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The Calvin and Hobbes Lazy Sunday Book


By Bill Watterson (Andrews McMeel)
ISBN: 978-0-83621-852-7 (TPB)

Almost any event big or small is best experienced through the eyes of a child – and better yet if he’s a fictional waif controlled by the whimsical sensibilities of a comic strip genius like Bill Watterson.

Calvin is the child in us all; Hobbes is the sardonic unleashed beast of our Aspirations; no, wait… Calvin is this little boy, an only child with a big imagination and a stuffed Tiger that is his common sense and moral sounding board…

No; Calvin is just a lonely little boy and Hobbes talks only to him. That’s all you need or want.

A best-selling strip and critical hit for ten years (running from November 18th 1985 through December 31st 1995), Calvin and Hobbes came and went like a comet and we’re all now the poorer for its passing. The strip redefined depictions of the “Eyes of Wonder” which children all possess, and made us adults laugh, and so often cry too: its influence shaping a generation of up-and-coming cartoonists and comicbook creators.

We all wanted a childhood like that kid’s; bullies, weird teachers, obnoxious little girls and all. At least we could – and still do – visit…

The Daily and Sundays appeared in more than 2,400 newspapers all over the planet and from 2010 reruns have featured in over 50 countries. There have been 18 unmissable collections (selling over 45,000,000 copies thus far), including a fabulous complete boxed set edition in both soft and hard cover formats. I gloat over my hardback set almost every day.

Unlike most of his fellows, Watterson shunned the spotlight and the merchandising Babylon that follows a comic strip mega-hit and dedicated all his spirit and energies into producing one of the greatest treatments on childhood and the twin and inevitably converging worlds of fantasy and reality anywhere in fiction. All purists need to know is that the creator cites unique sole-auteur strips Pogo, Krazy Kat and Peanuts as his major influences and all mysteries are solved…

Calvin is a hyper-active little boy growing up in a suburban middle-American Everytown. There’s a city nearby, with museums and such, and a little bit of wooded wilderness at the bottom of the garden. The kid’s smart, academically uninspired and happy in his own world. He’s you and me. His best friend and companion is stuffed tiger Hobbes, who – as I might have already mentioned – may or may not be alive. He’s certainly far smarter and more ethically evolved than his owner…

And that’s all the help you’re getting. If you know the strip you already love it, and if you don’t you won’t appreciate my destroying the joys of discovery for you. This is beautiful, charming, clever, intoxicating and addictive tale-telling, blending wonder and laughter, socially responsible and wildly funny.

After a miraculous decade, at the top of his game Watterson retired the strip and himself, and though I bitterly resent it, and miss it still, I suppose it’s best to go out on a peak rather than fade away by degrees. I certainly respect and admire his dedication and principles.

This slim tome collects some of the earliest full-colour Sunday pages from the strip, and includes a new 10-page adventure painted in staggeringly lovely watercolours. Imaginative, dazzling, unforgettably captivating, these are some of the best of Watterson’s work. You should have them in your house.

The entire Calvin and Hobbes canon is still fully available in solo volumes and the aforementioned wrist-cracking box set but not, sadly, in a digital edition yet. You can however, enjoy digital dollops of this graphic milestone if so inclined by going to gocomics.com/calvinandhobbes. They are also available online through the Andrews McMeel Uclick platform, so there’s no reason for you not to make this brilliant example of our art form a permanent part of your life. And you’ll thank me for it, too…
© 1989 Universal Press Syndicate. All Rights Reserved.

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Yakari and Great Eagle (volume 1)


By Derib & Job, translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-90546-004-5 (PB Album)

Westerns of every sort have always captivated consumers in Europe and none more so than the assorted French-speaking sections who also avidly devour comics. Historically, we Brits have also been big fans of sagebrush sagas and the plight of the “noble savage”…

In 1964, French-Swiss journalist André Jobin founded children’s magazine Le Crapaud à lunettes and began writing stories for it under the pseudonym Job. Three years later he hired young fellow French-Swiss artist Claude de Ribaupierre, who had begun his own career as an assistant at Studio Peyo, (home of Les Schtroumpfs/The Smurfs) where the promising lad had worked on a number of Smurfs strips for venerable weekly Le Journal de Spirou.

As “Derib”, Claude co-created with Job Adventures of the Owl Pythagore for Le Crapaud à lunettes.

Two years later they struck pure glittering gold with their next collaboration.

Launching in 1969, Yakari told the compassionate, whimsical tale of a young Oglala Lakota boy on the Great Plains; set sometime after the introduction of horses by the Conquistadores but before the coming of the modern White Man.

Delib, equally adept in both the enticing, comically dynamic “Marcinelle” cartoon big-foot style and a devastatingly evocative meta-realistic mannerism, went on to become one of the Continent’s most prolific, celebrated, honoured and beloved artists – mostly of western-themed tales with astounding and magnificent geographical backdrops and landscapes – and Yakari is considered by many to be the feature that catapulted him to mega-stardom.

