Oh, Wicked Wanda!

Oh, Wicked Wanda!

By Frederic Mulally & Ron Embleton (Penthouse)
No ISBN

Not all comics are for kids nor ever were they. The men’s magazine trade has often featured graphic narratives, usually sexual in nature, often highly satirical, invariably of a much higher quality than their mainstream contemporaries and always much better regarded and financially rewarded. Where Playboy had Little Annie Fanny (created by Harvey Kurtzman and Will Elder, it ran intermittently from 1962 until 1988, and revived in 1998, illustrated by Ray Lago and Bill Schorr), publishing rival Bob Guccione wanted the same but better for his publication Penthouse.

He hired journalist, editor (of left-wing magazine Tribune), columnist, novelist and political writer Frederic Mulally to script the exotic, erotic adventures of Wanda Von Kreesus, the richest woman in the world, Candyfloss, her insatiable jailbait paramour and an outrageous coterie of faithful employees including an all-girl army, a mad scientist and a brutal looking thug with the soul of a poet. To illustrate he secured the talents of oil painter and comic strip veteran Ron Embleton (who had astounded comic readers with his lush and vibrant strip Wulf the Briton in Express Weekly and his illustrations in Look and Learn).

Oh, Wicked Wanda! was originally a prose serial illustrated by Bryan Forbes, beginning in 1969 before becoming, in 1973, the unbelievably lavish and torrid strip reprinted here, continuing until 1980 when it was replaced by Sweet Chastity, also painted by Embleton, and scripted by Penthouse proprietor Guccione.

The bored and mischievous hellion is a sexually adventurous woman from a time when sexual politics and liberation were huge issues, and therefore prime targets for low comedy and high satire. Mulally peppered his scripts with topical references (many, sadly which would escape today’s casual reader, I’m sure) and the phenomenal Embleton would depict them with hyper-realistic accuracy. Harold Wilson, Edward Heath, Ted Kennedy, Richard Nixon, Henry Kissinger, Fidel Castro, Lyndon Johnson, Spiro Agnew, Mao Tse-tung, showbiz icons such as John Wayne or Bob Hope and even comic strip greats like Pogo, Mutt and Jeff or Krazy Kat, all meandered through the glossy pages, a cross between a Greek Chorus and pictorial ad-libs.

Many celebrities were actively parodied participants. Henry Kissandrun, mafia Don Marlon Blondo/Burpo, Jane Fondle and demented California Governor Ronald Reekin’ all found themselves victims of the wilful minx and her team. Also classical and contemporary erotic allusions abound ranging from a little nymphette lounging about reading William Burroughs’s Naked Lunch to visual and verbal references to Shelley’s Leda and the Swan.

This slim album reprints the earliest adventures as Wanda collects the rich and the famous for a museum of deviancy, takes on the Mafia, the CIA and the Cubans and does her bit to solve the Oil Crisis. Later adventures saw her romp through the ages in a time machine but to my knowledge these tales have never been reprinted – although they really should be.

Perhaps a little dated, definitely for easy-going adults only, Oh, Wicked Wanda! is nonetheless still a funny read and inarguably one of the most beautiful British strips ever made. It is a tragedy that such work is unavailable to aficionados of comic art.

© 1973, 1974, 1975 Penthouse International Ltd. All Rights Reserved.

Michael Moorcock’s Elric of Melnibone

Michael Moorcock's <i>Elric of Melnibone</i>

By Roy Thomas, P. Craig Russell & Michael T. Gilbert
ISBN: 0-915419-05-X (First Comics) ISBN: 0-936211-01-6 (Graphitti Designs)

Although chronologically the first tale of the doomed king, this adventure was one of the last written by Moorcock (in the initial cycle of stories at least – he returned to the character years later). Adaptors Roy Thomas and P. Craig Russell had also worked on other tales of the last Emperor of Melniboné, specifically The Dreaming City as a Marvel Graphic Novel in 1982 and ‘While the Gods Laugh’ which featured in the fantasy anthology magazine Epic Illustrated #14 (1984).

