Mitch O’Connell: World’s Best Artist

Mitch O'Connell ft
By Mitch O’Connell (Last Gasp)
ISBN: 978-0-86719-773-0

Some artists can be said to epitomise an era, their works forever evoking the time and style and flavour of a discreet age, whilst others have the equally impressive gift of being able to recapitulate and reinvent uniquely iconic times in a way that makes them new and fresh again.

Mitch O’Connell is the very best of the latter: a commercial illustrator and canny cultural scavenger whose slick blend of caricature, pop iconography and surreal whimsy samples the Rock & Roll’s 1950s, sexily Swinging Sixties, surreal Seventies, Expressive, obsessive Eighties and anything beyond or between with amazing panache and witty self-absorption.

His slick, inviting style elevates all his works – whether commissioned graphics, narrative expression or “Capital A” art – into unmissable events, and proves that he’s a creator who can readily navigate between unfailing paintslinger-for-hire and hoity-toity, fancy-shmancy gallery godling.

He has been called the “Prince of Pop Art”…

All his works are characterised by unprecedented heights of verve and dash, saucy opportunism, mordant grim wit and acres of cruelly wry, good-natured humour.

He has created stylish comics and graphic novels, compelling illustration, package design, RPG boxes, album, book and magazine covers, posters, tattoo art and even highly personal pieces for gallery shows – and now a superb selection of his 30-plus year career has been herded into an attractive, peculiarly idiosyncratic and extremely funny biography and retrospective art book (so funny, in fact that the publishers thought it wise to cover the book in what feels disturbingly like a wash-&-wear polymer prophylactic, presumably  in case of any spit-take incidents…).

Simply bulging with astounding photos, drawings and full-colour paintings of monsters, sexy devils, naked men and women, cute kitties, famous stars, comics and mercilessly spoofed licensed properties from the Flintstones to Batman, Atom Ant to Elvis, the hysterical historical hagiography opens with ‘Born This Way – On the Right Track Baby’ and a selective glimpse at Li’l Mitchell’s early days of drawing dinosaurs and superheroes…

Some semblance of discipline descends in ‘Draw “Winky” – Art Instruction School’, a trawl through academia including a telling catalogue of grateful acknowledgments listed as ‘You’re the Inspiration’ (an eclectic assemblage which comprises Bernie Wrightson, J.C. Leyendecker, Ivan Albright and Franz Fruzyna amongst others) before venturing out into the harsh and competitive arena of freelance commercial art…

‘Hey!! Kids – Comics’ follows the path from fanzine-maker to participant in the Eighties independent comics publishing boom, depicting his stunning painted covers for such titles as Johnny Dynamite, The Terminator, Speed Racer, The World of Ginger Fox and so many more, plus selected interior pages from Heavy Metal and his own later self-penned works plus early self-advertising successes and his numerous clip art contributions, whilst ‘Fit to Print – Publications’ catalogues a host of glorious efforts for magazines as varied as The Village Voice, Playboy, Chicago Tribune, The Quill, Saturday Evening Post, Seventeen, Rolling Stone and Newsweek as well as a selection of clever contributions to the adult magazine market.

O’Connell has created hundreds of unforgettable posters and album/single covers for musical acts and ‘Rock Icons – Music’ reprints many of the very best from bands like Less Than Jake, Supersuckers, The Ramones and more, after which more bedroom wall-covering wonderment is revealed in ‘Hang-Ups – Posters’ and ‘As Seen on TV – Advertising’ which charts his vast canon of stylish product art: everything from holiday brochures for Las Vegas to fascinating and shocking re-branding exercises for beloved Hanna Barbera and Warner Brothers cartoon icons…

In a surprisingly candid manner, O’Connell relates the familial crisis which overtook him and altered the tone and context of his long and varied career as a Gallery artist in ‘Exhibitionist – Wall Accessories’ whilst ‘Skin Deep – “Flash” Tattoo Art’ delineates his forays into skin-as-canvas before everything wraps up with a beguiling peek at the creator’s home and studio in ‘Magical Mystery Tour – Home Sweet Home’: a wonderland of toys, found objects, old magazines and the world’s largest collection of really scary shop dummies and mannequins…

Beautiful, shocking, funny and engagingly intimate, this huge compendium of glossy, sparkling painting and storytelling is a truly inspirational glimpse at a true creative wunderkind and no lover of pop, kitsch, nostalgia and/or graphic excellence should be deprived of it.
All text and illustrations © 2012 Mitch O’Connell except where otherwise noted. All rights reserved.

Uncanny X-Men: Breaking Point


By Kieron Gillen, Terry & Rachel Dodson, Carlos Pacheco, Ibraim Roberson, Cam Smith, Dan Green & Nathan Lee (Marvel)
ISBN: 978-0-7851-5226-2

Most people who read comics have a passing familiarity with Marvel’s fluidly fluctuating X-Men franchise so even newcomers or occasional consumers won’t have too much trouble following this particularly well-crafted jumping-on tome.

At this juncture, the evolutionary offshoot dubbed Homo Superior was at its lowest ebb. This followed the House of M and Decimation storylines wherein Wanda Maximoff (former Avenger Scarlet Witch, ravaged by madness and wracked by her own chaotic reality-warping power) reduced the world’s entire mutant population to a couple of hundred individuals with three simple words…

Whilst the majority of Earth’s mutants were rendered human, the freakish few remaining accepted an earnest offer to relocate to San Francisco: reconciled to self-imposed exile on Utopia Island in the Bay. Gathered in a defensive enclave and led and defended by the X-Men, they still found that trouble was always happy to follow them…

Although they were invited by the forward-thinking Mayor and generally welcomed by most of the easygoing residents of the city, tensions grew as leader Cyclops ran the colony in an ever more draconian and militaristic manner.

His relationship with war-weary second-in-command Wolverine was slowly, inexorably deteriorating as they squabbled over methods and ideology for the imperilled X-nation, each interpreting the idealistic, Cooperative Co-existence dream of Professor Charles Xavier in increasingly different ways…

This sleek, slim compilation – written throughout by Kieron Gillen – re-presents Uncanny X-Men #534.1 and Uncanny X-Men #535-539 (cover-dated June to August 2011) and details the fate of young veteran Kitty Pryde who, at the time of this tome, was trapped in an intangible state and unable to communicate or interact with her fellows.

This was especially painful for her as she had just rekindled an intimate relationship with her childhood sweetheart Piotr Rasputin, the steely giant known as Colossus.

First, however, PR guru and supreme spin doctor Kate Kildare has a new, almost impossible brief.

Infamous outlaw mutant terrorist Magneto is now an X-Man living on Utopia and she has the unenviable task of “selling” him as a reformed and benevolent character to the watching, distrustful world…

Fortunately for everybody concerned, a splinter group of Advanced Idea Mechanics has picked this very moment to blackmail San Francisco’s business community with an “Earthquake machine”, so the Mayor asks the mutant refugees for a big favour…

Illustrated by Carlos Pacheco, Cam Smith, Dan Green & Nathan Lee, this bright and breezy caper offers plenty of thrills and a few clever surprises whilst restating the mutant paradigm for new and old fans alike.

The main body of this compelling compilation concerns the 4-part ‘Breaking Point‘ – limned by Terry & Rachel Dodson – which sees the war-loving aliens from The Breakworld come to Earth.

Their last clash with the X-Men resulted in Kitty’s present impermanent state and only concluded after Colossus crushed their brutal leader Powerlord Kruun in personal combat. Now months later, a vast colony ship warps into human space, claiming to carry refugees fleeing the collapse of their unique social order and meekly seeking sanctuary…

Their planetary civil war occurred because Piotr, after maiming Kruun, refused to stay and rule over Breakworld…

With the sarcastic assistance of Abigail Brand, Director of the Sentient World Observation & Response Department, the asylum-seeking newcomers are transferred from The Peak (Earth’s orbital defence outpost) to Utopia and seem to be genuinely attempting to assimilate.

Unfortunately, proud, shamed Kruun soon surrenders to a momentary weakness of will and attacks his despised benefactors. Within minutes the supreme soldier has overcome the X-Men, gravely wounded Colossus and even found a way to harm Pryde in her untouchable state…

Watching Rasputin bleed out, Kitty flees seeking aid and, while the ever-vigilant Wolverine tackles the resurgent Powerlord, strikes a shocking deal with Kruun’s adored and tragic paramour Haleena…

Despite all the grim portents, this gripping thriller surprises with a relatively happy ending all round, before artist Ibraim Roberson closes out the collection with the gritty fable ‘Losing Hope’.