It’s a crime that such groundbreaking strips as Celui-qui-est-né-deux-fois, Jo (the first comic ever published dealing with AIDS), Pour toi, Sandra and La Grande Saga Indienne) haven’t been translated into English yet, but we still patiently wait in hope and anticipation…

The series has reached 39 albums: a testament to the strip’s evergreen vitality and the brilliance of its creators, although Job has finally relinquished scripting to French writer Joris Chamblain (Les Carnets de Cerise) for the upcoming 40th tome….

Overflowing with gentle whimsy and heady compassion, young Yakari enjoys a largely bucolic existence: at one with nature and generally free from privation or strife. For the sake of our delectation, however, the ever-changing seasons are punctuated with the odd crisis, generally resolved without fuss, fame or fanfare by a little lad who is smart, brave… and can – thanks to the boon of his totem guide who he meets for the first time in the tale under review here – communicate with all animals…

The eponymous first collected edition was released in 1973 and the strip rapidly rose to huge prominence. In 1978 it began running in Le Journal de Tintin, spawning two animated TV series (1983 and 2005), the usual merchandising spin-offs and monumental global sales in 17 languages to date. There’s also a movie…

In 2005 that translated first volume – Yakari et le grand aigle – was released by Cinebook as part of their opening salvo in converting British audiences to the joys and magic of Euro-comics and is still readily available for you and your family to enjoy on paper or digitally.

Yakari and Great Eagle begins one quiet night on the plains whilst the little boy is deep in dreams. In that sunny ethereal world, he is walking to meet his totem spirit who greets him with a grand flourish and presents him with a huge feather enabling the child to soar like a bird. The rendezvous is tinged with joy and sadness as the sagacious raptor informs him that he will no longer come to him in dreams, but if the boy becomes as much like an eagle as possible, they will meet again in the living world…

Awake and excited, Yakari rushes about the camp trying to decide what the riddle means. Hunt like a raptor? Wear a feather-filled war-bonnet? Every eager attempt leads to disappointment and embarrassment and sleepy loafer Eye-of-Broth can’t even be bothered to wake up and share the benefit of his years of idle contemplation…

However, when young friend Rainbow loses the puma cub she is carrying, Yakari gallantly dashes after it and only quick thinking saves them both from the baby’s furious mother…

The next day Yakari asks his father Bold Gaze, but the warriors are all too busy preparing to capture a new herd of wild horses. Sneaking off into the rocky desert with older boy Buffalo Seed to watch the roundup, Yakari wonderingly observes how nimble pinto Little Thunder easily avoids all the experienced wranglers’ traps.

As the adults drive the new intake back to the encampment, Yakari follows Little Thunder high into the rocky escarpments and frees the panicked pony from a rockslide that’s pinned a hind leg.

Great Eagle appears and for this selfless act awards the boy a feather, but when Yakari returns home his father takes it from him, admiring his imagination but explaining that only those who have accomplished great deeds – for which read grown-ups – have a right to wear one. Nothing the stern but loving parent can do will change the stubborn boy’s story that a talking eagle awarded him the singular honour…

Days pass and the despondent – featherless – lad wanders alone when he is suddenly engulfed in a stampede and trapped by a brushfire. Immediately Great Eagle is there, guiding him to safety and advising him that soon his father will return the feather to him. The lad is grateful but confused. How is he ever meant to become like his totem spirit? Moreover, how will he ever find his way home from the strange region he now finds himself in?

As the tribe searches for lost Yakari, the hungry child has a close encounter with a bear; finds food by observing her cubs; falls into and subsequently escapes from a deep bear trap and narrowly escapes becoming supper for a lone wolf.

Eventually, he finds a river and rides a makeshift canoe until washed up on a shore where horses are drinking. Spotting Little Thunder, the boy tries to capture him, but the tricks and tactics Yakari has seen working for his elders are useless against the wily horse. The lad is utterly gobsmacked when Little Thunder refuses to be his captive but offers to be his friend…

With his new comrade, it’s not long before Yakari comes riding proudly home out of the wilderness astride a pony no man can tame and justifiably reclaims his honour-feather… Thus begins the gloriously gentle and big-hearted saga of the valiant little brave who can speak with animals and who enjoys a unique place in an exotic world: a 50-year parade of joyous, easygoing and inexpressibly fun adventures honouring and eulogising an iconic culture with grace, wit, wonder and especially humour.

A true masterpiece of children’s comics literature, Yakari is a series no fan should be without and here is just the place to start…
Original edition © 1973 Le Lombard/Dargaud by Derib + Job. English translation 2005 © Cinebook Ltd.

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Cedric volume 6: Skating on Thin Ice


By Laudec & Cauvin with colours by Leonardo; translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-408-3 (PB Album)

Raoul Cauvin is one of Europe’s most successful comics scripters. Born in Antoing, Belgium in 1938, by 1960 he was working in the animation department of publishing giant Dupuis after studying the print production technique of Lithography.

Happily, he quickly discovered his true calling was writing funny stories and began a glittering, prolific career at Le Journal de Spirou.

While there he concocted (with Salvérius) the astoundingly successful Comedy-Western Bluecoats plus dozens of other long-running, award-winning series such as Sammy, Les Femmes en Blanc, Boulouloum et Guiliguili, Cupidon, Pauvre Lampil and Agent 212: cumulatively shifting more than 240 separate albums.

