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The Wendy Project


By Melissa Jane Osborne & Veronica Fish (Super Genius/Papercutz)
ISBN:978-1-62991-769-6 (TPB)

When does a favourite story or plot become an actual artefact of culture accessible to all? What separates last year’s fictional trope (dystopian future oppresses valiant outsider teen; alienated kid courted by supernatural lover; magic exists but the authorities have been covering it up; there are gangs of likable criminals in big cities and such like) from fundamental narrative memes that underpin all aspects of societal development (underprivileged hero overcomes great odds to win a birthright; loss of loved ones leads to path of vengeance; clever child becomes powerful adult by overcoming adversity; somewhere there exists someone who GETS me; if you just keep pushing you can possess a perfect ornamental helpmeet and you get the picture, no?)?

When you read a fantastic and gripping saga of mortal heroes valiantly slaying a marauding dragon, has the author accessed a rich and ancient cultural heritage or just swiped a scene from a currently in-vogue Tolkien tale?

In today’s likes-driven mass entertainment-monopolised world, certain classic stories – such as Romeo and Juliet, Alice in Wonderland, Cinderella, The Wizard of Oz – have been continually referenced, either overtly or surreptitiously, for numerous commercially sound reasons: assured consumer familiarity, brand awareness or simply that the originals were so masterful that we just don’t want them to end.

In 2015 Emet Comics released a beguilingly fresh riff on J. M. Barrie’s immortal paean to childhood Peter Pan, contrived by actress/writer Melissa Jane Osborne (Oma, Campus Crush) and illustrator Veronica Fish (Spider-Woman, Archie, Slam), marrying inescapably recognisable fantasy landmarks with elements of authentic family tragedy in an often distressing coming-of-age story. In 2017, rereleased via All-Ages and Young Adults graphic novel publisher Papercutz in the US with many foreign editions, The Wendy Project became one of the most beautiful and evocative releases of the year, A year later the book was added to the Yalsa Great Graphic Novels for Teens list.

The entire enchanting emotional rollercoaster ride was available in a sturdy hardcover and compact paperback edition but somehow failed to become a household name in its own right.

Let’s be straight here: this story is the flip side of the coin. The issue at hand is not a fantastic journey to a place of wonders but what happens to the family if children are lost…

One night in New England, 16-year old Wendy Davies is driving her younger brothers home when the car crashes into a lake. As she loses consciousness, the aghast older sister thinks she sees little Michael being carried off into the sky by a flying boy…

An investigation proceeds, but even after leaving hospital Wendy clings to her conviction that her brother is still alive. After all, the police still haven’t found his body. Middle sibling John is no help. He hasn’t spoken since the crash and Wendy just knows he shares her secret…

Deeply traumatised, Wendy’s parents move her to a new school where a therapist cajoles her into starting a journal of words and pictures to help process her grief. Wendy knows what she knows, however. The flying boy is real and has taken Michael, so she must find them and bring her brother home again. As days pass Wendy starts seeing many of the kids at her school in new yet familiar lights. Are they part of the plot to keep Michael from her?

And then, slowly but with escalating frequency and power, the two worlds of New England and Neverland begin to blend and merge…

Mimicking the style of Wendy’s own pencil, pen and crayon recollections and interpretations, Osborne’s “awfully big adventure” is rendered by Veronica Fish in mostly monochrome tones with emphatic, explosive bursts of radiant colour as the fantasy – or is that a greater reality? – intersects with her process of recuperation or acceptance. The conclusion is one no participant is ready for…

So, when is it acceptable and even necessary to stand on the shoulders of narrative giants and play with their magnificent toys? When you can burnish the legend by looking with fresh eyes, add lustre to the original canon and make new wonders for new and old readers. The Wendy Project does just that and is a book you must read.
© 2017 Emet Entertainment LLC. & Melissa Jane Osborne. All Rights Reserved.

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Young, Talented… Exploited!


By Yatuu, translated by FNIC (Sloth Publishing)
ISBN: 978-1-908830-02-9 (TPB)

Much as we’d like to think otherwise, the world of work is pretty similar everywhere now and no longer possessed of purely national characteristics. These days we all slave under a universal system that sidesteps borders in the name of global corporate philosophy; it might even be ideology now! Thus, this stunning and still so very germane glimpse of one French woman’s frustrated struggle against modern employment practise is one that’s being repeated all over the planet every day. In this case however, Capitalism picked on the wrong person. Yatuu (Sasha, Génération mal logée!, Pas mon genre) has enough spark, gumption and talent to fight back and eventually turned a strident cartoon objection into a sparkling comics career…

When Cyndi Barbero graduated from college and began looking for a job, all she was offered were unpaid internships. Eventually, she took one, still believing the mantra everyone with a job repeated: “if you work hard enough they may offer a permanent position”…

The work-placement role ran its legally-mandated course and she was promptly replaced by another sucker. After the third time it happened she began to blog (www.yatuu.fr/en) about and sharing her experiences, venting her opinions on such a manifestly unfair system and derive a soupçon of justifiable payback…

Just in case you’re unaware: An Intern takes a position in a company to learn the ropes, develop good working habits and establish contacts that will make them more employable. The system used to work even though most kids ended up doing scut-work and never really learned anything useful. Such positions are unpaid and eventually most employers realised that they could get free low-grade temporary labourers and thereby cut their own running costs. Using, abusing and discarding the seemingly endless supply of optimistic hopefuls has become an accepted expense-control measure at most large businesses. Even employers who originally played fair had to change at some stage, because the exploitative tactics gave business rivals an unfair financial advantage…

In almost 45 years of fairly successful freelancing I met lots of interns – good, bad, indifferent and uncommitted – but after 1990 encountered only one large company where interns were paid – and that’s only because the old-fashioned, old-school CEO put his foot down and insisted. When he retired and the company was sold, the intern program quickly shifted to the new normal…

This subtly understated, over-the-top manga-styled, savagely comedic exposé tracks one exhilarated graduate’s progress from college to the world of no work through ‘At the End of the First Internship’ via ‘At the End of the Second Internship’ to ‘At the End of the Third Internship’ when even she began to smell a rat. Even that didn’t daunt her (much) and, after much soul-searching, she took her dream job at a major Ad Agency. At least it would have been, were she not the latest addition to a small army of interns expending their creative energies for insane zero hours, zero thanks, or acknowledgement and at their own financial expense.