The X-enclave was ecstatic when Cyclops’ daughter Hope was born. As the first new mutant since Decimation she was heralded as a Messiah – before being snatched away and reared in the far future by her half-brother Nathan Summers AKA doomsday warrior Cable.

She returned soon after as a rather rebellious teenager to lead a small gang of other Homo Superior newborns. She also had a dangerously valuable gift: she could kickstart mutant powers…

Here the dour, dutiful, fun-loathing lass is convinced by BFFs Transonic and Oya to go shopping on the mainland, only to be abducted by former X-foe Crimson Commando. When the brutal WWII super-soldier lost his mutant abilities during Decimation, his long years and numerous surgical augmentations began to agonisingly catch up to him. He expects Hope to reactivate his X-Gene and won’t take no for an answer…

Although he was prepared for Wolverine to track and fight him, the Commando utterly underestimated Hope’s stubborn resistance to torture and ruthless manner in dealing with threats…

Graced with a beautiful covers-&-variants gallery by Pacheco, the Dodsons, Simone Bianchi, Humberto Ramos, Edgar Delgardo & Dave Johnson, Breaking Point is exciting, enthralling and exceptionally entertaining: a stirring, supremely sensuous sublimely illustrated slice of mutant mayhem that is another stunning example of Fights ‘n’ Tights fantasy for fans and dabblers to marvel at.
© 2011 Marvel Characters In. All rights reserved.

X-Factor volume 9: Invisible Woman Has Vanished


By Peter David, Bing Cansino & Valentine De Landro (Marvel)
ISBN: 978-0-7851-4656-8

Since its debut in 1982, X-Factor has been the irresistibly cool and inarguably perfect umbrella title for all manner of Marvel mutant teams. One of the most engaging was created by writer Peter David in 2006; always blending stark action, cool mystery, laugh-out-loud comedy and even social issues into a regular riot of smart and clever Fights ‘n’ Tights fiction.

The core premise saw Jamie Madrox, the Multiple Man – a former member of the government-controlled iteration of the team – appropriating the name for his specialist metahuman private detective agency: X-Factor Investigations. Setting up shop in the wake of “The Decimation” he and his constantly fluctuating team began by trying to discover why most of the world’s mutants had become normal humans overnight…

Marvel crossover event House of M saw reality overwritten when mutant Avenger Scarlet Witch had a mental breakdown, changing history so that “Homo Superior” out-competed base-line humans and drove the “sapiens” to the brink of extinction. It took every hero on Earth and a huge helping of luck to correct the situation, but in the aftermath, less than 200 super-powered mutants remained on Earth.

Originally debuting as X-Factor volume 3, the series was renumbered after 50 issues -magically becoming #200 of volume 1 with the next issue – and this sterling compilation gathers that issue and #201-203 (spanning December 2009 to March 2010), finding Madrox and most of his team relocated from Detroit to New York and about to walk into a world of trouble…

Illustrated by Bing Cansino, Marco Santucci & Patrick Piazzalunga, the story begins after a very grave prologue (that’s a pun, son) as up past bedtime little kids Franklin and Valeria Richards turn up at X-Factor Investigations in need of adults who will listen…

Even scarily brilliant and cosmically powered children have trouble getting grown-ups to take them seriously, so when the offspring of Mr. Fantastic and Invisible Woman can’t get The Thing or the Human Torch to listen to their concerns they go looking elsewhere…

The team (consisting of Guido “Strong Guy” Carosella, shapeshifter Darwin, extra-dimensional warrior Shatterstar, de-powered mutant Rictor, lucky star Longshot and multi-powered mutant super-woman Monet St. Croix AKA M) are working through some issues of their own, but Madrox sagely offers to take the kids back and check things out…

Former X-Factor stalwart Siryn is gone. She’s still coming to terms with carrying – and horrifically losing – Madrox’ baby and doesn’t want to see him, especially as he’s completely obsessed with enigmatic missing teammate Layla Miller.

Not only is “Butterfly” another unwise romantic complication, but she is also morally mutable, annoyingly secretive, immensely powerful and working to a ruthless agenda of her own – and Jamie just can’t get over her…

At the Baxter Building Madrox doesn’t buy Reed Richards‘ off-hand story that he and the wife had a spat so she just stormed off.

Whilst Guido and Shatterstar get into a pointless, devastating brawl with Ben (the Thing) Grimm, distracting the attention of the Smartest Man in the World, Jamie and Rictor take the opportunity to check out a few nooks and crannies and realise the kids were right: the leader of the FF is either an impostor or homicidally crazy…

As Shatterstar astonishingly humiliates Grimm in battle, Madrox arranges to meet with Valeria later. Elsewhere, State Department official Valerie Cooper regretfully informs Monet that her Ambassador father has been kidnapped by terrorists…

Having obtained an object owned by the missing mother, Longshot’s psychometric abilities are called upon to read the past and see what truly happened to Sue Richards. However, his vision is co-opted by the long-missing Layla who somehow speaks to him in real time and tells him to bring the team to Latveria – kingdom of terrifying dictator Doctor Doom…

However, just as Shatterstar opens a space-warp to the Balkan graveyard Layla indicated, an infuriated and vengeful Thing attacks, disrupting the teleportation and marooning half the investigators in the most dangerous country on Earth. Back in New York, Guido gets a call from little Franklin and Valeria. They are running for their lives from Daddy who is intent on killing them both…

After Monet, Madrox and the furious Thing follow through the warp, Grimm calms down enough to join M and Shatterstar in broaching Doom’s castle whilst Jamie’s lads open up a grave and find a missing member of the FF… but not the one they were looking expecting…

The solution to the mystery is sharp, shocking and fabulously entertaining, revealing both Doom’s improbable part in the drama and one of the many secrets of Layla Miller…

That’s followed by the untitled tale from #203 (illustrated by Valentine De Landro & Pat Davidson) wherein Monet and Guido, fed up with the State Department’s stalling over her father’s kidnap, impatiently invade a sovereign South American nation to save him.

When their plane is shot down Monet goes missing so Strong Guy smashes into a local drug cartel HQ and learns just who’s taken her.

His blockbusting rescue mission almost falters when he’s confronted by magical monsters and one of the oldest villains in the Marvel Universe, using the indomitable Wonder Girl as his personal buffet and first aid kit…

To Be Continued…

Even though the main event ends on a cliffhanger, there’s one more narrative treat left here as ‘Matters of Faith’ (with art by Karl Moline & Rick Magyar and originally seen as a back up feature in X-Factor #200) details what Siryn had been doing whilst the team was been busy battling.

Months previously her father Sean Cassidy – X-Man Banshee – died. Already traumatised through losing the baby she had conceived one stupid drunken night with Madrox, Theresa travelled to her “Da’s” grave in Ireland. The last thing she needed to see was one of Madrox’ duplicates…

This one however was created years ago and, like so many others, never rejoined the prime Jamie. In fact he’s become a priest and has some unique insights to offer her troubled mutant soul…

Bold, beguiling and mature in a way most adult comics just aren’t, this is a wonderful Costumed Drama experience for everybody who loves superhero soap operas and comes with a covers-&-variants gallery by Esad Ribic, Morry Hollowell, David Yardin, Kevin Maguire & Nathan Fairbairn and Tom Raney & Gina Going.
© 2009, 2010 Marvel Characters, Inc. All Rights Reserved.

Batman: the Return of Bruce Wayne


By Grant Morrison, Chris Sprouse, Frazer Irving, Yanick Paquette, Georges Jeanty, Ryan Sook, Lee Garbett & various (DC Comics)
ISBN: 978-1-4012-3382-2

At the climax of a harrowing and sustained campaign of terror by insidious cabal The Black Hand, immediately followed by an all-out invasion of Earth by the hordes of Apokolips, the Batman was apparently killed – slain by Darkseid‘s lethal, time-rending Omega beams.