His collaborator on superbly sharp and witty kid-friendly family strip Cédric is Italian born, Belgium-raised Tony de Luca, who studied electro-mechanics and toiled as an industrial draughtsman until he could make his own break into bandes dessinée.

Following a few fanzine efforts in the late 1970s, as “Laudec” he landed soap-style series Les Contes de Curé-la-Fl’ûte at Spirou in 1979. He built that into a brace of extended war-time serials (L’an 40 in 1983 and Marché Noir et Bottes à Clous in 1985) whilst working his way around many of the comic’s other regular strips. In 1987, he united with Cauvin on the first Cédric shorts and from then on all was child’s play…

We have Dennis the Menace (the Americans have their own too, but he’s not the same) whilst the French-speaking world has Cédric: an adorable, lovesick rapscallion with a heart of gold and an irresistible penchant for mischief. He’s also afflicted with raging amour…

Collected albums (31 so far) of variable-length strips – ranging from a ½ page to half a dozen – began appearing in 1989, and remain amongst the most popular and best-selling in Europe, as is the animated TV show spun off from the strip.

…A little Word to the Wise: this is not a strip afraid to suspend the yoks in favour of a little suspense or near-heartbreak. Our bonny boy is almost-fatally smitten with Chen: a Chinese girl newly arrived in his class yet so very far out of his league, leading to frequent and painful confrontations and miscommunications.

Whilst the advice given by his lonely, widowed grandpa is seldom of any practical use, it can pick open scabs from the elder’s long, happy but now concluded marriage which can reduce normal humans to tears…

This sixth Cinebook translation (available in paperback album and digital formats) was continentally released in 1994 as Cédric – Comme sur des roulettes and opens with a typically chaotic school Christmas play which is anything but a ‘Holy Night, Silent Night‘, after which select parents and kids attend a downtown school carnival. Contrary to the notion that ‘Everyone’s a Winner…‘, there’s a lot of pain and resentment come close of play…

Cedric’s belief that his grandad walked with dinosaurs is painfully refuted in ‘Showing His Age’, after which a ‘Recycling Report‘ and river clean-up exhumes some report cards thought lost forever, before the diminished energy of the young and old leave mum and dad with some unexpected ‘Snuggling Time‘… but not for long…

A bone of domestic contention is the elder’s bitterly-expressed belief that his son-in-law’s career in lowly retail is not real work. However, ‘Carpet Diem‘ reveals how a young rug seller made his mark and met his true love – albeit at risk of life, limb and sanity – before Cedric and co-conspirator Freddy devise a new way to hide bad news from the teacher in ‘Hidden in Plain Sight‘…

Our boy’s constant quest to impress Chen plumb new depths when the ‘Budding Artist‘ attempts to make a clay bust of his inamorata and, unabashed by that debacle, then idiotically agrees to teach her how to skateboard in ‘Balancing Act…‘

When Grandpa gets sick, Cedric offers to babysit for the most selfish of motives in ‘The Labourer is Worthy of his Hire‘ and is similarly selfish in sabotaging Chen’s attempts to get fit in ‘Miss Muscle‘ but is totally outmatched when Mum gets out a crystal ball to detail his latest crimes in ‘Misfortune Teller‘…

As Chen’s birthday rolls around again, Cedric determines to win the humiliating war of gifts and ‘Put a Ring on it‘, after which Grandpa feel invisible thanks to a familial loss of ‘Listening Skills‘, even as an acrobatic new kid’s showing off turns all the female classmates’ heads. His attempts to steal back the limelight end in the usual aggrieved fashion in ‘Hanging in There…‘ before this slice of school life closes with the lad’s latest psychological ploy to lighten his egregious learning load collapsing in failure when he discovers ‘It’s All in the Delivery‘…

Sharp, rapid-paced, warmly witty yet unafraid to explore the harsher moments of life, the exploits of this painfully keen, beguilingly besotted rapscallion are a charming example of how all little boys are just the same and infinitely unique. Cedric is a superb family strip perfect for youngsters of every vintage…
© Dupuis 1994 by Cauvin & Laudec. All rights reserved. English translation © 2018 Cinebook Ltd.

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Maddie Kettle – The Adventure of the Thimblewitch


By Eric Orchard (Top Shelf Productions)
ISBN: 978-1-60309-072-8 (TPB)
When this fantastic tale – the debut graphic novel of Canadian cartoonist and illustrator Eric Orchard – was released a few years ago, it created quite a stir among critics and comics fans, won a Spectrum Award and made us all hungry for more. We’re still waiting for a sequel but the power and imagination of the story hasn’t diminished one whit…

Maddy Kettle is eleven years old and used to work in her parents’ bookshop in Dustcloud Gap, but now she’s a girl with a mission. Unfortunately, that mission keeps changing on the fly…

With her pet floating Spadefoot Toad Ralph, she takes a steam train across the wild country, seeking the spider goblins who attacked their store and seeking the mysterious Thimblewitch who turned mum and dad into mole rats…

When more goblins attack the train, Maddie is lost in the desert, but soon finds new allies in cloud cartographers Harry the bear and musical raccoon Silvio. They offer her a ride in their moon-gas powered balloon, but refuse to believe her story. After all, the Thimblewitch used to be the protector of the cloudscape and these days doesn’t even use magic anymore…

After many adventures, and encounters with strange creatures such as vampire bats and unlikely warrior Splike, Maddy finally has her showdown with the Thimblewitch, only to learn a few amazing truths and set out on even more perilous quests…

Visually spectacular, hyper-imaginative and mordantly moody in the manner of Ghormenghast and the darker passages of Baum’s Oz books, this is a deliciously dark fable with a wonderfully memorable girl hero, showing that intelligence, determination, creativity, courage and a willingness to admit mistakes are also super powers.

