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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.

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Batman Arkham: Catwoman


By Bill Finger, Frank Robbins, Dennis O’Neil, Marv Wolfman, Gerry Conway, Mindy Newell, Devin Grayson, Ed Brubaker, Jeph Loeb, Joëlle Jones, Len Wein, Paul Levitz, Mike W. Barr, Mark Waid, Bob Kane, Jerry Robinson, George Roussos, Charles Paris, Irv Novick, Joe Gella, Don Newton, Steve Mitchell, Alfredo Alcala, Joe Brozowski & Michael Bair, Jim Balent, John Stanisci, Brad Rader, Rick Burchett, Tim Sale, Dave Stevens, Brent Anderson, Brian Stelfreeze, Joelle Jones & Laura Allred and many & various (DC Comics)
ISBN: 978-1-7795-2177-4 (TPB/Digital edition)

This book includes Discriminatory Content produced in less enlightened times.

There are many comics anniversaries this year. Some of the most significant – like this one – will be rightly celebrated, but a few are going to be unjustly ignored. As a feverish fanboy I’m plugging here one of the bigger birthdays in a book still readily available either physically or in digital formats…

Cover-dated April 1940, Detective Comics #38 changed the landscape of comic books forever with the introduction of Robin, The Boy Wonder: child trapeze artist Dick Grayson whose parents were murdered before his eyes. He thereafter joined Batman in a lifelong quest to bring justice to the victims of crime. After the Flying Grayson’s killers were captured, Batman #1 (Spring 1940) opened proceedings with a recycled origin culled from portions of Detective Comics #33 and 34. ‘The Legend of the Batman – Who He Is and How He Came to Be!’ before introducing two villains who would each redefine comics in their own very different ways.

There will be more on co-anniversarians The Joker and Robin throughout the year, but today it’s the turn of a wicked thief from the comic’s third tale to be caught in a spotlight…

Batman Arkham: Catwoman re-presents material from Batman #1, 3, 210, 266, 332 & 355, Detective Comics #122, Catwoman volume 1 #2, Catwoman vol. 2 #57, Catwoman vol. 3 #10, Catwoman: When in Rome #4, Catwoman vol. 5, #1 with selections from Who’s Who: The Definitive Directory of the DC Universe #4 & 16.

These cat tales span Spring/March 1940 to September 2018 and, eschewing any kind of editorial preamble, begin tracking track the feline fury from her first appearance as a mysterious jewel thief all the way to the very recent past in a snapshot of action, intrigue romance and career changing.

It all began long ago with disguise artist ‘The Cat’ – AKA “Miss Peggs” plying her felonious trade of jewel thief aboard the wrong cruise-liner and falling foul for the first time of the dashing Dynamic Duo. Swiping the Travers necklace on an ocean cruise in a taut nautical caper courtesy of Bill Finger, Bob Kane & Jerry Robinson, the wily Cat was stopped by fellow debutante Robin and later added the suffix ‘Woman’ to her name to avoid any possible doubt or confusion in her next appearance where she clashed with Batman and the Joker.

That’s not included here (but go see any collection including the contents of Batman #2), but her third appearance – ‘The Batman vs the Cat-Woman!’ (Batman #3 by Finger, Kane, Jerry Robinson & George Roussos) offered a taste of her future exploits and MO as, clad in cape and costume but once again in well over her now cat-masked head, she courted headlines by stealing for – and from – all the wrong people and ended up a catspaw for truly evil men… until Batman and Robin tracked her down…

Who’s Who #4 (1985) provided illustrated profiles of Catwoman of Earths-One & Two by Marv Wolfman, Len Wein, Paul Levitz, Mike W. Barr, Dave Steven & Brent Anderson after which Detective Comics #122 (April 1947) commits ‘The Black Cat Crimes!’ by Finger, Kane & Charles Paris as the sinisterly sultry Catwoman claws her way out of jail and ruthlessly, spectacularly exploits superstitions to plunder the city…

It’s a big leap to the end of the 1960s – and therefore supposedly post Batman TV show campiness – as Batman #210 (March 1969) and Frank Robbins, Irv Novick & Joe Giella bring a new look Catwoman into circulation in nonsensical caper ‘The Case of the Purr-Loined Pearl!’ Here, oh, so terribly gradually, Selina Kyle begins her return to major villain status, by fielding eight recently recruited former convicts as a team of cunning crime-skilled Catwomen in pursuit of a gem score beyond compare.

