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Hellboy Omnibus volume 3: The Wild Hunt


By Mike Mignola & Duncan Fegredo with Dave Stewart & Clem Robins (Dark Horse Books)
ISBN: 978-1-50670-668-9 (TPB) eISBN: 978-1-50670-689-4

Hellboy was first seen 25 years ago in the 1993 San Diego Comic Con programme. Many Happy Returns, Big Red.

After the establishment of the comicbook direct market system, there was a huge outburst of independent publishers in America and, as with all booms, a lot of them went bust. Some few, however, were more than flash-in-the-pans and grew to become major players in the new world order.

Arguably, the most successful was Dark Horse Comics who fully embraced the shocking new concept of creator ownership (amongst other radical ideas). This concept – and their professional outlook and attitude – drew a number of big-name creators to the new company and in 1994 Frank Miller & John Byrne formally instituted the sub-imprint Legend for those projects major creators wanted to produce their own way and at their own pace.

Over the next four years the brand counted Mike Mignola, Art Adams, Mike Allred, Paul Chadwick, Dave Gibbons and Geof Darrow amongst its ranks; generating a wealth of superbly entertaining and groundbreaking series and concepts.

Unquestionably the most impressive, popular and long-lived was Mignola’s supernatural thriller Hellboy.

As previously cited, the hulking monster-hunter debuted in San Diego Comic-Con Comics #2 (August 1993) before formally launching in 4-issue miniseries Seed of Destruction (with Byrne scripting over Mignola’s plot and art). Colourist Mark Chiarello added layers of mood with his understated hues. Once the fans saw what was on offer there was no going back…

This new trade paperback – and digital – series re-presents the succession of long-form tales and miniseries which followed as omnibus volumes, accompanied by a companion series of tomes featuring all the short stories. I’ll get around to them too before much longer…

This third titanic terror tome collects Hellboy: Darkness Calls, Hellboy: The Wild Hunt and Hellboy: The Storm and the Fury as well as short story ‘The Mole’ from Hellboy: Free Comic Book Day 2008.

What You Need to Know: on December 23rd 1944 American Patriotic Superhero the Torch of Liberty and a squad of US Rangers intercepted and almost foiled a satanic ceremony predicted by Allied parapsychologist Professors Trevor Bruttenholm and Malcolm Frost.

They were working in conjunction with influential medium Lady Cynthia Eden-Jones. Those stalwarts were waiting at a ruined church in East Bromwich, England when a demon baby with a huge stone right hand appeared in a fireball. The startled soldiers took the infernal yet seemingly innocent waif into custody.

Far, far further north, off the Scottish Coast on Tarmagant Island, a cabal of Nazi Sorcerers roundly berated ancient wizard Grigori Rasputin whose Project Ragna Rok ritual seemed to have failed. The Russian was unfazed. Events were unfolding as he wished…

Five decades later, the baby had grown into a mighty warrior engaging in a never-ending secret war: the world’s most successful paranormal investigator. Bruttenholm spent years lovingly raising the weird foundling whilst forming an organisation to destroy unnatural threats and supernatural monsters – The Bureau for Paranormal Research and Defense. “Hellboy” quickly became its lead agent.

Moreover, as the decades of his career unfolded, Hellboy gleaned tantalising snatches of his origins, hints that he was an infernal creature of dark portent: born a demonic messiah, somehow destined to destroy the world and bring back ancient powers of evil. It is a fate he despises and utterly rejects, even though the universe keeps inexorably and relentlessly moving him towards it…

The comics cavalcade of chills and thrills commences with a whimsical dreamy vignette by Mignola & Duncan Fegredo from Free Comic Book Day 2008: Hellboy. As the B.P.R.D. top gun spends a little downtime in England with some old – and largely deceased – pals, he has a bit of an extended fright after one of them points out ‘The Mole’ growing on the arcane agent’s left hand…

Re-presenting 2007’s 6-issue miniseries Hellboy: Darkness Calls and including a brace of epilogues created especially for the first collected edition, this tale is especially noteworthy as creator Mignola surrendered visual autonomy over his legendary character to illustrator Duncan Fegredo – with evocative support as always from colourist Dave Stewart and letterer Clem Robins – whilst moving the years-in-the-making saga towards its long-awaited cataclysmic conclusion…

The drama opens beneath rural Italy as accursed wizard Igor Weldon Bromhead hastens the destruction of humanity by summoning and binding the malign witch-goddess Hecate. Bromhead wants revenge and doesn’t care if the world burns in his getting of it. In faraway England, the ripples of his acts alert the fey folk and other supernatural entities that the End Times are finally upon them…

Hellboy is still in Britain; visiting old friends and desperately seeking to sidestep the fate he seems incapable of escaping or thwarting. Restless, he wanders into the woods, seemingly oblivious to the strange signs and portents dogging his heels until he encounters a strange trio of sinister characters and is sucked into a living history lesson…

After also meeting the ghost of witchfinder Henry Hood, Hellboy is made painfully aware of a deadly rising of the covens, as congregated creatures of the night attack him in an abandoned church. After a climactic battle – and more painful revelations of his past and ordained future – the paranormal paragon is suddenly yanked away into the infernal arctic domain of terrifying nemesis Baba Yaga: the Russian witch-queen sworn to destroy him…

In England, witches continue to gather, urged on by minor demon Gruagach; another unclean creature with a grudge against Hellboy. He advocates waking a long-buried queen of the dark to lead their final assault on the world and will not be dissuaded…

Meanwhile in Baba Yaga’s land of eternal chill, Hellboy is holding his own against the sorceress’ legions but is about to meet his match against her greatest thrall: an indomitable, unstoppable warrior dubbed Koshchei the Deathless.

The captive is not without allies. Fallen god Perun, giant wolves and a rebellious Domovoi (house spirit) all offer what aid they can but it’s the ministrations of little dead girl Vasilisa that provide Hellboy with an opportunity to escape the endless war and return to the physical world.

While he has been gone, however, events have moved on. The hags and weird folk have succeeded in freeing the one who will lead them in the final clash with humanity, and the benign spirits who have sheltered Man for so long see that their own long, long lives are finally done…

Offering astounding supernatural spectacle, amazing arcane action, mounting mystical tension and the imminent end of decades of slowly unfolding wonderment, this is merely the beginning of the End…

Climactic 8-issue miniseries Hellboy: The Wild Hunt from 2008-2009 draws together many subtly scattered clues disseminated throughout his innumerable tempestuous exploits and at last provides a conclusion to more than 15 years of slowly boiling magical suspense… as well as the incredible answers to the enigma of the horrific hero’s doom-drenched double destiny…

Mignola & Fegredo resume the fateful tale as the fey folk and other creatures of ancient mythology and legend are fading into non-existence in the face of a bloody rising of witches. The malevolent hags have a new queen who promises blood and slaughter and domination of the world by her kind whilst the only being who might stop her inexorable ascendance is missing…

In rural Italy, Hellboy receives a letter from a most ancient and august society. The paranormal paragon has been hiding; avoiding having to deal with the hard-wired cosmic fate which will not let him go…

Nevertheless, on reading the missive, Hellboy returns to England and meets the oldest members of the aristocratic secret society known as the Wild Hunt. They have been clandestinely defending the Sceptr’d Isles from mystic assault for centuries and – more aware of Hellboy’s destiny-drenched antecedents than the hero himself – urge him to join them in exterminating a band of primordial giants set to ravage the Realm…

The entire affair is a trap, but the mortal warriors are no match for Hellboy who defeats his duplicitous opponents before also despatching the giants in an uncontrollable burst of berserker madness…

In a faraway place, ensorcelled goblin Gruagach of Lough Leane reflects on a long-ago slight inflicted upon him by Hellboy. This has been the cause and trigger of all the carnage and world-shattering destruction about to unfold as soon as the new Queen of Witches is ready. Perhaps he repents it all, just a shade…

The subject of his hate is currently in Ireland, renewing the acquaintance of Alice whom he saved from being abducted as a baby by the Little People. The decades have been uncannily kind, as if some elfin magic rubbed off on her…

As the Red Queen cruelly consolidates her power in England, Hellboy and Alice are visited by former pixie potentate Queen Mab who reveals another missing part of a decades-long puzzle and hints that there might be way to thwart this oppressive, inescapable destiny.