Elric is an absolute classic of the Sword and Sorcery genre: Ruler of the pre-human civilisation of the Melnibonéans, a race of cruel, arrogant Sorcerers: Dissolute creatures in a slow, decadent decline after millennia of dominance over the Earth. An albino, he is physically weak and of a brooding philosophical temperament, caring for nothing save his beautiful cousin Cymoril, even though her brother Prince Yrrkoon openly lusts for his throne. He doesn’t even really want to rule, but it is his duty, and he is the only one of his race to see the newly evolved race of Man as a threat to the Empire.

When these Young Kingdoms attack the Dreaming City of Imrryr, capital of Empire for ten thousand years, the Fleet, bolstered by dragons and magic easily dispatches them, but wily Yrrkoon seizes his chance and throws the enfeebled Emperor overboard to drown. The deeply conflicted hero believes himself happy to die but some part of his mind calls to the sea-elementals who are bound allies of the Empire to save him. When he returns to confront the usurper, Yrrkoon unleashes a demonic doomsday weapon and flees with Cymoril as his hostage.

All Elric’s magic cannot find them, and in obsessive desperation he pledges allegiance to Arioch, a Lord of Chaos in opposition to the Lords of Order. The eternal see-saw war of these supernal forces is the fundamental principle of the universe or “Multiverse”. For providing the etiolated Elric with the means to find and defeat his cousin, Arioch will demand his devils due, but the Albino does not care… yet in his dark and foredoomed future lurks the black blade ‘Stormbringer’, the Rune-sword, the malevolent Stealer of Souls, and so very soon, he will…

The novel is an iconic and groundbreaking landmark of fantasy fiction and a must-read-item for any fan. This spectacular, baroque adaptation is an elegant and savagely beautiful masterpiece (collected from comics originally published by Pacific and First Comics) of the genre and effortlessly blends blistering action and gleaming adventure with the deep, darkly melancholic tone of the cynical, nihilistic, Cold-War mentality and era that spawned the original stories. You must read the book and you should own this graphic novel.

© 1983-1984, Roy Thomas, P. Craig Russell & Michael T. Gilbert. Adapted from the original short story by Michael Moorcock, © 1972. All Rights Reserved.

The Essential Calvin and Hobbes

Wondering, “WHAT SHALL I GET HIM FOR CHRISTMAS?”

The Essential Calvin and Hobbes 

By Bill Watterson
ISBN13: 978-0751512748 Paperback (Time Warner) ISBN: 0-8362-1809-4 Hardback (Andrews and McMeel)

Christmas is best experienced through the eyes of a child — and better yet if he’s a fictional child controlled by the whimsical sensibilities of a comic strip genius like Bill Watterson. 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.

Calvin is a hyper-active little boy growing up in 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 a stuffed tiger named Hobbes, who may or may not be alive…

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 ten years, 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 way by degrees.

This sumptuous volume is a compendium of the first two collections, Calvin and Hobbes and Something Under the Bed Is Drooling, and shows the magic of the strip in tales that will make you laugh and isn’t afraid to make you cry. Truly this is a masterpiece and landmark of American cartooning. This year why not get yourself a present that will keep on giving?

© 1988 Universal Press Syndicate. All Rights Reserved.

Calculus Cat

Calculus Cat

By Hunt Emerson (Knockabout)
ISBN: 0-86166-050-1

Calculus Cat is a bitter creature trapped in a loveless relationship with no way out. All day he goes out, slaving at his dire job of scooting about with a broad and painful smile whilst people throw stuff at him, and when he gets home instead of Tender Loving Care he gets more grief; relentless grief.

For in the Cat’s world the television set loves him, needs him and exploits him.

Cryptic, surreal, weirdly symbolic and brilliantly funny in a uniquely British way these collected strips detail the war of nerves and will between a TV set that is compelled and driven to bombard the cat with advertising, offering teasing little snippets of seductive entertainment like Supercar or westerns every time the hapless feline musters enough self-respect to attempt a break-up. As an allegory of marriage it is wonderful, as a description of our relationship with the Media it’s actually a little scary… but I did mention that it was very funny, right?