From ‘Some Words Get Instant Reactions at Interviews’ through her ‘First Day’ – via vivid and memorable digressions on expected behaviour and hilariously familiar vignettes of types (I was an advertising freelancer and have actually gone drinking with many of these guys’ British cousins…) – to the accepted 7-days-a-week grind of ‘This Place is Great Because You Learn to Laugh on Cue’ and ‘Nothing Out of the Ordinary’, Yatuu grew accustomed to her voluntary slavery… although her barely-suppressed sense of rebellion was unquenchable.

Amongst so many short, pithy lessons compiled here we see and sympathise with ‘Intensive Training’, observe ‘The Pleasure of Feeling Useful’ and realise there’s ‘Nothing to Lose’, before an intriguing game of office ‘Dilemma’ explores whether to have lunch with the Employees or Interns and what to do if asked to do ‘Overtime’...

As much diary as educational alarm call, this beguiling collection reveals how the hapless ever-hopeful victim developed survival strategies – like finding a long-suffering workmate prepared to lend a floor, couch or bed for those frequent nights when the last train leaves before you do…

Mostly however, this addictive collection deals with the author’s personal responses to an untenable but inescapable situation for far too many young people: revealing insane episodes of exhaustion, despondency and work (but, tellingly not Job)-related stress, such as too many scary midnight cab rides home, constant nightmares and grinding daily insecurity.

What’s amazing is that it’s done with style, bravery and an astonishing degree of good-natured humour – especially when dealing with ‘The Idea Thief’, planning ‘Retaliation’ or perfecting ‘The Ultimate Revenge Technique!!!’…

Originally collected as Moi, 20 ans, diplômée, motivée… exploitée!, Yatuu’s trenchant cartoon retaliations were published in English some years ago (so we’re long overdue for a new edition) and makes for fascinating reading. Although it really should be, you probably won’t find Young, Talented, Exploited! discussed in any school Careers lessons or part of any college Job seminar and it’s almost certainly banned from every employers’ Orientation and Training package, but that’s just a sign of how good it is.

Best get your own copy and be ready for the worst scams, indignities and excesses that the Exploiters and Bosses will try to spring on you. At least once you’ve paid for it you can be assured that it will deliver on its promise…
© 2013 Yatuu & 12bis. English translation and layout © 2013 Sloth Publishing, Ltd.

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The Loxleys and the War of 1812 (second edition)


By Alan Grant, Claude St. Aubin, Lovern Kindzierski, Todd Klein & Mark Zuehlke (Renegade Arts Entertainment)
ISBN: 978-0-9921508-0-8 (HB)

People and other less dogmatically certain designations who’ve read my musings before know I’m loath to appear political and hold abso-frikkin-lutely no contentious opinions whatsoever. Uneven so, I just felt I should re-recommend an eminently entertaining historical looks from someplace place called Candida or canadia or something that nobody at all wants…

America has been in lots of wars since it won Independence from Britain 20 minutes ago. It has, in fact, started a goodly proportion of those conflicts, special military manoohvers and po-lice actions for less than noble reasons. To be fair, Britain’s far longer war record is no better, but most people here have never even heard of the brutal and frankly stupid conflict now known as The War of 1812. At least, that is until Tangerine PotUS started proving there was no law or rule he couldn’t break…

Somehow the patronised saint of ignorance has started a renaissance in research as all over everywhere, people hear something dumb or desperate and reach for a search engine or even a book…

Two centuries after the fact a small independent creative outfit called Renegade Arts Entertainment (initially Alexander Finbow, Alan Grant, Doug Bradley, John Finbow, Nick Wilson and Jennifer Taylor: originators of comics, audio books, movies, animation, prose and graphic novels, merchandise and games) put their heads together. The glorious result celebrated and commemorated the story of a forgotten clash of political intransigents and empire-building politicians via a pictorial tome for youngsters featuring and seen through the eyes of a multi-generational family caught up in the conflict.

The book won many prestigious awards and the narrative was adapted into an animated motion comic (with the assistance of Arcana Studios and the Department of Canadian Heritage), tablet and digital PDF iterations and numerous other online formats, as well as for a wealth of educational materials for use in conjunction with the piece. Much-missed author Alan Grant rewrote his comics saga as a prose novel and Oscar-nominated screen writer Tab Murphy remade the original story into both a screenplay and school play performed by students across Canada.

This updated, upgraded second edition is a stunning 175 page full-colour hardback tome partnering a powerfully enthralling graphic narrative with an abundance of fascinating extras. Packed with additional illustrations, Finbow’s background-packed Foreword and moving Acknowledgements page whet the appetite for a rollercoaster tale in ‘The Loxleys and the War of 1812’ according to writer Grant, illustrator Claude St. Aubin, colourist Lovern Kindzierski and letterer Todd Klein.

Matriarch Aurora Loxley is justifiably proud of her extended family; three generations living and working together to build a farm and a life in a welcoming land. Originally from Pennsylvania, she and her departed husband Abraham migrated to Canada after the War of Independence, heading to the far side of the Niagara River where their burgeoning clan prospered near the Canadian town of York. Extracts from her journal begin with the harvest of 1811 where hard-earned celebrations are only slightly marred by talk amongst the men of war with America. Britain is currently battling Napoleon all over the world and the Royal Navy has raided American ships and ports, impressing men they claim are British deserters to serve on their embattled vessels. The practise outrages their southern neighbours on the other side of the river, but many leaders in Washington DC act just as badly as the former regal masters they despise.

“War Hawks” in Congress are rapacious expansionists, wanting to wipe out the Indian peoples and believing it is their manifest destiny to rule the entire continent.

As the idle party talk continues frail William takes a moment to capture the entire family (a dozen happy souls and their dog Duke) in a pencil portrait that depicts their last time as a happy, united family…

Everything changes on the night of November 11th after the hospitable Loxleys invite a frantic messenger into their home. He brings news that the main settlement of visionary Chief Tecumseh’s “nation within a nation” has been destroyed by a force of Americans in a night of massacre. Tecumseh and his brother The Prophet have long worked to create a federation of disparate tribes united as a bulwark against American westward expansion. Now the Yankees have taken the opportunity to move north as well and intend to drive the British out of Canada…

And so begins a deeply moving, informative, even-handed and intensely exciting tale of ordinary people moved to defend themselves against greed and aggression, set against the backdrop of possibly the most ineptly handled, poorly executed war in history – but let’s give it time, eh?