However, when another supposed ally betrays them and Alice is wounded unto death, Hellboy is approached by re-embodied myth Morgan Le Fay who offers to trade for the mortal girl’s life.

Le Fay reveals that although the hell-born hero is certainly the son of the devil. his human mother could trace her own line back to Arthur Pendragon. Hellboy is the doom of mankind but also the True King of England, and she is his many-times removed grandmother…

If he wants to save humanity from an army of darkness, he has his own to call upon – one comprising millennia of Britain’s noble dead. All Morgan’s heir has to do is take up the Sword in the Stone.

It should be easy. His new occult opponent – now calling herself the Mor-Rioghain – also wants to awaken the dragons from the beginning of time and wipe out humanity: the fore-ordained role Hellboy has sworn never to enact…

With horror Hellboy realises he has not been running from one unwanted Destiny, but two…

With fate closing in all around him, Hellboy is uncharacteristically nonplussed, but an ethereal visitation prompts him to ferocious action and as he confronts his own inherently evil nature to finally throw off all the sly influences attempting to sway him and once again choose his own path…

The opportunity came via twinned 3-issue miniseries, entitled Hellboy: The Storm and Hellboy: the Fury and opens in England as the police investigate bizarre grave desecrations: ancient church crypts and stone sarcophagi all lacking the knights and nobles who once lay in them…

The constabulary are grateful for the assistance of noted parapsychologist Hellboy, but he’s not saying much…

As Hellboy and Alice review the situation they are again attacked by elements of Britain’s mythical past sworn to the new Witch Queen even as, elsewhere, Gruagach is confronted by the land’s greatest mage who reveals the shocking truth of the red-handed harridan. The petty-minded cause of humanity’s last war is given one last chance to repent and redeem himself, but with carnage and malevolence mounting in every realm, it might be too late…

As Hellboy and Alice catch their breath in the strangest tavern in the benighted kingdoms, the duties of his office and the risen army of nobles assemble and await his decision to accept or reject his twin destinies: King of Britain and all Mankind or Lord of Hell…

And as he struggles with his decision, Hellboy’s oldest enemies gather to confront him one last time and as he reels with the force of the choices the primal forces of Ragna Rok are finally awakened to Fight the Last Battle: the Champion of Man against the Great Dragon…

All that is left now is the killing and the final judgement… or is there still a chance to save the world and evade damnation?

Offering astounding supernatural spectacle, amazing arcane action, and unfolding with the pace of a mythic saga, the majestic mystery of Hellboy is a true landmark of comics storytelling and one every comics fan and fantasy aficionado should read.

Rounding out this occult endeavour is a stunning Hellboy Sketchbook Section which includes behind-the-scenes insights, author commentary, character designs, breathtaking drawings and roughs detailing the development and visual evolution of the beasties and bad guys populating the stories to sweeten the pot for every lover of great comics art.

Baroque, grandiose, alternating suspenseful slow-boiling tension with explosive catharsis, Hellboy mixes apocalyptic revelation with astounding adventure to enthral horror addicts and action junkies alike. This is another cataclysmic compendium of dark delights you simply must have.
Hellboy™ The Wild Hunt © 1993, 2018 Mike Mignola. Hellboy, Abe Sapien, Liz Sherman and all other prominently featured characters are trademarks of Mike Mignola. All rights reserved.

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Shazam!: A Celebration of 75 Years


By Bill Parker, Otto Binder, Elliot S. Maggin, Denny O’Neil, E. Nelson Bridwell, Roy Thomas, Paul Kupperberg, Alan Grant, Jerry Ordway, Joe Kelly, David Goyer, Geoff Johns, Jeff Smith, C.C. Beck, Marc Swayze, Mac Raboy, Pete Costanza, Chad Grothkopf, Curt Swan, Kurt Schaffenberger, Don Newton, Rich Buckler, Barry Kitson, Peter Krause, Duncan Rouleau, Leonard Kirk, Gary Frank & various (DC Comics)
ISBN: 978-1-4012-5538-1 (HB)

At their most impressive, superhero comics combine the gravitas of mythology with all the sheer child-like fun and exuberance of a first rollercoaster ride. A perfect example of this is the original happy-go-lucky hero we can’t call Captain Marvel anymore.

First seen in the February 1940 issue of Whiz Comics (#2 – there was no #1) and cashing in on the comicbook sales phenomenon of Superman, the big red riot eventually won his name after narrowly missing being Captain Flash and Captain Thunder. He was the brainchild of Bill Parker and Charles Clarence Beck. Originally dispensing the same sort of summary rough justice as his contemporaries, the character soon distanced himself from the pack – Man of Steel included – by an increasingly light, surreal and comedic touch, which made him the best-selling comics character in America.

Billy’s alter ego could beat everybody but copyright lawyers; during his years of enforced inactivity the trademarked name passed to a number of other publishers before settling at Marvel Comics and they are never, never, never letting go. You can check out and compare their cinematic blockbuster version with the DC Extended Universe’s Shazam! flick too…

Publishing house Fawcett had first gained prominence through an immensely well-received magazine for WWI veterans entitled Captain Billy’s Whiz-Bang, before branching out into books and general interest magazines. Their most successful publication – at least until the Good Captain hit his stride – was the ubiquitous boy’s building bible Mechanix Illustrated and, as the comicbook decade unfolded, the scientific and engineering discipline and “can-do” demeanour underpinning MI suffused and informed both the art and plots of the Marvel Family titles.

As previously stated, the big guy was created by writer/editor Bill Parker and brilliant young artist Charles Clarence Beck who, with his assistant Pete Costanza, handled most of the art on the series throughout its stellar run. Other writers included William Woolfolk, Rod Reed, Ed “France” Herron, Joe Simon, Joe Millard, Manley Wade Wellman and the wonderfully prolific Otto Binder.

Before eventually evolving his own affable personality, the Captain was a serious, bluff and rather characterless powerhouse whilst his junior alter ego was the true star: a Horatio Alger archetype of impoverished, boldly self-reliant and resourceful youth overcoming impossible odds through gumption, grit and sheer determination…

Collecting in a big bold hardback trade paperback (and assorted digital formats) Whiz Comics #2, 21, Captain Marvel Adventures #18, 38, 39, 137, 148, Captain Marvel Jr. #12, Marvel Family #1, Hoppy the Marvel Bunny #6, Shazam! #1, 29, Superman #176, World’s Finest Comics #275, DC Comics Presents #49, L.E.G.I.O.N. ’91 #31, The Power of Shazam! #1, 2, 33, Action Comics #768, JSA #48, Shazam!: The Monster Society of Evil #2, Justice League #21 and The Multiversity: Thunderworld #1 this is a magnificent primer of key moments and triumphs for a hero to whom change is everything…

The action opens in the Golden Age as Part I 1940-1953: The Big Red Cheese offers an abridged version of writer and historian Richard A. Lupoff’s 1992 Introduction to the Shazam Archives volume #1: a context-setting appreciation and appraisal covering the facts of his creation and his impact, after which Whiz Comics #2, (February 1940) provides our glimpse of the boy hero…

Drawn in a style reminiscent of early Hergé, ‘Introducing Captain Marvel’ sees homeless orphan Billy Batson lured into an abandoned subway tunnel to a meeting with millennia-old wizard Shazam. At the end of a long, long life fighting evil, the white-bearded figure grants the lad the power of six gods and heroes (Solomon, Hercules, Atlas, Zeus, Achilles and Mercury) and urges him to carry on the good fight. In thirteen delightfully clean and simple pages crafted by Bill Parker & C.C. Beck, Billy gets his powers, has his secret origin revealed (he’s heir to a fortune embezzled by his crooked uncle Ebenezer), wins a job as a roaming radio reporter for Amalgamated Broadcasting on Station WHIZ, and defeats the mad scheme of Doctor Thaddeus Bodog Sivana who is holding the airwaves of America hostage. Defeating the demonic mad scientist sets a pattern that would captivate readers for the next 14 years…

Next, from Whiz Comics #21 ‘The Vengeful Four’ (September 5th 1941 – fortnightly, remember?) is an uncredited script limned by Beck wherein Sivana gathers three other villains to attack the hero in his youthful identity. What luck then that three other kids named Billy Batson are in town and that the magic of Shazam apparently extends to them…