Although the larger world was unaware of the tragedy, the superhero community secretly mourned and a small, dedicated army of assistants, protégés and allies – trained over years by the contingency-obsessed Dark Knight – formed a “Network” to police GothamCity in the days which followed: marking time until a successor could be found or the original returned…

Most of the Bat-schooled battalion refused to believe their inspirational mentor dead. On the understanding that he was merely lost, they eventually accepted Dick Grayson – the first Robin and latterly Nightwing – as a stand-in until Bruce Wayne could find his way back to them…

That fantastic voyage was detailed in the 6-issue miniseries Batman: the Return of Bruce Wayne (July-December 2010), scripted by Grant Morrison and following the indeed alive Wayne as he leaped through the eons, gradually getting closer and closer to his home, each chapter a different era illustrated by all-star creators…

It begins with ‘Shadow on Stone’ (limned by Chris Sprouse & Karl Story) as a hunting party of the Deer tribe discover a gleaming fallen “sky-cart”. The object is in fact a time capsule from our time and nearby Bruce Wayne is slowly adapting to being marooned in Palaeolithic times. His gradual acceptance by the awestruck cavemen is interrupted by the attack of marauders from the Blood tribe, led by the immortal killer the future calls Vandal Savage.

Despite valiant resistance the Deer warriors die, until only the bat-draped stranger and a lone cave boy remain. Badly wounded and taken for sacrifice, Batman is later rescued by the lad who brings trinkets from the time capsule and the time-lost hero’s utility belt. As an eclipse covers the sun, Man of Bats routs the Blood Mob and defeats Savage, before plunging into a pool and vanishing…

Only the boy remains and he is met by gods. Superman, Green Lantern, Booster Gold and Rip Hunter are tracking Batman through time and arrive just as he vanishes. They are determined to stop him returning to the 21st century at all costs…

Even as the amazed boy begins to record the stories of the mysterious Bat warrior, Wayne resurfaces in Puritan New England, saving a woman from a hideous tentacled demon…

Illustrated by Frazer Irving ‘Until the End of Time’ relates how, even with his memory failing, Wayne impersonates a witch-hunter and befriends shunned spinster Goodwife Annie Tyler in the failing colony of Gotham. As Brother Mordecai he is a most unconventional witch finder, ignoring obvious signs of Satan and solving a murder with unseemly observational tricks…

Vanishing Point is a fortress-university at the End of Time and here, as Reality counts down its final minutes, a quartet of costumed time-travellers quiz the Biorganic Archivist AI, hoping to track Batman’s erratic course through the time-stream. They’re all painfully aware that cruel, subtle Darkseid has turned their friend into a weapon to destroy Earth if the Dark Knight ever reaches his home time…

Superman meets and almost stops him at Vanishing Point, but Wayne has already slipped back into the time-stream, having instituted his own ingenious survival plan…

Tragically the paranoia of 16th century Gotham and Mordecai’s waning influence won’t spare Annie, especially as the time-monster Batman initially drove off is still haunting the woods around the settlement and chief inquisitor Nathaniel Wayne is sworn to eradicate all vestiges of the unholy.

The pious Puritan earns Annie’s dying curse for his entire line as he hangs her, but his roving descendent cannot hear. He has fallen centuries ahead and – more memories eradicated – landed at the feet of legendary reiver Blackbeard Thatch…

‘The Bones of Bristol Bay’ (art by Yanick Paquette & Michel Lacombe) finds the amnesiac mistaken for heroic third-generation buccaneer the Black Pirate and forced to lead the murdering corsair Thatch through the winding, yet strangely familiar cave system beneath Gotham County.

In search of buried gold the murderers encounter instead the deadly traps of the unspeakably ancient Miagani: troglodytic native tribesmen known as the Bat-People…

In the 21st century, the Justice League hold a war council, heatedly debating how to stop their indomitable comrade from returning and setting off Darkseid’s ultimate booby trap. Tim Drake has searched old records and interpreted 40,000 years of myths and legends following his mentor’s trail through history, but Red Robin is only there as an advisor and cannot make the adults listen to him…

With Blackbeard beaten, the memory-challenged wanderer examines the sacred relics of the Bat People – a battered cape, trinkets, a fragile yellow belt of many pockets – and something stirs in his clouded mind…

Georges Jeanty & Walden Wong then illustrate a violent stopover in 1870s Gotham as ‘Dark Knight, Dark Rider’ initially shifts focus to the hereditary guardians of the records and artefacts left by grateful folk who have encountered the Bat over unceasing centuries.

One such family is slaughtered by outlaws working for undying but cancer-ridden Monsieur Sauvage, and their surviving daughter taken to explain the secret of the box with a bat-shaped lock…

Katie‘s abductors have been remorselessly stalked by a bat-garbed stranger who doesn’t carry a gun. The silent avenger has tracked them back to boomtown Gotham, mercilessly depleting their numbers, but the immortal Frenchman is confidant that his tame medicine man Midnight Horse and debased Barbatos-worshipping doctor Thomas Wayne can make the girl talk before the hunter finds them.

Even if he does, his newly hired gunfighter Jonah Hex should even the odds…

The stranger rescues the girl and foils the villains but not before the bounty hunter gut shoots him…

He wakes in a Gotham of recent vintage, a place of glitz and glamour but one morally broken and irredeemably corrupt.  ‘Masquerade’ – with art by Ryan Sook, Pere Perez & Mick Gray – sees the memory-wiped hero hired from a hospital bed by Martha Wayne‘s best friend to prove that the tragic socialite was murdered by her husband Thomas, who faked his own death and abandoned their young son Bruce…

Illustrated by Lee Garbett, Perez, Alejandro Sicat & Wong, the intricate machinations of Darkseid grow closer to fruition as the hero, stripped of everything but innate deductive instinct, uncovers a sinister, bloodthirsty plot by new criminal organisation the Black Hand. His instinctive struggle against the schemers won, the time-nomad makes the final short hop to the now where his arrival will instantly trigger ‘The All-Over’ …

Batman, of course, is the most brilliant escape artist of all time and even whilst being struck down by the New God of Evil had devised an impossibly complex and grandly far-reaching scheme to beat the devil and save the world…

With a covers-&-variants gallery by Adam Kubert, Sprouse, Irving, Paquette, Cameron Stewart, Sook, Garbett & Bill Sienkiewicz, this grandiose, gripping and astonishingly complex epic odyssey is a devious delight that will delight modern fans and casual visitors alike and this sterling compilation also includes the revelatory 15-page art feature ‘Back in Time: The Return of Bruce Wayne Sketchbook’ by Morrison, Kubert, Sprouse, Irving, Paquette & Sook.
© 2010, 2011 DC Comics. All Rights Reserved.

Savage Wolverine volume 2: Hands on a Dead Body


By Zeb Wells, Joe Madureira & Jock (Marvel/Panini UK)
ISBN: 978-1-84653-557-4

Company kick-start initiative Marvel NOW! having reinvigorated the entire continuity, assorted varieties of X-stars generally began life anew and this sharp, scintillating compilation – gathering issues #6-11 of Savage Wolverine (published between August 2013 and January 2014) – captures two of the feral fury’s most savage sagas in a volume reaffirming the character’s breadth and versatility.

In the first triptych, scripted by Zeb Wells with art by Joe Madureira, the Canadian Crusader is feeling his hard-won humanity slipping away again as he languishes in guilt over all the people he’s killed.

Even fellow Avenger and naive ray of sunshine Spider-Man is unable to lift his spirits, and things take an ever darker turn when svelte and sullen assassin Elektra turns up, looking for a favour…

Ninja organisation The Hand – currently led by Wilson Fisk, the American crimelord known as The Kingpin – have stolen the corpse of former hitman Bullseye and, having been killed by the dead man before being resurrected by ninja magic herself, she is determined to stop the criminal cult from offering the same unique service to her murderer…

In need of a like-minded ally she wants Wolverine to join her in raiding Fisk’s New York fortress, leaving him unaware that Kingpin is undergoing a crisis of management and has previously reached out to Elektra…

Fisk’s grip of the Hand is not uncontested and a troublesome faction has called in the cult’s Arbiters to test the colossal Gaijin’s worthiness. A highly formalised challenge having been issued, the big boss is expecting a revived killer-corpse to come after him and has therefore resorted to recruiting former foes to his cause…

The increasingly incensed berserker mutant of yesteryear slowly resurfaces as Wolverine and Elektra wade through an army of ninjas – and the sinister supernatural forces of the Arbiters themselves – but are still too late to stop the resurrection ritual.

Tragically for Fisk and the rebel faction alike, the Arbiters have their own agenda and what comes hunting for the Kingpin is a far crueller weapon than a mere zombie assassin…

The second tale in this collection couldn’t be further from the seedy, double-dealing international crime scenario.