Despite being born of common greed and ruthless ambition by a few and ignorance and intolerance by a multitude, the haphazard, cravenly executed conflict nonetheless bought misery and death to thousands of serving soldiers, sailors and militia volunteers on both sides and domestic atrocity to an uncounted number of innocent civilians over the following two years and eight months. Even America’s greatest triumph, one of pitifully few in their overcautious, criminally mismanaged string of campaigns, was a ludicrous farce. Despite being considered a stunning triumph and affirmation at the time, the Battle of New Orleans occurred weeks after the war officially ended and nobody except the dead, maimed and missing really cared…

As the Locksley family splinters, the story powerfully covers the role of militias on both sides – as well as the valiant French-speaking citizens we know as Quebeçois today – and examines the crucial part played by and eventual betrayal of the First Nations peoples. Also seen through innocent eyes are the machinations of the politicians on both sides and the aftermath of the war..

For old fuddy-duddies like me who like their facts and analysis printed on paper there’s historian Mark Zuehlke’s epic, fascinating and lavishly illustrated essay ‘The War of 1812: Historical Summary’ – preceded by a stunning painting of ‘The White House in Flames’ by John M. Burns – to enjoy before a range of follow-up features offer further information through ‘Creator Biographies’ and alluring details on the other strands of the project such as ‘The Loxleys and the War of 1812 School Play’ and ‘The Loxleys and the War of 1812 Novel by Alan Grant’ both of which include excerpted passages a piece on the ‘The Interactive iPad and Android Tablet app’ and a wealth of delightful ‘Initial Character Designs by Claude St. Aubin’.

Despite the panoply of interactive iterations listed above, this sterling and compulsively readable chronicle ably proves one of my most fervently held beliefs: the comics medium is the perfect means to marry learning with fun and a well-made graphic treatise is an unbeatable mode with which to Elucidate, Educate and Enjoy.

So buy this and do so…
The Loxleys and the War of 1812 © 2012 Renegade Arts Entertainment.

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Bunny vs Monkey: The Whopping World of Puzzles!


By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-350-9 (Digest HB)

Bunny vs Monkey has been the hairy/fuzzy backbone of The Phoenix since the very first issue back in 2012: recounting a madcap vendetta gripping animal arch-enemies in an idyllic arcadia masquerading as more-or-less mundane but critically endangered English woodlands.

Concocted with gleefully gentle mania by cartoonist, comics artist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Max and Chaffy, Flember), his trendsetting, mindbending multi award-winning yarns have been wisely retooled as graphic albums available in digest editions such as this one.

The tail-biting tension and animal argy-bargy began yonks ago after an obnoxiously annoying little anthropoid plopped down in some serene British woodland, in the wake of a disastrous local space shot. Crashed down in Crinkle Woods, scant miles from his launch site, lab animal Monkey reckoned himself the rightful owner of a strange new world… despite every effort to dissuade him by reasonable, rational, sensible, genteel, contemplative forest resident Bunny. No amount of patience, propriety or good breeding on the part of the laid-back lepine could curtail, contain or control the incorrigible idiot ape.

A keen rivalry arose between them, as the ape intruder crudely made himself at home, and to this day Monkey remains a rude, noise-loving, chaos-creating, troublemaking lout intent on building his perfect “Monkeyopia” – with or without the aid of evil supergenius ally Skunky or their “henches” Metal Steve and Action Beaver. Problems are exacerbated by other unconventional Crinkle creatures, like Pig, Weenie, Ai, Lucky, Le Fox. Mad scientist Skunky’s intellect and cavalier attitude to life presents as a propensity for building extremely dangerous robots, Brobdingnagian bio-beasts and sundry other super-weapons…

Here the mundane multi-coloured – albeit rendered here in multifarious shades of mystifying monochrome tones – manic war of nerves and mega-munitions is pettishly paused for a session of traditional entertainment and activities as the entire cast amble ‘To the Woods’ and into a fun-filled framing comic tale. Exploring and ending up somewhere never seen before, our cuddly combatants mutually discover and take charge of a ramshackle and abandoned “lost” fun-fair. Their ingrained competitive lunacy sees all involved revive old rides but also -and this is where you come in – refit and revamp games and puzzles stalls, seeking to make it a holiday fun ride for all…

Cue a selection of character-themed quizzes, puzzles, tests of skill and imagination and other pen and paper activities, Part One of which focuses on reconditioned ‘Games Stalls’. We open with the titular attention-seeking simian lout. His odd-one-out conundrum ‘I am Monkey’ leads to self-explanatory ‘Bunny’s Cross Words’ and more esoteric wordplay in ‘Action Beaver’s Bibblesearch’, ‘Weenie’s Wall of Words’, and ‘Ai’s Speedy Wordswitches’ before naughty wordsearch ‘Monkey’s Too Rude!’ brings us to pencil-driven ‘Metal E.V.E.’s Hall of Mirrors’, ‘Spaces for Faces’ and ‘Embiggening for Beginners’…

Riddles and enigmas abound next in ‘Codewords with Le Fox’ after which traversing the ‘Amazing Mud Maze’ will afford a pause to assess ‘Who Will Win? Only You Can Decide’ prior to Part Two commencing with ‘Costume Conundrums!’ and paper-folding foolishness for ‘Fortune-Telling Monkey’ and his ‘Laugh of Truth’ before ‘Bunny’s Would You Rather?’ poses challenging questions in advance of really AARRRRD! stuff in ‘Name That Pirate with Weenie and Pig’ and ‘Talk Like a Pirate’, before again asking ‘Who Will Succeed? Only you can decide!’

Part Three contains culinary calamities and chewy comestibles aplenty, all bedecking assorted ‘FoodStalls’. Learn how to deal with ‘Candyfloss Quiffs’ and identify ‘Weenie’s Cake a Difference’ whilst cowering in glee over ‘Cookery Corner: Wobbleberry Buns’. Having cooked but not burned, we wonder ‘What’s That Smell?’, ‘What’s That Noise?’ and ‘Who’s in the Loo?’ and reassess how ‘Only One Will Succeed!’ before Part Four brings us to a House of Horror uncovering Skunky’s private lab wherein lurks ‘Skunky’s Monster Maker’, ‘House of Horror’, and ‘The All-Seeing Eye!’

Should you need to take breath ‘Skudoku’ and ‘Badgoku’ are available as are ‘Metal E.V.E.’s Hints and Tips’ and ‘Skunky’s Number Puzzle’ just before a barrage of life-challenging decisions await those tackling adventure quiz ‘None of the Fun of the Fair’…

The comic story resumes and concludes in traditional shocking vulgar fashion before the last survivors stagger up to the bit with all the ‘Answers’…

Daft, compulsively addictive, dangerously read-out-loud-able and fearfully unputdownable, this cutting edge retro-treat is the perfect gift for anyone with crayons, paper and too many kids.
Text and illustrations © Fumboo Ltd. 2024. All rights reserved.

