Mighty Love


By Howard Chaykin, with Don Cameron, Kurt Hathaway & Dave Stewart (DC Comics)
ISBN: 1-56389-930-2

Don’t let the outfits fool you: it’s not just another kinky love story…

Oddly released under the DC rather than Vertigo imprint, this is a story about crime in the big city and of the compromises individuals must make to achieve their purposes.

Delaney Pope is a rough, tough cop on a corrupt force who is fed up with seeing the scum she arrests get away with murder – or worse. Lincoln Reinhardt is a slick, liberal defense lawyer constantly thwarting the frames and set-ups of those cops. He often clashes with Pope in the course of his job. They both loathe each other with a passion.

Unbeknownst to either they both assuage their work-day frustrations by putting on masks and costumes to beat the crap out of criminals (with or without badges) in the commission of their crimes – where there are no doubts about guilt, innocence or mitigations.

The thrill of these nocturnal forays inevitably lead to a meeting of “Skylark” and “Iron Angel”, and a tenuous, teasing team-up when separate cases bring them together against the city’s first criminal mastermind. Not knowing each other’s real identity, but afraid to unmask and lose that so-tantalising tension, the pair have to decide what’s most important, the actual or the promised…

This delightfully fizzy adult romp prods all the fetishistic trappings of superhero storytelling as the brassy and whimsical writer/artist (with computer effects by Cameron, lettering from Hathaway and colours by Stewart) blends riffs from The Shop Around the Corner, The Thin Man, Pat and Mike and even Adam’s Rib with a plethora of crime caper movies to produce a costume drama in the unmistakable Chaykin manner.

Clearly the pilot for an unrealized longer series, Mighty Love is a fast and stylish little oddity that reads well and looks great – so if all you want is a good time; Baby, look no further…
© 2003 Howard Chaykin, Inc. All Rights Reserved.

Silverheels


By Bruce Jones, Scott Hampton & April Campbell (Eclipse Books)
ISBN: 0-913035-27-0 (Limited Edition: hardback, signed with a tipped-in b&w plate)

ISBN: 0-913035-26-2 (hardback)

ISBN: 0-913035-22-X (trade paperback)

If you’re ever in the mood for some grand old-fashioned space-opera, magnificently illustrated and thrilling as all get-out, then you can’t go far wrong with this lost gem (still readily available through various online retailers and, for all I know, your local comic shop).

Starting life as a limited series from the groundbreaking but woefully unprofessional Pacific Comics (always superb product, but lamentably underfinanced, poorly scheduled and badly distributed) in December 1983, the completed tale finally found its way, like so many others, to fellow West Coast outfit Eclipse, where it joined the ranks of their superb Graphic Novel line alongside such classics as the Rocketeer, Sabre and I am Coyote.

The story from Bruce Jones and April Campbell tells of Silverheels, a troubled young “‘Pachee” warrior with hidden psychic powers. On a future Earth where Aryan Supremacists the Nazites have won a global war and installed themselves as a triumphant master-race, all sub-races are treated like cattle – or game. The Nazites even took their xenophobic madness into space, but their dreams of purity and conquest were crushed by an alliance of space-faring races.

Always an outsider, Silverheels escapes the reservation where the impure races have been left to die and breaks into the Nazite fortress just as inspectors from the Intergalactic Council arrive to assess whether the defeated Aryans are reformed and repentant enough to be allowed back into space.

Of course they aren’t, but as the young Apache, acting on the instinctive promptings of his psi-potent subconscious, bluffs his way onto an extraterrestrial training mission to select worthy Earthmen, he is indifferent to the hatred of the duplicitous Nazites. Although they all want him silenced before he can expose their secrets, the young mongrel only has eyes for Miranda, the beautiful, racially perfect daughter of the Nazite leader. Such a pity that she’s promised to the brutal übermensch Kraus…

Produced in the gloriously humanistic Faux-EC Comics style beloved by so many of Jones’ generation, this tale of love, pride and the unconquerable human spirit isn’t as clear-cut as it may sound and there are plenty of surprises to augment the spectacular action and gritty drama as Silverheels triumphs over every lethal obstacle before the shocking ending arrives.

As always the lush painted art of Scott Hampton is utterly entrancing, and great story-telling is timeless so this book is one you’ll delight in over and over again.
Story © 1987 Bruce Jones Associates. Art 1987 © Scott Hampton. All Rights Reserved.

Superman: Shadows Linger


By Kurt Busiek, Peter Vale, Jesús Merino, Renato Guedes, Jorgé Correa Jr & various (DC Comics)
ISBN: 978-1-84856-146-5

Following directly on from Superman: the Third Kryptonian (ISBN: 978-1-84856-005-5) the tales in this package originally appeared as issue #671-675 of the monthly Superman comicbook, divided into two yarns thematically harking back to the gloriously innocent Silver Age Superboy stories as drawn by George Papp.