Produced occasionally, and with the unspecified help of the enigmatic “Pokkettz”, this is an art-lover’s delight – as always – but has hidden depths and echoes. Yet another prime candidate for the clarion battle-cry, “Back in Print, Now!” “Back in Print, Now!”

© 1987 Hunt Emerson. All Rights Reserved.

The Adventures of Tintin, Volume 5

The Adventures of Tintin Volume 5

By Hergé, translated by Leslie Lonsdale-Cooper & Michael Turner (Egmont UK)
ISBN 13: 978-1-4052-2898-5

Produced in the conquered nation of Belgium and running in daily instalments in Le Soir, Brussels’ most prominent newspaper, appropriated and controlled by the Nazis, Red Rackham’s Treasure (which ran from 1943-1944) follows directly on from The Secret of the Unicorn (see The Adventures of Tintin Volume 4, ISBN13: 978-1-4052-2897-8) and topped that thrilling chase to secure three parts of a pirate map with a glorious all-out romp in search of the loot itself.

When a loose-lipped sailor is overheard by an enterprising reporter, the treasure hunt becomes a cause celebré and a horde of opportunists claiming descent from Red Rackham, as well as a deaf and daffy Professor named Cuthbert Calculus who wants to use the expedition to test his new invention, accost Tintin and Haddock. Although his offer is rejected the Professor is not a man to be easily dissuaded. With the detectives Thompson and Thomson aboard (in case of criminal activity) the small team sets sail on their grand adventure…

This is a rich and absorbing yarn in the classic manner, full of exotic islands, nautical drama, mystery and travail, brilliantly timed comedy pieces and even a surprise ending. The restrictions of Belgium’s occupation necessitated Hergé’s curtailment of political commentary and satire in his work, but it apparently freed his Sense of Wonder to explore classic adventure themes with spectacular and memorable results. Although not the greatest of stand-alone Tintin tales, in conjunction with The Secret of the Unicorn this story becomes one of the best action sagas in the entire Hergé canon.

In 1943 the artist met Edgar P. Jacobs, who became his assistant on the daily strip. They began with another extended adventure-tale which is now divided into the eerie thriller The Seven Crystal Balls (which ran from 1944-1948) and the grandiose epic Prisoners of the Sun (1946-1949). These dates might seem odd but once again the Nazi conquest holds the answers.

For Belgium Liberation day was September 3rd 1944. When the occupiers fled, workers on Le Soir were arrested as potential collaborators or Nazi sympathizers and the newspaper was closed down. For two years Hergé, Jacobs and Alice Devos were under suspicion, and spent the time adapting old Tintin adventures for release as colour albums. The Seven Crystal Balls remained unfinished and unpublished until Belgian war-hero Raymond Leblanc personally vouched for the artists. Leblanc even set up a new anthology comic called Tintin in which the tale was continued before going on to finish the epic with Prisoners of the Sun. During this period Jacobs left Hergé when the artist refused him a byline for his work. Jacobs then produced his own science-adventure strip Blake and Mortimer which also featured in the weekly Tintin.

The Seven Crystal Balls sees Captain Haddock returned to Marlinspike Hall where he is adjusting poorly to his new-found wealth, with the exasperating Professor Calculus as his house-guest. When Tintin and Snowy visit, a trip to the theatre embroils them all in a baffling enigma wherein the survivors of the South American Sanders-Hardiman expedition all fall into comas due to an Incan curse. Tintin soon determines someone more solid than ethereal is causing the tragedies but even he can’t stop the attacks, and soon he and his friends are also on the mysterious malefactors “to-do” list!

When Calculus is abducted from under their very noses, Haddock gives up his life of luxury and takes up adventuring once more, determined to help Tintin rescue their friend and solve the mystery. Giving chase they narrowly miss the villains at a seaport but they still have a chance to beat the ship carrying Calculus. They board a sea plane for Peru…

This is classic hairsbreadth storytelling. The pace is spellbinding and the ever-present slapstick actually serves to heighten the tension of the chase. The tale ends on a cliff-hanger, which is still painful even in this glorious collected edition when the action continues on the very next page. Imagine how you’d have felt all those decades ago when the conclusion was months away in the next album…

In the Port of Callao Tintin and Captain Haddock anxiously await the arrival of the freighter ‘Pachacamac’ but when it arrives, suspected of carrying their kidnapped friend Cuthbert Calculus, it flies a plague-pennant. There is Yellow Fever aboard and nobody can approach her! Thus begins Prisoners of the Sun, the epic conclusion of the maddening mystery of Inca curses and the doomed Sanders-Hardiman Expedition to South America.