As the Darknight Detective gradually regained his grim reputation, Batman #266 (August 1975) saw Kyle back in her classic cape & whip costume and again cashing in on superstition in ‘The Curious Case of the Catwoman’s Coincidences!’ by Denny O’Neil, Novick & Dick Giordano. Her increasingly frequent appearances, growing moral ambivalence and status as possible love interest started a process of reformation leading to occasional team-ups with her arch foe and eventually Catwoman was more antihero than villain…

Lovingly limned by Don Newton & Steve Mitchell over Marv Wolfman’s script, Batman #335 offered solo back-up story ‘Cat’s Paw’ wherein Kyle inadvertently foils a scheme to create super assassins for Ra’s al Ghul (another annoying taste of a longer tale not completed here) whilst ‘Never Scratch a Cat’ from #355 (January 1983, by Gerry Conway, Newton & Alfredo Alcala) re-emphasises her unpredictable, savagely independent and increasingly unstable nature and unwillingness to be ignored by Batman when Bruce Wayne starts dating Vicki Vale and Ms Kyle takes murderous umbrage at the seeming betrayal…

Glossing over the painfully dated politics of romance encapsulated here, lets admire the updated Catwoman Profile by Mark Waid & Brian Stelfreeze from Who’s Who in the DC Universe #19 (1992) before Crisis on Infinite Earths unleashes a whole new universe and continuity for DC. Following Batman: Year One, Selina Kyle was reimagined for a darker nastier world; a dominatrix and sex worker inspired by the arrival in Gotham City of a man who dressed like a giant bat and was determined to punish the corrupt and evil…

In the wake of Miller & Mazzuchelli’s epochal rethink, a Catwoman miniseries was released revealing the opening shots in her own war on injustice and privilege. Crafted by Mindy Newell, Joe Brozowski & Michael Bair, ‘Downtown Babylon’ (#2, March 1989) sees Selina confront her sadistic pimp Stan and unwittingly unleash his vengeance on a local nun. It’s a brilliantly manipulative piece of cruelty as Sister Magdalene was once Maggie Kyle – and Selina’s biological sister…

As is often the case you’ll need to seek elsewhere for the rest of the story as here we advance to her time as glamourous jewel thief and troubled soul seeking redemption. Catwoman vol. 2, #57 (May 1998) is set during the Cataclysm storyline when Gotham was wrecked by an earthquake and left to fend for itself by the Federal government. Devin Grayson, Jim Balent & John Stanicsi deliver a relatively quiet but suspenseful moment as Selina seeks to convince eco-terrorist and vegetable monster hybrid Poison Ivy to stop predating embattled human survivors in ‘Reap what You Sow’. It doesn’t go well…

In 2002 original graphic novel Catwoman: Selina’s Big Score led to a far more stylish and compelling reboot, based on crime pulps and caper movies. Catwoman volume 3, #10 sees Selina using her gifts and exploiting old friends and trusted contacts to spring convicted murderer Rebecca Robinson and get her out of the country for reasons she will not share even with Bruce Wayne and her sidekick Holly in ‘Joy Ride’ by Ed Brubaker, Brad Rader & Rick Burchett, after which Jeph Loeb, Tim Sale & Dave Stewart continue their continuity-reworking shenanigans as seen in Batman: the Long Halloween. In #4 of miniseries Catwoman: When in Rome #4, ‘Thursday’ sees Selina still fleeing the repercussions of ripping off and disfiguring Gotham Mob boss Carmine “The Roman” Falcone, leading to a manic clash with mystic femme feline The Cheetah…