First up is a thoroughly tumultuous modern interpretation of Lana Lang’s finest, daftest schoolgirl moments. ‘Insect Queen’ is a cracking invasion thriller in three parts (illustrated by Peter Vale, Wellington Dias and Jesús Merino) wherein the adult Lana has assumed control of Lex Luthor’s old company, only to be abducted to a hidden moonbase and made the DNA template for an alien arthropod hive-brain’s new body.

The deadly insect queen has even made Superman her slave…

This delightfully gratifying “Saves-the-World” romp rattles along with sharp dialogue and lots of movie in-jokes; a superb palate cleanser before ‘Shadows Linger’ re-retools the story of “Superboy’s older brother” Mon-El for the post-Smallville/Superman Returns generation.

An alien from the Krypton-like world of Daxam, Mon-El is, like all his species, hyper-sensitive to common lead. Once exposed, a Daxamite will inevitably die. When this happened to the solitary star voyager, Superman was compelled to banish his new-found friend to the nebulous Phantom Zone to preserve his life.

Just as Mon-El reveals the horrific fundamentalist regime he fled from, three Daxamite Priest-Elders of the Protonic Flame appear on Earth demanding Mon-El’s surrender… or else. To further complicate matters a super-villain with the ability to duplicate and magnify an opponent’s powers is loose, wanting what they all want (world domination and busty super-heroines as willing handmaidens)…

A crazed ego-maniac and three intractable zealots with all his powers were bad enough for the Man of Tomorrow, but then some fool had to unleash the planet-consuming Galactic Golem…

Fun-filled and action-packed, this a well-told traditional tale beautifully realized by Renato Guedes & José Wilson Magalháes (with Jorgé Correa Jr. pitching in at the end), another swift, punchy antidote to those interminable multi-part cosmic sagas. There’s life yet in the World’s Most Senior Superhero…

© 2008 DC Comics. All Rights Reserved.

Luba


By Gilbert Hernandez (Fantagraphics Books)
ISBN: 978-1-56097-960-9

In the 1980s a qualitative revolution forever destroyed the clichéd, stereotypical ways different genres of comic strips were regarded. Most prominent in destroying these comfy pigeonholes we’d built for ourselves were three guys from Oxnard, California; Jaime, Mario (occasionally) and Gilberto Hernandez.

Love and Rockets was an anthology comics magazine that featured the slick, intriguing, sci-fi-ish larks of punky young things Maggie and Hopey – las Locas – and the heart-warming, terrifying, gut-wrenching soap-opera fantasy of Palomar. These gifted synthesists captivated us all with incredible stories that sampled a thousand influences conceptual and actual – everything from Archie Comics and alternative music to German Expressionism and masked wrestlers. The result was pictorial and narrative dynamite.

Palomar was the playground of Gilberto, created for the extended serial Heartbreak Soup: a poor Latin-American village with a vibrant, funny and fantastically quotidian cast. Everything from life death, adultery, magic, serial killing and especially gossip could happen in the meta-fictional environs of Palomar, and did, as the artist explored his own post-punk influences, comics, music, drugs, comics, strong women, gangs, sex, family and comics, in a style that seemed informed by everything from the Magical Realism of writers like Carlos Fuentes and Gabriel García Márquez to Saturday morning cartoons and the Lucy Show.

Beto, as he signs himself, returned to the well of Palomar constantly, usually with tales centred around the formidable matriarch – or perhaps Earth Mother figure – Luba, who ran the village’s bath house, acted as Mayor – and sometimes police chief – as well as adding regularly and copiously to the general population. Her children, brought up with no acknowledged fathers in sight, are Maricela, Guadalupe, Doralis, Casimira, Socorro, Joselito and Concepcion. A passionate, fiery woman who speaks her mind and generally gets her own way, she keeps a small claw-hammer with her at all times.

Luba is a character who defies easy description and I don’t actually want to: As one of the most complex women in literature, let alone comics, she’s somebody you want to experience, not learn of second-hand. You will probably notice that she has absolutely enormous breasts. Deal with it. These stories are casually, graphically, sexually explicit. Luba’s story is about Life, and sex happens, constantly and often with the wrong people at the wrong time. If harsh language and cartoon nudity (male and female) are an insurmountable problem for you don’t read these tales. It is genuinely your loss.

After a run of spectacular stories (all of which have been collected in a variety of formats and editions which I really must get around to reviewing) like An American in Palomar, Human Diastrophism and Poison River, the magazine ended and Luba and her extended family then graduated to a succession of mini-series which concentrated on her moving to the USA and reuniting with her half-sisters Rosalba (“Fritz”) and Petra, taken when her mother Maria fled from Palomar decades previously.