Written and illustrated by the ever-entertaining Jock, the untitled 3-part tale is a moodily enigmatic mystery which begins with Wolverine’s sudden and extremely painful arrival on an alien world.

The transplanted tracker has no idea how he was taken or where off Earth he is, but nonetheless brutally tackles bug-beasts and marauding monsters in his solemn, stoic struggle to stay alive.

His abductors have another surprise in store and release a small boy to hunt the mutant, but Logan soon turns the tables and befriends – or more accurately “tames” – the wild child whom he names Kouen…

The boy shares all his mutant abilities and even has retractable metal claws…

Their odyssey of survival on an unforgiving world is cut short when the mysterious technicians running the experiment try to reclaim their guinea pigs… and make the mistake of letting Wolverine find their secret lab….

They make an even bigger one when they let him see the ranked canisters – each with a small pitiful copy of Kouen in it…

With covers-and-variants by Madureira, Jock, Mike Perkins, Walt Simonson & Francesco Francavilla, Savage Wolverine: Hands on a Dead Body returns the mutant megastar to realms and milieus generally ignored in his recent mainstream appearances, and certainly lives up to its name here with this brace of fast, furious and blisteringly bombastic visceral yarns: a stirring reminder of days past and mysteries still to be resolved…
™ & © 2013 and 2014 Marvel & Subs. Licensed by Marvel Characters B.V. through Panini S.p.A. All rights reserved. A British Edition published by Panini Publishing, a division of Panini UK, Ltd.

Sucker Bait and Other Stories


By illustrated by Graham Ingels, written by Al Feldstein with Ray Bradbury & Bill Gaines (Fantagraphics Books)
ISBN: 978-1-60699-689-8

For most people who have heard of them, EC Comics mean one thing only: shocking, appalling, stomach-turning horror. Moreover, the artist they’re probably picturing – even if they can’t name him – is Graham Ingels, who wryly sighed his work “Ghastly”…

The company began in 1944 when comicbook pioneer Max Gaines – presumably seeing the writing on the wall – sold the superhero properties of his All-American Comics company to half-sister National/DC, retaining only Picture Stories from the Bible. His plan was to produce a line of Educational Comics with schools and church groups as the major target market.

He augmented his flagship title with Picture Stories from American History, Picture Stories from Science and Picture Stories from World History but the worthy projects were all struggling when he died in a boating accident in 1947.

As detailed in the comprehensive closing essay of this superb graphic compilation (‘Crime, Horror, Terror, Gore, Depravity, Disrespect for Established Authority – and Science Fiction Too: the Ups and Downs of EC Comics’ by author, editor, critic and comics fan Ted White) his son William was dragged into the company by unsung hero and Business Manager Sol Cohen who held the company together until the initially unwilling Bill Gaines abandoned his dreams of being a chemistry teacher and transformed the ailing Educational enterprise into Entertaining Comics…

After a few tentative false starts and abortive experiments copying industry fashions, Gaines took advantage of his multi-talented associate Al Feldstein, who promptly graduated from creating teen comedies and westerns into becoming Gaines’ editorial supervisor and co-conspirator.

As they began co-plotting the bulk of EC’s stories together, they changed tack, moving in a boldly impressive new direction. Their publishing strategy, utilising the most gifted illustrators in the field, was to tell a “New Trend” of stories aimed at older and more discerning readers, not the mythical semi-literate 8-year-old all comicbooks ostensibly targeted.

From 1950 to 1954 EC was the most innovative and influential publisher in America, dominating the genres of crime, horror, war and science fiction and originating an entirely new beast: the satirical comicbook…

Feldstein had started life as a comedy cartoonist and, after creator/editor Harvey Kurtzman departed in 1956, Al became Mad‘s Editor for the next three decades…

This seventh volume of the Fantagraphics EC Library gathers a mind-boggling selection of Feldstein’s most baroque and grotesquely hilarious horror stories – mostly co-plotted by companion-in-crime Gaines – and all illuminated by the company’s enigmatic yet unsurpassed master of macabre mood, in a lavish monochrome hardcover edition packed with supplementary interviews, features and dissertations.

It begins with historian and lecturer Bill Mason’s touching and revelatory commentary ‘Mr. Horror Builds his Scream House’ before dipping into the diary of disgust and dread with ‘Hook, Line, and Stinker!’ (Vault of Horror #26, August/September 1952): the tale of a spinster’s vengeance after she finds the man she’s been engaged to for fifteen years spends his weekends in the arms of a young floozy rather than on his precious – and fictitious – fishing trips…

The most memorable assets of EC’s horror titles were the uniquely memorable hosts whose execrable wisecracks bracketed each fantastic yarn. The Vault-Keeper, Crypt-Keeper and Old Witch were the only returning characters in the company during the New Trend era, becoming beloved favourites of the “Fan Addict” readership. Haunt of Fear #14 (July/August 1952) revealed the shocking and hilarious origins of the scurvy sorceress herself in a sublime pastiche of the Christian Nativity dubbed ‘A Little Stranger!’ …

A murderous circus elephant trainer’s infidelities came back to haunt him in ‘Squash… Anyone?’ (Tales From the Crypt #32, October/November 1952), whilst in that same month, in Vault of Horror #27, a rat-infested kingdom where starving peasants were tormented by their over-stuffed queen provided grisly meat for ‘A Grim Fairy Tale!’

‘Chatter-Boxed!’ (Haunt of Fear #15, September/October 1952) is a superb blend of maguffins as a man terrified of premature burial takes special steps to insure he’s never buried alive, but even after factoring in that his wife is always gabbing on the phone, there’s one element he could never have foreseen…

Next follows a wealth of material published in titles cover-dated December 1952/January 1953, beginning with ‘Private Performance’ from Crime SuspenStories #14, wherein a burglar witnesses a murder in an old Vaudevillian’s home before hiding in exactly the wrong place, whilst ‘None but the Lonely Heart!’ (Tales From the Crypt #33) reveals the ultimate downfall of a serial bigamist and black widower.

‘We Ain’t Got No Body’ (Vault of Horror #28), ghoulishly revels in the vengeance of a man murdered by his fellow train commuters before ‘Sugar ‘n Spice ‘n…’ (Shock SuspenStories #6) toys wickedly with the fable of Hansel and Gretel, proving that some kids get what they deserve…

A pioneering surgeon is blackmailed for decades by his greatest triumph in ‘Nobody There!’ (Haunt of Fear #16, November/December 1952), whilst in ‘Hail and Heart-y!’ (Crime SuspenStories #15 February/March 1953) a lazy husband drives his enduring wife to exhaustion and over the edge by feigning disability, before Ingels superbly captures the macabre eccentricity of Ray Bradbury’s story of a crusty dowager too mean to stay decently dead in ‘There Was an Old Woman!’ from Tales From the Crypt #34 (February/March).

That same month Vault of Horror #29 featured ‘Pickled Pints!’, as unscrupulous rogues buying cut-rate blood from winos push their plastered pumps a little too far, after which Haunt of Fear #17 (January/February) produced the acme of sinister swamp scare stories in ‘Horror We? How’s Bayou?’ a tale of rural madness and supernatural revenge long acclaimed as the greatest EC horror story ever crafted.

An irritated and merciless mummy stalks an Egyptian dig in ‘This Wraps it Up!’ (Tales From the Crypt #35, April/May 1953; the same month Vault of Horror #30 told a far more chilling tale of human retribution when the good citizens of a small town finally find the writer of cruel poison-pen letters in ‘Notes to You!’, whilst ‘Pipe Down!’ (Haunt of Fear #18, March/April) goes completely round the bend to describe how a young wife and handsome plumber got rid of her rich old man… and what the victim did about it…

Bradbury’s disturbing yarn ‘The Handler’ was adroitly adapted in Tales From the Crypt #36 (June/July) depicting how an undertaker’s secret liberties – inflicted upon the cadavers in his care – came back to haunt him, whilst over in Vault of Horror #31 that month ‘One Good Turn…’ revealed one little old lady’s gruesome interpretation of the old adage, and Haunt of Fear #19 (May/June 1953) disclosed the incredible lengths some men will go to in order to kill vampires in ‘Sucker Bait!’

