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Blue Beetle: Black and Blue


By Matthew Sturges, Will Pfeifer, Mike Norton, David Baldeón, Carlo Barberi & various (DC Comics)
ISBN: 978-1-85768-016-7

At the height of the Infinite Crisis El Paso teenager Jaime Reyes found a strange bug-shaped blue jewel. That night it attached itself to his spine, transforming him into a bizarre insectoid warrior. He was promptly swept up in the universe-rending chaos, aiding Batman and other heroes in a space battle. He was lost for a year…

Finally returned home, he revealed his secret to his family and tried to do some good in El Paso but had to rapidly adjust to some big changes. His best bud Paco had joined a gang of super-powered freaks, the local crime mastermind was the foster-mom of his other best bud Brenda and a really scary military dude named Peacemaker started hanging around, claiming the thing in Jaime’s back was malfunctioning alien tech not life-affirming Egyptian magic…

The Scarabs were designed to pave the way for a full invasion but fortunately the one attached to Jaime had been damaged over the centuries it was buried here and wasn’t working properly. With a little help from his friends and the newly rebellious gem itself Jaime thwarted the rapacious and infinitely patient invaders of The Reach and continued his unlikely mission as protector of El Paso and superhero in training.

The Hispanic Blue Beetle pluckily battled on as a back-up feature in Booster Gold and as a Teen Titan and this final volume (or perhaps not, since rumours of a Blue Beetle TV show still abound…) collects the previously-uncollected issues #27, 28, 35 and 36 of his own comicbook plus the Booster Gold back-ups from volume 2, issues #21-25 and 28-29 for your undoubted approval, courtesy of writers Matthew Sturges and Will Pfeifer and artist Mike Norton, David Baldeón, Carlo Barberi, Steve Bird, Jacob Eguren, Norm Rapmund & Sandra Hope.   J. Torres & Freddie Williams Jr. and battles one of the DC Universe’s gravest menaces in the startlingly powerful change of pace tale ‘Total Eclipso: the Heart’ by Rogers & Albuquerque.

The wonderment commences with ‘Black Magic Woman’ as Jaime and new girlfriend Traci Thirteen stumble onto an out-of-control supernatural vengeance plot instigated by a trio of slacker teens that looks likely to rip El Paso apart. Good thing then that our hero’s significant other is one of the most powerful witches on Earth…

Following that is a superb little yarn of generational evil, forgiveness and redemption guest-starring original Blue Beetle Dan Garrett which perfectly illustrates how much the kid hero had grown in the monstrous parable of ‘Brutus’, after which the continuity jumps to issue #35 (and if you’re a chronology-fiend here’s where Blue Beetle: Boundaries should go, so if you need to, read that before continuing…).

The solo comicbook concluded in a tense, life-changing two-parter ‘Only Change Endures’ which opened with a horde of the second Blue Beetle’s old foes attacking El Paso only to be soundly thrashed by his youthful successor. During the fray Jaime realised something was severely amiss with his scarab: it was becoming increasingly bloodthirsty and constantly urged him to use deadly force options from its vast weapons array…

At school romance was in the air, but when a battalion of other scarab-powered Blue Beetles calling themselves the “Khaji-Da Revolutionary Army” the situation went from hearts and flowers to def-con four …

Apparently when Jaime defeated the all-conquering alien Reach (Blue Beetle: Reach for the Stars) he inadvertently started a dissident movement amongst the interlinked insectoid warriors. Now they want Jaime to lead them in a bloody war of liberation across the galaxies and although the human was appalled by the thought his rebellious scarab was overwhelmingly in favour…

Of course it all ends in a devastating blockbuster battle, but before Jaime can regain control of his symbiotic scarab one of his closest friends pays the ultimate price and life just isn’t so much fun anymore…

After a brief sojourn in funnybook limbo Blue Beetle returned as a supporting strip in Booster Gold and those tales follow here, starting with a reintroduction and recap in ‘The Golden Child’ – part one of the thee-chapter ‘Armour-Plated’ wherein Jaime tackled a succession of robots with daddy-issues, resulting in excessive carnage and destruction in ‘Silver Spoon’ before ‘Thoroughly Modern Maria’ ended the drama on a cliffhanger when future villain Black Beetle turned up to instigate a centuries-long vendetta in the two-part ‘Black and Blue’ by attempting to murder the entire Reyes family…

The saga reached a climactic conclusion when old tutor Peacemaker helped heal the madly malfunctioning scarab in ‘The Beginning of the End’ after which a mission to the ancient Reach pyramid set everything to rights (for the moment at least) in the spectacular ‘The End of the End’.