Which brings us to this delightfully massive and priceless tome: Luba collects in one monumental volume her later life as an proud immigrant who refuses to learn English (or does she?), over 80 stories covering 596 black and white pages ranging from lengthy sagas to sparkling single page skits which originally appeared in Luba, Luba’s Comics and Stories, Luba in America, Luba: the Book of Ofelia and Luba: Three Daughters. The tone and content ranges from surreal to sad to funny to thrilling. The entire world can be found in these pages.

Although in an ideal world you would read the older material first, there’s absolutely no need to. Reminiscence and memory are as much a part of this brilliant passion-play as family feeling, music, infidelity, survival, punk rock philosophy, and laughter – lots and lots of laughter. Brilliantly illustrated, these are human tales as coarse and earthy any as any of Chaucer’s Pilgrims could tell, as varied and appetising as any of Boccaccio’s Decameron and as universally human as the best of that bloke Shakespeare.

I’m probably more obtuse – just plain dense or blinkered – than most, but for years I thought this stuff was about the power of Family Ties, but it’s not: at least not fundamentally. Luba is about love. Not the sappy one-sided happy-ever after stuff in chick-flicks, but LOVE, that mighty, hungry beast that makes you always protect the child that betrays you, that has you look for a better partner whilst you’re in the arms of your one true love, and hate the place you wanted to live in all your life. The love of cars and hair-cuts and biscuits and paper-cuts and stray cats that bite you: selfish, self-sacrificing, dutiful, urgent, patient, uncomprehending, a feeling beyond words.

Just like the love of a great comic…

© 2009 Gilbert Hernandez. All Rights Reserved.

Marvel Platinum: the Definitive Wolverine – UK Edition


By various (Marvel/Panini Publishing UK)
ISBN:  978-1-84653-409-6

Perhaps it’s my advanced age or possibly my surly, intractable nature, but I’m finding fault in a lot of places where minor annoyance too easily becomes major grievance. A perfect example is this large and lavish compendium of adventures culled from the publishing history of major motion picture star and everybody’s favourite man-on-the-edge Wolverine.

Debuting as an antagonist for the Incredible Hulk as a tantalising glimpse at the end of issue #180 (Oct 1974) before having a full-length scrap with the Jade Giant in #181, the semi-feral Canadian mutant with the fearsome claws and killer attitude rode – or perhaps caused – the meteoric rise of the AllNew, All Different X-Men before gaining his own series and super-star status; a tragic, brutal, misunderstood hero cloaked in mysteries and contradictions.

And as a primer or introductory collection for readers unfamiliar with the diminutive mutant this book has a lot to recommend it. I’m also keenly aware of the need for newcomers to have his centuries-long life presented in some form of chronological order: but as so much of that convoluted chronicle has been collected elsewhere in full, wouldn’t a bibliography page of other available collections and trade paperbacks be less confusing than the extracted snippets from longer sagas that make up so much of this book?

For each chapter from a longer saga printed here, another lesser known piece had to be ignored. For example there’s nothing of the fascinatingly insightful little vignettes that Christopher Claremont and John Bolton produced for the back-up slot in Classic X-Men, no solo one-shots or Annual stories and only one-eight page instalment from the character’s well-nigh one hundred appearances as the lead in the fortnightly anthology Marvel Comics Presents – yet the first Wolverine mini-series, already collected numerous times (and as recently as a Premiere Hardback in 2007) appears in it’s entirety. I realise the title is “Marvel Platinum”, but what a wasted opportunity…

However, I cannot deny that what does appear is of great quality, beginning with the second part of his long-awaited secret origin. Taken from the landmark 2001/2002 miniseries (available as Origin: the True Story of Wolverine, ISBN 978-1-904159-07-0) by Paul Jenkins and Andy Kubert & Robert Isanove, it depicts the tragic and horrific events that led to sickly boy James Howlett first “popping his claws” on a 19th century Canadian estate. Good dialogue, entrancing pictures but very little sense can be gleaned from this extract, so we should be grateful at least that the untitled chapter of the Weapon X Saga – part 8 of 13 (written and illustrated by Barry Windsor-Smith) is so short and pretty to look upon, because it’s utterly bewildering seen out of context – and I’ve just read the latest complete compilation of the tale (Wolverine: Weapon X, ISBN: 978-0-7851-3726-9) when it was re-released in March 2009.

At least ‘And Now… the Wolverine!’ from Incredible Hulk #181 (November 1974) by Len Wein, Herb Trimpe & Jack Abel is a complete tale wherein Canada’s top-secret super-agent is unleashed upon both the Emerald Goliath and the man-eating Wendigo in an 18 page romp stuffed with triumph, tragedy and lots of slashing and hitting. It’s followed by ‘Home Are the Heroes’ (Uncanny X-Men #109, February 1978); a superb one-off tale from Claremont, John Byrne & Terry Austin, who were fast approaching their collaborative peak.