Available in paperback and eBook formats, this is a fabulous romp no kid of any vintage could resist.
© and ™ 2014 Eric Orchard. All Rights Reserved.

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Cow Boy – a Boy and His Horse


By Nate Cosby & Chris Eliopoulos, with Roger Langridge, Brian Clevinger, Scott Wegener, Mitch Gerads, Colleen Coover, Mike Maihack & various (Archaia/Boom Entertainment)
ISBN: 978-1 936393-67-1 (HB Archaia) 978-1-60886-419-5 (PB Boom Entertainment)

The Wild West is a place of myth, mayhem, pure ideals, shining imagery and utter paradox. This superb all-ages yarn proves all that and still hides a surprise or two, so get it for your young ‘uns and read it too. It comes in hard and soft cover and even over the wireless telegraph of that there digital book stuff…

Boyd Linney is an honest bounty hunter with a unique specialty. He’s ten years old and only tracks his own kin: owlhoots, sharpers and scoundrels, every one of ’em…

Delivered with delicious irony and captivating cartoon visuals, this fistful of rootin’ tootin’ yarns comes courtesy of writer Nate Cosby (Pigs, Jim Henson’s The Storyteller) and illustrator/colourist/letterer Chris Eliopoulos (Franklin Richards, Misery Loves Sherman), kicking every trope and meme of the ancient west sharply in the ankles (Boyd’s smart, tough and ornery, but really, really short) as the kid on a mission busts his dad out of jail just to bring him to justice.

On the ride to the marshal’s office the hard-bitten kid learns his early life was even harder and more debased than he ever reckoned. It does not ease his temperament as he goes after double dealing, saloon owner Zeke Linney, but he never liked his oldest brother, anyway…

The hardest part was tracking down his Granpappy…

Augmenting the dry, witty whimsy and gritty daftness are a succession of short vignettes by invited artisans of similar mien, beginning with multi-talented Roger Langridge (The Muppet Show, Fred the Clown, Thor: the Mighty Avenger, Popeye) who briefly details the downfall of ‘The Man with No Underpants’, after which Brian Clevinger, Scott Wegener & Mitch Gerards (Atomic Robo), silently detail destructive progress in ‘The Wireless West’.

Colleen Coover (Small Favors, Banana Sunday, X-Men First Class, Jim Henson’s The Storyteller) outlines a portentous proposal in ‘Yellow Rose & Black Billy’ before Mike Maihack (Cleopatra in Space) reveals another day in the explosive life of one of the oddest pairings in gunfighting annals, concluding that ‘A Penguin Never Misses’ before the sagebrush homage halts with a terse prose epigram by Cosby – ‘Boyd’s Wagon: A Cow Boy Short Story’…

Hugely enjoyable and profoundly disrespectful, this western delight is a supreme treat for aficionados of the timeless genre and anybody deeply in need of a hearty horse laugh…
Cow Boy is ™ and © 2012 Nate Cosby and Chris Eliopoulos. All rights reserved.

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Flember – the Secret Book (Advance galley proof copy)


By Jaimie Smart (David Fickling Books)
ISBN: 978-1-910989-46-3 (PB Illustrated novel)

There are precious few perks in the high stakes, cut & thrust world of writing about graphic novels and books, but one is getting to see great stories before you all do and then acting all smugly know-it-all and blasé about how good they are, as if I’m in with the In Crowd.

This review of Flember is based on a proof copy and I’ll probably review the proper book too when it comes out in Early October. It’s that good…

Unlike writer/artist Jamie Smart’s previous outings (Fish Head Steve!, Space Raoul, Bunny vs. Monkey, Looshkin – the Adventures of the Maddest Cat in the World!!, Corporate Skull and bunches of brilliant strips for The Beano, Dandy and others), this is an illustrated novel, not comics strips, but that only means he’s really good at the wordy stuff too, and even so his dynamic cartoons, diagrams and maps are lavished all over the text and act as an integral part of the storytelling.

Here’s a little digression that might assuage any confusions I’ve inadvertently caused…

The old demarcations – whether in format or content – between comics and books are all but gone these days but once the items of printing were reckoned as different as chalk and chuck wagons.