Fat Billy, Tall Billy and Hill Billy took to trouncing thugs in a trice and, as the Three Lieutenant Marvels, would become frequent guest stars in years to come…

Billy soon found a companion in peril when Fascist überman Captain Nazi almost murders newsboy Freddie Freeman. Guilt-plagued Billy brings the dying lad to Shazam’s mystic citadel where the old wizard saves his life by granting him access to the power of the ancient gods and heroes. Physically cured – except for a permanently maimed leg – there is a secondary effect: whenever he utters the phrase “Captain Marvel” Freeman transforms into a super-powered, invulnerable version of his mortal self…

That origin isn’t included here but does lead into the debut of Billy’s long-lost twin sister. Cover-dated December 11th 1942, Captain Marvel Adventures #18 cover features ‘Captain Marvel Introduces Mary Marvel’ (by Otto Binder, Marc Swayze & Mac Raboy) as radio contest competitor Mary Bromfield – a wealthy (adopted) heiress – is kidnapped. While saving her, Billy and Freddie uncover the family connection and Mary discovers that shouting “Shazam!” has a remarkable effect upon her too…

While the adult Captain Marvel was having increasingly light-hearted adventures, Freddie’s adventures in Master Comics and Captain Marvel Jr. were dark and dramatic: illustrated with potent, dynamic verve and grace by one of the most gifted draughtsmen of the era. A typical magnificent example features here as Captain Marvel Jr. #12, (October 1943, by Binder & Mac Raboy) provides the boy hero with a brutal arctic rematch against Captain Nazi in ‘Baffin Land’…

Fawcett in full bloom was a true publishing innovator and marketing dynamo – now regarded as the inventor of many established comicbook sales-tactics, and storytelling innovations we all take for granted today were invented by their creative folk. Fawcett was responsible for creating crossover-events and also devised a truly unforgettable villain as part of a two-year long continued story!

The “Monster Society of Evil” began in March 1943’s Captain Marvel Adventures #22, and blazed away until ending with issue #46 (May 1945). The alien tyrant in charge was a malevolent worm from Venus dubbed Mr. Mind. Included here are two chapters – #17 and 18 from Captain Marvel Adventures #38 & 39 September and October 1944. Crafted by Binder & Beck, ‘Mr. Mind’s Movie Madness’ and ‘Peril Behind the Camera’ pits Billy and his older self against the utterly vile ubi vermis (that’s Latin for worm, science fans) during the making of the world’s worst monster movie…

‘The Mighty Marvels Join Forces’ (December 1945 by Binder, Beck & Pete Costanza) finds Billy, Mary and Freddie battling the depraved and corrupted Black Adam, who was old Shazam’s first gods-empowered champion 5000 years ago in the lead tale from team-title Marvel Family #1 (December 1945).

Superheroes began to fall from popularity as WWII ended and every publisher began searching other genres. Fawcett had already applied their winning formula to the all-ages cartoon critters market with Fawcett’s Funny Animals #1 (December 1942), which featured a lop-eared costumed crusader. Hoppy the Marvel Bunny (by Chad Grothkopf) got his own title as hostilities died down, and from #6 (November1946) comes ‘Phantom of the Forest’ as the mighty rabbit exposes supposed ghosts terrorising woodland folk…

The post-war years were simply magical times, with the creative crew at the top of their game. Captain Marvel Adventures #137 (October 1952) provides ‘King Kull and the Seven Sins’ by Binder, Beck wherein a beast-king from a pre-human civilisation frees the embodiments of Man’s greatest enemies from Shazam’s custody to plague the planet. These are wholesome tales for the entire family, however, so don’t worry – “Lust” has become “Injustice” and “Wrath” is “Hatred”, here…

The last yarn is from the Good Captain’s final year of Golden Age publication: a year that generated some of the best tales in the entire run, represented here by the wonderfully surreal ‘Captain Marvel Battles the World’ from Captain Marvel Adventures #148 (September 1952, by Binder and Beck) wherein Earth decides it has had enough of humanity mistreating it and tries to wipe out life and start again…

DC, in their original identity of National Periodical Publications, had filed suit against Fawcett for copyright infringement as soon as Whiz Comics #2 was released, and the companies had slugged it out ever since. In 1953, with sales of superhero comics decimated by changing tastes, Captain Marvel’s publishers decided to capitulate. They settled and the “Big Red Cheese” vanished – like so many other superheroes – becoming no more than a fond memory for older fans…

In Britain, where an English reprint line had run for many years, creator/publisher Mick Anglo had an avid audience and no product, and so swiftly transformed Captain Marvel into the atomic age hero Marvelman, continuing to thrill readers into the early 1960s.

DC eventually acquired all rights, titles and properties to the Captain Marvel characters. Beck returned to commercial and magazine illustration, while Binder & Schaffenberger joined the victorious opposition, becoming key Superman creators of the next few decades….

At the height of his popularity Captain Marvel was an international franchise across the world. However, tastes and the decade changed, and the mighty marvel faded away. Time passed, other companies and heroes were created and also failed, as America lived through another superhero boom-and-bust. We call it the Silver Age now…

The Bronze Age of the 1970s dawned with a shrinking industry and a wide variety of comics genres servicing a base that was increasingly founded on collector/fans and not casual or impulse buys. We rejoin our hero with the new decade fully founded as Part II 1973-1993: Cancellation and Revival sees his glorious return…

National Periodicals – rebranded as DC Comics – needed sales and were prepared to look for them in unusual places. After 1953’s settlement with Fawcett, they had secured the rights to Captain Marvel and Family, and even though the name itself had been taken up by Marvel Comics (via a circuitous and quirky robotic character published by Carl Burgos and M.F. Publications in 1967), DC decided to tap into that discriminating older fanbase.

In 1973, DC turned to the Good Captain to see if his unique charm could work another sales miracle during one of comics’ periodic downturns. Riding a wave of mass-media and movie nostalgia, they revived the entire beloved Captain Marvel cast in their own kinder, weirder universe.

To circumvent the intellectual property clash, they entitled the new comic book Shazam! (‘With One Magic Word…’) the trigger phrase used by the majority of Marvels to transform to and from mortal form and a word that had already entered the American language due to the success of the franchise the first time around.

Recruiting the top talent available, the company tapped editor Julie Schwartz – who had a few notable successes with hero revivals – to steer the project. He teamed top scripter Denny O’Neil with original artist C.C. Beck for the initial story…

All this is succinctly covered in E. Nelson Bridwell’s essay (originally published in 1978’s All-New Collectors Edition #C-58) which leads off this eclectic second section…

Strangely positioned before that debut, however, comes Superman #176 (June 1974): Elliot S. Maggin, Curt Swan & Bob Oksner’s ‘Make Way for Captain Thunder!’ The sales and fan rivalry between fans of the Man of Steel and Big Red Cheese (Sivana’s pet name for his stout-hearted nemesis) had endured for decades, and Schwartz took full advantage by having the two finally – if notionally – meet, courtesy of magical trans-dimensional jiggery-pokery in a titanic tussle to delight 10-year-olds of all ages.

You will recall, I’m sure, that Captain Thunder was one of the options considered in 1940 before Fawcett went with the Marvel name…

Finally, then comes Shazam! #1 (February 1973)… ‘In the Beginning’ recounts, in grand old self-referential style, the classic origin whilst ‘The World’s Wickedest Plan’ relates how the Captain, his super-powered family and all the supporting cast (there’s a very useful seating chart-cum-biography page provided for your perusal) had been trapped in a timeless state for 20 years by the invidious Sivana Family who had subsequently been trapped in their own Suspendium device too.

Two decades later, they are all freed, baddies included, to restart their lives and resume their feuds.