Returning home from saving the entire universe for the first time the X-Men are attacked by Weapon Alpha (James Hudson, latterly Vindicator of Alpha Flight) determined to reclaim Canada’s “property”; i.e. Agent Logan A.K.A. Wolverine. Amidst the frantic action the first intriguing hints of the story behind the team’s “resident psycho” were tantalisingly presented, but never at the expense of clarity and entertainment.

Following that is the aforementioned four part miniseries from September – December 1982, by Claremont, Frank Miller & Joe Rubinstein. Undoubtedly one of the best Wolverine tales ever created, it reveals the mutant adventurer’s savage clash with both Japanese royalty and their criminal underworld (apparently almost the same thing) to secure the love of the tragic princess Lady Mariko. This leads into the one-shot Spider-Man versus Wolverine (February 1987) wherein the Web-Spinner’s arch foe Hobgoblin meets his fate, almost as collateral damage, in an extended clash with Soviet spies and treacherous friends which brings the globe-trotting X-Man and the Wall-Crawler to Cold War Berlin. ‘High Tide’ is by James C. Owsley, Mark Bright and Al Williamson.

The next two tales are again chapters from an extended story-line: namely the all-out war between the X-Men and Magneto termed Fatal Attractions (ISBN: 978-0-7851-0065-2), but at least there’s enough expository dialogue to inform readers of what’s going on. Beginning with ‘Dreams Fade’ (X-Men #25, October 1993, by Fabian Nicieza, Andy Kubert & Matt Ryan) and continuing in ‘Nightmares Persist’ (Wolverine #75, November 1993, by Larry Hama, Adam Kubert, Mark Farmer, Dan Green & Mark Pennington) Charles Xavier’s prodigies clash with the master of Magnetism terrorist Acolytes, resulting in the traumatic removal and unexpected after-effects of the super-metal Adamantium which had for so long augmented Logan’s skeleton.

The story part of the book ends (although there’s still a superbly informative text feature from comics savant Mike Conroy and an extended 10-page data file at the back) with the beautiful and utterly bewildering contents of Wolverine #145 (December 1999), by Erik Larsen, Leinil Francis Yu & Dexter Vines. Again drawn from an extended storyline this impenetrable mish-mash has our hero lost in time, replaced by a Skrull who became the Wolverine of many of our favourite past classics, whilst the other, real, hero became one of the Four Horseman of mutant Darwinist Apocalypse.

I think…

There’s lots of chaotic, brutal action; savage duels with the Hulk and Sabretooth before the entire thing ends on a cliffhanger. It isn’t even the last part!

One of the most frustrating and poorly conceived books I’ve ever reviewed, the true gems in here – which every comics fan should read – are practically cancelled out by impressive yet infuriatingly incomplete fragments that are no more than a catalogue of other books you should buy. Caveat Emptor, fans, because this is not Marvel’s finest moment.

© 1974, 1978, 1982, 1987, 1990, 1991, 1993, 1999, 2001, 2009 Marvel Entertainment Inc. and its subsidiaries. All Rights Reserved.

Studs Terkel’s Working: a graphic adaptation


By Harvey Pekar & various, edited by Paul Buhle (The New Press)
ISBN: 978-1-59558-321-5

Further pushing the boundaries and stoking the social conscience of American comics, the truly unique Harvey Pekar, with a coterie of his best artistic collaborators, has adapted a landmark book by an immense talent and irreplaceable social commentator.

Louis Terkel was born in New York on May 16th 1912, son of a Jewish tailor. When he was eight the family (father Samuel, mother Anna and older brothers Ben and Meyer) moved to Chicago where the family ran a rooming house. The later writer “Studs” cited this crossroads of society as the root of his interest in and understanding of broad humanity.

He studied law, married, and worked at many professions including hotel concierge, actor, and even writer; working with the Depression-era Works Progress Administration’s Federal Writers Project before finding a true home in broadcast radio: everything from soap opera, voiceovers, news and sports announcing, disc-jockeying, advertising and scripting.

In 1952, he turned his semi-improvisational, picaresque television-drama Studs’ Place into a five-days-a-week, hour-long radio chat show entitled The Studs Terkel Program, where he interviewed the Great and the Good and every shade of person in-between for 45 unbroken years. In 1956 he published his first book Giants of Jazz, and followed it with many other volumes of non-fiction, all exploring the historical role of the common man, and exploring the social condition and context of the nation. He was awarded the Pulitzer Prize for Non-Fiction in 1985 for The Good War: An Oral History of World War Two. Studs died on Halloween, 2008, due to complications from a fall.