From the pre-print era of illustrated manuscripts, books always possessed a capacity (time, manpower and budgets permitting) to include images in the text. As the book trade evolved, pictures were generally phased out of cheaper, mass-market editions because they required costly, time-consuming extra effort by skilled technicians. Most artists and illustrators wanted payment for their efforts too, so volumes with pictures were regarded as extra special, most often crafted for children, students or aficionados of textbooks…

Comics strips grew out of cartoon images, beginning as static illustrations accompanied by blocks of printed text before gradually developing into pictorial sequences with narration, dialogue and sound effects incorporated into the actual design. Print procedures and physical strictures of manual typesetting often dictated that pictures (printed on the pages or added as separate plates) frequently appeared nowhere near the snippets of text they illumined).

These days digital print processes are speedy, efficient and flexible, and many creative bright sparks have realised that they can combine all these tangential disciplines into a potent synthesis.

Gosh, wasn’t that lecture dull?

What I’m saying is that these days, the immediacy of comics, the enchantment of illustrated images, the power of well-designed infographics and the mesmeric tone and mood of well-written prose can all be employed simultaneously to create tales of overwhelming entertainment. Flember – The Secret Book does it with aplomb, imagination, dexterity and sundry other fruit and veg you’ve never heard of. That’s an inside joke until you read the book…

But what’s it about, Win?

I’m giving little away but suffice to say that somewhere far away the island of Flember houses a rather rural and backwards facing community who live in a little walled village called Eden. The citizens are an odd bunch, set in the old traditional ways and they don’t particularly like inventors anymore.

Young Dev Everdew doesn’t really fit in. His brother is a snarky would-be leader of the local Guild and Mum doesn’t like to cause a fuss. Dad used to be Mayor but he’s gone now…

Life on the island depends on a seemingly-mystical force called Flember: an energising life force that animates the trees, living creatures and crops and even people. Did I mention that Dev’s addicted to inventing? He is, and all his contraptions always go wrong and cause the fuss previously mentioned.

The boy can’t stop himself, though, and just knows his devices can make life better for everybody. Despite the pleadings, help and advice of his young pals, Dev keeps making things and accidentally hurting people, but the situation gets completely out of hand after he builds a giant bear that absorbs all the Flember and comes shockingly alive. Sadly, that puts the little genius on the trail of a colossal secret underpinning everything and teaches him the consequences of rash actions…

Fast-paced, astoundingly inventive, raucously hilarious, deeply moving even while sagely exploring how carefree childishness grows into empathy and responsibility, this is a marvellous romp and an ideal example of words and pictures acting in harmony… almost like a well-oiled machine.

Just to be clear here though; never oil books or any digital reading device, ok? Just use them to acquaint yourself with tales as good as this one…
Text and illustrations © Jamie Smart 2019. All Rights Reserved.

Flember – The Secret Book is scheduled for release on October 3rd 2019 and is available for pre-order now. It’s a perfect item if you’re already stuck for options about Great Big Gift-Giving Season…

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Quick & Flupke: Fasten Your Seatbelts


By Hergé, translated by David Radzinowicz (Egmont UK)
ISBN: 978-1-4052-4742-9 (PB Album)

Georges Prosper Remi Рknown to all as Herg̩ Рcreated a genuine masterpiece of graphic literature with his tales of a plucky boy reporter and his entourage of iconic associates. Singly, and later with assistants including Edgar P. Jacobs, Bob de Moor and other supreme stylists of the select Herg̩ Studio, he crafted 23 splendid volumes (originally produced in brief instalments for newspaper periodicals) which have since grown beyond their popular culture roots and attained the status of High Art.

Globally renowned for these magnificent Tintin adventures, Hergé also did much to return comics to the arena of mass entertainment, a position largely lost after the advent of television, video-recording and computer games.

However, the bold boy and his opinionated dog were by no means his only creation. The author was a prodigious jobbing cartoonist in the years before the junior journalist finally assured him immortality and he generated a minor pantheon of other topical strips and features such as Tim the Squirrel in the Far West, The Amiable Mr. Mops, Tom and Millie and Popol Out West.

Among the best of the rest were the tales of Jo and Zette Legrand and their chimpanzee Jocko – in much the same wholesome action vein as Tintin – and the episodic, all-ages shenanigans of a pair of mischievous ragamuffins in pre-WWII Belgium.

In 2005 Egmont translated three escapades of Jo, Zette and Jocko into English (although there are more just sitting out there, all foreign and unreadable by potential fans too lazy to learn French or any of a dozen other civilised languages…) so in 2009 the publisher tried again with two collections of the Master’s second most successful creation: Quick et Flupke, gamins de Bruxelles.

These rambunctiously subversive, trouble-making working-class rapscallions and scallywags were precursors and thematic contemporaries of such beloved British boy acts as The Bash Street Kids, Winker Watson, Roger the Dodger et. al., and for more than a decade – January 1930 to May 1940 – rivalled the utterly irresistible Tintin in popularity and almost certainly acted as a rehearsal room for all the humorous graphic and slapstick elements which became so much a part of future Tintin tales.

Ten years ago Egmont had a brief stab at reviving the likely lads and it was only the general public’s deplorable lack of taste and good sense which stopped the kids from taking off again…

On leaving school in 1925, Hergé began working for Catholic newspaper Le XXe Siécle, falling under the influence of its Svengali-like editor Abbot Norbert Wallez. Remi produced his first strip series The Adventures of Totor for Boy Scouts of Belgium monthly magazine the following year, and by 1928 was in charge of producing the paper’s children’s weekly supplement Le Petit Vingtiéme.