Bunny vs Monkey: The Whopping World of Puzzles! will be published on March 27th 2025 and is available for pre-order now.

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Dolltopia


By Abby Denson (Green Candy Press)
ISBN: 978-1-931160-70-4 (TPB/Digital edition)

Not everybody is comfortable with whom they are and most of us don’t like to be assumed one thing when we’re another. Lulu/IPPY Award winner Abby Denson is a magically subversive cartoonist and journalist with such disparate notches in her belt as graphic novel Tough Love: High School Confidential (relating the Coming Out story of two suburban teens), lifestyle bibles Cool Tokyo Guide, Cool Japan Guide and The City Sweet Tooth: a culinary cartoon column about the New York desserts scene for L Magazine.

An educator (teaching at Museum of Comic and Cartoon Art, Eugene Lang College at The New School, Sophia University, Tokyo), her script credits run from Scooby Doo and Power Puff Girls to Spider-Man via Sabrina The Teenage Witch, Josie and the Pussycats, Disney Adventures and The Simpsons.

This entrancing shocking pink parable is an edgy, deceptively naivist fairy tale about gender, place and identity: making telling points in a clandestinely gentle manner via a swingeing attack and dissection of conformity…

Kitty Ballerina is a doll who escapes from The Factory, refusing to be what her makers tell her to be. During her escape she meets Army Jim, another maverick toy who refuses to conform. Together they make their way to the Promised Land of Dolltopia, where you can wear and look like and be whatever you want. With the comradeship and assistance of the cat Mr. M, fashion Divas Candy X and Candy O and slightly off-kilter, self-taught “plastic surgeon” the Doctor, the renegades make themselves at home and truly free…

However, freedom demands effort, vigilance and sacrifice. Some such recently emancipated individuals seem to crave their previous cultural indenture, and raids to liberate more dolls suffer when the apathetic conformists refuse to cast off their social shackles. However, the real threat comes when humans threaten to take away and destroy the hard-won oasis of security these disappointed rebels have strived so long and hard to win…

Charming and cleverly controversial, if perhaps a little heavy-handed at times (sometimes you need fireworks and two-by-fours just to get a mule’s attention!), this eclectic black, pink & white tome – complete with cut-out-&-dress paper dolls – is a winning and culturally crucial addition to the world of adult cartooning and the bigger one you can read it in. You’d be an idiot not to take a good long look – but of course you don’t have to be what I say you are…
© Abby Denson. All right reserved.

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Limit Book 1


By Keiko Suenobu, translated by Mari Morimoto (Vertical)
ISBN: 978-1-93565-456-8 (TPB Tank?bon edition)

Travelling a little off the traditional Shōjo (“girl’s comic”) path, Limit is a marvellous thriller by Keiko Suenobu, brought to English-speakers by New York publisher Vertical. In Japan it ran from October 13th 2009 to September 13th 2011, ultimately filling six collected volumes.

Born in Kitakyushu, Fukuoka in March 1979, Suenobu graduated from the University of Tsukuba before beginning her creative career with the school romance Happy Tomorrow. She gravitated towards darker themes of conformity, social pressure and bullying in Vitamin and the moving, controversial and multi award-winning Raifu – translated as Life by TokyoPop in 2006 and later assumed by Kodansha for a20 volume run. This was followed by 2019’s ongoing It’s Over If You Fall.

In 2009 the author took her interest in social issues and the nastier side of school life to imaginative extremes when Limit began serialisation in Kodansha’s Bessatsu Friend. Dark and exceptionally grim, it’s another minor classic inexplicably out of print and hard to find but which will definitely appeal to a readership far beyond the general Shōjo target-market if it ever gets re-issued…

Mizuki Konno is lucky – and savvy – enough to fit with the “In-Crowd” at her all-girls school. Acceptably cute and suitably smart, she’s learned to make no waves and accept that the ways things work is the way things should be. The popular girls – like undisputed teen goddess Sakura Himezawa – make the rules, and the rest conform. It’s a simple matter of survival…

If you’re physically different or interested in odd things, like dumpy manga-fan/tarot reader Arisa Morishige, life can be hell. Only the strongest personalities, like bookish, decent and determinedly wound-tight non-conformist Chieko Kamiya have any chance of standing up to the constant pressure to comply, accept and keep your place in the hierarchy of ‘A Perfect World’…

However, everything changes when Sakura’s class drive off for an extended visit to an Exchange Camp in the wilderness. Each class spends a week roughing it with nothing more than a communal scythe and their ever-present cell phones to hold back the horrors of nature, but with this last trip of the semester things go tragically wrong. High in the mountains the coach driver has a heart attack at the wheel and the vehicle, packed with excited girls and their harried teacher, plunges catastrophically into a wooded hidden valley.

Only five girls survive, and undisputed queen of the modern world Sakura isn’t one of them…

As Konno drags shell-shocked Haru Ichinose – Sakura’s subordinate and deeply devoted deputy, and utterly unable to function without her – out of the wreckage sometime later, she sees smoke from a fire. Tracking the signal they find middle-ranking Chikage Usui with her leg splinted and bandaged outside a cave. The wounded survivor has been saved and succoured by coldly efficient Kamiya, who has also scavenged everything potentially useful from the crash site.