He was probably America’s greatest proponent of Oral History; the lives of ordinary people in their own words, compiled to form a human-scaled understanding of the past and present seemed so much more open and honest than great events starring great men, written down by great story-tellers.

In 1974 he released the epic Working: People Talk About What They Do All Day and How They Feel About What They Do (ISBN: 0-39447-884-5) to such critical acclaim that it was adapted as a Broadway show in 1978 and a PBS TV show in 1982. And now that other champion of the “Ordinary Joe” Pekar, in conjunction with acclaimed social historian and academic Paul Buhle, has produced this magical tome that graphically expands on this seminal work, and will undoubtedly whet readers’ appetites for the rest of the book – and perhaps a few more serious tomes. It’s certainly what our industry and art-form – too long considered frivolous, juvenile and crassly commercial – could do with…

Thanks to the startlingly varied artistic approaches and skills of fellow adaptors Pablo G. Callejo’s, Gary Dumm, Danny Fingeroth, Peter Gullerud, Bob Hall, Ryan Inzana, Sabrina Jones, Peter Kuper, Terry LaBan, Dylan A.T. Miner, Pat Moriarity, Emily Nemens, Joan Reilly, Sharon Rudahl, Nick Thorkelson, Anne Timmons and Lance Tooks what could have been a worthy but dull illustration of sparkling interviews with a broad spectrum of ordinary Americans becomes in fact a sparkling visual extravaganza that perfectly marries the text to the icon-ized hopes, joys, regrets and passions of the interviewees.

Sub-divided into the categories Working the Land, Pecking Order, Footwork, In the Spotlight, Behind a Desk, Appearance, Cleaning Up, Second Chance and Looking After Each Other (From Cradle to Grave) the 28 individual stories here range from the tragic indifference of The Hooker, the passion of the Union Organizer and the frustration of the migrant Farm Worker to the simple joy and fulfillment of the Mail Carrier and the Baby Nurse with each tale more moving than the last.

The New Press is a not-for-profit alternative to Corporate publishers, established in 1990 and dedicated to innovation in publishing and the promotion of creative works of educational, cultural and community value. They’re not in it for the money and you can find out more about them at www.thenewpress.com.

Then you can buy this magnificent piece of narrative art and give them the wherewithal to do something else that’s great to read and a benefit to our art form.

© 2006 Harvey Pekar & Paul Buhle. All Rights Reserved

The Rainbow Orchid Volume 1 (the Adventures of Julius Chancer)


By Garen Ewing (Egmont UK)
ISBN:  978-1-4052-4853-2

Finally getting what he deserves is creator Garen Ewing whose delightful pastiche of the adventure genre pioneered by Hergé at last gets the full-colour album treatment with the first volume of The Rainbow Orchid.

The character of plucky young daredevil Julius Chancer and his adventuresome pals began popping up around 2003 in a self-published mini-comic and a few other small press publications (Gosh, I wish there was a less loaded or pejorative term for magazines produced by devoted, if unpaid, creators) and has been unfolding online ever since to rapturous praise from industry and public alike. Now Egmont, who also publish Tintin, (last time I mention him, I promise) have picked up the series and we should see this fabulous tale of old fashioned derring-do become a solid reader favourite on its own merits.

In a tale delightfully reminiscent of Margery Allingham’s Albert Campion tale ‘Look to the Lady/the Gyrth Chalice Mystery’ (and wasn’t he originally a pastiche of Lord Peter Wimsey?) and with just a hint of Conan Doyle’s Professor Challenger stories, this first of three volumes set in 1920s Britain introduces Julius Chancer, young but capable assistant to Sir Alfred Catesby-Grey, renowned historical researcher and gentleman breeder of orchids.

Sir Alfred is approached by Lord Reginald Lawrence, scion of an ancient and noble house, who has been tricked into an impossible wager by the dastardly entrepreneur Urkaz Grope. At stake is the “Trembling Sword of Tybalt Stone” a priceless antique that has been the seat of the family’s honour since 1445, and without which Lord Lawrence would have to surrender all his estates and titles…

To win the wager Lawrence needs an example of Iriode Orchino – the rainbow orchid, a mythical bloom last seen by Alexander the Great over two thousand years ago. Although Catesby-Grey pooh-poohs the whole story, Julius remains hopeful, perhaps as tempted by the prospect of adventure and paid bills as by the urgings of plucky Lady Lily, Lawrence’s daughter and a silent film actress recently returned from Hollywood to the bosom of Empire.

Grope is an ominous presence throughout, with a highly secret agenda of his own and no principles at all, whilst the vulgarly intrusive journalist William Pickle has no decency, no morals and definitely no fear as he sniffs out news and controversy like an obsessed ferret, whilst Lily’s Movie Publicity Agent Nathaniel Crumpole always seems in the thick of whatever trouble is brewing – can even an American be that determinedly naive?