Beck was profoundly unhappy with the quality of stories he was given to draw and soon left the series. One of his assistants and stable-mates from the Fawcett days had been a Superman Family mainstay for decades and smoothly fitted into the vacated lead-artist position. Kurt Schaffenberger was delighted to again be drawing one of his all-time favourite assignments again, and his shining run is represented here by Shazam! #29 (June 1977), as ‘Ibac meets Aunt Minerva’ (Bridwell, Schaffenberger & Vince Colletta. Set in Buffalo, New York and at Niagara Falls, it features a comedic battle of the sexes that was heavy on the hitting. Although the series was not a soaring success, it had spawned a hit kids TV show, introducing the Big Red Cheese to a new generation of viewers…

When the title was cancelled, the Shazam Family began appearing in anthology titles such as World’s Finest Comics with the scent gradually shifting from whimsy to harder-edged contemporary superhero stories. Here WF #275 (January 1982) supplies ‘The Snatching of Billy Batson’ by Bridwell, Don Newton & Dan Adkins; a stirring crime thriller mystery with Freddie taking the lead role…

Team-up title DC Comics Presents #49 (September 1982) then features ‘Superman and Shazam’ (Roy Thomas, Paul Kupperberg, Rich Buckler & John Calnan) which sees the immortal wizard enlist the Action Ace’s assistance to create a Captain Marvel for Earth-1. It does not go well after Black Adam interferes…

Now fully part of the DC universe, Captain Marvel popped up everywhere. He was even a long-suffering straight man in Justice League International for a while, and here (from L.E.G.I.O.N. ’91 #31, September 1991) Alan Grant & Barry Kitson concoct a wickedly funny slugfest as the big red boy scout tries to reason with drunk and hostile super-lout Lobo in ‘Where Dreams End’…

After a number of ill-received reinventions of the Shazam! concept and franchise – revised over and over again to seem relevant to a far darker, more hopeless and uncompromising world and readership – in 1994 a fresh new treatment by Jerry Ordway revitalised the heroic legend; offering a thoroughly modern but spiritually pure reboot that finally held the interest of modern readers.

Following Ordway’s introduction to Part III 1994-2010: The World’s Mightiest Mortal, a too-brief selection of those tales begins with ‘Things Change’ and ‘The Arson Fiend’ (by scripter Ordway, Peter Krause & Mike Manley from The Power of Shazam! #1 & 2, March and April 1995).

The monthly series had resulted from an original graphic novel (which I’ll be covering imminently as it’s not here) which transplanted Billy to Fawcett City in the DC Universe and enticingly added all the old plot points the readership loved: abandoned street kid, lost sister, talking tigers, and manic villains such as Sivana and Black Adam…

In the initial yarn Billy confronts his evil, embezzling uncle Ebenezer just as a lethal supernatural pyromaniac sets the Batson mansion ablaze. To make things worse, old Shazam has just cut off his rebellious protégé from the wellspring of his superpowers…

The series balanced superb Fights ‘n’ Tights clashes with potent emotional tension, and issue #33 (December 1997, by Ordway, Krause & Dick Giordano) offers a remarkable human-interest tale with ‘Yeah – This is a Face Only a Mother Could Love’: a powerful, poignant yet ultimately uplifting treatment of intolerance and the collateral damage of superhero encounters where Billy tries to help a school-friend hideously scarred by the Arson Fiend. It’s possibly the best-executed and least known story in the book…

Superman and Captain meet again in Action Comics #768, (August 2000 by Joe Kelly, Duncan Rouleau & Jaimie Mendoza) as ‘O Captain, My Captain’ sees a goddess-controlled Marvel Family attack the Man of Tomorrow in a fun-filled romp after which JSA #48 (July 2003) provides ‘Enlightenment’ courtesy of David Goyer, Geoff Johns, Leonard Kirk & Keith Champagne.

Extracted from extended epic ‘Princes of Darkness’, this sidebar yarn finds Billy deprived of his adult alter ego, and battling to survive beside teen hero Star Girl as mystic night closes over Earth.

A true return to greatness came in 2007 when Jeff Smith rebooted the magic in Shazam!: The Monster Society of Evil. You can find the entire saga recently reviewed here, represented in this titanic tome by issues #2’s ‘NZIB GZPVH GSV XZPV! [Mary Takes the Cake!]’

Bringing us almost up to date, final chapter Part IV 2011 and Beyond: The New 52 focuses on the latest reboot which grew out of a new Justice League configuration.

Set as a series-within-a-series (in issues #7-11, #0 and #14-17) and again turning to a far harder-edged street kid persona ‘Shazam!’ was reimagined by Geoff Johns & Gary Frank and in Justice League #21 (August 2013) where the confused kid finds his Marvel Family and earns his hero stripes in final battle with murderous Black Adam…

Rounded out with stunning covers by Beck, Costanza, Mac Raboy, Chad Grothkopf, Nick Cardy, Murphy Anderson, Schaffenberger, Rich Buckler & Dick Giordano, Dan Brereton, Jerry Ordway, Duncan Rouleau & Lary Stucker, Carlos Pacheco & Jesus Merino, Jeff Smith & Gary Frank, this is a glorious tribute to a truly mercurial comics champion.

The original Captain Marvel is a genuine icon of American comics history and a brilliantly conceived superhero for all ages. This stunning flag-of-convenience collection only scratches the surface of the canon of delights produced over the years, but is still a perfect introduction to the world of those ever-changing comics charm and one that will appeal to readers of any age and temperament, especially after a few hours in a darkened movie theatre…
© 1940, 1941, 1942, 1943, 1944, 1945, 1946, 1952, 1973, 1974, 1977, 1982, 1991, 1995, 1997, 2000, 2003, 2007, 2013, 2014, 2015, DC Comics. All Rights Reserved.

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Deadpool Classic volume 1


By Fabien Nicieza, Rob Liefeld, Mark Waid, Joe Kelly, Joe Madureira, Ian Churchill, Lee Weeks, Ken Lashley, Ed McGuiness & various (Marvel)
ISBN: 978-0-7851-3124-3 (TPB)

Bloodthirsty killers and stylish mercenaries have long made for popular protagonists. Here’s one we prepared earlier. Deadpool is Wade Wilson: a survivor of genetics experiments that have left him a scarred, grotesque bundle of scabs and physical unpleasantries – but practically invulnerable and capable of regenerating from literally any wound.

In his modern incarnation he’s also either one of the few beings able to perceive the true nature of reality or a total gibbering loon…

Collecting – in paperback and digital editions – his early outrages from New Mutants #98, Deadpool: The Circle Chase, Deadpool: Sins of the Past and Deadpool #1 (spanning February 1991 to January1997), this tome is the first in a series archiving his ever more outlandish escapades…

The wisecracking high-tech “merc with a mouth” was created by Rob Liefeld & Fabian Nicieza and first appeared in the aforementioned New Mutants #98 in ‘The Beginning of the End’. A throwaway killer in a convoluted saga of mutant mayhem with little else to recommend it, he was another product of the Canadian “Weapon X” project that created Wolverine and so many other second-string mutant and cyborg super-doers. Here he fails to kill future warrior Cable and his teen acolytes (imminently rebranded as X-Force)…

His first shot at stardom came with 4-issue miniseries The Circle Chase from August to November 1993 and by Nicieza, Joe Madureira & Mark Farmer. A fast-paced if cluttered thriller sees Wade pursuing an ultimate weapon as one of a large crowd of mutants and variously enhanced ne’er-do-wells trying to secure the fabled legacy of arms dealer and fugitive from the future Mr. Tolliver.

Among the other worthies after the boodle in ‘Ducks in a Row’, ‘Rabbit Season, Duck Season’, ‘…And Quacks Like a Duck…’ and ‘Duck Soup’ are Black Tom and the Juggernaut, the then-latest iteration of Weapon X, shape-shifter Copycat and a host of disposable yet fashionable cyborg loons with odd names like Commcast and Slayback.

If you can swallow any nausea associated with the dreadful trappings of this low point in Marvel’s tempestuous history, there is a sharp and entertaining little thriller underneath…

The second miniseries (from August to November 1994) revolves around Black Tom and Juggernaut.

Collaboratively contrived by writer Mark Waid, pencillers Ian Churchill, Lee Weeks, Ken Lashley and inkers Jason Minor, Bob McLeod, Bub LaRosa, Tom Wegryzn, Philip Moy & W.C. Carani, ‘If Looks Could Kill!’, ‘Luck of the Irish’, ‘Deadpool, Sandwich’ and ‘Mano a Mano’ offer a hyperkinetic race against time heavy on explosive action.