At the back of the cave, Morishige sits inside a pentagram, casting the cards. Kamiya has brusquely taken charge, organising resources and outlining options until they can be found and rescued, but introspective Konno can barely grasp the strange situation and new rules of survival. Events take an even nastier turn when the Tarot reader suddenly explodes in jubilation, claiming her prayers have been answered and her tormentors all punished…

Indifferent, ambiguous pragmatist Konno is forced to confront a new world order in ‘The Strong vs. the Weak’, wherein increasingly unstable Morishige takes control. After panicking and unsuccessfully failing to climb out of the box valley, Konno returns to find bereft Haru attacking the former class pariah, but Morishige’s big and burly frame – which brought her such cruel treatment in school – is now the most valuable asset in this new hostile environment. Moreover, she has found that wickedly lethal scythe…

The new queen easily defeats her attacker and then regales the horrified girls with a litany of all the cruel acts she saw their perfect princesses constantly inflict upon each other during their wonderful school days. Haru is unable to accept the change of status and even refuses Konno’s overtures to become allies, just as ascendant Morishige casts the cards again and sees a future where only the strong will survive…

With food already running out, events spiral towards deadly conflict as Konno recalls better days that weren’t actually all that great, only to be dragged back to reality when Morishige decides to split the remaining rations four ways. The clearly unstable would-be witch has established her own social hierarchy with pragmatically compliant Kamiya as Royalty, Usui a Commoner and the roles of Servant and Slave still to be determined by her under ‘The Empress’ Rules’…

Haru is provisionally Slave but since they don’t get food she must fight Konno to determine who gets the final privileged – and elevated – role of Servant… To the death, naturally…

To Be Continued…

Rather inaccurately likened to Michael Lehmann’s 1988 cult black comedy Heathers (although perhaps influenced by Koushun Takami’s novel Batoru Rowaiaru or Kinji Fukasaku’s filmic adaptation Battle Royale) Limit certainly derives much of its energising concepts from William Golding’s landmark Lord of the Flies. This bleak, viciously introspective and absolutely chilling tale marries lavish illustration to fearsome examination of what civilised folk consider acceptable behaviour and asks many entertainingly challenging questions.

This lost book – which also includes a charming glance at the author’s methodology in the mini-feature My Workroom – is printed in traditional Japanese right to left, back to front format, but surely we’re all used to that by now?
© 2012 Keiko Suenobu. All rights reserved.

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Mimi and the Wolves volume 1


By Albaster Pizzo (Avery Hill Publishing)
ISBN: 978-1-91039-548-6 (HB/Digital edition)

Alabaster Pizzo is an animator and cartoonist who hails from New York, but makes her living in Los Angeles. A graduate of the School of Visual Arts, she’s been intermittently releasing episodes of an epic anthropomorphic post-modern fantasy since 2013. When not animating or storyboarding for major companies you or your kids are quite familiar with, she crafts her own comics such as Ralphie and Jeanie, Hellbound Lifestyle and more of the one under consideration here…

A trio of those early Mimi minicomics were lavishly compiled into a sturdy hardback monochrome tome by the astute powers-that-be of British publisher Avery Hill and comprise the opening salvo in a potent and hopefully long-running allegory for personal empowerment – as all the best fairy tales are…

Preceded by a handy and informative map of the bucolic Hilly City region and a roll call of the major characters, Mimi and The Wolves Act I ‘The Dream’ opens with enigmatic, voyeuristic magician Severine chiding her attendant spirits in snow-draped forests before herbalist Mimi goes gathering plants and herbs for the constructions, concoctions and confections she makes. Times are tough for her and partner Bobo, but they have each other, and good friends in the same boat, so the treehouse they live in is all they really need…

The couple spend a lot of time helping out old farmers Cato and Ceres. Shady Island Farm is getting to be too much for them, so trading toil for food is always a welcome standby option.

Thankfully, Saffron at the general store is always keen to trade for Mimi’s creations and the farm’s dwindling produce output, but the sensitive artisan is painfully aware that the unrelenting strain is getting the better of her fellow workers. Tough but happily idyllic, life would be perfect for Mimi… if only she wasn’t plagued by horrific dreams and terrifying nightmares…

Determined to get to the bottom of her traumas, Mimi distils a brew to provoke a lucid dream and is “rewarded” with an audience: a face-to-face confrontation with an apparent goddess calling herself the Holy Venus. This ethereal visitor tells her to seek out likeminded others and reveals to her a strange symbol by which she will know them. As spring turns to summer, the image obsesses Mimi, even becoming part of her artistic output, much to the growing discomfort and increasing resentment of Bobo. Ever-more distracted, Mimi forages deeper into the woods surrounding the village and one day comes face to face with a huge wolf…

For small woodland creatures like her and Bobo, these giant predators are a constant terror, but this one is different. His name is Ergot and he is a dedicated follower of Holy Venus. In Mimi he sees not lunch, but a fellow congregant. Before long she is invited to join his pack and share knowledge. Hungry for answers – and new experiences – the little artisan slowly falls under Ergot’s sway, and her life changes forever…

Act II ‘The Den’ was included in Best American Comics 2015 and reveals how life has treated Mimi since Bobo turned into an abusive controlling dick before she moved in with the wolves. Ergot and his mate Ivy have been sharing history and doctrine with her, but other than her former lover, Mimi still maintains contact with her other friends in Hilly City. That circle expands when Ceres and Cato take in wandering musician Kiko, and all but implodes when Mimi finally introduces them all to Ergot. Some prejudices are hardwired and cannot be placated or ameliorated…

Life becomes even more bewildering after meeting other wolfpacks. Cobalt, Copper and Opal are friendly enough – although they have unspoken problems with Ergot – but night-dark Nero and Galena live up to every scary stereotype city folk hold dear… and they seem to have an unsettling, unspecified interest in Mimi.

Events take a dark turn in Act III ‘The Howl’ after the revelation that constantly-observing Severine has a foreboding connection to the Holy Venus and is gradually enacting a complex plan. Mimi, however, has been fully inducted into the pack, but is blithely unaware that she is a highly desirable pawn in plans between rival groups who act more like cult families than simple kin. When Nero approaches her, Mimi is so terrified that she flees back to her city friends, but quickly returns to the lupine lair and agrees to attend a large gathering of packs.

… And in the unnoticed background, Kiko quietly observes all…

Joining the Howl is a huge mistake. Nero attacks Mimi and gives her to the Holy Venus as an offering and – although it’s possibly an induced hallucination – in the aftermath allegiances amongst the smaller packs are now twisted and shifted. When Ergot reverts to his true nature, the Goddess makes her move and Mimi comes into her true power…

One common notion of Paradises, Edens and Utopias is that they are always under imminent threat of ending. Life in the allegorical Hilly City and evergreen woods is a rural/small town ideal, but it’s never portrayed as immutable and stable. Amidst the cunning social echoes of Little House on the Prairie and The Waltons – as plain and simple rustic folk eke out a hard but generally rewarding life – comes an implicit awareness that things beyond the group are always disrupting and potentially harmful. Dissent is bad, change is bad, and we trust only ourselves are proven truisms, but they don’t mean a thing if the society harbours – and hinders – a rebel who needs to find their true self…

Bewitching and enticing, this magical mystery tour of self-discovery will charm and reward readers, so why not start your own quest for knowledge by joining this pack?
© Alabaster Pizzo. All rights reserved.