Suspecting a trick Tintin sneaks aboard and finds the Professor, only to be driven away by gunfire. Telephoning Haddock he chases the abductors, leaving the Captain and the detectives Thompson and Thomson to catch up if they can. The journey takes them deep into the beautiful, rugged country where they reunite only to become the target of many murder attempts, and other methods of dissuasion.

Undaunted, Tintin and Haddock continue towards the mountains, and are befriended by Zorrino, a young boy who risks his own life to help them cross valleys, mountains and jungles, dodging death from both beasts and men, until they are all finally captured by the last remnants of a lost and wondrous civilisation…

This is an epic staggering in scope and breathtaking in execution. Whether drawing a battle, choreographing a pratfall or delineating a golden temple the clean precise line of the art and the simplified colour palette makes every panel “realer-than real” whilst the captivating imagination of the storytelling makes this a truly graphic narrative. These are among the best comic adventures of all time and they demand a place on every fan’s bookshelves.

Red Rackham’s Treasure: artwork © 1945, 1973 Editions Casterman, Paris & Tournai.
Text © 1975 Egmont UK Limited. All Rights Reserved.

Starchild: Awakenings

Starchild: Awakenings

By James A. Owen (Coppervale Press)
No ISBN: ASIN: B0006QCPRO

This fantasy epic collects (although with such drastic reworking it might best be considered a “Director’s Cut”) the self-published tales by graphic artisan and novelist James A. Owen who began his opus with 13 issues from Taliesin Press. He eventually retrenched as Coppervale Press with the miniseries Crossroads, Mythopolis and Tales from the TwoPenny Inn.

Starchild is an expansive, if sometimes ponderous, generational saga that explores the nature of the creative act using a rustic and classical fairytale as the narrative engine. Rather than précis the collection, it’s in the interests of potential readers to take away a flavour and experience the tales (some of which might be considered rather slight and derivative) in context rather than with my blather creating too many preconceptions.

Ezekiel Higgins was once a momentary dalliance of Titania, the Queen of Faerie, and the text follows the lives of the children and grandchildren of that union. At first the tales are over-complex and uncomfortably familiar but as the author grows into his craft and exhibits some narrative discipline the development of his characters and world eventually consolidates into a strong and solid base to build myths on and in.

Dark, atmospheric artwork and a strong design flair add to the traditional fantasy flavour, and in a time when the core conceits are considered Big Box Office, this is a book that might find favour with a broader audience if revived.

© 1995 James A. Owen. All Rights Reserved.

SHAZAM! The Monster Society of Evil

Wondering, “WHAT SHALL I GET HIM FOR CHRISTMAS?”

SHAZAM! The Monster Society of Evil

By Jeff Smith, coloured by Steve Hamaker (DC Comics)
ISBN13: 978-1-84576-389-3

This is a wonderful book.

No soft-soap, no easing you in. Jeff Smith has come the closest yet to recapturing the naive yet knowing charm that made the World’s Mightiest Innocent far and away the most successful super-character of the Golden Age in this reworking of one of his greatest adventures.

Billy Batson is a little homeless kid with a murky past and a glorious destiny. One night he follows a mysterious figure into an abandoned subway station and meets the wizard Shazam, who gives him the ability to turn into a full-grown superhero called Captain Marvel. Gifted with the wisdom of Solomon, the strength of Hercules, the stamina of Atlas, the power of Zeus, the courage of Achilles and the speed of Mercury, the lad is sent into the world to do good.