During the previous yarn it was revealed that Irish arch-villain Black Tom was slowly turning into a tree. Desperate to save his life the bad guy and his best bud Juggernaut manipulate Wade by exploiting the mercenary’s relationship with Siryn (a sonic mutant and Tom’s niece).

Believing Deadpool’s regenerating factor holds a cure, the villains cause a bucket-load of carnage at a time when Wilson is at his lowest ebb. Packed with mutant guest stars, this is a shallow but immensely readable piece of eye-candy.

Closing this debut Classic collection is the first fun-&-fury filled issue of Deadpool by Joe Kelly, Ed McGuiness, Nathan Massengill & Norman Lee. Opting for devious, daring, near-the knuckle comedy to balance the manic action, it is the true beginning of the killer clown we all know and love…

Extra-sized spectacular ‘Hey, It’s Deadpool!’ reintroduces the mouthy malcontent, and depicts his “office” and “co-workers” at the Hellhouse where he picks up his contracts. We are also afforded a glimpse at Wade’s private life in San Francisco where he has a house and keeps an old, blind lady as a permanent hostage. This was never your regular run-of-the-mill hero comic…

The insane action part of the tale comes from the South Pole where the Canadian government has a super-secret gamma weapon project going, guarded by the Alpha Flight strongman Sasquatch. Somebody is paying good money to have it destroyed so cue merc, mouthiness, and mayhem…

Featuring a frenetic blend of light-hearted, surreal, fighting frolics and incisive, poignant relationship drama that is absolutely compulsive reading for dyed-in-the-wool superhero fans who might be feeling just a little jaded with four-colour overload, this is the real deal and promises more and better to come…
© 1993, 1994, 1996, 2012 Marvel Characters, Inc. All rights reserved.

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Buck Danny volume 2: The Secrets of the Black Sea


By Francis Bergése & Jacques de Douhet; colours byFrédéric Bergése and translated byJerome Saincantin (Cinebooks)
ISBN: 987-1-84918-018-4 (TPB)

Premiere pilot Buck Danny premiered in Le journal de Spirou in January 1947 and continues soaring across the Wild Blue Yonder to this day. The strip details the improbably long but historically significant career of the eponymous Navy pilot and his wing-men Sonny Tuckson and JerryTumbler. It is one of the world’s last aviation strips and a series which has always closely wedded itself to current affairs such as The Korean War, Bosnia and latterly Gulf and Afghanistan.

The Naval Aviator was created by Georges Troisfontaines whilst he was director of the Belgian publisher World Press Agency, and initially depicted by Victor Hubinon before being handed to the multi-talented Jean-Michel Charlier, who was then working as a junior artist.

When Charlier, with fellow creative legends Albert Uderzo and René Goscinny, formed the Édifrance Agency to promote the specialised communication benefits of comics strips, he continued to script Buck Danny and did so until his death. From then on, his artistic collaborator Francis Bergése (who had replaced Hubinon in 1978) took complete charge of the adventures of the All-American Air Ace, occasionally working with other creators such as in this captivating political thriller scripted by Jacques de Douhet.

Like so many artists involved in stories about flight, Francis Bergése (born in 1941) started young with both drawing and flying. He qualified as a pilot whilst still a teenager, enlisted in the French Army and was a reconnaissance flyer by his twenties. At age 23 he began selling strips to L’Étoile and JT Jeunes (1963-1966), after which he produced his first aviation strip Jacques Renne for Zorro. This was soon followed byAmigo, Ajax, Cap 7, Les 3 Cascadeurs, Les 3 A, Michel dans la Course and many others.

Bergése worked as a jobbing artist on comedies, pastiches and WWII strips until 1983 when he was offered the plum job of illustrating the venerable and globally syndicated Buck Danny. A man with his head very much in the clouds, Bergése even found time in the 1990s to produce some tales for the European interpretation of Great British icon Biggles. He finally retired in 2008, passing on the reins to illustrator Fabrice Lamy & scripter Fred Zumbiehl.

Like all Danny tales this second Cinebook volume is astonishingly authentic in feel and fact: a suspenseful and compelling, politically-charged adventure yarn originally published in 1994 as Buck Danny #45: Les secrets de la mer Noire: blending mind-boggling detail and technical veracity with good old-fashioned blockbuster derring-do.

It’s 1991 and in the dying days of the Soviet Empire a submarine incident leads the American Chief of Naval Operations to dispatch Buck into the newly open Russia of “Glasnost and Perestroika” to ascertain the true state and character of the old Cold War foe. All but ordered to be a spy, Buck is further perturbed by his meeting with ambitious Senator Smight, the US dignitary who is supposed to be his contact and cover-story on the trip to heart of Communism.

Buck is an old target of the KGB and knows that no matter what the official Party Line might be, a lot of Soviet Cold Warriors have long and unforgiving memories…

No sooner does he make landfall than his greatest fears are realised. Shanghaied to a top secret Russian Naval super-vessel, Buck knows he’s living on borrowed time: but his death is apparently only a pleasant diversion for the KGB renegade in charge, whose ultimate plans involve turning back the clock and undoing every reform of the Gorbachev administration… and the key component to the scheme will be a conveniently dead American spy in the wrong place at the right time…

Of course, the ever-efficient US Navy swings into action, determined to rescue their pilot, clean up the mess and deny the Reds a political victory, but there’s only so much Tumbler and Tuckson can do from the wrong side of the re-drawn Iron Curtain. Luckily, Buck has some unsuspected friends amongst the renegades too…

Fast-paced, brimming with tension, packed with spectacular air and sea action and delivered like a top-class James Bond thriller, The Secrets of the Black Sea effortlessly plunges the reader into a delightfully dizzying riot of intrigue, mystery and suspense. This is a superb slice of old-fashioned razzle-dazzle that enthrals from the first page to the last panel and shows just why this brilliant strip has lasted for so long.

Suitable for older kids and boys of all ages and gender, the Adventures of Buck Danny is one long and enchanting tour of duty no comics fan or armchair adrenaline-junkie can afford to miss. Chocks Away…
© Dupuis, 1994 by Bergése& de Douhet. English translation © 2009 Cinebook Ltd. All Rights Reserved.

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First Names: Amelia Earhart and First Names: Harry Houdini


By Andrew Prentice & Mike Smith (David Fickling Books)
By Kjartan Poskitt & Geraint Ford (David Fickling Books)
ISBN: 978-1-78845-023-2 (Amelia) 978-1-78845-024-9 (Harry)

Since its premiere in 2012, The Phoenix has offered humour, adventure, quizzes, puzzles and educational material in a traditional-seeming weekly comics anthology for girls and boys. The vibrant parade of cartoon fun, fact and fantasy has won praise from the Great and the Good, child literacy experts and the only people who really count – a dedicated legion of totally engaged kids and parents who read it avidly…

David Fickling Books provides other types of reading matter: novels, graphic novels and a newish imprint of cartoon and strip illustrated biographies highlighting historical and contemporary groundbreakers and earthshakers.

First Names introduces young readers to noteworthy achievers rightly deemed role models and adds now to its initial offerings Emmeline Pankhurst and Elon Musk the life stories of Amelia Earhart and Harry Houdini. Devised along the lines of the mega-successful, eternally-engaging Horrible Histories books, these prose paperbacks come with a superabundance of monochrome cartoon illustrations to keep the pace of learning fast and fact-packed, and are bright, breezy, easily-accessible hagiographies with the emphasis on graphics.

 

Written by Andrew Price, Amelia Earhart tracks the short but brilliant career of the indomitable aviation pioneer and women’s rights activist, adroitly delineating her character and achievements while deftly downplaying – but never sugar-coating – the facts of her tragic early death.

The reader gets a taste of her indefatigable character and gumption in ‘Introduction – Kansas, Winter 1907’ before ‘Amelia Arrives’ and ‘Amelia Gets A Chance’ follows an early life of frustrated potential and domestic tribulation before indomitable Amelia Mary “Millie” Earhart finally achieves her only ambition in ‘Amelia Takes To The Sky’.

The legend we appreciate – and think we know now – is carefully and engagingly deconstructed in successive chapters (‘Amelia Earns Her Wings’, ‘Amelia Takes The Plunge’ and ‘Amelia Finds Fame’) as we learn how much more there was to the young woman who passionately believed there was no task or job only men could accomplish.