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Jinx volume 1


By J. Torres, Rick Burchett & Terry Austin (Archie Comics)
ISBN: 978-1-93697-500-6 (HC/Digital edition) 978-1-87979-491-7 (PB)

This book includes Discriminatory Content produced during less enlightened times.

Despite tremendous advances in the last couple of decades, for most people, when we say comic books, thoughts STILL either turn to outrageously buff men and women in garish tights or leather hitting each other and lobbing cars about, or stark, nihilistic crime, horror or science fiction sagas aimed at an extremely mature and sophisticated readership of already-confirmed fans. For mainstream American comics that remains the norm. Over the years though (and throughout the rest of the world long ago), other forms and genres continue to wax and wane.

One US company steadfastly that held its ground against the tide for decades – supported by a thriving spin-off TV and movie franchise – was a teen-comedy powerhouse which created a genre through the exploits of carrot-topped Archie Andrews and the two girls he could never choose between – Betty Cooper and Veronica Lodge. For so many years, other companies largely ignored the fact that girls read comics too and, in their slavish pursuit of the spandex dollar, lost half their potential audience. Girls simply found other ways to amuse themselves until, in the 1990s, the rise of manga painfully proved to comics publishers what Archie Comics had always known.

Ever since that pivotal moment Editors have attempted to recapture that vast missing market: creating many worthy titles and even entire imprints dedicated to material for teen/young adult audiences (since not all boys thrive on a steady diet of cosmic punch-ups and vengeful vigilantes) which had embraced European classics like Tintin and Asterix, manga material, momentous comics epics like Maus and Persepolis or abundant and prolific prose serials which produced a never-ending wave of passionate fans for everything from The Absolutely True Diary of a Part-Time Indian to Twilight to The Hunger Games.

Archie thrived by never abandoning its female readership and by constant reinvention of its core characters, seamlessly adapting to the changing world outside its bright, flimsy (or digitally unbreakable) pages: shamelessly co-opting pop music, youth culture and fashion trends into its infallible mix of slapstick and romance. Each and every social revolution has been painlessly assimilated into the mix (the company has managed to confront a number of major issues affecting the young in a manner both even-handed and tasteful over the years), and the constant addition of timely characters such as African-American Chuck and his girlfriend Nancy, fashion-diva Ginger, Hispanic couple Frankie & Maria and a host of others – like over-privileged home-wrecker-in-waiting Cheryl Blossom – all contributed to a broad and refreshingly broad-minded scenario. They also lead in non-sensationalised interracial romances, and in 2010 Archie jumped the final hurdle for a family-entertainment medium with the rapturously well-received introduction of Kevin Keller; an openly gay and proud young man who was a clear-headed advocate capably tackling and dismantling the last major taboo in mainstream kids’ comics.

Where once cheap, prolific and ubiquitous, comics magazines in the 21st century are extremely cost-intensive and manufactured for a highly specific – but dwindling – niche market. Moreover the improbably beguiling and bombastic genres that originally fed and nurtured comic books were increasingly being supplanted by TV, movies and assorted interactive games media.

Happily, old-school prose publishers and the graphic novel industry have different business models and more sustainable long-term goals, so the magazine makers’ surrender has been turned into a burgeoning victory, as solid and reassuringly sturdy Comics-as-Books still buck the slowly perishing pamphlet/papers trend. Publishers like Archie…

Back then Jinx was another barely-noticed landmark which saw one of the company’s venerable and long-lived child-stars given a stunning makeover and refit courtesy of a multi award-winning creative team. Writer J. Torres (Teen Titans Go!, Alison Dare, Degrassi: the Next Generation, Days Like This, Lola – a Ghost Story and others) in conjunction with celebrated artists Rick Burchett (Batman Adventures, American Flagg!, Blackhawk, Black Hood) & Terry Austin (X-Men, Superman, Batman, Cloak and Dagger) are responsible for turning adorable but venerable 1950’s 6-year old tomboy Li’l Jinx into a genuine icon of, if not role-model for, modern teenaged girls in a style and manner at once astonishingly accessible and classically captivating.

If you qualify as an Ancient One like me, you might be familiar with precocious, feisty Li’l Jinx who debuted in Pep Comics #62 (cover-dated July 1947). Created by Joe Edwards, she debuted as the publisher began dropping superheroes such as The Shield and Black Hood to specialise in kid-friendly humour features. Over the coming decades she appeared in her own title, as well as Li’l Jinx Giant Laugh-Out and assorted anthologies including Pep and Archie Giant Series Magazine. Like auteur Edwards’ own son, her birthday was on Halloween and the writer/artist put much of himself into the strip. A boisterous, basically decent, sports-loving, mischievous tyke (in the manner of our Minnie the Minx), when not romping, cavorting and tussling with other kid pals Gigi, Greg, Charley Hawse, Russ, Roz and Mort the Worry Wart, Jinx almost exclusively interacted with her long-suffering dad Hap Holliday.

Mother was seldom seen. The kid’s Christian name is lost to history: apparently so screamingly embarrassing in-world that to utter it was to invite battered ear drums and mangled limbs…

Li’l Jinx faded away gradually during the 1980s as fashionista-teenagers and Mutant Turtles supplanted pesky kid characters in Archie’s increasingly “young adult” oriented stable. However, Jinx Holliday was revived and given a thorough 21st century upgrade for a new serial in Life With Archie (#7-11, March-June 2011): a growing girl just starting big school. The former tomboy hadn’t lost all her rough edges though…

This initial volume collects the serialised story of her beginning the inescapable if deplorable process of becoming responsible – with all the scary changes that entails. After a handy ‘Cast of Jinx’ page, the dramatic comedy opens with 4-part tale ‘Little Jinx Grows up’ – as serialised in anthology title Life With Archie, with the nervous 14-year old Californian kid starting over at Rose Valley High School where she immediately falls foul of draconian martinet Principal Mr. Vernon. At least many of her oldest friends are starting too, but they all seem so changed and grown up since summer vacation…

As all attendees settle in, Jinx is oblivious to the fact that more than one of the boys she used to wrestle and play football with now considers – and treats – her very differently. She’s just starting to hate the place and its stupid rules when Greg points out the final straw: Freshman Baseball – in fact all her favourite sports – are for boys only. Former child model Gigi is typically smug about it, hinting again that it’s time Jinx began acting like a girl, but that only provokes the incensed and outraged tomboy to break another rule…

Everybody is talking about Jinx after she most publicly signs up for Football Tryouts, and neither a barracking from Mr. Vernon or some heavy-handed bullying of Greg by the senior Football squad can change her mind.

