, and Sub-Mariner #23 finds Namor still contending with Dorcas and arch villain Warlord Krang after the human mad scientist uses his power-transfer process to create an Atlantean wonder with the might of killer whales in ‘The Coming of… Orka!’ The slow-witted psycho subsequently sets an army of enraged cetaceans against the sunken city as John Buscema & Jim Mooney step in artistically to depict how ‘The Lady and the Tiger Shark!’ finds Namor enslaved and Dorma making Faustian pacts to save Atlantis.

This scintillating volume concludes with a landmark tale as – restored to rule and ready to be riled – Namor becomes an early and strident environmental activist after surface world pollution slaughters some of his subjects. Crafted by Thomas, Sal Buscema & Mooney, ‘A World My Enemy!’ follows Sub-Mariner’s bellicose confrontation with the UN as he puts humanity on notice: clean up your mess or I will…

From this point on the antihero would become a minor icon and subtle advocate of the issues, even if only to young comics readers…

These tales feature some of Marvel’s greatest artists at their visual peak, with all the verve and enthusiasm still shining through. Many early Marvel Comics are more exuberant than qualitative, but this volume, especially from an art-lover’s point of view, is a wonderful exception: a historical treasure fans will delight in forever.
© 1968, 1969, 2018 Marvel Characters, Inc. All rights reserved.

Tales of the Batman: Steve Englehart


By Steve Englehart, Sal Amendola, Walt Simonson, Marshall Rogers, Irv Novick, Dusty Abell, Javier Pulido, Trevor Von Eeden & various (DC Comics)
ISBN: 978-1-4012-9554-7 (HB)

Steve Englehart was born on April 22, 1947 and, after studying psychology and earning a Batchelor of Arts from Wesleyan University in 1969, began a multi-pronged creative career incorporating novels, games and comics. He began as an art assistant to Neal Adams: one of the inking all-stars dubbed the “Crusty Bunkers” but the early 1970s, had switched to scripting. He was one of the most popular and innovative writers of superheroes in the field on titles such as Captain America, Hulk, Captain Marvel and others. In 1973 he and collaborator Jim Starlin brought martial arts to comics with Shang-Chi, Master of Kung Fu. In his near 50-year career he has created and scripted countless comics wonders, but will probably be best regarded foe his astounding efforts on Batman.

Although his contributions to the Dark Knight’s canon are relatively few, they are all of exceptional quality as proved by this commemorative hardback and digital tome, reprinting his stories from Batman #311, Batman: Dark Detective #1-6, Batman: Legends of the Dark Knight #109-111, Detective Comics #439, 469-476, Legends of the DC Universe #26-27 and The Batman Chronicles #19, cumulatively spanning March 1974 to September 2005.

Kicking off the tense drama and flamboyant action is stand-alone saga ‘Night of the Stalker’ (from Detective #439, 1974), illustrated by Vin and Sal Amendola, with Dick Giordano inking one of most powerful intense and stories in the canon, hinting at the psychological traumas driving Batman, and a precursor of many future tales. Here, the Dark Knight is helpless to prevent another young boy from losing his parents to crime and becomes a remorseless, relentless avenger until justice is done…

In the mid-1970s Marvel were kicking the stuffings out of DC Comics in terms of sales if not quality product. The most sensible solution – as always – was poaching away top talent. That strategy had limited long-term success but one major defection was Englehart, who had recently scripted groundbreaking, award-winning work on The Avengers, Defenders and Dr. Strange titles.

He was given the Justice League of America for a year but also requested – and was given – the Batman slot in flagship title Detective Comics. Expected to be daring, innovative and forward looking, he instead chose to invoke a classic and long-departed style which became a new signature interpretation, and one credited with inspiring the 1989 movie mega-blockbuster. It also gibed perfectly with the notions of artistic partner Marshall Rogers and his inseparable inker Terry Austin. However, initially Englehart was paired with artists Walt Simonson & Al Milgrom for the series, who jointly introduced not only a skeletal, radioactive new villain but also Gotham’s corrupt City Council chief, Rupert “Boss” Thorne in epic opening gambit ‘…By Death’s Eerie Light!’ and supplementary opus of corruption ‘The Origin of Dr Phosphorus’

Here the Caped Crimebuster is first politically isolated and then outlawed in his own city. The art team also limned sequel ‘The Master Plan of Dr. Phosphorus!’, debuting another landmark character: captivating and competent Modern Woman Silver St. Cloud.