The catalogue of crime catastrophes closes with another tempting but frustrating teaser as the first chapter of extended saga ‘Copycats’ (Part 1 by Joëlle Jones & Laura Allred, Catwoman volume 5, #1) finds the felonious feline relocated to Californian city Villa Hermosa and enjoying all those ill-gotten gains. The only real downside is having honest cops chasing her as she tries to find who is fielding a whole squad of Catwomen who look just like her but have no problem shooting anyone who gets in the way of all the robberies Selina isn’t committing…

With covers by Kane & Paris, Neal Adams & Carmine Infantino, Dick Giordano, Ed Hannigan, Brozowski & Bair, Balent & Sherilyn Van ValkenBurgh, Scott Morse, Richard Horie & Tanya Horie, Sale & Stewart, Joëlle Jones & Laura Allred, this is compelling distraction for any fan. Catwoman is a timeless icon and one of the few female comic characters the entire real world has actually heard of. With decades of back history material to enjoy, it’s great that there are primers like this to point the way to fuller exploits. Start planning those acquisitions here and make your move, tiger…
© 1940, 1947, 1969, 1975, 1981, 1983, 1985, 1989, 1992, 1998, 2005, 2018, 2023 DC Comics. All Rights Reserved.

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High Soft Lisp


By Gilbert Hernandez (Fantagraphics Books)
ISBN: 978-1-60699-318-7 (TPB/Digital edition)

This book includes Discriminatory Content included for dramatic effect.

Please pay attention: this book contains stories and images of an adult nature, specifically designed for adult consumption, employing the kind of coarse, vulgar language most kids are fluent in by the age of ten. If reading about such things is likely to offend you, please stop now and go away. Tomorrow I’ll write about something with violence and explosions, so come back then.

In addition to being part of the graphic and literary revolution that is Love and Rockets (where his astonishingly compulsive tales of Palomar and the later stories of those characters collected as Luba gained such critical acclaim), Gilbert Hernandez has produced compelling stand-alone tales such as Sloth, Grip and Girl Crazy. They are all marked by his bold, simplified line artwork and a mature, sensitive use of the literary techniques of Magical Realist writers Carlos Fuentes and Gabriel García Márquez: techniques which he has added to and made his own.

Love and Rockets is an anthology comics publication featuring slick, intriguing, sci fi-ish larks, heart-warming, terrifying, gut-wrenching soap-opera fantasy and bold experimental comic narratives that pretty much defy classification. The astounding Hernandez Bros still captivate with incredible stories that sample a thousand influences conceptual and actual – everything from Archie Comics and alternative music to German Expressionism and luchadores.

Palomar was the conceptual and cultural playground “Beto” devised for extended serial Heartbreak Soup: a dirt-poor Latin-American village with a vibrant, funny and fantastically quotidian cast. Everything from life death, adultery, magic, serial killing and especially gossip could happen in Palomar’s meta-fictional environs – and did – as the artist explored his own post-punk influences: comics, music, drugs, comics, strong women, gangs, sex, family and comics, and all in a style somehow informed by everything from Tarzan comics to Saturday morning cartoons and The Lucy Show.

Happily, Beto often returns to Palomar, frequently for new tales involving the formidable matriarch Luba, who ran the village’s bath house, acted as Mayor (and sometimes police chief) as well as adding regularly to the general population. Her children, brought up with no acknowledged fathers in sight or ever looked for, are Maricela, Guadalupe, Doralis, Casimira, Socorro, Joselito and Concepcion.

Luba eventually migrated to the USA and reunited with her half-sisters Petra and – the star of this volume – Rosalba “Fritz” Martinez. This collection was compiled from assorted material that first appeared in Love and Rockets volume II and Luba’s Comics and Stories, with new pages and many others redrawn and rewritten.

Fritz is a terrifyingly complex creature. She is a psychiatrist and therapist, former B-Movie actress, occasional belly dancer, persistent drunk and ardent gun-fetishist, as well as a sexually aggressive and manipulative serial spouse. Beautiful, enticingly damaged, with a possibly-intentional and affected speech impediment, she sashays from crisis to triumph and back again.