The Principal thinks he has the final word after making Jinx take a permission slip home to her dad, but after Hap Holliday absolutely refuses to let his little girl get crippled by teenaged Neanderthals, Jinx simple forges his signature…

Tryouts are a disaster, but at least Greg is honestly trying to help her. Surly Charley, however, delivers a tackle that results in her being stretchered off, and when dad is called to school all hell breaks loose. While she’s grounded and recovering, BFF Roz starts dropping hints about Greg and romance, promptly going into snoopy overdrive when a mystery caller leaves a large bouquet of flowers…

For the first time Jinx realises High School is just one big stew of frustrated hormones which only add to her worries. So preoccupied is she that, when Greg timidly asks her to a dance, she doesn’t realise what he’s saying and shoots him down without even noticing. The mystery flower-sender – covertly watching – does, however, and seethes…

Flustered, confused and determined to end the turmoil in her head, Jinx ambushes and pre-emptively kisses Greg, but the result is something neither of them nor their secret stalker expected…

The grand gesture completely destabilises Jinx who goes into a spiral of angry depression and tetchy acting-up. Baffled Hap is hopeless to cope, and – with Halloween approaching – throws himself into organising her birthday costume party: a tradition they’ve enjoyed since she was a toddler. He has no idea how much his little girl has changed and that the prospect of a party sounds like torture to her. And thus the scene is set for a showdown nobody will ever forget…

All dramatic foreboding aside, this clever, warm tale ends well and promises much more for the future. Smart, witty and intoxicatingly engaging, Jinx is a superb example of what can be accomplished in comics if you’re prepared to portray modern kids on their terms and address their issues and concerns.

Without ever resorting to overblown soap melodrama or angst-ridden teen clichés, Torres delivers a believable cast of young friends who aren’t stupid or selfish, but simply seeking to find their own tentative ways to maturity. The art by Burchett & Austin is semi-realistic and astoundingly effective.

This terrific turbulent tome includes bonus features such as a ‘Football Pinup’, J. Torres’ thoughts and commentary on the story as described in ‘The Voice of Jinx’ plus a fascinating, picture-packed peek behind the scenes in ‘The Concept Art of Jinx’. More production secrets are revealed by Editor Suzannah Rowntree, describing the project’s conception and creation in ‘The Story of Teen Jinx’, and there’s even a smart selection of one-page Short Comics treats to wrap up the fun.

‘Fitting In’, ‘It’s Complicated’, ‘Frenemy of the State’, ‘The Dating Game’ and ‘Chat Fight’ combine to prove that although they might be growing up, the cast are still kids at heart…

Compellingly funny, gently heart-warming and totally absorbingly, this book will resonate with kids and parents, offering genuine human interactions rather than repetitively manufactured atom-powered fistfights to hold your attention. It especially gives women a solid reason to give comics another try.

Sheer exuberant fun; perfectly crafted and still utterly irresistible nearly a generation later…
© 2012 Archie Comics Publications, Inc. All rights reserved.

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Maids


By Katie Skelly (Fantagraphics Books)
ISBN: 978-1-68396-368-4 (HB/Digital edition)

This book includes Discriminatory Content included for dramatic and literary effect.

Illustrator Katie Skelly hails from Brooklyn by way of Bethlehem, Pennsylvania and caught the comics bug early, thanks to her newsstand owner dad. Her Barbarella inspired series Nurse, Nurse began after graduating from Syracuse University with a BA in Art History and becoming a postgrad at City College of New York. Thanks to her inquisitive insights, striking art style and potent narrative voice, Skelly has been the subject of many gallery shows and is a star on the global lecture circuit. She has been agonisingly quiet of late but hopefully there are more wonders in store (Sorry! No Pressure!)

Her first graphic novel – again inspired by Gallic trailblazer Jean-Claude Forrest but also with seductive scents and flavours of horror-meister director Dario Argento – was My Pretty Vampire (2017), supplemented by latter collections Operation Margarine and The Agency. All her works ask uncomfortable questions about the role and (permissible) position of women in society, as seen through exploitation genres of mass entertainment, and that’s never been more effectively explored than in this “semi-autobiographical” tome recounting the true-crime story of the Papin sisters.

History says that on February 2, 1933, former convent girls Christine and Léa (working as maids for the wealthy Lancelin family in Le Mans) bludgeoned and stabbed to death Madame Léonie and her daughter Genevieve. The case was manifestly open & shut, but became a Cause Celebre in France following reports of the killers’ early lives and years of service and physical abuse becoming public. Intellectuals championed the Papin sisters and the case was cited as a perfect example of the dangers of inequality and privilege…

In this graphic re-evaluation, Skelly brings her own incisive interpretation to the case, and it’s a little gem that you will find hard to put down and impossible to forget…

Verdict? Read this book.
© 2020 Katie Skelly. This edition © 2020 Fantagraphics Books, Inc. All rights reserved.

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The Complete Peanuts volume 9: 1967-1968


By Charles M. Schulz (Fantagraphics Books/Canongate Books UK)
ISBN: 978-1-56097-826-8 (US HB) 978-085786-213-6 (UK HB)

This book includes Discriminatory Content produced in less enlightened times.

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

At its height, Peanuts ran in 2,600 newspapers, in 21 languages and75 countries. Many of those venues still run it in perpetual reprints, as they have ever since his death. During his lifetime, book collections, a merchandising mountain and television spin-offs had made the publicity-shy doodler an actual billionaire at a time when that really meant something…

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

We begin with an effusive foreword from film icon John Waters expressing his utter support of the mighty Lucy Van Pelt and all who sail in range of her, drawing references and similarities to actor/personality Divine I never saw before, but now can’t shift…

Notionally, our focus and point of contact remains quintessential, inspirational loser Charlie Brown who, beside fanciful, high-maintenance mutt Snoopy, remains squarely at odds with a mercurial supporting cast, hanging out doing what at first sight seems to be Kids Stuff and an increasingly hostile universe of perverse happenstance.