With issue #471 (August 1977) relative newcomers Rogers & Austin took over and true magic began to be made. As the scripts brought back revered golden-age A-list villains, the art recaptured and reinforced the power and moodiness of the strip’s formative years: all whilst adding to the unique and distinctive iconography of the Batman.

Last seen in Detective Comics #46 (1940), quintessential Mad Scientist Hugo Strange came closer than any other villain to destroying both Bruce Wayne and the Batman in ‘The Dead Yet Live’ and ‘I Am The Batman!’ (Detective #471 and #472 respectively), briefly stealing his identity and setting in motion a diabolical scheme that would run through the entire sequence…

Teen Wonder Robin returned in #473’s ‘The Malay Penguin!’ as nefarious Napoleon of Crime the Penguin challenges a temporarily reunited Dynamic Duo to an entrancing, intoxicating duel of wits, after which ‘The Deadshot Ricochet’updates an old loser for the second ever appearance of a murderous high society dilettante sniper (after an initial outing in Batman #59, 1950). The tale so reinvigorated the third-rate trick-shooter that he’s seldom been missing from the DC Universe since; starring in a number of series such as Suicide Squad and Secret Six: in a couple of eponymous miniseries and on both silver and small screens.

The best was saved for last, with all the sub-plots concerning Silver St. Cloud, Boss Thorne, Gotham City Council, and even a recurring ghost culminating in THE classic confrontation with The Joker.

The absolute zenith in this too-short, stellar sequence resurrecting old foes could only star the Dark Knight’s nemesis at his most chaotic. Cover-dated February and April 1978, Detective #475-476 introduces ‘The Laughing Fish’ before culminating in ‘The Sign of the Joker!’ One of the most reprinted Bat-tales ever concocted, it was adapted as an episode of award-winning Batman: The Animated Adventures TV show in the 1990s.

In fact, you’ve probably already read it. But if you haven’t… what a treat you have awaiting you! Manic and murderous, the Harlequin of Hate goes on a murder spree after mutating fish. As seafood with the Joker’s horrific smile turn up in catches all over the Eastern Seaboard, the Clown Prince attempts to trademark them. When patent officials foolishly tell him it can’t be done, they start dying… publicly, impossibly and incredibly painfully…

The story culminates in a spectacularly apocalyptic clash among the city’s rooftops which shaped and informed the Batman mythos for decades after…

Having said all he wanted to say, Englehart left Batman and soon after quit comics for a few years.

He was enticed back for Batman #311 (May 1979, rendered by Irv Novick & Frank McLaughlin) as Batgirl joins the embattled hero to spoil a mad vengeance plot in Doctor Phosphorus is Back!’

Post-Crisis on Infinite Earths – which wiped multiple universes in exchange for a new unified, rationalised DCU – Legends of the Dark Knight was a Batman title employing star guest creators to reimagine the hero’s history and past cases for modern audiences. Englehart and illustrators Dusty Abell & Drew Graci contributed a sharp brain-twisting turn in issues #109-111 (August-October 2000) as ‘Primal Riddle’ – broken down into ‘Nasty, Brutish and Short!’, ‘Perhaps the Only Riddle That We Shrink From Giving Up!’ and ‘A Dumpster of Chèrées’, traces Batman’s recovery from a life-altering injury even as the manic Prince of Puzzlers offers his greatest and weirdest challenge yet…

For The Batman Chronicles #19 (Winter 2000) the writer skipped back to the earliest moments of Batman’s career, with artist Javier Pulido as ‘Got a Date with an Angel’ sees the neophyte avenger forced to choose between love and duty for the first time…

Legends of the DC Universe was an attempt by the publishers to bring updated classic stories to a fresh-eyed reading public. With #26-27 (March & April 2000), Englehart, Trevor Von Eeden & Joe Rubenstein present the flip side to the Joker-Fish sage as ‘The Fishy Laugh’ finds the Harlequin of Hate in Atlantis vying with Aquaman to be king of fish. The cod crisis only escalates until Batman finally swims in to end the ‘Reign of the Joker!’