He was unhappily illustrating The Adventures of Flup, Nénesse, Poussette and Cochonette, written by the staff sports reporter, when Abbot Wallez asked him to create a new adventure series. Perhaps a young reporter who would travel the world, doing good whilst displaying solid Catholic values and virtues?

Having recently discovered the word balloon in imported newspaper strips, Remi decided to incorporate the innovation into his own work. He created a strip both modern and action-packed Рand heavily anti-communist. From January 10th 1929, weekly episodes of Tintin in the Land of the Soviets appeared in Le Petit Vingti̩me, running until May 8th 1930.

Around this time the cartoonist also began crafting weekly 2-page gag strips starring a pair of working-class rascals on the streets of Brussels. They played pranks, got into good-natured trouble and even ventured into the heady realms of slapstick and surrealism: the sort of antics any reader of Dennis the Menace (ours, not the Americans’) would find fascinatingly familiar.

Originally seen in black-&-white in Le Petit Vingtiéme, the lads larked about for over a decade until the war and mounting pressures of producing Tintin meant they had to go. They were only rediscovered in 1985 and their collected adventures ran to a dozen best-selling albums… so there’s still plenty left out there to be translated into English…

Fasten Your Seat Belts contains a superbly riotous celebration of boyish high spirits, beginning with hose-pipe pranks in ‘The Big Clean’, before a rare good deed leads to strife with ‘A Poor Defenceless Woman’ and a day ‘At the Seaside’ results in another round of boyish fisticuffs after which their arch-foe the policeman succumbs to the irresistible temptations of a handy catapult in ‘Everyone Gets a Turn’.

Quick – the tall one in the beret – then learns to his cost ‘How Music Calms the Nerves’ and discovers the drawback of ‘Pacifism’, whilst portly Flupke tries tennis and finds himself far from ‘Unbeatable’…

‘Advertising’ then proves to be a dangerous game and an annoying insect meets its end in ‘Instructions for Use’, before ‘Quick the Clock Repairer’, proves to be something of an overstatement and ‘Football’ becomes just another reason for the pals to fall out…

Although unwelcome ‘At the Car Showroom’, some Eskimos (you’re going to have to suspend some of your modern sensitivities every now and again, remember) seem happy to share in ‘A Weird Story’ whist Hergé himself turns up in ‘A Serious Turn of Events’, even as the kids are disastrously ‘At Odds’ over a funny smell in their proximity.

Then, ‘Quick the Music Lover’ cleverly deals with an annoying neighbour, Flupke goes Christmas skiing in ‘That’s How It Is’ and another good turn goes bad in ‘All Innocence’ before a sibling spat gets sorted through ‘Children’s Rights’ and Quick cocks up cuisine even with ‘The Recipe’…

A handy ‘Yo-yo’ causes traffic chaos and a milk run goes spectacularly awry in a buttery ‘Metamorphosis’ before this magical blast from the past concludes with cleverly appealing ‘Tale Without a Tail’.

Regrettably hard to find now (and past time for a digital edition if not paper reissue), this book and the simple, perfect gags it contains show another side to the supreme artistry of Hergé – and no lover of comics can consider life complete without a well-thumbed copy of their own…
© Hergé – Exclusivity Editions Casterman 1991. All Rights Reserved. English translation © 2009 Egmont UK Limited. All rights reserved.

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Outrageous Tales from the Old Testament


By Arthur Ranson, Donald Rooum, Dave Gibbons, Alan Moore, Hunt Emerson, Neil Gaiman, Mike Matthews, Julie Hollings, Peter Rigg, Graham Higgins, Steve Gibson, Dave McKean, Kim Deitch, Carol Bennett, Brian Bolland & various (Knockabout)
ISBN: 978-0-86166-054-4

Although I couldn’t be happier with the state of the graphic novel market these days, I do miss the early days when production costs were high and canny pioneer publishers resorted to producing anthologies of short tales.

Knockabout Comics has been providing cutting edge and controversial cartoon triumphs since 1975 and although this cracking all-star oddment is actually out of print – like far too many of the graphic novels and collections I recommend – it remains one of their most potent and engaging releases.

However, if you’re a devout Christian you be best advised to just jump to the next review.

Originally released in 1987, it features a varied band of British creators adapting – with tongues firmly in cheeks – a selection of Biblical episodes, and the results are mordantly earnest, deeply bitter and darkly funny.

‘Creation’ is the preserve of supreme stylistic realist Arthur Ranson, whilst affable anarchist legend Donald Rooum explores Eden in ‘Gandalf’s Garden’ and Dave Gibbons puts some decidedly modernistic top-spin to the saga of ‘Sodom and Gomorrah’.

Alan Moore & Hunt Emerson examine ‘Leviticus’ (that would be the one with all those pesky Commandments) after which Neil Gaiman tackles ‘The Book of Judges’ accompanied by Mike Matthews (both the introduction and ‘The Tribe of Benjamin’); with Julie Hollings (for ‘Jael and Sisera’); Peter Rigg (‘Jephthah and His Daughter’); Graham Higgins (‘Samson’) and Steve Gibson (‘Journey to Bethlehem’). He even finds time to produce ‘The Prophet Who Came to Dinner’ (From the Book of Kings) with seminal long-time collaborator Dave McKean.