This moving, shocking, funny chronicle uses the rambling recollections of one of her past husbands – sleazy motivational speaker Mark Herrera – to review her life from High School punkette outsider through her various career and family ups and downs…

Under the umbrella title of ‘Dumb Solitaire’, what purports to be the memoir of Senor Herrera reveals in scathing depth the troubled life of a woman he just cannot stay away from in an uncompromising and sexually explicit “documentary” which pulls no punches, makes no judgements and yet still manages to come off as a feel-good tale.

High Soft Lisp is the most intriguing depiction of feminine power and behaviour since Flaubert’s Madame Bovary – and probably just as troubling and controversial – with the added advantage of intoxicating drawing adding shades of meaning mere text cannot impart.

Extremely funny and powerfully moving, remarkable and unmissable: no fan of the medium, student of humanity or lover of life in the raw should deprive themselves of this treat.
© 2010 Gilbert Hernandez. All Rights Reserved.

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Madame Cat


By Nancy Peña, translated by Mark Bence (Life Drawn/Humanoids)
ISBN: 978-1-59465- 813-6 (Album PB/Digital edition)

Churlish men have joked about women with cats for eternity. Here’s a superbly irrepressible cartoon collection BY a woman about her own cat. It’s hilarious, extremely addictive and among the top five strips about feline companions ever. Laugh that off, guys…

Toulouse-born Nancy Peña probably caught the comics bug off her father: a dedicated comics collector. She studied Applied Arts and became a teacher while carving out a sideline as a prolific creator of magazine strips and graphic novels such as her Medea series, Le Cabinet Chinois, Mamohtobo, Le Chat du kimono and many more. She also illustrates books such as the award winning Les Guerriers de glace, Quelle épique époque opaque! or Oh Pénélope.

Hectic as all that sounds, she still found time to invite a companion animal to share her life… by which I mean a cat not a man. He’s just there for shelves, jar lids and sarcasm…

Madame is a cute little kitty who shares Peña’s place and converses with her. The be-whiskered treasure (Madame, right?) has a remarkably vivid interior life – probably swiped from any number of deranged mad scientists and would-be world conquerors – and is the mischievous stuff of nightmares all those of us legally responsible for a pet know and dread. There is nothing the tiny tyke won’t attempt, from drinking artists ink to exorcising the artist’s long-suffering and utterly unwelcome boyfriend.

Madame knows what she is and what she wants and will baulk at nothing – not even the laws of physics – to achieve her aims…

The engaging bombshell bursts of manic mirth are rendered in engaging duotone (black & blue, but I’m sure that’s not symbolic of anything) with titles such as ‘Madame flirts’, ‘Madame suggests’, ‘Madame insists’ and ‘Madame smells’, as the wee beast moves in, makes allies of the other felines in the area and promptly takes charge: wrecking the life and house of her carer, and only gives in return permission to be adored. Every cat person alive will identify with that.

There are four collections to date but only the first is available in English editions, but Madame Cat is a sparking example of domestic comedy and will surely find someone to continue the translations. Conversely you can catch new adventures every week at the website of newspaper Le Monde…

Mixing recognisably real events with potent imagination and debilitating whimsy, Peña has devised a classic cartoon character who is charming, appalling and laugh-out-loud funny. If you’ve been thinking of getting a cat, along with all the medical and pet-care books, get this too. You won’t be sorry. Well, not with the book, at least…

“Madame” © 2015-2016 La La Boîte à bulles & Nancy Peña. All rights reserved.