Under Englehart, Rogers & Austin, Detective Comics had managed to be nostalgically avant-garde and iconoclastically traditional at the same time, setting both the tone and the character structure of Batman for generations. That made thoughts of a reunion run both constant and inevitable – like a school reunion where you forget yourself for a moment, then catch yourself pogoing to “God Save the Queen” in the bar mirror. Of course, the truth is you can’t ever go back and you just look like an idiot doing it now.

Although not quite as bad as that, miniseries Batman: Dark Detective #1-6 (running from July to September 2005) suffers from an excess of trying too hard as the titanic trio reunited to recount what happened after the major players reassembled on ‘Some Enchanted Evening’.

It begins as Silver St. Cloud returns to Gotham to help her new fiancé Senator Evan Gregory secure nomination as a Gubernatorial candidate. That means looking for donations from her old lover Bruce Wayne, and events are further complicated when the Joker announces his own run for the role. His tactics can be best described by his own slogan “Vote for Me …Or I’ll Kill You”. I think I’m seeing another parallel to modern real-world politics here…

The plot thickens in ‘You May See a Stranger’ when – amidst a growing body count – other lethal loons make their own sinister sorties. Now, as well as The Joker’s terrifyingly unconventional political tactics, Batman also has to deal with The Scarecrow’s unwitting release of Wayne’s repressed memories of a murder attempt upon himself the night after his parents were killed, and a frankly ludicrous clone-plot as Two Face tries to fix himself through Mad Science.

Before long, the shamefully inescapable occurs and Bruce and Silver succumb to unresolved passions in ‘Two Faces Have I’

Plagued by guilt – both long entrenched and of more recent vintage – the Dark Knight writhes in manufactured nightmares even as fresh horrors are actually happening in grim reality. ‘Thriller’ sees the Maniac of Mirth abduct Silver, and her recently un-engaged would-be Governor joins Batman in a rescue bid for ‘Everybody Dance Now’ that leads only to tragedy and doom in catastrophic concluding chapter ‘House’

These tales are just as fresh and welcoming today, their themes and scenes just as compelling now as then and this vision of Batman remains a unique and iconic one. This is a Bat-book everybody can enjoy: a lavish treat any Batfan or comics aficionado will always treasure.
© 1974, 1977-1979, 1998, 2000, 2005, 2020 DC Comics. All Rights Reserved.

Freddy Vs School


By Neill Cameron (David Fickling Books)
ISBN: 978-1-78845-143-7 (PB)

Great characters are hard to pin down in the modern-multi-media world – even if they’re relatively new. Here’s a delightful and extremely entertaining sideways move for a favourite comics character – oddly, from ultra-modern full-colour cartoon pages to the hoary hallowed traditions and trappings of illustrated prose…

Neill Cameron (Tamsin of the Deep, How to Make Awesome Comics, Pirates of Pangea) has charmed and enthralled kids of all ages with another serial originating in the picture-perfect pages of wonderful weekly The Phoenix. This one is the Mega-Robo Brothers, set in a charmingly inclusive and diverse futuristic London (at least 3 months from now…) and featuring a pair of marvellous metal-&-plastic paladins who are not like other kids – no matter how much they try…

Now he’s a stalwart of proper literature, let’s dip into this superb romp in the grand manner of Just William or Billy Bunter thanks to the smaller of those rather unique lads…

Welcome to the Future!

In a London much cooler than ours Alex Sharma and his younger brother Freddy are (mostly) typical kids: boisterous, fractious, always arguing, but devoted to each other and not too bothered that they’re adopted. It’s no big deal for them that they were constructed by mysterious Dr. Roboticus (before he vanished from all human knowledge) and are considered by those in the know as the most powerful robots on Earth.