Closing the slim oversized (290 x204 mm) monochrome tome are underground cartooning icon Kim Deitch with ‘The Story of Job’, ‘Daddy Dear’ (from Ecclesiastes) adapted by Carol Bennett & Julie Hollings and the intensely uncompromising ‘A Miracle of Elisha’ (also from the Book of Kings) by the magnificent Brian Bolland.

Powerful and memorable, these interpretations won’t win any praise from Christian Fundamentalists, but they are fierce, subtle and scholarly examinations of the Old Testament realised by passionate creators with something to say and an unholy desire to instruct. As free-thinking adults you owe it to yourself to read these stories, but only in the spirit in which they were created.
© 1987 Knockabout Publications and the Artists and Writers. All Rights Reserved.

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Addams and Evil


By Charles Addams Methuen)
ISBN: 978-0-413-55370-1

Charles Samuel Addams (1912 – 1988) was a cartoonist and distant descendant of two American Presidents (John Adams and John Quincy Adams) who made his real life as extraordinary as his dark, mordantly funny drawings.

Born into a successful family in Westfield, New Jersey, the precocious, prankish, constantly drawing child was educated at the town High School, Colgate University, the University of Pennsylvania, and New York City’s Grand Central School of Art, producing cartoons and illustrations for a raft of institutional publications.

In 1932 he became a designer for True Detective magazine – retouching photos of corpses – and soon after began selling drawings to The New Yorker. In 1937 he began creating the macabre ghoulish family portraits that become his signature creation. During WWII he served with Signal Corps Photographic Center, devising animated training films for the military.

Whether he artfully manufactured his biography to enhance his value to feature writers or was genuinely a warped and wickedly wacky individual is irrelevant (although it makes for great reading:- especially the stuff about his second wife – and, as always, the internet awaits the siren call of your search engine…).

What is important is that in all the years he drew and painted those creepily sardonic, gruesome gags and illustrations for The New Yorker, Colliers, TV Guide and others, he managed to enthral his audience with a devilish mind and a soft, gentle approach that made him a household name long before television turned his characters into a hit and generated a juvenile craze for monsters and grotesques that lasts to this day. That eminence was only magnified once the big screen iterations debuted…

This stunningly enticing volume is a reissue of his second collection of cartoons, first published in 1947, and semi-occasionally since then. It’s still readily available if you’ve a big bank book, but the time is ripe for a definitive collected edition, or better yet a reissue of his entire canon (eleven volumes of drawings and a biography) either in print or digitally.

Should you not be as familiar with his actual cartoons as with their big and small screen descendants you really owe it to yourself to see the uncensored brilliance of one of America’s greatest humourists. It’s dead funny…
© 1940-1947 the New Yorker Magazine, Inc. In Canada © 1947 Charles Addams.

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Captain America Marvel Masterworks volume 8

By Steve Englehart, Roy Thomas, Tony Isabella, Mike Friedrich, Sal Buscema, Alan Weiss & various (Marvel)
ISBN: 978-0-7851-9929-8 (HB)

Created by Joe Simon & Jack Kirby in an era of frantic patriotic fervour, Captain America was a bombastic, dynamic and highly visible response to the horrors of Nazism and the threat of Liberty’s loss.

He faded away during the post-war reconstruction but briefly reappeared after the Korean War: a harder, darker sentinel ferreting out monsters, subversives and the “commies” who lurked under every brave American kid’s bed. Then he vanished once more until the burgeoning Marvel Age resurrected him just in time for the turbulent, culturally divisive 1960s.

By the time of the tales gathered in this eighth Masterworks volume (available in luxurious hardback and accessible eBook formats and re-presenting issues #160-175 of Captain America and the Falcon from April 1973 to July 1974), the once convinced and confirmed Sentinel of Liberty had become an uncomfortable symbol of a divided nation, but was looking to make the best of things and carve himself a new place in the Land of the Free. Real world events were about to put paid to that American dream…

Into an already turbulent mix of racial and gender inequality played out against standard Fights ‘n’ Tights villainy came creeping overtones of corruption and betrayal of ideals that were fuelled by shocking real-world events…

Following an informative behind-the-scenes reminiscence from scripter Steve Englehart in his Introduction, the action opens here with ‘Enter: Solarr!’ (illustrated by Sal Buscema &Frank McLaughlin), offering an old-fashioned clash with a super-powered maniac as the main attraction.

However, the real meat is the start of twin sub-plots that would shape the next half-dozen adventures, as the Star-Spangled Avenger’s newfound super-strength increasingly makes partner-in-crimefighting Sam – the Falcon – Wilson feel like a junior and inferior hindrance, even as Steve Roger’s long-time romantic interest Sharon Carter leaves him without a word of explanation…

Inked by John Verpoorten, Captain America and the Falcon #161 ramps up the tension between Steve and Sam as the heroes search for Sharon in ‘…If he Loseth His Soul!’, and find a connection to the girl Cap loved and lost in World War II in a deadly psycho-drama overseen by criminal shrink Dr. Faustus. This culminates one month later in a singular lesson in extreme therapy which only proves ‘This Way Lies Madness!’