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Punk Rock in Comics


By Nicolas Finet & Thierry Lamy, illustrated by Joël Alessandra, Antoane, Will Argunas, Katya Bauman, Romain Brun, Céheu, Christopher, Janis Do, Benoît Frébourg, Thierry Gioux, Kongkee, Estelle Meyrand, Yvan Ojo, Gilles Pascal, Christelle Pécout, Lauriane Rérolle, Toru Terada, Martin Texier, Léah Touitou, Martin Trystram & various: translated by James Hogan (NBM)
ISBN: 978-1-68112-350-9 (HB) eISBN: 978-1-68112-351-6

This book includes Discriminatory Content included for dramatic effect and historical verity.

Having been (an extremely minor) part of the revolution and probably seen at most of the UK gigs and events cited here, I found it most difficult to remain dispassionate about the book under review today. It’s really very good, and I apologize if I seem less than my effusive self. Apparently, being fair and neutral is actually quite hard if one is involved. Moreover, it’s rather sad to realize that when all those disenfranchised kids warned of “no future”, right here, right now is what they were shouting about….

Graphic biographies are all the rage these days and this one is the most personally affecting yet. It’s strange to have lived long enough to find that the history people are writing and drawing is just “recently” and “remember when…” to some of us.

Part of NBM’s Music Stars in Comics series and guaranteed to appeal to a much larger audience than most comics usually reach, Punk Rock in Comics is a roundup of key bands and significant moments helpfully garnished with articles on the US and British antecedents and precursors, as well as a look at who joined late and what came next. It certainly deserves to reach as many as possible and will make a perfect gift if any of us make it to the next Great December fun-fest/Gig in the Sky…

… And just a note of clarification: between 1975 and 1981 us youth thought we were at the spear tip of a revolution, but it turns out it was a wave of similar-seeming local brush fires that were stamped out or died down of their own accord. Punk was music and fashion and guerilla graphics and SHEER ATTITUDE. All of it was primarily self-generated by triggered by example and a Do It Yourself philosophy sparked by the realization that no one in authority was ever going to help or rock a sitting status quo.

We concentrate on bands and music here but as a nod to the other great benefactor – self-publishing – this book is craftily delivered via distractingly faux-distressed pages meant to mimic the abundant and vibrant fanzine culture that came with us kids getting involved. Buying or trading a pamphlet did so much to popularise the movement in an era utterly devoid of social media and digital connection, but don’t whine you spend a few hours trying to flatten out wrinkle and glue stains that aren’t really there, okay?

Still with us? Okay then…

As if cannily re-presented popular culture factoids and snippets of urban history accompanied by a treasure trove of candid photographs, posters, badges fashions and other memorabilia aren’t enough to whet your appetite, this annal of arguably the closest we ever got to taking over the kingdom also offers vital and enticing extra enticements… but you’ll have to have your consciousness raised a bit before then.

Author, filmmaker, journalist, publisher, educator, translator/music documentarian Nicolas Finet has worked in comics over three decades: generating a bucketload of reference works – such as Mississippi Ramblin’ and Forever Woodstock. He adds to his graphic history tally (Prince in Comics, Love Me Please – The Story of Janis Joplin 1943-1970 and David Bowie in Comics) with this deep dive into the crazed career of the ultimate cosmic explorers and rebellious cultural pioneers. His scripts of the comics vignettes compiled in conjunction with frequent collaborator Thierry Lamy (Force Navale, David Bowie in Comics, Pink Floyd in Comics) are limned here by a spitting, pogo-ing posse of international strip artists, visually actualising vividly vocal and vociferous key moments in really recent history…

It begins with Céheu depicting ‘1969-1970 An American Prehistory’ as disillusionment in the1970s New World triggers reactions from young musicians like Jim “Iggy Pop” Osterberg and Richard Hell, and groups of iconic nearly-men such as MC5, Television and the New York Dolls set the scene and laid the groundwork for what came – quite unfairly – to be regarded as a British revolution…

Following a fact-packed essay, the state of our nation is assessed in ‘1971-1975 The United Kingdom of Pub Rock’, courtesy of Gilles Pascal. A growing hunger for cheap live music and short songs led to an extinction event for “Prog Rock” and the rise of bands and performers who would score no real chart success but reshape the industry for decades to come…