That includes Mum and Dad, but though Mr Sharma may be just your average working guy, it’s clear Mum is a bit extraordinary herself. As renowned boffin Dr. Nita Sharma, she harbours some surprising secrets of her own, and occasionally allows her boys to be super-secret agents for R.A.I.D. (Robotics Analysis Intelligence and Defence).

It’s enough for the digital duo that Mum and Dad love them, even though the boys are a bit more of a handful than most kids. They live as normal a life as possible; going to school, making friends, putting up with bullies and hating homework: it’s all part of the Mega Robo Routine combining boring lessons, fun with friends, playing games, watching TV and training in the covert combat caverns under R.A.I.D. HQ…

When occasion demands, the lads undertake missions, but mostly it’s just home, games, homework and School. At least that’s how it seems to Freddy: a typical, excitable 10-year-old (well, except for the built-in super-strength, flight rockets and lasers). Alex may be at the age when self-doubt and anxiety begin to manifest, but Freddy is insufferably exuberant and over-confident. And that’s where the trouble starts today…

Some kids just find themselves at the centre of unfortunate events, even without a suite of onboard tactical weaponry, and it all begins with another fraught parent-teacher conference between Deputy Head Mr. Javid and Freddy’s Mum. As usual it involves an unfortunate use of the metal boy’s unique gifts, subsequent destruction of property and trauma for the staff, but this time the repercussions are severe. Cash-strapped and at the end of his tether, Mr Javid imposes a draconian Code of Conduct forbidding students from using Super-strength, Booster Rockets or Lasers on school property. Obviously, it’s not a sanction that affects every pupil, and Mum is offended but, in the end, really wants her sons to grow up in a social environment and not be excluded or home-schooled…

Sadly, Freddy is wilful and easily led, especially by his best friend Fernando. He also hates boring learning and loves excitement. Dr. Sharma calls him an “instigator”, and hopes the influence of sporty Anisha or quietly studious new boy Riyad will have a calming effect on her son. She has no idea of the trouble lurking, hulking bully Henrik is planning, or the devasting consequences that will result from Freddy’s inability to do what he’s told…

Stuffed with monochrome cartoons and bouncy graphics, this is unmissable entertainment for kids of all ages and vintage: a splendidly traditional school days comedy romp, amped up on sci fi and superhero riffs and carrying a powerful message that no one is beyond saving. Freddy vs School is wonderful adventure for younger readers and one you’ll adore too.
Text and illustrations © Neill Cameron 2021. All rights reserved.

Freddy vs School will be published on 7th January 2021 and is available for pre-order now

Hex Vet: The Flying Surgery


By Sam Davies (KaBOOM!)
ISBN: 978-1-68415-478-4 (PB) eISBN: 978-1-64144-617-4

When your animal companions fall ill, you know they need the help only a qualified veterinarian can offer, right? However, if said furry, feathered, finny or scaly housemate can turn people to stone, teleport or summon devils and imps, a far more specialised service is required. And staff at such vital animal alms houses need a lot of on-the-job training…

At Willows Whisper Veterinary Practice, Dr. Cornelia Talon (Head Veterinary Witch; high Society of Sorcerers. Hons.) and Nurse Ariel Chantsworth (Registered Veterinary Witch; Head of Administration) employ two promising prospects. Trainees Clarion Wellspring and Annette Artifice have all the dedication they need: now they’re just topping up on knowledge, and experience. And co-operation. They really need to learn to work together…

A superb all-ages feelgood fantasy with some effectively appropriate sharp edges, the saga of the zoological wonderland expands and grows substantially darker in tone when the monthly reorientation into a sky-based surgery – “the flying Creature clinic” with all its attendant extra workload – is hijacked by multiple emergencies. It’s all going fine until the local Wildlife Warlock Patrol leader rushes in with a severely abused Porcus Volitarus. It looks like magical smugglers have been overloading the poor flying pig, and after triaging the pooped porker, Dr. Talon rushes off with the Warlock to see how badly the local eldritch ecology has been damaged…

The students are left to run the dreadfully over-subscribed clinic with a painfully out-of-sorts and abrasive Nurse Chantsworth, but everything goes haywire after a suspicious stranger boards the building, determined to reclaim the cloud-trotter at any costs…