The boy Chancer determines to risk all in tracking down the orchid and despite a series of viciously calculated ploys by Grope and his gang of cutthroats sets off with Lily and Crumpole for Karachi and the fantastic flower’s last known whereabouts…

Enchantingly engaging, astonishingly authentic and masterfully illustrated in the legendary Ligne Claire style, this is a wonderful tale that ranks amongst the very best all-ages graphic narratives and although the wait for the next volume might seem interminable the online presence and added value items which can be found at www.rainboworchid.co.uk should keep your bated breath puffing along until then.

Magic, pure graphic magic. Where else could you get hot fresh nostalgia, just like your granddad used to love?

© 2009 Garen Ewing. All Rights Reserved.

The Shadow 1941: Hitler’s Astrologer – A Marvel Graphic Novel


By Denny O’Neil, Michael W. Kaluta & Russ Heath (Marvel)
ISBN: 0-87135-341-5

A year after Howard Chaykin and DC catapulted The Shadow into the grim’n’grungy contemporary arena (see Blood and Judgment, ISBN: 978-0-93028-916-4) the dream-team that had first returned him to comic-book prominence reunited for this larger-than-life grand romp, ably abetted by the inking skills of master artist Russ Heath.

Denny O’Neil and Michael Kaluta had produced a stand-out series of adventures in the early 1970s (collected as The Private Files of the Shadow ISBN: 0-930289-37-7), set in the spy and gangster-ridden ‘thirties, and in many ways this complex yarn is a final chapter in that astounding graphic procession.

On Easter Sunday 1941 a beautiful woman is pursued through the teeming crowds of Times Square theatre-goers by sinister thugs until rescued in the nick of time by agents of The Shadow. She is Gretchen Baur, sent to America by Josef Goebbels himself to gather astrological data for the Reich’s Ministry of Propaganda, and the confused young thing cannot understand why agents of her own government have tried to abduct her.

The Shadow reveals that she is an unwitting pawn in a deadly battle for supremacy within the Nazi Party that revolves around her father, Der Führer’s personal astrologer…

And thus begins a tense and intricate mystery conspiracy thriller that ranges from the bloody streets of New York through the killer skies to the very steps of Hitler’s palace in Berlin as a desperate plan to subvert the course of the war comes up hard against a twisted, thwarted love and a decades-long hunt for vengeance.

Positively Wagnerian in style, this action-packed drama exudes period charm and nobody has ever realised The Shadow and his cohorts as well as Kaluta, although I’d be remiss if I didn’t mention the sub-par colouring from the usually sound Mark Chiarello, Nick Jainschigg and John Wellington. Perhaps a slight case of too many cooks…?

Once again I’m not holding my breath for a definitive, corrected new edition but if anything ever needed to be gathered into an “Absolute Edition” it’s the disparate adventures of man in the black slouch hat with the girasol ring…
© 1988 The Condé Nast Publications, Inc. All Rights Reserved.

A Mess of Everything


By Miss Lasko-Gross (Fantagraphics Books)
ISBN: 978-1-56097-956-1

I’m appalled to say that I actually missed the release of this very talented creator’s book Escape From “Special”: the initial autobiographical foray and first of a planned trilogy of tomes following the life and progress of a smart and troublesome girl-child with overly-understanding parents surviving the blandly oppressive horrors of growing up normal.

So I approached this second collection of tales, ranging from single page statements to fully rounded short stories, with a completely open mind: and I’m pleased to say that A Mess of Everything is one of the most entertaining books I’ve read in years, a picture-perfect blend of honest reflection, graphic invention and shared fragile humanity from a woman who knows how to captivate an audience.

Melissa has reached those difficult teen years. She’s not pretty, not a follower, not a conformist: but she’s experiencing the feelings that every kid feels and dealing with it her way. As Grunge Music begins to dominate the teen-scene, Melissa has to deal with anxiety, a paucity of friends, drugs, booze, shoplifting, letting off steam, feeling horny, wanting a “true love” (Lord, didn’t we all?), second-hand eating disorders and having a Perfect Older Sister…

If it wasn’t for the mini-comics she can’t stop producing, life might be completely unbearable…

Miss Lasko-Gross has been producing graphic narrative for most of her life, editing the Pratt Institute’s Static Fish comicbook, working in Mauled, House of Twelve 2.0, Legal Action Comics, Aim and others whilst generally living the kind of life that inevitably leads to superbly readable books like this one.

Frank, funny and painfully familiar these beautifully realised vignettes of the kind of outsider-we’d-all-like-to-be are a worthy addition to the burgeoning pool of exceptional graphic autobiographies such as American Splendour and Persepolis. Unflinching, uncompromising, this adult look at growing should be compulsory reading for ever teenager – just to prove life has always been like that…

Now where can I lay my hands on that first volume…?