From August/September ‘The Rover Boys’ in Tales From the Crypt #37 is a purely bonkers tale of brain transplantation gone wild, whilst Vault of Horror #32 offered up more traditional fare in ‘Funereal Disease!’ which described how a murdered miser got back what he loved most, and ‘Thump Fun!’ (Haunt of Fear #20, July/August) knowingly revisited Poe’s Tell-Tale Heart whilst adding a little twist…

‘Mournin’ Mess’ (Tales From the Crypt #38, October/November) is a stylish and clever mystery about rich men funding a paupers graveyard – and why – whilst over in Vault of Horror (#32) ‘Strung Along’ depicted the revenge marionettes inflicted on the greedy woman who murdered their elderly puppeteer before the artistic arcana all ends with ‘An Off-Color Heir’ (Haunt of Fear #21, September/October 1953) and the salutary tale of an artist’s wife who discovered just too late her man’s habits and horrific heritage …

Adding final weight to the proceedings is S.C. Ringgenberg’s biography of the tragic genius ‘Graham Ingels’, the aforementioned history of EC and a comprehensively illuminating ‘Behind the Panels: Creator Biographies’ feature by Mason, Spurgeon and Janice Lee.

The short, sweet but severely limited output of EC has been reprinted ad infinitum in the decades since the company died. These astounding stories and art not only changed comics but also infected the larger world through film and television and via the millions of dedicated devotees still addicted to New Trend tales.

However, the most influential stories are somehow the ones least known these days. Although Ingels turned his back on his comics career, ashamed of the furore and frenzy generated by closed-minded bigots in the 1950s, his incredible artistic talent and narrative legacy are finally gaining him the celebrity he should have had in life.

Sucker Bait is a scarily lovely tribute to the sheer ability of an unsung master of comics art and offers a fabulously engaging introduction for every lucky fear fan encountering the material for the very first time.

Whether you are an aging fear aficionado or callow contemporary convert, this is a book you must not miss…
Sucker Bait and Other Stories © 2014 Fantagraphics Books, Inc. All comics stories © 2014 William M. Gaines Agent, Inc., reprinted with permission. All other material © 2014 the respective creators and owners.

Captain America: Living Legend


By Andy Diggle, Adi Granov, Agustin Allessio & Eddie Robson (Marvel/Panini UK)
ISBN: 978-1-84653-573-4

The Star-Spangled Avenger was created by Joe Simon and Jack Kirby at the end of 1940 and confidently launched in his own title (Captain America Comics, #1 cover-dated March 1941) with overwhelming success. He was the absolute and undisputed star of Timely Comics’ (Marvel’s early predecessor) “Big Three” – the other two being the Human Torch and the Sub-Mariner – and one of the first to fall from popularity at the end of the Golden Age.

With the Korean War and Communist aggression dominating the Republic’s psyche, in 1953 he was briefly revived – as were Sub-Mariner and the Torch – before sinking once more into obscurity until a resurgent Marvel Comics called him back to duty in Avengers #4. It was March 1964 and the Vietnam conflict was just beginning to pervade the minds of the American public…

Everything changed for a little company called Marvel when the assembled heroes recovered the body of US Army Private Steve Rogers floating in a block of ice and consequently resurrected World War II’s Sentinel of Liberty.

With this act bridging the years from Timely/Atlas Comics (which had in fact begun with Sub-Mariner’s return in Fantastic Four #4 rather than the creation of Johnny Storm as a new kid Torch in #1), Marvel acquired a comforting longevity and potential-packed pre-history: lending an enticing sense of mythic continuance to the fledgling company that instantly gave it the same cachet and enduring grandeur of market leader National/DC.

This time Cap stuck around: taking over the Avengers, winning his own series and eventually a solo title. He waxed and waned through the most turbulent period of social change in US history, always struggling to find an ideological place and stable footing in the modern world. In 2006, whilst another morally suspect war raged in the real world, during the Marvel event known as Civil War he became a rebel and was assassinated on the steps of a Federal Courthouse.

Even more has happened in the last decade or so and, since the movies finally made him a Star-Spangled Star, the patriotic powerhouse has emerged with a solid, unassailably resolute presence no fan of modern Fights ‘n’ Tights fiction would dream of trifling with.

It also helps to have really excellent creators willing to try something a bit different with the venerable character and add contemporary gloss to the mix…

Such is certainly the case with Captain America: Living Legend: a 4-issue miniseries by Andy Diggle, Adi Granov, Agustin Allessio & Eddie Robson, released between December 2013 and February 2014 and now available as a short, sharp and shocking example of contemporary Cold War Terror.

Spanning the hero’s entire career, the adventure opens in the Bavarian Alps in April 1945 where Russian and US commando squads compete to capture German rocket scientists. The “Ivans”, wastefully led by ambitious patriotic fanatic Vladimir Illyich Volkov, are succumbing to stiff Nazi resistance until Captain America intervenes, but even the coolly competent crusader is unable to prevent the impetuous and arrogant Volkov from being shot in his moment of triumph…

Siberia, 1968: whilst the Sentinel of liberty slumbered in deep freeze, Cosmonaut Volkov led a secret mission to land a Soviet on the Moon before the Americans, and again deliver a crushing propaganda blow to the West. Unfortunately the lunar explorer encountered something alien and uncanny on its first Dark Side orbit and the mission was erased from Russian history…

Low Earth Orbit, Today: pacifist energy scientist Lauren Fox initiates her Dark Energy Utilisation System and lets something cruel and black and utterly inimical into our reality. The D.E.U.S. satellite smashes to Earth in Siberia, and within hours Sharon Carter of S.H.I.E.L.D. has despatched Captain America to investigate why the plunge seemed controlled – and stop the Russians getting hold of whatever caused the disaster as well as Fox’s D.E.U.S tech…

In the frozen north Colonel Gridenko is already leading a contingent of troops through a vast rugged barricade. It was built forty years ago to keep something alien and deadly from escaping…

When he finds the perimeter guards all dead at each other’s hands, he fears the latest space-borne visitation is proof that the original horror is still alive…

Captain America parachutes into the arctic hostile territory, tracking D.E.U.S’ trajectory and soon finds Dr. Fox. When he learns what happened on her space station he knows the Russians are not the real problem…

After Volkov’s capsule landed in Siberia in 1968, the cosmonaut was found to have been bizarrely altered by his experience. By 1973 the science city he was taken to had become a vast necropolis. As young Gridenko led the pitifully few survivors out, he witnessed The State sealing the site and start erasing all mention of the monstrous events…

As Captain America and Dr. Fox head towards the abandoned complex they are attacked by appalling alien predators: ghastly amalgamations of human and machine, possessed by a hunger to kill. Fighting onwards they soon link up with the remainder of the grizzled Russian Colonel’s expeditionary force – those that haven’t become man-machine marauders…

Reluctant allies, East and West must unite to brave Gridenko’s lair and destroy the unknown monstrosities it holds, but their foe still has many surprises and perils in store for his old rival and the rest of humanity…

Fast, furious and ferocious, Captain America: Living Legend is a gripping and spooky riff on classic alien infiltration horror movies which offers plenty of classy thrills, spills and chills that will delight superhero and fear fans alike. This slim tome also includes a huge cover-&-variants gallery by Granov, Neal Adams, Ulises Farinas, Daniel Brereton, Michael D. Allred,  Sal Buscema, Francesco Francavilla, Walt Simonson, John Cassaday & Jim Starlin, and boasts a wealth of digital extra content for consumers using the AR icons accessed via a free digital code and the Marvel Comics app for iPhone®, iPad®, iPad Touch® & Android devices at Marvel’s Digital Comics Shop.
™ & © 2013 and 2014 Marvel & Subs. Licensed by Marvel Characters B.V. through Panini S.p.A. All rights reserved. A British Edition published by Panini Publishing, a division of Panini UK, Ltd.

Zero Hour and Other Stories


Illustrated by Jack Kamen, written by Al Feldstein, Bill Gaines, Ray Bradbury & Jack Oleck (Fantagraphics Books)
ISBN: 978-1-60699-704-8

From 1950-1954 EC was the most innovative and influential comicbook publisher in America, dominating the genres of crime, horror, adventure, war and science fiction. They even originated an entirely new beast – the satirical comicbook – with Mad.

After a shaky start and following the death of his father (who actually created comicbooks in 1933), new Editor/publisher William Gaines and his trusty master-of-all-comics trades Al Feldstein turned a slavishly derivative minor venture into a pioneering, groundbreaking enterprise which completely altered the perception of the industry and art form.

They began co-plotting the bulk of EC’s output together, intent on creating a “New Trend” of stories aimed at older, more discerning readers (rather than the mythical 8-year-olds comics ostensibly targeted) and shifted the emphasis of the ailing company towards dark, funny, socially aware broadly adult fare.