Compounding the pressure, the students are already distracted by overwhelming personal problems: Annette’s brother has apparently returned from prison, but no one has seen him, and Clarion is distraught that her aged granddad has been suffering abuse at the hands of someone she knows very well…

Meanwhile, deep in the woods, Dr. Talon and the Warlock are making disturbing discoveries…

Addressing issues of redemption, rehabilitation, wrong paths taken and elderly alienation, all while telling a potent tale of dedication and crisis resolution, Hex Vets: The Flying Surgery shows how reason and empathy can solve problems just as efficiently as fighting and confrontation, all while weaving a seductive web of fun and charm.

A celebrated web cartoonist, Sam Davies (Stutterhug) reaches even greater heights with her follow-up graphic novel which will delight youngsters and all us elderly-but-unbroken fantasy lovers out here.
© December 2019. Hex Vet, Inc. ™ & © 2018 Sam Davies. All rights reserved.

#SAD! – Doonesbury in the Time of Trump


By Gary Trudeau (Andres/McMeel)
ISBN: 978-1-4494-9864-7 (HB)

The thing about some buttheads when they’re down, is that the very worst of them are just so darned appealing if you feel like carrying on kicking…

Buh-bye, Donnie. Happy New Year.

As you hopefully saw yesterday, the most recent former POTUS has experienced a lengthy adversarial relationship with certain satirists and cartoonists over the years.

Doonesbury proceeds in real time and incorporates a vast, broad cast of regulars who have aged over the decades and through withering lampoonery as the strip references news, trends and causes célèbre of the moment. This had made cartoonist Trudeau a handsome raft of enemies through enlisting many real-world oafs and bugbears amongst his long-lived itinerary of returning characters. Generally, these flesh-&-blood interlopers are represented by an icon – such as a waffle for Bill Clinton, a lit bomb for Newt Gingrich or a Stetson (later a Roman helmet) for George W. Bush – but that’s not always the case.

One of the most vocal – if not necessarily intelligible – targets over the years has been Donald J. Trump – usually depicted as a decadent, fat and latterly smug and confused old white guy. This superb full-colour collection gathers some of the very best moments of jocularity covering the moments he actually began running for President, up until about two years into accidentally winning it…

It all begins with a Preface from Trudeau laying out the rules of satire as applied to the Orange in Chief before dividing into themed chapters starting with ‘The Gathering Storm’ in 2015 as the race for the Whitehouse commences, concentrating on minor peccadilloes such as blatant racism and intellectual (in)capacity, and offering a ground-floor “in” for TRUMP the Game

The plot sickens in ‘American Carnage’ as planet Earth learns the true force of twitter-storms and we all discover the value of facts, after which the cartoon range finder focuses on the ‘Team of Deplorables’ and encounters increasingly ‘Stormy Weather’ to bring this fabulously biting history to a close.

And remember, much of the baffling blather in these world balloons still originated with the big orange blowhard himself…

Hilarious, alarming, seditiously informative and gut-bustingly outrageous, #SAD! is another devastating tool of political instruction and character assessment any student of incipient Armageddon can enjoy, because it has loads and loads of really well rendered, easily comprehensible pictures in it.

As the countdown to a new old America goes on diminishing, feel free to buy this book as a warning for 2024. It’s the only real way to make your voice heard in a modern plutocratic democracy…
© 2018 G. B. Trudeau. All rights reserved.

Yuge! – 30 Years of Doonesbury on Trump


By G. B Trudeau (Andrews and McMeel)
ISBN: 978-1-44948-133-9 (PB)

I’ve always considered myself the bigger man in most disputes: able to see the other side and above gloating. Turns out, I’m not…

According to someone currently looking for new accommodation somewhere over the Pond, Garry Trudeau is a “sleazeball” “third-rate talent” who draws “overrated” comic strip Doonesbury, which “very few people read.”

The target of the calumny (guess who might have to look that up?) lives in New York City with his wife Jane Pauley, who “has far more talent than he has.”