Glory and notoriety – with all its rewards and pitfalls – follow in ‘Amelia Goes Solo’, ‘Amelia Soars Even Higher’ and ‘Amelia Flies The World’ before the details of ‘Amelia’s Final Flight’ are covered. Even in her own brief lifetime, Amelia Earhart was a global inspiration, and appendix ‘Then Along Came Jerrie’, reveals how one young girl who followed that final fateful excursion – to become the first woman to fly around the world – eventually accomplishing the feat in “Millie’s” name…

Aiding and abetting, illustrator Mike Smith crafts engaging and contextualising pictorial vox-pops and chats with the pilot herself and clarifies routes and technicalities, capturing the personalities of the period in witty cartoon spreads such as ‘Millie Explains: Being a Girl in 1910’, ‘Amelia Explains: Barnstorming’, ‘Amelia Explains: Early Aeroplanes’, ‘Air Races’, ‘Amelia’s Eventful Atlantic Crossing’ and ‘Amelia’s Round-the World Scrapbook’. As always, there are drawings and visuals on drawings on practically every page, with absorbing sidebars such as ‘The First Female Flyers’, offering potted biographies of Earhart’s rivals, teachers and comrades of the air.

Working in tandem and conspicuous light-hearted good taste, the creators have constructed a timeless appreciation to a woman who fired up the world and proved to naysayers that women were every inch the equal of men.

 

An indisputable legend and household name, the incredible life and eventful career of Harry Houdini is beyond the comprehension of most modern adults, but – as sketched out here by scribe Kjartan Poskitt & and illustrator Geraint Ford – is impressively covered in bullet points, snapshots and vignettes for the younger crowd who still retain their sense of sheer wonder.

A taste of the magnificent showman’s character comes in the ‘Introduction’ relating one of his most famous stunts before ‘Who Was Harry’ debunks some myths and details how ambitious, driven Hungarian émigré Ehrich Weiss came to America and began his greatest trick: turning a poor Rabbi’s son into the greatest magician, escapologist and illusionist the world has ever seen.

The early years are covered in ‘Harry And The Headless Man’ and how his initial brother act become a husband and wife team in ‘Harry And The Other Houdinis’, after which ‘Harry Hits The Bottom’, ‘Harry Gets A Break’ and ‘Harry Heads Abroad’ exposes the steady road to stardom – and all the traps and pitfalls the human marvel had to negotiate.

A global success, Houdini returned to America and started consolidating his life and legend, (as seen in ‘The House That Harry Built’) while always ramping-up his act in ‘Harry Gets Dangerous’, ‘Harry’s Death-Defying Mysteries!’ and ‘Harry Hangs Upside Down’…

His love of inventions and gadgets is highlighted in ‘The Sea Monster And Other Sensations!’, as is his dalliance with movies, while his relentless pursuit and exposure of psychics, mediums and other conmen is covered in ‘Harry And The Spirits’. It’s also the closing of the final curtain as we learn of the ludicrous and tragic circumstances leading to his death…

At least his influence on magicians and other performers is properly addressed in The Legend Lives On…

This biography is a bombastic thrill ride cunningly limned by Mike Smith who provides contextual illustrations, comic strips and details how tricks and stunts are performed in numerous pictorial asides such as ‘Magic Fingers’, ‘How To Be A Mind-Reader’, ‘So How Was It Done?’ and ‘How Jean Eugene Robert-Houdin Changed Magic’.

We will never know all the truths about this inspirational, world-changing performer and crusader but at least here is a perfect introduction into his astounding world of wonder…

Invoking the heady baby boomer days of factual entertainment comics such as Look and Learn and Tell Me Why, these extremely enticing books promise – and resoundingly deliver – a measured and informative dose of palatable fact from the world’s rich treasury of past-and-present Stuff To Know, and do it with great charm and efficiency.

More Please!
First Names: Amelia Earhart Text © Andrew Prentice 2019 and illustrations © Mike Smith 2019. All rights reserved.
First Names: Harry Houdini Text © Kjartan Paskitt 2019 and illustrations © Geraint Ford 2019. All rights reserved.

First Names: Amelia Earhart and First Names: Harry Houdini will be published on April 4th 2019 and are available for pre-order now.

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Daredevil Marvel Masterworks volume 9


By Gerry Conway & Gene Colan, with Tom Palmer, Syd Shores, Ernie Chan & various (Marvel)
ISBN: 978-0-78519-152-0 (HB)

Matt Murdock is a blind lawyer whose remaining senses hyper-compensate, making him capable of astonishing acrobatic feats, a formidable fighter and a living lie-detector.

Very much a second-string hero for most of his early years, Daredevil was nonetheless a striking and popular one, due in large part to the roster of brilliant artists who had illustrated the strip. He only really came into his own, however, after artist Gene Colan signed up for the long haul…

DD battled thugs, gangsters, mad scientists and a plethora of super-villains; quipping his way through life and life-threatening combat, utterly unlike the grim, moody quasi-religious metaphor he was seen as in later years.

Covering March 1972 to February 1973 and re-presenting Daredevil (and the Black Widow) this ninth swashbuckling compilation (available in both hardback and eBook formats) sees the once staid and so-very-Establishment Murdock cohabiting with a Russian spy and dumping New York for the sunny climes of the West Coast, the reason for which are covered in writers Gerry Conway’s Introduction ‘Matt and Natasha’s San Francisco Adventure or Wherever you go, There You Are’…

This volume opens in the aftermath of a grand cataclysmic clash against future-born hidden mastermind Mr. Kline which leaves the odd couple in Switzerland and #85 sees the couple tentatively beginning a romantic alliance and returning to America on a ‘Night Flight!’ courtesy of Conway, Gene Colan & inker Syd Shores.

Typically, the plane is hijacked by the bloodthirsty Gladiator, after which another long-forgotten foe resurfaces – for the last time – in ‘Once Upon a Time… the Ox!’ (with stunning Tom Palmer inks) before Matt and Natasha relocate from the Big Apple to San Francisco and stumble into one more ancient Daredevil enemy in #87’s ‘From Stage Left, Enter: Electro!’

The memory lane menaces continue in ‘Call Him Killgrave!’ as the mind-bending Purple Man emerges from the anonymous shadows, erroneously convinced his nemesis has tracked him down to queer his nefarious schemes.

As the origin of the Black Widow is revealed for the first time (something that has been overwritten, back-written and chucked in a plot blender interminably ever since) the sinister spellbinder attacks and is temporarily repulsed only to regroup with Electro and attack again in ‘Crisis!’ just as a mysterious man from Natasha’s sordid past resurfaces with portentous news of a long-forgotten mission…

Daredevil #90 explores ‘The Sinister Secret of Project Four!’ as Hornhead starts suffering inexplicable, incapacitating panic attacks, explained a month later in ‘Fear is the Key!’ when Mister Fear strikes again… only to be revealed as far more than he seems…

Issue #92 finally bowed to the inevitable and became Daredevil and the Black Widow, just as a new menace manifests ‘On the Eve of the Talon!’ before the Project Four saga roars to a conclusion with the introduction of industrialist and paranoid arms-dealer Damon Dran who claims ‘A Power Corrupt!’ before being transformed into a proto-Kaiju and monolithic Indestructible Man rampaging through San Francisco…

Callously, arrogantly aware that ‘He Can Crush the World!’, Dran severely underestimates the power of superhuman heroism and an ultimate sacrifice which tragically saves the day…

Ending this collection – and the trawling of the Scarlet Swashbuckler’s rogues gallery – ‘Bullfight on the Bay!’ saw the metamorphic Man-Bull break jail and start a storm of destruction to revenge himself upon Daredevil, forcing Natasha to do her very worst in the concluding chapter ‘The Widow Will Make You Pay!’(inked by Ernie Chan), a complex tale of love, obsession, revenge and mutagenic potions in the water supply….

Topped off with a far too short selection of original art pages, and despite a few bumpy, dated moments, this book highlights a period where Daredevil blossomed into a truly potent example of Marvel’s compelling formula for success: smart, contemporarily astute stories, human and fallible characters and always, always magnificent illustration. These bombastic tales are pure Fights ‘n’ Tights magic no fan of stunning super-heroics can afford to ignore.
© 1970, 1971, 2015 Marvel Characters, Inc. All rights reserved.