© 2009 Miss Lasko-Gross. All Rights Reserved.

Showcase Presents the Atom volume 1


By Gardner Fox, Gil Kane & various (DC Comics)
ISBN13: 978-1-4012-1363-3

Julius Schwartz had already ushered in the Silver Age of American Comics with his Showcase successes Flash, Adam Strange and Green Lantern, but his fourth attempt to revive and revitalize a “Golden Age Great” had stalled when Hawkman (debuting in Brave and the Bold #34, February/March 1961) could not find an immediate audience. Undeterred, he persevered with the Winged Wonder, but also moved forward and for Showcase #34 (September/October 1961) retooled the pint-sized strongman of the 1940’s Justice Society of America into a fascinating science-fiction champion and eternal underdog.

Ray Palmer was a young physicist working on the compression of matter and a teaching Professor at Ivy Town University. He was wooing career girl Jean Loring, who wanted to make her name as a trial lawyer before settling down as Mrs. Palmer (c’mon, it was the 1960s). One evening Ray found an ultra-dense fragment of White Dwarf Star Matter, which took his researches in a new direction. By converting some of the degenerate matter into a lens he could shrink objects, but frustratingly they always exploded when he attempted to restore them to their original state.

As fiercely competitive as his intended bride, Ray kept his progress secret until he could perfect the process. Meanwhile the couple took a group of youngsters on a science hike to Giant Caverns, where a cave-in trapped the entire party. As they all lay trapped and dying Ray secretly activated his reducing lens to shrink himself, using the diamond engagement ring he was carrying to carve a tiny fissure in the rock wall into an escape hole. Fully expecting to detonate any second, he was astounded to discover that some peculiar combination of circumstances allowed to him to return to his normal six foot height with no ill effects.

With his charges safe he returned to his lab to find that the process only worked on his own body; all other subjects still catastrophically destructed. Somewhat disheartened he pondered his situation – and his new-found abilities…

And thus ended ‘The Birth of the Atom!’, a taut and intriguing short tale written by Gardner Fox and dynamically illustrated by Gil Kane and Murphy Anderson, which was supplemented by the spectacular ‘Battle of the Tiny Titans!’ wherein a six-inch tall, teleporting alien went on a crime-spree in Ivy Town, the unwilling slave of petty thief Carl Ballard.

Jean was called in to defend a bank-teller accused of embezzlement – after all, the woman claimed her cash-drawer was emptied by a little genie – and Ray determined to clandestinely help her using his newest innovation, a suit made from White Dwarf material, which could alter not only his height but also his weight and mass. The story is thrilling and entrancing, not to mention astonishingly inventive (including such gimmicks as the Atom traveling along telephone wires) but the art – allowing Kane to combine the usual long-shots, mid-shots and close-ups with glorious, balletic, full-body action poses – made this and all subsequent Atom adventures a symphony of human dynamism. Some text pages featuring a potted history of the original Al Pratt Atom and the science behind that phone trick filled out Showcase #34… and Schwartz was back on track with another instant hit.

The second try-out issue opted for a complete single story. ‘The Dooms From Beyond!’ is a spectacular tale of witches, curses and murderous trickery in pursuit of an inheritance, capped with biographies of Fox, Kane and Anderson – a true rarity in a time when publishers still preferred their staff worked in anonymity.

The final Showcase try-out again featured two adventures, and the first of these ‘Prisoner in a Test Tube!’ introduced a recurrent theme in the Tiny Titan’s career: Cold War Espionage. The American/Soviet arms-and-ideas race figured heavily in the life of physicist Ray Palmer and in the collegiate circle of Ivy Town where even Jean’s father was a scientist carefully watched by both CIA and KGB. In this pensive thriller a brief moment of East-West détente allowed the Reds to replace a visiting Hungarian Professor with a deadly doppelganger until the Atom took a diminutive hand, whilst it was back to basics with super-science and criminal conundrums in the mystery of ‘The “Disappearing Act” Robberies!’

Editor Schwartz knew he had a sure thing. Barely breaking stride to count the sales figures the bi-monthly Showcase stint segued into a bi-monthly feature title. The Atom #1 debuted with a June/July 1962 cover date featuring a spectacular full-length yarn entitled ‘Master of the Plant World!’ which pitted the hero against Jason Woodrue (later famed as the Floronic Man), an extra-dimensional botanist who had enslaved Earth’s supernatural plant spirits in a schemes to conquer our world.