Their publishing strategy also included hiring some the most gifted writers and artists in the field. One of the earliest and certainly most undervalued at the time was Jack Kamen…

This lavish monochrome hardcover volume, another instant classic in Fantagraphics’ EC Library, gathers a scintillating selection of Kamen’s quirkily low-key science fiction tales which always favoured character over spectacle or gimmicks and human frailty and foibles: the kind of offbeat yarns which predominated in such cleverly thought out TV shows as Twilight Zone and Outer Limits, which followed in EC’s wake…

This almanac of The Unknown is, as always, stuffed with supplementary features beginning with ‘Graceful, Glamorous, and Easy on the Eye’: an informative, picture-packed history and critical appreciation by lecturer Bill Mason, after which the succession of scary, funny Tomorrow Stories opens with ‘Only Human!’

Kamen actually began working for EC before their New Trend days, brought in by old friend Al Feldstein (who scripted most of the stories here after barnstorming plot-sessions with affirmed SF fan and closet scientist Gaines) and this yarn from Weird Science #11, January/February 1952, perfectly shows the artist’s facility for capturing feminine allure (which served him well in his earlier romance comics days).

The tale is smart too as a group of readers is hired to educate the first ever electronic brain, but are unable to keep their feelings from contaminating the project…

‘Shrinking from Abuse!’ (Weird Fantasy #11, also January/February 1952) is more recognisably EC “just desserts” fare, as an abusive chemist’s size-changing solution leads to his beleaguered wife getting the final word in, whilst ‘The Last Man!’ from W S #12 (March/April 1952) plays morality games after a male survivor of atomic Armageddon finally locates a new Eve and finds she is the only woman he can’t possibly repopulate the world with…

Weird Fantasy #12, (March/April 1) revealed ‘A Lesson in Anatomy’ as a little lad’s ghoulish curiosity inadvertently ended an alien infiltration attempt, after which ‘Saving for the Future’ (Weird Science #13, May/June) offered a stunning lesson in Compound Interest when a poor couple opened a bank account and went into induced hibernation for 500 years, whilst ‘The Trip!’ (W F#13, May/June) looked at a different aspect of the topic as a philandering scientist attempted to use quick freeze tech to run off with his pretty assistant, but forgot something really important…

‘Close Call!’ (W F #14, July/August) took a rather cruel look at a female scientist who wished that her male colleagues would stop hitting on her and wasn’t too happy at the hand fate then dealt her, before Weird Science #15 (September/October 1952) took a knowing glimpse at everyman’s dream when a nerd accidentally acquired the time-lost means to make perfect, willing women – and still got everything wrong due to ‘Miscalculation!’…

Feldstein worked on every genre in EC’s stable, but the short, ironic, iconic science thrillers he produced during that paranoid period of Commies and H-Bombs, Flying Saucer Scares and Red Menaces, irrevocably transformed the genre from cowboys in tinfoil suits and Ray-gun adventure into a medium where shock and doom lurked everywhere.

His cynically trenchant outlook and darkly comedic satirical stories made the cosmos a truly dangerous, unforgiving place and kept it such – until the Comics Code Authority and television pacified and diminished the Wild Black Yonder for all future generations. He did however maintain a strong working relationship with Space-babes and ethereally beautiful E.T.s – and nobody drew them better than Kamen…

 ‘He Who Waits!’(Weird Fantasy #15, September/October 1952) revealed one of their best collaborations as an old botanist discovered a luscious, seductive maiden only eight inches tall, living in one of his plants. The bittersweet tale showed that love could overcome any obstacle…

Greed is another unfailing plot driver in EC stories and in ‘Given the Heir!’ (W S #16, November/December) a poor new husband recruits his own descendent in a crazy plan to change the past and inherit millions. Unfortunately he didn’t pay as much attention to family history as he should have…

‘What He Saw!’ in W F #16, (November/December) is an unrelenting tale of induced madness inflicted upon a lost space explorer whilst 1953 began in fine style with another science lesson as ‘Off Day!’ (Weird Science #17, January/February) outrageously depicted the potential results of the law of averages taking a day off before ‘The Parallel!’ (W S #18, March/April 1953) explored the concept of alternate earths as a smart but poor genius attempted to improve his life by murdering his other selves…

Weird Fantasy #18 (March/April) featured the eponymous ‘Zero Hour’ – adapted from a Ray Bradbury short story – and dealt with the subtlest of Martian invasions as imaginary friends used human children to pave their way, after which the Gaines/Feldstein brain trust described the grim fate of a chancer who used intercepted future gadgetry to turn his automobile into a getaway vehicle nobody could catch… or find… in ‘Hot-Rod!’ (Weird Fantasy #19, May/June 1953).

Cold, emotionless invaders infiltrated human society only to be doomed by seductive feelings in ‘…Conquers All!’ (W F #20, July/August) after which the Bradbury prose piece “Changeling” became ‘Surprise Package’ in Weird Science #20 (also July/August 1953) detailing the complex web of savage emotions engendered when Love Mannequins become commonplace…

Bradbury’s sequel ‘Punishment Without Crime’ (W S #21, September/October) took the theme further by considering if killing such automata might be murder, before ‘Planely Possible’ (W F #21, September/October) returns to the concept of parallel Earths for a car crash survivor who would do anything to be reunited with his dead wife – or nearest approximation – after which cruel and unscrupulous carnival owners learn what its like to be ‘The Freaks’ (Weird Fantasy #22, November/December 1953)…

Cold war paranoia and repression inform the 1984-like world of ‘4th Degree’ (Weird Science-Fantasy #27, January/February 1955) as a closet rebel attempts to unmake his totalitarian world through time travel, and this glossy, dark trip through vintage tomorrows ends with ‘Round Trip’ from Weird Science-Fantasy #27 (March/April 1955) with a touching and contemplative reverie of a life lived long if not well…

Regarded as one of the company’s fastest artists (only the phenomenal Jack Davis turned in his pages at a greater rate) Kamen always produced illustrative narrative which jangled nerves and twanged heartstrings: his lush forms and lavish inks instantly engaging and always concealing brilliant touches of sly, knowing humour. He was often overshadowed by EC’s other stalwarts but he was every bit their equal.

The timeless comics tales are followed by more background revelations in S.C. Ringgenberg’s ‘Jack Kamen’ and a special essay on the artist’s later life in ‘From Science Fiction to Science Fortune’ drawing intriguing parallels between his EC cartoons and the design assistance he later contributed to his inventor son Dean’s landmark creations – the portable Drug Infusion pump, portable Kidney Dialysis machine and Segway PT (yeah, that Dean Kamen) – before ending on another comprehensively illuminating ‘Behind the Panels: Creator Biographies’ from Tom Spurgeon, Janice Lee and Arthur Lortie.

The short, sweet but severely limited output of EC has been reprinted ad infinitum in the decades since the company died. These astounding, ahead-of-their-time-comics tales did not just revolutionise our industry but also impacted the whole world through film and television and via the millions of dedicated devotees still addicted to New Trend tales.

Zero Hour is the 8th Fantagraphics compendium highlighting the contributions of individual creators, adding a new dimension to aficionados’ enjoyment whilst providing a sound introduction for those lucky souls encountering the material for the very first time.

Whether an aged EC Fan-Addict or the merest neophyte convert, this is a book no comics lover or crime-caper victim should miss…
Zero Hour and Other Stories © 2014 Fantagraphics Books, Inc. All comics stories © 2014 William M. Gaines Agent, Inc., reprinted with permission. All other material © 2014 the respective creators and owners.

Infinity volume 2


By Jonathan Hickman, Jim Cheung, Jerome Opeña, Dustin Weaver, Leinil Francis Yu, Mike Deodato Jr., Mark Morales, John Livesay, David Meikis, Gerry Alanguilan & various (Marvel/Panini UK)
ISBN: 978-1-84653-587-1

My reviews are always far too long (and long-winded) so go re-read the one for Infinity volume 1 before starting here…

Infinity volume 2, written throughout by Jonathan Hickman, collects the final three issues of the eponymous 6-part miniseries and the attendant interlocking appearances of the World’s Mightiest Super-Heroes from The Avengers (volume 5 #21-23) and New Avengers (#11-12) which first saw print between December 2013 and January 2014.