‘Beware of Serpents!’ heralded the return of super snakes Viper and Eel, who combine with the Cobra to form a vicious but ultimately unsuccessful Serpent Squad to attack the heroes. Defeated former ad-exec Viper then vengefully begins a media manipulation campaign to destroy the Sentinel of Liberty with the “Big Lie”, fake news weapons and the worst tactics of Madison Avenue. Although the instigator quickly falls, his scheme rumbles on with slow, inexorable and dire consequences…

Issue #164 offers a stunningly scary episode illustrated by Alan Lee Weiss, introducing faux-coquette mad scientist Deadly Nightshade: a ‘Queen of the Werewolves!’ who infects Falcon with her chemical lycanthropy as an audition to enlist in the fearsome forces of one of the planet’s greatest menaces…

The full horror of the situation is only revealed when ‘The Yellow Claw Strikes’ (Englehart, Buscema & McLaughlin); renewing a campaign of terror begun in the 1950s, but this time attacking his former Chinese Communist sponsors and the USA indiscriminately. Giant bugs, deadly slave assassins and reanimated mummies are bad enough, but when the Arcane Immortal’s formidable mind-control dupes Cap into almost beating S.H.I.E.L.D. supremo Nick Fury to death during the ‘Night of the Lurking Dead!’, the blistering final battle results in further tragedy when an old ally perishes in the Frank Giacoia inked ‘Ashes to Ashes’…

One of the Star-Spangled Avengers most durable foes sort-of resurfaces in tense, action-heavy romp ‘…And a Phoenix Shall Arise!’ (scripted by Roy Thomas & Tony Isabella and inked by John Tartaglione & George Roussos) before Viper’s long-laid plans begin to finally bear bitter fruit in #169’s ‘When a Legend Dies!’ (with additional scripting from Mike Friedrich).

As anti-Captain America TV spots make people doubt the honesty and sanity of the nation’s greatest hero, the Falcon and his “Black Power” activist girlfriend Leila Taylor depart for the super-scientific African nation of Wakanda in search of increased powers, leaving Cap to battle third-rate villain the Tumbler.

In the heat of combat the Avenger seemingly goes too far and the thug dies…

‘J’Accuse!’ (Englehart, Friedrich, Buscema & Vince Colletta) sees Cap beaten and arrested by too-good-to-be-true neophyte crusader Moonstone, whilst in Africa Leila is kidnapped by exiled Harlem hood Stone-Face: far from home and hungry for some familiar foxy ghetto friendship…

‘Bust-Out!’ in #171 finds Cap forcibly sprung from jail by a mysterious pack of “supporters” as Black Panther and the newly-flying Falcon crush Stone-Face preparatory to a quick dash back to America and a reunion with the beleaguered and tarnished American icon.

‘Believe it or Not: The Banshee!’ opens with Captain America and the Falcon beaten by – but narrowly escaping – Moonstone and his obscurely occluded masters, after which the hard-luck heroes trace a lead to Nashville, encounter the fugitive mutant Master of Sound and stumble into a clandestine pogrom on American soil.

For long months mutants have been disappearing unnoticed, but now the last remaining X-Men – Cyclops, Marvel Girl and Professor Charles Xavier – have tracked them down, only to discover that Captain America’s problems also stem from ‘The Sins of the Secret Empire!’, whose ultimate goal is the conquest of the USA…

Eluding capture by S.H.I.E.L.D., Steve and Sam infiltrate the evil Empire, only to be exposed and confined in ‘It’s Always Darkest!’ before abruptly turning the tables and saving the day in #175’s ‘…Before the Dawn!’, wherein the vile grand plan is revealed, the mutants liberated and the culprits captured.

In a shocking final scene, the ultimate instigator is unmasked and horrifically dispatched within the White House itself…

At this time America was a nation reeling from a loss of unity, solidarity and perspective as a result of a torrent of shattering blows such as losing the Vietnam war, political scandals like Watergate and the (partial) exposure of President Nixon’s lies and crimes.

The general loss of idealism and painful public revelations that politicians are generally unpleasant – and even possibly ruthless, wicked exploiters – kicked the props out of most Americans who had an incomprehensibly rosy view of their leaders, so a conspiracy that reached into the halls and backrooms of government was extremely controversial yet oddly attractive in those distant, simpler days…

Unable to process the betrayal of all he has seen, the Star-Spangled Avenger cannot accept that this battle has any winner: a feeling that will change his life forever – in the next volume…

Any retrospective or historical re-reading is going to turn up a few cringe-worthy moments, but these tales of matchless courage and indomitable heroism are fast-paced, action-packed and still carry a knockout conceptual punch. Here Captain America was finally discovering his proper place in a new era and would once more become unmissable, controversial comicbook reading, as we shall see when I get around to reviewing the next volume…
© 1973, 1974, 2016 Marvel Characters, Inc. All rights reserved.