A text discussion of bands like (Ian Dury’s) Kilburn and the High Roads, Brinsley Schwartz, Nick Lowe, Eddie and the Hot Rods and more enjoying a growing London-centric live gig scene leads to Antoane’s proto-punk assessment ‘1974-1976 On the fringes of Punk Rock, a few Inspired Trailblazers’ (Dr. Feelgood, Graham Parker and the Rumour, Elvis Costello) before the cultural main event kicks off with Thierry Gioux’s coverage of ‘1975-1978 The Sex Pistols Endless Rebellion’ and a detailed biopsy of the Clash in ‘1976-1985 Combat Rock’ limned by Martin Trystram.

Further mini-bios follow in comics and essay combinations, exploring lesser gods of revolt such as ‘1976-1980 Buzzcocks Energy Made in Manchester’ by Katya Bauman, ‘1974-1996 We, The Ramones’ from Toru Terada, Benoît Frébourg’s ‘1976-2015 The Damned May the Farce be with You!’ and an assessment of lost wonders in Yvan Ojo’s ‘1975-1978 Johnny Thunders and the Heartbreakers’…

As I said, Britain got the lion’s share of global headlines (and reactionary authoritarian blamestorming) but the process and progress were international. Romain Brun illustrates ‘1974-1977 Meanwhile, in New York’ where the club CBGB was building a rep through outsider bands such Television, New York Dolls, Blondie, Talking Heads, the Dead Boys and poet Patti Smith, and by staging the first UK band to play America: The Damned…

A few more individualists are explored in ‘1976-1996 Siouxsie and the Banshees The Punk Sorceress’ by Léah Touitou, and Martin Texier reveals just how different The Vibrators were in ‘1976-2020 Never Stop Vibrating’ prior to Janis Do detailing the effect, influence and ultimate tragedy of Jimmy Pursey and Sham 69 in ‘1976-1980 Working Class Heroes’… It was a time of change, fervour and febrile opportunism and many acts were caught up in the money and mood, if not movement, usually against their will and at the behest of old-guard record companies. Christopher illuminates how The Jam rode the storm in ‘1974-1979 Not Quite Punks: a handful that can’t be put in a box’ and Lauriane Rérolle details ‘1975-1983 The Irish Wave’ that picked up and spat out The Undertones and Stiff Little Fingers but lost so many others.

‘1975-1982 Girls to the Front!’ by Christelle Pécout focusses on how “the kids” demand to be heard somehow didn’t apply to The Slits – until they put their big booted feet down – whilst Estelle Meyrand explores international wonders most of us missed at the time – no, not Belgium’s Plastic Bertrand but Australia’s The Saints and US phenomenon and political activist Jello Biafra and The Dead Kennedys in ‘1976-1980 Punks from Elsewhere’…

Despite constant accusations of nihilism Punk was always an inviting and inclusive arena and ‘1975-1981 Punks and Rastas’ from Joël Alessandra details cultural cross pollination and active inclusivity – leading to the Two Tone era – and Will Argunas recalls ‘1975-1983 Punks and Hard Rock: Loud, Fast, and in Your Face!’ via the life and achievements of Lemmy Kilmister and Motörhead, before Kongkee draws this tome to a close with a trip through ‘1981 and Beyond: The Post-Punk Legacy’ encompassing Electropop, New Wave/Romanticism, Grunge and more, citing bands such as Pere Ubu, Devo, et al…

This compelling and remarkable catalogue of cultural change and artistic hostage-taking includes a Selective Discography of the bands most crucial cuts, Further Reading, listings of Films and Videos, Photo Credits and a copious Acknowledgements section.

Punk Rock in Comics is a comprehensive and intriguing skilfully realised appreciation of a unique moment in time and society, boldly attempting to capture a too-big rocket in a very small bottle but still doing a pretty good of recalling the when, how and who, if not quite the why of the era. It’s also a true treasure for comics and music fans if they weren’t actually there: one to resonate with all those probably still quite angry and disaffected veteran kids who love to listen, look and wonder what if..?
© 2024 Editions Petit as Petit. © 2025 NBM for the English translation.