Big long story short: Whilst most of the Avengers are off-planet, fighting beside former alien enemies against a massive armada of primal ancient entities determined to wipe out every Earth in the multiverse, the death-loving Titan Thanos has invaded their homeworld, destructively seeking his lost son…

The chronicle of cosmic calamity recommences here – after a copious cast-list and succinct recap – with Infinity #4 (illustrated by Jerome Opeña and Dustin Weaver), as ‘The Last Lesson’ sees Captain America and Shi’ar emperor Gladiator begin their desperate ploy to liberate the Kree warriors whose guiding Supreme Intelligence has capitulated to the seemingly unbeatable Builders.

On Earth, ‘Thane’, son of Thanos, obliviously toils as a healer in the hidden Inhumans colony of Orollan, whilst in New York the struggle between Black Bolt and Thanos has caused the Inhumans’ floating city Attilan to crash onto the metropolis below. But even though the Titan is ultimately victorious ‘The Change’ provoked by the explosion of the meta-empowering Terrigen Bomb has shifted the balance of power in favour of nigh-conquered humanity. It has also transformed benevolent Thane into the very antithesis of his former self…

And on conquered Hala, Thor savagely delivers the embattled alliance’s response to the Builders’ demands: recruiting the defeated Kree back into the fold with ‘A Prayer’…

‘Emancipation’ begins in Avengers #21 (with art by Leinil Francis Yu & Gerry Alanguilan) as ‘The Promise of the Universe’ finds the newest Avenger Ex Nihilo in attendance of the still comatose Captain Universe as ‘The Second Wave’ sees a host of subdued worlds throw off the Builders’ yoke.

It is not enough and the apparently infinite resources and materiel of the invaders soon regains them the upper hand. With no other choice, the flagging allies reluctantly turn to Negative Zone overlord Annihilus who unleashes a horde of monster bugs in a voracious Annihilation Wave. It is still not enough…

In ‘The Promise Fulfilled’, when Captain Universe at last revives, the “Mother of Creation” goes directly to the Builder leaders, demanding an explanation and cessation, but her ancient children are determined to end all iterations of Earths and disavow her. As she reluctantly kills them, the last one orders all the incomprehensible trillions in their fleet to carry on and “destroy everything”…

New Avengers #11(‘Builders’ with art by Mike Deodato Jr.) finds Wakanda wavering under intensified assaults from Thanos’ Cull Obsidian, whilst Black Panther T’Challa is whisked off-planet with the rest of the clandestine Illuminati cabal by a Builder Aleph unit to observe at first hand the destruction of ‘All These Worlds’. The trip actually takes them to a different reality…

The proposed lesson in futility fails, but by appealing to the sublime rationality of their “guests” the abductors expose Dr. Strange‘s hidden parasitic controller before revealing that Earth is the axis point causing the entire multiverse to spiral towards utter extinction. Surely rational beings can accept the necessity of surgically excising a threat to all life…

Meanwhile on their Earth, Black Panther Princess Regent Shuri has been forced to retreat, leaving an arsenal of world-destroying bombs in Thanos’ hands…

Infinity #5 exposes the ‘Left Hand of Death’ (Jerome Opeña & Weaver art) as ‘Of Suns and Storms’ follows the resurgent Avengers liberating conquered worlds until word arrives that Earth has fallen to Thanos, after which ‘This Ebony Now’ switches focus to Orollan where Thane has become an uncontrollable death ray generator.

Horrified, the former healer is easily swayed by treacherous Ebony Maw who offers containment and control in return for future favours…

When Thanos is informed that his son has been located he rushes off to personally dispatch the last humiliating stain on his record, commanding his Black Order to ready the bombs to obliterate Earth even as in space the gratefully victorious Alien Alliance offers their remaining ships to the Avengers to liberate their own world ‘In the Shadows of The Giants’…

‘To the Earth…’ (Avengers #22, by Yu & Alanguilan) presages that ‘Homecoming’ as the rescue fleet attacks Thanos’ home on Titan, after which ‘Plans and Intentions’ lead to an attack on the orbital station The Peak before moving homeward with ‘A Greater Purpose’…

Avengers #23 takes up the tale ‘…To the Very End’ (Yu & Alanguilan) as, after ‘A Word from the Heavens’ with Captain America, Iron Man spearheads a mission in Wakanda to shut down the doomsday bombs, whilst the battle for The Peak goes badly until unconventional assistance arrives in ‘Homecoming’, after which Infinity #6 (Opeña & Weaver) draws the conflict to a stunning close as the scattered Terran heroes link up to confront the ‘Tyrant’ and forcibly take back the world.

However Thanos’ final fall is engineered by his most hated enemy before the ‘Epilogue’ details how the bloody, battered and unbowed Avengers with the aid of their grateful alien Allies begin a period of reconstruction and preparation for whatever comes next.

New Avengers #12 (Deodato Jr.) brings the epic to close as ‘Endgame’ concentrates on the futures of the individual Illuminati and the planet they arrogantly shepherd.

As their extra-dimensional captive oracle Black Swan is swift to point out, since the smartest minds on Earth were all but useless in predicting, forestalling or coping with mere Builders, what happens when the being and forces they fear come looking for humanity?

A bombastic, big budget blockbuster meant to shock and awe (even if not always make sense), this is comics as sheer spectacle and works exceedingly well as such, but might intimidate or confuse those with a less than passionate affinity for costumes and carnage.

This closing chronicle also offers a gallery of 28 stunning covers-and-variants by Adam Kubert, Deodato Jr., Laura Martin, Yu, In-Hyuk Lee, Ryan Stegman, Skottie Young, Opeña, Sara Pichelli, Terry & Rachel Dodson, Leonel Castellani, and Daniel Acuña plus more digitally added-content (trailers, character bios, creator video commentaries, behind-the-scenes features etc.) for consumers able to access the embedded AR icons’ with the Marvel Comics app for iPhone®, iPad®, iPad Touch® & Android devices.
™ & © 2013 and 2014 Marvel & Subs. Licensed by Marvel Characters B.V. through Panini S.p.A. All rights reserved. A British Edition published by Panini Publishing, a division of Panini UK, Ltd.

Snowpiercer volume 2: The Explorers


By Benjamin Legrand & Jean-Marc Rochette, translated by Virginie Selavy (Titan Comics)
ISBN: 978 -1-78276-136-5

Like the times that produced it, the Franco-Belgian comics classic Le Transperceneige was a troubled and ill-starred beast. The tale was originally conceived by prolific veteran scripter and occasional cartoonist Jacques Lob to be illustrated by his Superdupont collaborator Alexis (Dominique Vallet) but the artist’s untimely death on 7th September 1977 stalled the project until 1982 when painter, comics artist and book illustrator Jean-Marc Rochette (Pinocchio, Le petit poucet, Le chat botté, Candide, Le Dépoteur de Chrysanthèmes, Edmond le Cochon, Requiem Blanc) came aboard.

The delayed apocalyptic epic then ran in À Suivre in 1982 and 1983, with a collected edition published in 1984.

Although popular the sequel was not forthcoming until long after Lob died in 1990, whereafter Benjamin Legrand took up the concept with Rochette, producing two more epic tales of the Last Train to Nowhere…

No stranger to comics, Legrand (Lone Sloane, White Requiem, Gold & Spirit) is also a major mainstream prose author and French-language translator of such luminaries as Milton Caniff, R. Crumb, Robert Ludlum, Tom Wolfe, John Grisham and Nelson DeMille amongst many others. This varied background brought an edgy thriller-writing sensibility to the austere high concept of the original dystopian tomorrow mix…

With the imminent UK release of the movie Snowpiercer, Titan Comics (whose other translated offerings include The Hunting Party, Blueberry and other assorted classics by Enki Bilal, Moebius and others) have brought the entire three album masterpiece to our parochial Anglo-centric attention in two lavishly luxurious monochrome hardbacks. Both of Legrand & Rochette’s cool collaborations are here combined into a stunning collection of bleak and chilling End of the World turmoil: in one stunning, sturdy volume, as a companion to Snowpiercer book 1: The Escape.

In that original tale a new Ice Age had instantaneously descended over Earth and a microcosm of humanity rushed onto a vast vacation super-train repurposed as an ever-running ark of survival. As that monolithic futuristic engine began a never-ending circumambulation on tracks originally designed to offer the idle rich the ultimate pleasure cruise, the people rich, lucky or ruthless enough to secure a place quickly settled into their old pre-disaster niches and original divisive social stratifications.