Accompanied by the talking tiger-spirit Mr. Tawky Tawny, Billy sets out to find the little sister he didn’t know he had, fighting evils big and small, but impetuously causes a ripple in the world’s magical fabric that endangers the universe. He also encounters evil genius Dr. Sivanna, US Attorney General and would-be ruler of the universe, and the deadly and hideous minions of the mysterious Mr. Mind, whose Monster Society of Evil is dedicated to wiping out humanity! Can he make amends and save the day…?

The original saga ran in Captain Marvel Adventures #22-46, from 1943 to 1946, an ambitious and captivating chapter-play in the manner of the popular movie serials of the day, and is still regarded as one of the most memorable achievements of Golden-Age comic books. It’s fairly safe to say that this reworking is going to stay in people’s hearts and minds for a good long time, too.

Jeff Smith has accomplished the impossible here. He has created a superhero tale for all ages and hopefully returned some part of the genre to the children for whom it was originally intended. Monster Society of Evil is exciting, spectacular, moving and unselfconscious; revelling in the power of its own roots and the audience’s unbridled capacity for joy.

This volume is also stuffed with added features. The dust-jacket opens into a truly magical double-sided poster, there are sketch and script pages for the reader with industry aspirations, biographies and historical sections, a lavishly illustrated production journal, puzzles and even a modern version of the secret code used as a circulation builder in the 1940s. Most important though is the mesmerising quality of the story and artwork. This volume (originally published as a four issue prestige format miniseries) is a true gem.

Words are cheap and I’ve used enough: now go get this is a wonderful, marvellous book.

© 2007 DC Comics. All Rights Reserved.

Hairy Mary in Fun Fur

Hairy Mary in Fun Fur

By Craig Conlan (Slab-O-Concrete)
ISBN: 1-899866-22-1

The so-groovy chick with the abundant, animated coiffure returns for another collection of saucy, surreal and superbly stylish adventures which reference and glorify everything important to the modern Man or Miss in this second collection from Craig Conlan.

Within this slim tome you will find Hairy Mary pursuing a new career as a Spokes-Model, nearly marrying a vampire, spoofing Japanese Rubber Monster Movies and pursuing her latest One-True-Love to the Sushi-Bar and the Plastic Babylon Zoo.

In a dazzling variety of formats (including an illustrated prose novella and activity pages) the hirsute heroine and her fabulous cast of eccentrics enjoy the kind of sassy exploits that other comics characters can only dream of, and provide the reader with a breathless and captivating riot of graphic euphoria that is sadly missing from modern storytelling.

Fun, and proud of it!

© 1998-1999 Craig Conlan. All Rights Reserved.

Archie: Best of the Fifties

Archie: Best of the Fifties

By various (Archie Comics)
ISBN: 1-879794-01-2

Adapting seamlessly to every trend and fad of youth culture, the creators who’ve crafted Archie Comics over the decades have made the “everyteens” of Riverdale a touchstone of American childhood and a visual barometer of growing up.

After initially jumping on the superhero/mystery-man bandwagon in 1939, Maurice Coyne, Louis Silberkleit and John Goldwater (MLJ) were quick to spot a gap in their blossoming market. In December 1941 the costumed heroes and two-fisted adventure strips were supplemented by a wholesome ordinary hero, an “average teen” who would have ordinary adventures like the readers, but with the laughs and slapstick emphasised.

Pep Comics #22 introduced ‘Archie’ a gap-toothed, freckle-faced red-headed goof showing off to pretty blonde Betty next door. Taking his lead from the popular “Andy Hardy” movies starring Mickey Rooney, Goldwater developed the concept, tasking writer Vic Bloom and artist Bob Montana with the job of making it work.

The strip was an instant hit. By the winter of 1942 Archie had his own title, the company’s first non-anthology magazine and with it began the transformation of the entire company. When rich, black-haired Veronica Lodge arrived all the pieces were in play for the industry’s second Phenomenon (Superman being the first). By May 1946 the kids had taken over, so the company renamed itself ‘Archie Comics’, retiring its heroic characters years before the end of the Golden Age and becoming to all intents and purposes a publisher of family comedies. Its success, like the Man of Steel’s, changed the content of every other publisher’s titles, and led to a multi-media industry including TV, movies, pop-songs and even a chain of restaurants.