Always, gags centre on play, varying degrees of musicality, pranks, interpersonal alignments, the mounting pressures of ever-harder education, mass media lensed through young eyes and a selection of sports in their season, leavened by agonising teasing, aroused and crushed hopes, the making of baffled observations and occasionally acting a bit too much like grown-ups. However, in this tome, themes and tropes that define the entire series (especially in the wake of many animated TV specials) become mantra-like yet endlessly variable, but focus less on Charlie Brown and more on those around him. One deliciously powerful constant that remains and grows more abundant is his inability to fly a kite. Here the war with wind, gravity and landscape reaches absurdist proportions, as a certain tree pursues his adored pastime with vicious violent and malicious venom…

Human interactions still find the boy a pitiable outlier. Mean girl Violet, musical prodigy Schroeder, self-taught psychoanalyst and dictator-in-waiting Lucy, her brilliantly off-kilter little brother Linus and dirt-magnet “Pig-Pen” are fixtures honed to generate joke-routines and gag-sequences around their signature foibles, but some early characters have faded away in favour of fresh attention-attracting players joining the mob. Newcomers sidle in and shuffle off without much flurry or fanfare but in our real world the debut of “Minority” characters José Peron of New Mexico and African American Franklin attracted much attention and drew controversy – because, I guess, there will always be gits and arseholes…

A little girl Lila also debuted, but another white kid wasn’t much of shock to the system, even if she shared a fantastic life-changing secret with Snoopy…

At least the Brown boy’s existential crisis/responsibility vector/little sister Sally has grown enough to become just another trigger for relentless self-excoriation. As she grows, pesters librarians, forms opinions and propounds steadfastly authoritarian views, Charlie is relegated to being her dumber, but eternally protective, big brother…

Resigned to – but far from uncomplaining about – life as a loser in the gunsight of cruel and capricious fate, the boy Brown is helpless meat in the clutches of openly sadistic Lucy. When not sabotaging his efforts to kick a football, she monetises her spiteful verve via a 5¢ walk-in psychoanalysis booth (although supply and demand economics also affects this unshakeable standard), ensuring that whether at play, in sports, kite-flying or just brooding, the round-headed kid truly endures the character-building trials of the damned. She’s so good at it that a certain dog opens up a rival concern…

By this time, the beagle is the true star of the show, with his primary quest for more and better food playing out against an increasingly baroque inner life, wild encounters with birds, skateboarding, dance marathons and skating trysts with a “girl-beagle”, philosophical ruminations, and ever-more-popular catchphrases. Here, the burgeoning whimsy leads to constant glimpses of the dog’s WWI other life, peppered with classic dogfights against the accursed Red Baron, but also focuses on his side hustles: running for civic office, competing as arm wrestler The Masked Marvel and brief but intense time as an Olympic ice skater…

Snoopy also indulges in a protracted period impersonating a vulture, but pickings seem to have been quite slim…

As always, timeless episodes of play, peril, peewee psychoanalysis and personal recrimination are beards for some heavy topics. Rendered in marvellous monochrome, there are crucial character introductions, more plot developments and creation of even more traditions we all revere to this day. Of particular note is confirmation of the soft revolution leaving the wonder beagle and Lucy Van Pelt in the driving/pilot’s seat and head of the table/analyst’s couch…

Health and status became increasingly important at this time and the collection opens with a painfully relevant sequence of gags as Linus and Lucy get their measles vaccinations. It was played for laughs then and all ended well, but the way today’s parental moron sector are playing Russian roulette with kids’ lives is still no bloody joke…

Another trenchant continued gag-series follows Lucy attempts to “cure” Linus of his blanket dependency by playing him off against grandma who will give up smoking if he gives up clutching fabric and sucking thumb…

Snoopy is the only force capable of challenging if not actually countering Lucy. Over these two years, her campaign to curb that weird beagle, cure her brother of his comfort blanket addiction and generally reorder reality to her preferences reaches astounding heights and appalling depths, but the dog keeps trying and scores many minor victories. As always volumes open and close with many strips riffing on snow, food, movie-going and television – or the gang’s responses to it – become ever more pervasive. As aways, Lucy constantly and consistently sucks all the joy out of the white wonder stuff and the astounding variety offered by the goggle-box. Perpetually sabotaged, and facing abuse from every female in their life, Brown and Snoopy endure casual grief from smug, attention-seeking Frieda, championing shallow good looks over substance. Linus is still beguiled by the eerie attractions of his teacher Miss Othmar and Lucy’s amatory ambitions for Schroeder grow ever more chilling and substantive…

Schulz established way points in his year: formally celebrating certain calendar occasions – real or invented – as perennial shared events: Mothers and Fathers’ Days, Fourth of July, National Dog Week strips accompanied in their turn yearly milestones like Christmas, St. Valentine’s Day, Easter, Halloween/Great Pumpkin Day and Beethoven’s Birthday were joined this year by a return to another American ritual as many of the cast return to summer camp. This heralds a greater role for old pal Patricia Reichardt AKA tomboy Peppermint Patty (who debuted in the previous collection on August 22nd 1966); this time around, she becomes a counsellor to younger girls, ousts Charlie Brown from his own baseball team and even replaces him as manager with the beagle…

More endless heartbreak ensues as Charlie Brown fruitlessly pursue his ideal inamorata the “little red-haired girl”: a fascination outrageously exploited by others whenever he doesn’t simply sabotage himself. The poor oaf still has no idea how to respond to closer ties with his dream girl or why even Patty cares…

Sports loom large and terrifying as ever, but star athlete Snoopy is more interested in his new passions than boring old baseball or hockey. Even Lucy finds far more absorbing pastimes but still enjoys crushing the spirits of her teammates in whatever endeavour they are failing at. Anxiety-wracked Brown even steps down from the baseball team to ease his life, but being replaced by Linus only intensifies his woes. It also does nothing to help his kite wielding or paper plane folding…

Linus endures more disappointment in two Great Pumpkin seasons and before you know it, there’s the traditional countdown to Christmas and another year filled with weird, wild and wonderful moments…

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

Particular tentpole moments to relish include as always, the sharply-cornered romantic triangle involving Lucy, Schroeder & Beethoven; Snoopy v Lucy deathmatches; Charlie Brown’s food feud with the beagle, and assorted night terrors, Lucy’s unique solutions to complex questions; Valentines’ card coup counting, doggy dreams; the power of television; sporting endeavours; and more…

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

Readily available in many formats, this volume guarantees total enjoyment: comedy gold and social glue metamorphosing into an epic of spellbinding graphic mastery that still adds joy to billions of lives, and continues to make new fans and devotees long after its maker’s passing.
The Complete Peanuts: 1967-1968 (Volume Nine) © 2008 Peanuts Worldwide, LLC. The Foreword is © 2008, John Waters. “Charles M. Schulz: 1922 to 2000” © 2008 Gary Groth. All rights reserved.