Punk Rock in Comics will be published on 18th March. 2025 and is available for pre-order now. NBM books are also available in digital editions. For more information and other great reads see http://www.nbmpub.com/

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Toby and the Pixies: volume 2: Best Frenemies!


By James Turner & Andreas Schuster with Kate Brown, Austin Boechle & Leanna Daphne (David Fickling Books)
ISBN: 978-1-78845-338-7 (TPB)

Way back in January 2012, Oxford-based David Fickling Books made a rather radical move by launching a traditional anthology comics weekly aimed at under-12s. It revelled in reviving the good old days of picture-story entertainment intent whilst embracing the full force of modernity in style and content.

To this day each issue features humour, adventure, quizzes, puzzles and educational material in a joyous parade of cartoon fun and fantasy. The Phoenix has successfully established itself as a potent source of children’s entertainment because, like The Beano and The Dandy, it is equally at home to boys and girls, and mastered the magical trick of mixing amazingly action-packed adventure series with hilarious humour strip serials such as this one. Most of the strips have also become graphic collections just like this one…

Crafted by the astoundingly clever James Turner (Star Cat, Super Animal Adventure Squad, Mameshiba, The Unfeasible Adventures of Beaver and Steve) and Canadian cartoonist/designer/animator Andreas Schuster (KLARA AND ANTON in PRIMAX Magazine), Toby and the Pixies began in January 2020 (as I Hate Pixies) and, once out of the compost bag of creative wonders, just wouldn’t stop.

Those first forays were remastered and released as Toby and the Pixies: Worst King Ever! where the unwary and unwise learned how one nerdy boy at a Surburbiton high school – 12-year old overachiever Toby Cauldwell – really began fitting in. After all, it was hard enough enduring overbearing popular classmates like smarmy trendy “online influencer” Joe and snarky bully Steph but at least fellow style exile Mo was in the same boat. Everything changed – generally for the worst – after Toby’s electric toaster-obsessed Dad ordered the little wastrel to sort out the unruly back garden…

That’s when Toby discovered the wild, suburban jungle was, unknown to any mortal, a screen for a fabulous fey realm. This ethereal yet rather mucky enclave had endured unseen in the green shambles of the Cauldwell backyard for countless ages. However – due to an inept and inadvertent act of emancipation sparked by Toby kicking an unfortunately placed plaster garden gnome – the status quo forever altered and the reluctant lad was inadvertently elevated to the position of supreme overlord. It was only for a hidden kingdom of magical morons but they were really happy to be shot of their previous mad mean magical master.

As interpreted by the former King’s advisors Mouldwarp (Royal Druid), wise(ish) Gatherwool (Lore Keeper/Potion Master) and Toadflax (she eats stuff); deliberate or not, despatching King Thornpickle made Toby new absolute monarch. Pixie law also stated said ruler could do anything they wanted… a prospect so laden with responsibility that it made Toby weep with terror…

Just coming to terms with magic actually existing and that freaky, anarchic little imps can do it whilst still being absolute idiots and morons was awful enough, without also still having to survive school’s normal and traditional horrors. Thankfully, as the little odds and sods increasingly impinged and impacted on Toby’s life, education and prospects, they also turned school upside on a daily basis, and Toby’s fellow outcast Mo soon discovered the shocking secret. In the short term, it actually made things worse but now, apart from constant teasing and perpetual whining pleas to visit the magic kingdom, there is a fellow human King Toby can moan at.