Archie is a well-meaning boy who lacks common sense. Betty is the pretty, sensible girl next door, with all that entails. She loves Archie. Veronica is rich, exotic and glamorous; she only settles for our boy if there’s nobody better around. She might actually love him though. Archie can’t decide who he wants…

Archie’s unconventional best friend Jughead Jones is Mercutio to Archie’s Romeo, providing rationality and a reader’s voice, as well as being a powerful catalyst of events in his own right. The wholesome eternal triangle (+ one) has been the basis of more than sixty-five years of charming, raucous, gentle, frenetic, chiding and even heart-rending comedy ranging from surreal wit to frantic slapstick, as the kids and an increasing cast of friends grew into an American institution. So pervasive is the imagery that it’s a part of Americana itself. When you watch Happy Days, that’s the 1950s Riverdale crowd you’re tuning in to, and that’s never more apparent than in this second volume containing some of the best stories of that iconic decade.

According to many fans and purists it’s also the absolute zenith of quality material. That mythical America of Drive-Ins, Bobbysocks, Big Cars with Fins, Men in Hats and Malt-Shops was the ideal environment to perfect the strip and blend innocence, innuendo and ingenuity (all fine teen-ager qualities) with raucous knockabout comedy that ranked with the best that Hollywood and the new medium of Television could offer.

In this volume the kids of Riverdale deal with everything from the threat of Atomic War, to Hula Hoops, fads and fashions and the timeless struggles of Boy Vs Girl, Boy Vs Rival Boy, Boy Vs Alarm-Clock, Boy Vs Girl’s Father and every permutation in between.

With such writers as Frank Doyle, George Gladir, Sy Reit, Tom Moore and artists like Bob Montana, Bob Bolling, Dan DeCarlo, Joe Edwards, Samm Schwartz, Bill Vigoda and the legendary Harry Lucey (who famously only drew clothes on the first page of his stories – leaving production assistant Terry Szenics to cover up those hormone-crazed teens) these tales are timeless masterpieces of their type, and still capable of splitting sides and charming the pants off most readers today.

© 1953-1959, 1992, 2007 Archie Publications Inc. All Rights Reserved.

Nick Fury vs. S.H.I.E.L.D.

Nick Fury vs. S.H.I.E.L.D.

By Bob Harras, Paul Neary, Kim DeMulder & Bernie Jaye (Marvel)
ISBN: 0-87135-554-X

Nick Fury the spy debuted at the height of the 1960s espionage fad, following on the heels of James Bond, Danger Man, The Man from U.N.C.L.E. and so very many others. He was also already the star of Marvel’s only war comic Sgt. Fury and his Howling Commandos, an improbable and decidedly over-the-top WWII series similar to The Dirty Dozen. For a few brief years with Jim Steranko in charge the S.H.I.E.L.D. series was one of the best strips in America if not the world, but when the writer/artist left and the spy-fad ended the whole concept faded into the background architecture of the Marvel Universe.

In 1989 a six issue prestige format miniseries reinvigorated the concept. As a company targeting the youth-oriented markets Marvel had experienced problems with their in-house clandestine organisation. In most of their other titles US agents and “the Feds” were more often than not the bad guys, and here Bob Harras used this theme as well as the oddly quirky self-referential fact that nobody aged in comic continuity to play games with the readers.

When Fury discovers that everybody in the organisation has been “turned” and is now a threat to freedom and democracy he goes on the run, hunted with all the resources of the world’s most powerful covert agency. Can he turn the tables on the edifice he created with every friend against him and reclaim S.H.I.E.L.D. for the forces of Good? Can he even survive until morning?

Crafted to blend Invasion of the Body-Snatchers with The Spy Who Came in From the Cold this is a frantic all-out thriller that pays little attention to common-sense or the meticulous and stifling minutiae of continuity but concentrates on momentum to tell an entertaining tale. Daft, fast-paced and as paranoid as a bag of monkeys on goof-balls – as any decent spy-thriller should be – there’s lot’s of fun to be had here for readers not too tied in to pedantry or history.

© 1989 Marvel Entertainment Group, Inc. All Rights Reserved.