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He Done Her Wrong


By Milt Gross (Fantagraphics Books)
ISBN: 978-1-56097-694-3(TPB)

The power of comics comes not just from wedding text to image but also in the power of illustration. You can have comics without words but if you leave the letters and subtract the pictures what you have is just… a book…

Milt Gross (March 4th 1895-November 29th 1953) was a trailblazing pioneer in both cartooning and the wider arena of popular comedy, specialising in vernacular while refining and popularising Yiddish folk humour and slang into a certified American export to world culture: “Yinglish”. You should really look him up…

Gross was also an early adept in the animation field, bringing his cartoon characters to silent life in numerous short filler features for John R. Bray Studious, Universal and MGM. Far too few of his many books are in print now, but happily, this astounding landmark is one of them and is even available in assorted eBook formats.

He left his mark in comics too, working for William Randolph Hearst’s newspaper chain on numerous syndicated strips including Dave’s Delicatessen, Banana Oil, Pete the Pooch, Count Screwloose from Tooloose, Babbling Brooks, Otto and Blotto, The Meanest Man, Draw Your Own Conclusion, I Did It and I’m Glad! and That’s My Pop! (which was promptly adapted into a radio show).

He Done Her Wrong (The Great American Novel and Not a Word in It – No Music, Too) was released in 1930, lampooning and cashing in on a notable trend of those troubled times: wordless novels. These woodcut-crafted parables derived from the German Expressionist art movement, and offered (generally left-leaning) pictorial epigrams and   studies addressing social injustice. The first was Belgian Frans Masereel’s 25 Images of a Man’s Passion in 1918, and 11 years later American Lynd Ward followed suit with God’s Man. Among the many emulatory efforts it inspired (such as Giacomo Patri’s White Collar) was this broad spoof of silent movie thrillers such as The Perils of Pauline, pitched perfectly for pathos, bathos and hilarity…

A facsimile edition released in 2005 by Fantagraphics, this paperback/digital edition is a complete unabridged restoration – which means the re-inclusion of some images, depictions and scenes that might appear a little controversial to modern sensibilities. It also offers a fascinating picture-packed Introduction by Craig Yoe (devoted friend and patron of all comics vintage and fabulous) and closing Appreciation by eminent cartoonist, writer and editor Paul Karasik.

What lies between those essays is a stunning masterclass in comedy staging, gag timing, magnificent caricaturing and timeless melodrama, delivered as a succession of silent pantomimic pages. It all begins after a hearty trustworthy young woodsman, trapper and prospector falls in love with a virtuous barroom singer. True love is thwarted by a dirty villain who swindles the hero and absconds to New York with his heartbroken, “abandoned” ingenue.

As hero and victim both fall foul of the lures of the big bad city, and vice mounts unstoppably in the woman’s benighted life, the hero overcomes every obstacle to find his lover, battling his way from the wilderness into truly savage civilisation where he will set things right no matter what the cost…

It all works out in the end, of course, but only after an astoundingly convoluted course of action, buckets of tears, some vengeance and forgiveness… and plenty of near-misses and lethally close calls. That sounds like a great thriller – and it is – but Gross played it strictly for laughs, and made a tale to rank with the best of his closest contemporary comedy peers: Charley Chaplin and Buster Keaton.

He Done Her Wrong is a superb yarn and perfect picture into a world that only seems simpler and less complicated than today, and if you love classics stories you should “Dun’t Esk” and just buy it…
He Done Her Wrong © 2005 Fantagraphics Books. All rights reserved. Introduction © 2005 Craig Yoe. An Appreciation © 2005 Paul Karasik.

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Adventures of Tintin: Land of Black Gold


By Hergé, and others, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN: 978-1-40520-814-7 (HB) 978-1-40520-626-6 (TPB)

Georges Prosper Remi, known all over the world as Hergé, created an incontrovertible 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 Hergé Studio, he created 23 splendid volumes (originally produced in brief instalments for a variety of periodicals) that have grown beyond their popular culture roots and attained the status of High Art.

On leaving school in 1925, he worked for the conservative Catholic newspaper Le Vingtiéme Siécle where he fell under the influence of its Svengali-esque editor Abbot Norbert Wallez. A devoted boy scout, Remi produced his first strip series The Adventures of Totor for the monthly Boy Scouts of Belgium magazine the following year, and by 1928 was in charge of producing the contents of the newspaper’s weekly children’s supplement Le Petit Vingtiéme.

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

The rest is history…

Some of that history is quite dark: During the Nazi Occupation of Belgium, Le Vingtiéme Siécle was closed down and Hergé was compelled to move his popular strip to daily newspaper Le Soir (Brussels’ most prominent French-language periodical, and thus appropriated and controlled by the Nazis).

He diligently toiled on for the duration, but following Belgium’s liberation was accused of collaboration and even being a Nazi sympathiser. It took the intervention of Belgian Resistance war-hero Raymond Leblanc to dispel the cloud over Hergé, which he did by simply vouching for the cartoonist and by providing cash to create a new magazine – Le Journal de Tintin – which Leblanc published and managed. The anthology comic swiftly achieved a weekly circulation in the hundreds of thousands and allowed the artist and his team to remaster past tales: excising material dictated by and unwillingly added to ideologically shade the war time adventures as well as generally improving and updating great tales that were about to become a global phenomenon.

With World War II over and his reputation restored, Hergé entered the most successful period of his artistic career. He had mastered his storytelling craft, possessed a dedicated audience eager for his every effort and was finally able to say exactly what he wanted in his work, free from fear or censure. But although these freedoms seemed to guarantee a new beginning the life of the creator was far from trouble-free.

In 1949 he returned to Tintin au pays de l’or noir which had been abandoned when the Nazis invaded Belgium. The story had been commissioned by Le Vingtiéme Siécle, running from 28th September 1939 until 8th May 1940 when the paper was closed down. Set on the eve of a European war, the plot revolved around Tintin hunting seditionists and saboteurs sabotaging oil supplies in the Middle East…

Now safely able to resume the tale – with some necessary updating – the story began afresh on 16th of September 1948 and ran to its conclusion on February 23rd 1950, and was promptly collected into a full-colour album the same year. It remained problematical: and publication was suspended on August 4th 1949 until 27th October. Hergé had suffered a nervous breakdown and could not work for months. As he recuperated in Switzerland, the magazine turned disaster into a publicity stunt: declaring “Shocking News! Hergé has Disappeared!” It is a tribute to his skills and those of his studio team that the finished tale reveals none of his personal problems, but is an almost seamless and riveting yarn of political and criminal gangsterism; exotic, rocket-paced, surreal, hilarious and breathtakingly exciting.

The story concerns a plot to destabilise global peace by sabotaging petrol. All oil is somehow made more flammable, causing engines to explode when refuelled. Tintin traces the sabotage to the freighter Speedol Star, which he joins as Radio Officer. The dim-witted detectives Thomson and Thompson are also aboard, but much less discreetly, and soon all three are the targets of a numbers of attacks and assaults. When the ship reaches the Arabian port of Khemikhal they are all framed as drug smugglers and arrested.

At that moment Tintin is abducted by rebel tribesmen who believe he is a gunrunner and the now-vindicated detectives go in search of their friend in the desert. After many hardships the intrepid boy and Snowy discover villainous spymaster Doctor Müller (last seen in The Black Island) is trying to ingratiate himself with the oil-rich Emir. Mohammed Ben Kalish Ezab is wise and tolerant, but “blessed” with a wilful and spoiled son, Abdullah, who is kidnapped when he rejects the doctor’s offers. Tintin befriends the Ruler and goes undercover to find the Prince.

Tracking down Müller, Tintin attempts to rescue the prince (whose incessant practical jokes have made him a most unpopular but un-chastisable captive), only to be trapped in a brutal fire-fight in the catacombs beneath the spy’s villa. From nowhere, Captain Haddock (a supremely popular mainstay of latter adventures but unknown at the time of the first iteration) effects a rescue and the plot is revealed and thwarted. He bombastically first appeared after the original Land of Black Gold was abandoned, in The Crab with the Golden Claws and would increasingly steal the spotlight from his goody-goody juvenile partner…

Action-packed and visually delightful, this breezy mystery-thriller is full of humour and chases, with only the last-minute arrival of the dipsomaniac sea captain to slightly jar the proceedings. Presumably the original pages were recycled as much as possible with the popular Haddock inserted at a new breakpoint.