Life continued for decades in this manner until a bold outcast named Proloff escaped from the sealed nether-end carriages, travelling the length of the 1001 cars pulled by the mysterious miracle of modern engineering. He acquired a romantic companion, clashed with the Military and Elite’s hierarchies, inadvertently sowing deadly discord until he reached the Engine herself and discovered the uncanny secret of the machine called “Olga”…

The drama now resumes in Snowpiercer book 2: The Explorers (originally serialised as Le Transperceneige: L’arpenteur in 1999) with a stunning revelation.

Soon after that train first sealed itself from the world and departed, a second, better equipped life-preserving cortège took off after it. Perpetually trailing the original, the denizens of the second Snowpiercer have also devolved into a far-from-homogeneous society: one also crippled by the overwhelming fear that they will inevitably smash into their forerunner one day…

Snowpiercer 2 has many modifications missing from the original. Designed as an icebreaker, the train also boasts radar detection systems, one-man short-hop flying modules and is able to brake and stop, allowing the hardiest individuals to debark and briefly scavenge amongst the frozen ruins of the world that’s gone…

There’s also a far more savvy autocracy in charge; scrupulously managing the disparate elements of the rolling society. Carefully constructed hologram adventures and TV shows placate passengers of all classes, an oligarchic Council manages every aspect of existence, a religion has been created to dole out hope, passive acceptance and guilt as required and the rulers run a gambling racket which provides a safe outlet for the lowest of the low…

Explorers have a short life expectancy and are highly expendable, but generally bring back far more flashy trinkets for the wealthy than salvaged food, drugs or technology for the masses.

The constant fear of collision has produced malcontents, cynics, terrorists, a huge need for anti-depressants and increasing incidents of a deranged group psychosis in many carriage dwellers. “Cosmosians” are gripped by a sure and certain belief that the entire vehicle is actually a spaceship hurtling through hard vacuum, rather than a wheeled entourage braving mere minus-130 degree wind and snow.

The terrifying panic which resulted from the first test-braking 15 years previously still scars most psyches but life on the rails is generally improving. Council head Kennel is delighted to learn that surface temperatures outside are slowly rising again (-121 in some places!), the birth rate is still successfully and voluntarily restricted whilst recycling, meat and agriculture output are at record levels.

Moreover his own daughter Val is constantly coming up with new and exciting Virtual Environment programs for the winners of the ubiquitous gambling contests to enjoy: histories, fantasies and adventures all enthral the Proles and keep them slavishly betting in hope of winning new and stimulating diversions…

Her latest idea is a bit of a shocker though: she wants to reproduce what the Explorers experience when they leave the train…

Despite her father refusing the request Val decides to go ahead anyway and sneaks back to the carriages where Reverend Dicksen is administering the blessing of Saint Loco upon the suicidal scavengers in preparation for their next foray.

As she spies on them she is accosted by the increasingly unstable Metronome – spiritual leader of the breakaway Cosmosian sect – but ignores his warnings, set on learning more about the anonymous stalwarts who risk their lives for medicines for the masses.

Explorer Puig Vallès is not an idealist. As the third-class grunt fatalistically trudges back from a deep-frozen museum, he is one of only four survivors of yet another art raid, stealing useless treasures for the coffers of the elite “Fronters”. His surly rebelliousness and smart mouth soon get him into hot water and he is arrested…

Uncaring of the trouble he’s in or the cheap price of lower class life, Puig is intercepted by Val, whose status and family connections allow her to do almost anything she desires – even interviewing a disgraced Explorer.

Fate seems to be against her, though, as Puig is promptly announced as a winner in the Lucky Lady lottery. His prize is not a virtual vacation, but the “honour” of piloting one of the deteriorating fliers on an exploratory (AKA suicide) mission to see if Snowpiercer 1 is stalled on the tracks up ahead…

And in a dark and gloomy carriage, Metronome and his acolytes finish a bomb that will divert the hurtling spacecraft from its present course and towards the “promised planet”…

Puig knows he’s been set up to die and breaks free, stealing a gun and running for he knows not where, but is captured after a ferocious fire-fight. Val, meanwhile, has discovered that the train’s archives and historical records have been doctored: there’s evidence of anti-fertility drugs being added to the water, and that momentous day 15 years ago when she personally witnessed the death of Puig’s parents has been somehow deleted…

Near the front, the eternally vigilant “Radarists” have spotted a crisis which needs confirmation. A vast bridge pings back as damaged, but on-site inspection is vital to avoid disaster. Val clandestinely confers with Puig, just before the disgraced Explorer is subjected to a kangaroo court and charged with causing the deaths of the other Explorers in his team.

His guilt a foregone conclusion, he is sentenced to Community Service and ordered to fly a flimsy, malfunctioning scout plane to inspect the failing span ahead of the train.

His terrifying sortie confirms the radar data, and the train frantically brakes to avoid disaster. However, by the time Puig turns the plane back, the Icebreaker has switched to full reverse and is speeding away. Determined not to die, he gives chase in the dying flier, and miraculously travels through a brief burst of sunlight.

Shocked and galvanised he nurses the plane onward, even avoiding anti-aircraft fire from the train and discovers that his rolling home has a super engine at each end…

He threatens to crash the plane into the retreating cars and, as the Council deliberate the potential harm he might cause, Val – listening in on tapped lines – broadcasts the conversation to the entire populace.

Consummate politician Councillor Kennel does the only thing possible: regaining public support by proclaiming Puig a hero and taking him fully into the elite’s confidence by sharing all the Train Elite’s secrets with him.

As a Councillor, the rebel anarchist has no choice but to become a co-conspirator and in a horrifying moment of revelation meets an elderly Explorer who describes how the first “braking” was actually the collision everyone has dreaded for years. The original Snowpiercer is now the rear end of their own vastly snaking train. Every moment of fear and anticipation since than has been manufactured to control the people…

The chilling triptych concludes in the immediately-following Snowpiercer Book 3: The Crossing (serialised in 2000 as Le Transperceneige: La traversée) as Puig chafes under a burden of secrets and his new role as Councillor, but one with far less power than the established members.

At least he no longer fears a collision that can never happen, but his sense of threat has not diminished, but rather widened…

When Metronome’s fanatics finally detonate their bomb at the North End of Upper Second-Class, the explosion wrecks the train braking system. Naturally Puig leads a reconnaissance expedition, allowing adversarial Councillors Reverend Dicksen and fellow hardliner The General opportunity to assassinate the Explorer upstart whilst he is occupied cutting free the destroyed cars, effectively chopping the train – and humanity – in half.

As frantic evacuation procedures take effect, the Reverend dispatches fanatical cold-resistant children he’s been training to dispatch the despised enemy, but even clinging to roof of a rocketing carriage in lethal freezing winds Puig is far harder to kill than anybody realised…

With an Engine at either end, the two halves of the train are quickly separated by frozen miles whilst Puig covertly rejoins wife Val and leads a coup. With Dicksen and the General incarcerated and resources impossibly scant for the people crammed into their half of the train, Kennel then reveals one last piece of potentially life-changing news.

The Radarists have for some time been receiving radio transmissions from across the frozen sea. Perhaps somewhere other pockets of human civilisation exist…

Even if the rails hold firm and bridges are still passable, eventually the truncated train will collide head on with its severed other half if the passengers don’t starve, freeze or kill each other first.

With Councillor Kennel on-side and determined to preserve some vestige of the human race, the Explorer, tantalised by an impossible hope, decides to employ the train’s never-tested Snow Chain technology to leave the tracks completely and take everybody out across the ice-locked, frozen ocean in search of the originators of that beguiling transmission…

Unfortunately the bold strike into the unknown is far less dangerous than the fanatics still riding within, and even the despondent, electronic phantom of Proloff, psychically bonded to the original Snowpiercer engine as a cerebral ghost within the machine, can’t help against the bloody religious uprising fomented by Dicksen, Metronome and the General…

And there are even more deadly revelations and surprises awaiting them in the cold, dark unknown across the sea…

This harsh exploration of society in crisis is a gripping tale depicting different kinds of survival values no reader of fantasy fiction could possibly resist, and one long overdue for major public recognition.

And by reading this volume, you’ll see far more than the movie adaptation could possibly cover…
Transperceneige/Snowpiercer and all contents are ™ and © 2013 Casterman.
Snowpiercer volume 2: The Explorers is scheduled for release on February 25th 2014