For those who prefer recorded facts to illiterate, made-up gibber-jabber from the terminally biased and proudly uninformed, Garry Trudeau converted his comic strip Bull Tales – which ran in the Yale University student newspaper Yale Daily News from 1968 to 1970 – into a satirically comedic commentary on politics and contemporary society. He then managed to make it one of the most popular syndicated strips in the world…

“Starring” an everyman liberal college grad, Doonesbury debuted on October 26th 1970, consequently getting to immortalise, lampoon and pass judgement on some of America’s least finest moments and personages; casting a jaundiced eye over domestic and global events, slyly converting them into wry, trenchant comedy gold. He is despised by many conservatives and im-moderates on the Right of America’s political spectrum…

Over the years, as well as amusing millions of folks over there and around the world, the strip has aroused the ire of plenty of political, sporting and media figures – you can call them celebrities if you’re so inclined – whilst winning for the cartoonist acclaim, fame and praise from some quite unlikely sectors of the society he perpetually regards with his gadfly’s eye.

Trudeau’s strip was the first to win a Pulitzer Prize for Editorial Cartooning, and he was awarded Certificates of Achievement from the US Army for strips dealing with the first Gulf War.

In 1995 he won a Reuben Award from the National Cartoonists Society and in 2006 was given the US Army’s Commander’s Award for Public Service for strips about his character BD’s recovery following the loss of a leg in Iraq.

His Mental Health Research Advocacy Award came from the Yale School of Medicine for depiction of mental-health issues facing soldiers returning home from Afghanistan and Iraq.

The Doonesbury strip proceeds in real time and his large, broad cast of regulars has aged over the decades, whilst always interacting with the causes célèbres of the moment. As such, he has made a fair few enemies through enlisting many real-world oafs and bugbears amongst his long-lived itinerary of returning characters.

Generally, these flesh-&-blood interlopers are represented by an icon – such as a waffle for Bill Clinton, a lit bomb for Newt Gingrich or a Stetson (later a Roman helmet) for George W. Bush – but that’s not always the case.

One of the most vocal – but not necessarily intelligible – targets over the years has been Donald J. Trump (usually depicted as a decadent, fat old white guy) and this superb collection gathers most of the best moments of cartoon lampoonery from three decades of less than cordial interaction.

It all begins with a Preface describing a rather fractious relationship and just why “The Donald” had to become a semi-regular in a comedy feature. The not-so-moneyed-as-he’d-like-us-to-think bully has never been slow to react to any perceived criticism, and he and his lawyers first became acquainted with Doonesbury after Trump’s original timid “Kidding, I was only kidding!” dalliance with running for President in 1987.

That came to nothing, then but the big wind kept blowing and Trudeau kept pointing out a life of hubris, bad taste and excess played out on the screens and in the headlines of the Land of the Free.

Divided into discrete decades, Trudeau’s razor-sharp wit and crushing comedy critiques are re-presented here in full colour, spotlighting the vaulting ambition, sordid deals, shady landlord practises, tawdry hucksterism, serial misogyny, juvenile sexual bragging, grotesque bullying and blind narcissism of “the most unqualified candidate to ever aspire to the White House” over the numerous occasions he almost ran for office before perpetually bottling out at crunch time.

Capping all that cartoon japery is 2016 when he finally put other people’s money where his mouth was and found himself actually in contention for the most important job in the world… one even his own bewildered, terrified party faithful didn’t want him to have…

And the best of all is that Trudeau has had an unwitting collaborator for so much of this material. Most of the baffling blather in those world balloons coming out of cartoon Donald’s mouth originated with the big orange blowhard himself…

Outrageous, alarming, more informative than any cartoon collection has a right to be and side-splittingly funny, Yuge! is a devastating tool of political instruction and character assessment which even the most deplorable basket case can enjoy, because it has loads and loads of really good, simple to understand pictures in it.

Most of us in the rest of the world are breathing Yuge! sighs of relief with only 20 days until everything changes again, but we can still buy this book as a warning for 2024. It’s the only real way to make your voice heard in a modern plutocratic democracy…
™®© 2016 G. B. Trudeau. All rights reserved.