Studio Hergé was formed in 1950 to produce the adventures of Tintin as well other features and Bob De Moor became an invaluable and permanent addition to the production team, filling in backgrounds and most notably rendering the unforgettable Lunar landscapes that feature in the next extended adventure. He was also a vital component of Tintin’s gradual domination of the book market. Frequently despatched on visual fact-finding missions, De Moor revised the backgrounds of The Black Island for a British edition, and repeated the task for the definitive 1971 release of Land of Black Gold. The 1950s book was set in British-Occupied Palestine, but history and taste dictated the creation of a fictitious nation and erasure of many dated and contentious background scenes…

Surviving a troubled genesis, this short tale remains a grand adventure romp, full of epic events and hilarious moments once seen can never be forgotten. This so-modern yarn is a high point in the series, blending heroism and drama with genuine moments of irresistible emotion and side-splitting comedy.

Land of Black Gold: artwork © 1950, 1977 Editions Casterman, Paris & Tournai.
Text © 1972 Egmont UK Limited. All Rights Reserved.

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Martin Brown’s Lesser Spotted Animals 2


By Martin Brown (David Fickling Books)
ISBN: 978-1-788450-39-3 (HB)

Look! Over there!! What’s that?

It looks like animals, but ones that don’t have really good managers or top-flight publicity teams!

A couple of years back, artist Martin Brown crafted a brilliant, award-winning cartoon catalogue of Earth’s least celebrated creatures: those beasts and fowls less well-represented in mainstream media or in environmental and ecological campaigns, but certainly a match for any panda, porpoise or koala in fauna favourites league: but only if we actually know about them…

Brown started life in Melbourne, Australia before backpacking his way around the world (he’d done some growing up, learning and earning a living by then, though). Fetching up in Britain, he established himself as a designer, cartoonist and illustrator, making his living by drawing greetings cards, cartoons, magazines and book illustrations. The books included Coping with Parents (by Peter Corey), Philip Pullman’s New Cut Gang and a series of popular children’s tomes written by Terry Deary entitled Horrible Histories. Those latter light-hearted factoid files sold upwards of 20 million copies, and they’re still on sale if you need more fact-based fun and frolics…

Martin Brown’s Lesser Spotted Animals was a compulsively entertaining bestiary highlighting and introducing a raft of fabulous animals and he has – finally – come back with a second stunning selection in this glorious full-colour hardback tome. Here abide mysterious things with odd names, all described and delineated with wit, empathy and proper facts like Size; What they eat; Where they live; their Status (from Data Deficient to Extinct) plus a specific fact on each that will delight or disgust, depending on your age or intellectual maturity…

Kindly introduce yourself to and be beguiled by engrossing and unmissable, candidates such as the Dingiso, Forest Musk Deer, Two Gliders (aerial possums the Yellow-Bellied and Feathertail), Black and Rufous Sengi, the astonishing Blainville’s Beaked Whale, Tamandua, Grey Slender Loris, Indian Giant Squirrel (and it so is!!), Forest Buffalo & Red River Hog, Three Bats (Pied, Painted and Honduran White Bat), Patas Monkey, Yellow-Throated Marten, Giant Kangaroo Rat, Ribbon Seal, Mountain Tapir, Syrian Brown Bear, Ringtail Cat, Maned Wolf, Gerenuk & Dibitag, Altai Argali and Celebes Crested Macaque: once more accompanied by an extremely accessible Glossary…

Martin Brown’s Lesser Spotted Animals 2 (More Brilliant Beasts you never knew you needed to know about) is a wonderful, joyous celebration of quirky animal underdogs we just cannot see enough of, so let’s get BBC wildlife programming off the Blue Planet and into some Lost Worlds, pretty please…
© 2019 Martin Brown. All rights reserved.

Martin Brown’s Lesser Spotted Animals 2 will be published on April 4th 2019 and is available for pre-order now.

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Silver Surfer: Parable


By Stan Lee & Moebius; Keith Pollard, with Tom DeFalco & various (Marvel)
ISBN: 978-0785162094 (HB) 978-0785106562 (TPB)

With a celebratory 30th Anniversary Edition due out in summer here’s a cheap look at an earlier edition, collecting a landmark reboot tale featuring the fabled Sentinel of the Spaceways (and also including one not so well known).

The most eclectic of comicbook cult figures, the Silver Surfer saga began with the deservedly lauded and legendary introductory story. Although pretty much a last-minute addition to Lee’s plot for Fantastic Four#48-50’s ‘Galactus Trilogy’, Jack Kirby’s gleaming creation became a watchword for depth and subtext in the Marvel Universe, and one Lee kept as his own personal toy for many years.

Sent to find planets for star god Galactus to consume, the Silver Surfer discovers Earth, where the latent nobility of humanity reawakens his own suppressed morality. He rebels against his master and helps the FF save the planet and in retaliation, Galactus imprisons the Surfer on Earth, the ultimate outsider on a planet remarkably ungrateful for his sacrifice.

The Galactus Saga was a creative highlight of a period where the Lee/Kirby partnership was utterly on fire: an adventure with all the power and grandeur of a true epic and one which has has never been surpassed for drama, thrills and sheer entertainment.

That’s not here but can be found in many other compilations. Sorry.

‘Parable’ was released as an Epic Comics micro-series in 1988-1989, featuring an all-new interpretation of Galactus’ initial assault on our backwards world, illustrated by legendary French artist Jean Giraud/Moebius. As with the 1978 Fireside Books/Simon & Schuster Silver Surfer book by Lee & Kirby, the story is removed from normal Marvel continuity, allowing the creators to focus on the unique philosophical nature of the Surfer and his ravenous master without the added distraction of hundreds of super-heroes.

It’s a beautiful piece of work you really should read.

Following is The Enslavers: a self-indulgent but oddly entertaining slice of intergalactic eye-candy featuring the legendary icon of the counter-culture generation. Once again it depicts the ex-herald of planet-devouring Galactus as a tragic saviour and Christ metaphor. Now however it’s not our troubled humanity but the overwhelming power of slavers from space that threatens humanity, and there’s a lot less breast-beating and soul-searching and far more cosmic action.

The story by Stan Lee (and Keith Pollard) has a rather odd genesis. Commissioned in the early 1980s by Jim Shooter, Lee’s original plot was apparently much transformed in the eight years it took to draw. By the time it was dialogued, it was a much different beast and Lee almost jokingly disowns it in his Afterword. Nevertheless, there’s lots to enjoy for the fan who doesn’t expect too much in this tale of love and death in the great beyond. It’s inked by Josef Rubinstein, José Marzan & Chris Ivy, coloured by Paul Mounts and lettered by Michael Heisler.

After a frantic rush through cosmic gulfs, Silver Surfer Norrin Radd crashes into the home of Reed and Sue Richards, just ahead of the colossal invasion craft of monstrous Mrrungo-Mu, who has been drawn to our world by the well-intentioned but naïve Nasa probe Voyager III.

The Surfer’s homeworld Zenn-La has already been depopulated by the awesome space slaver and Earth is next…

Moving swiftly, and exploiting the good intentions of an Earth scientist, the Enslavers incapacitate all our world’s superbeings and prepare to enjoy their latest conquest, but they have not accounted for the vengeful resistance of the Surfer or the debilitating power of the love Mrrungo-Mu is himself slave to: for the unbeatable alien warlord is weak and helpless before the haughty aloofness and emotional distance of his supposed chattel Tnneya…

Despite being dafter than a bag of space-weasels in far too many places, there is still an obvious love of the old, classic Marvel tales delivered at an enthusiastic pace informing these beautifully drawn pages and the action sequences are a joy to behold. If you love cosmic adventure and can swallow a lot of silliness, this might just be worth a little of your time and money.

Altogether a very strange marriage, this is a compelling tome spanning the vast divide of comics from the ethereal and worthy to the exuberant and fun: a proper twofer you can get your teeth into…
© 1988, 1989, 1990, 2012 Marvel Entertainment Group/Marvel Characters, Inc. All rights reserved.