‘The Oddest Man on Earth!’ was another superb scientific mystery, counter-pointed by the return of Carl Ballard in the action-packed revenge thriller ‘The Prisoners who Vanished!’ and with #3 the hero finally found a costumed arch-foe as the flamboyant thief Chronos began his obsessive career in ‘The Time Trap!’

That issue was doubly significant, if singly themed. The second tale, ‘The Secret of the Atom’s Lamp!’ introduced Ray’s mentor and colleague Professor Alpheus Hyatt and his “Time-Pool” a six-inch energy field that opened on to other eras. Hyatt thought it an intriguing but useless scientific oddity, occasionally extracting oddments from it by blindly dropping a fishing line through it. Little did he know his erstwhile student was secretly using it to experience rousing adventures in other times and locations, such as this initial exploit in which the diminutive daredevil visited Arabia in 850AD to discover the true story of Aladdin. This charming, thrilling and unbelievably educational yarn set a format and high bench-mark for some of the Atom’s best and most well-loved exploits.

Our hero joined the Justice League of America with issue #14 (September 1962) and the Atom #4 (December 1962/January 1963) featured ‘The Machine that Made Miracles!’ a prototypical crossover in which the hero helped League mascot Snapper Carr solve a baffling mystery that had aliens at the bottom of it, whilst ‘The Case of the Innocent Thief!’ was a cool crime procedural yarn, as once more a client of Jean Loring’s occasioned some clandestine legal aid from the Tiny Titan…

Issue #5 opened with a sharp science-fiction thriller as the Mighty Mite journeyed to a sub-atomic civilisation in ‘The Diamond of Deadly Dooms!’ (with a delightful art contribution from the great Mike Sekowsky) whilst ‘The Specter of 3000-Moons Lake!’ tested the hero’s detective skills in an eerie tale of bogeymen and bandits.

‘The Riddle of the Two-Faced Astronaut!’ in #6 was actually a crafty crime-caper, but the real highlight was another Time-Pool tale when our hero met and mastered infamous rogue Dick Turpin in ‘The Highwayman and the Mighty Mite!’, whilst the next issue formed part of Editor Schwartz’s charm offensive to promote Hawkman when the Winged Wonder met Tiny Titan in a full-length spectacular, world-threatening epic ‘The Case of the Cosmic Camera!’

Justice League villain Dr. Light opened a campaign to pick off his foes piecemeal when he subjected the Atom to a ‘Lock-up in the Lethal Lightbulb!’ in #8 and master craftsman Sid Greene inked the deft mystery of ‘The Purloined Miniatures’ which completed that issue. ‘The Atom’s Phantom Double!’ was another high-tech fantasy, complimented by ‘The Seaman and the Spyglass!’ (Greene again) wherein the Mighty Mite proved instrumental in Hans Lippershey’s invention of telescopes and helped explorer Henry Hudson shape the destiny of the USA, courtesy of the ubiquitous Time-Pool.

‘Ride a Deadly Grenade!’ was another breathtaking Cold-War spy-thriller, whilst ‘The Mysterious Swan-Maiden!’ was just a crafty scam, but Atom #11 truly tested the Mighty Mite’s deductive mettle with both ‘Trouble at the Ten-Year Club’ and the Greene inked fantasy thriller ‘Voyage to Beyond!’

A technological master-criminal briefly made our hero his weapon-of-choice in ‘Danger… Atom-Gun at Work!’ and the charming Time-Pool tale ‘The Gold-Hunters of ’49!’ allowed the Tiny Titan to meet his literary hero Edgar Allan Poe in #12, with which issue Greene became the regular inker (necessitated by Hawkman finally getting his long-awaited – Murphy Anderson illustrated – solo-feature).

Chronos returned in #13’s ‘Weapon Watches of the Time-Wise Guy!’, and Anderson returned to ink the procedural drama of ‘I Accuse Ray Palmer… of Robbery!’, but super-science was increasingly the order of the day as our hero had to endure ‘The Revolt of the Atom’s Uniform!’ in #14 and both spies with ‘Illusions for Sale!’ and the crafty Hyper-Thief in ‘The Super-Cracker who Defied the Law!’ in #15.

Atom #16 was another mind-boggling novel where yet another criminal scientist brought about the ‘Fate of the Flattened-Out Atom!’ and this immensely dynamic treat for eyes and imagination concludes with #17’s ‘Case of the Hooded Hijackers!’ (wherein Gil Kane displayed his love of gangster movies and talent for caricature) and finishes big with another magical Time-Pool extravaganza when the Tiny Titan visits the year 1888 and retrieves ‘Jules Verne’s Crystal Ball!’

The Atom was never a major name or huge success, but from reading these witty, compelling tales by Gardner Fox, where Gil Kane first mastered the fluid human dynamism that made him a legend, you’d be hard-pressed to understand why. This is sheer superhero perfection. Why not try a bit… just a tiny bit?

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