… And then succession problems kicked off as magic-slime wielding Princess Sugarsnap – daughter of Thornpickle and rightful heir to a job Toby really, really doesn’t want – started her war to take back the throne…

This second commodious compendium opens with a chance to meet key regulars Toby, Mo, Steph, advisors Toadflax, Gatherwool & Mouldwarp and evil usurper-in-waiting Princess Sugarsnap in a comprehensive double page intro. Then it’s back to school and off the deep end in ‘Chapter 1: Bully’ wherein the pestiferous advisors gear up to look (nothing) like a normal person. The plan is to sort out mean girl Steph, but only serves to amplify suspicions she never used to have, leading to revelation and a well-deserved détente. ‘Chapter 2: Steph Meets the Pixies’ sees her forcibly brought up to speed on the incredible truth of Toby’s life when Sugarsnap launches a slime invasion, ensuring the strictly minor league abuser gets a peek at real stinky evil and, maybe, her own potential future…

Now, still obnoxious and bossy but part of the team, Steph helps contain the chaos when Toadflax trades identities with Toby (without asking permission) and inadvertently deals attention-addict Joe a reputation-ruining life lesson in ‘Chapter 3: Body Swap’ prior to an official invitation to the magic kingdom in ‘Chapter 4: Steph Joins the Team’. The state visit gives her and Toby time to bond over a shared passion – TV sleuth Inspector Humps – and even solve a uniquely fairy felony when someone steals Farmer Haydrizzle’s stinkworms…

Idle playground chatter about wasted time and pointless tasks leads to ‘Chapter 5: Double Trouble’ after Gatherwool unleashes a harvest of doppelgangers by sowing a crop of double seeds. The school is pretty used to weirdness by now, and only unlikable geography teacher Mr. Morris doesn’t make it back next day…

Toby’s perpetually disappointed grandmother and grandfather are compelled to expose their long-suppressed true natures after ‘Chapter 6: Grandparent Grumblings’ sees an unwelcome duty go utterly off the rails when the magically tooled-up advisors come along for the ride, after which the reluctant ruler joins Mo on a birthday jaunt to see the animals in ‘Chapter 7: Zoo’s There?’ Typically unwilling to be left behind, the advisors don’t really get the point of “animal prison” and their mystic meddling has lasting repercussions. At least Mo, Steph and Toby get to become their spirit animals in the vain efforts to fix the carnage…

A terrifying human rite of passage comes next as a school landmark looms for Toby and Mo. Maybe the mania and mayhem happened because he admitted liking pretty blonde Deborah, or perhaps it was just the cursed dancing shoes the King stupidly accepted from the advisors that led to leads to ‘Chapter 8: Disco Discombobulation’…

Rampant capitalism hits the magic kingdom hard and without mercy next, as a property boom is manufactured by cunning cove and self-appointed loan-shark/banker Tricksy the Pixie in ‘Chapter 9: Boom and Bust’. It wasn’t so much all the ugly flimsy new builds, rampant unheeding greed of the elfin borrowers or even the million percent interest rates that caused the inevitable collapse as putting their faith in a base currency that was water soluble and biodegradable…

As the King dealt with the fallout of that crisis Mo and Steph applied tried & trusted narrative principles to a potential pixie couple experiencing romantic frustration in ‘Chapter 10: Fairy Fail!’ – with typically revolting results, and a human fancy dress party (plus irate, interfering advisors) triggers a riot of fanciful manifestations in ‘Chapter 11: Princess-pocalypse’ before the magical misery tours stumble to a pause when a day choosing instruments and performers for the school orchestra only generates a spontaneous wave of despondency in ‘Chapter 12: The Glooms!’ Typically, the talent search degenerates into a cacophony of sadness and woe with magically mutagenic effects even young King Cauldwell and his court are affected: all but Steph who has to do something truly unwelcome to save the day…

Wrapping up the fey foolishness is an activity section detailing ‘How to Draw Steph Expressions’ and  ‘Steph’s Body’ and thereafter closing with the now-standard Special Preview feature focusing on what other word-&-picture wonderment awaits in the periodical Phoenix…

Toby and the Pixies is a joyous concatenation of nonsense no lover of laughs and lunacy should deprive themselves of and a feast of yuckky yoks all kids will gleefully consume.
Text and illustrations © The Phoenix Comic 2025. All rights reserved.

Toby and the Pixies: volume 2: Best Frenemies! is published on March 13th 2025 and available for preorder now.