Although long-gone as a comicbook series the latest incarnation of the undying Blue Beetle brand still survives and thrives in trade paperback collections where you can – and must – experience the frantic, fun, thrill-packed and startlingly moving exploits of a truly ordinary teenager catapulted into the terrifying world of high-level super-heroics.

Hopefully with the TV series apparently completed and awaiting scheduling, a new comicbook series can’t be too far away, so what better time can there be to finally tune in and catch up with all of these addictive super-teen triumphs?

© 2008, 2009 DC Comics. All Rights Reserved.

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Jack of Fables volume 4: Americana


By Bill Willingham, Matthew Sturges, Russ Braun, Tony Akins, Andrew Pepoy, & Steve Leialoha (Vertigo)
ISBN: 978-1-84856-050-5

Just so you know, Fables are fairytale, storybook and mythical beings hidden on our mundane Earth since their various magical realms fell to a sinister monstrous Adversary. Arriving hundreds of years ago (and still coming) the fantastic refugees hid their true natures from humanity and built isolated enclaves where their immortality and utter strangeness could not endanger the life of uneasy luxury they buried themselves within. Many of these elusive eternals wander the human world, but always under strict and draconian mandate to never get noticed.

In Fables: Homelands the utterly self-absorbed and absolutely amoral Jack of the Tales (basis for such legends as Beanstalk, Giant-killer, Frost, Be Nimble and many more) broke all the rules – because that’s his nature – by stealing Fabletown cash and moving to Hollywood. Once there he set up as a movie producer, created the most popular fantasy film triptych of all time.

A key tenet of the series is that the more “mundies” (that’s mortals like you and me) think about a fable character, the stronger that actual character becomes. Books, TV, songs, all feed their vitality. So when the movies based on Jack’s life ultra-charged him they also brought him much unwelcome attention. The avaricious rat-bag coined vast amounts of filthy lucre in the process, but it all led the Fabletown authorities straight to him.

In Jack of Fables: The (Nearly) Great Escape our irreverent faux-hero was brought to task by the Fables Police, exiled from Hollywood and ordered to disappear, with only a suitcase full of cash to tide him over. He was also banished from all Fable properties and domains. Alone and unprotected he was soon captured by The Golden Bough, a clandestine organisation that had been hunting Fables for centuries.

Jack escaped during a mass break-out of forgotten, adulterated and abridged Fables, all fleeing from a particularly horrific fate – metaphysical and contextual neutering.

He is presently on the run from those selfsame forces (in the distractingly vivacious shape of the Page Sisters, dedicated hunters of everything Fable-ulous) and constantly seeking to restore his cash-flow as this fourth volume – collecting issues #17-21 of the monthly Vertigo comic – commences with first chapter of the eponymous ‘Americana’ as Jack reviews his simple life goals – to be the richest, most powerful and best-looking Fable in the universe – and have lots of really hot sex…

‘On Eggshells’ opens with Jack, Gary, the Pathetic Fallacy and cynical sidekick Native American Raven hiding out in a cheap motel as Hillary Page, with diminished giant Paul Bunyan and Babe (a blue ox with a remarkable imagination), zeroes in on the fugitives.

Things pick up however when Jack reassembles the shell-shocked Humpty Dumpty who has the location of a monolithic treasure drawn on fractured exterior. Such a shame a few fragments are missing, or the daring band of brothers could go directly to the mythic Fable-realm of Americana and plunder the Lost City of Cibola…

As it is, the treasure-seekers have to hop a freight-train in time-honoured legendary manner, but ghostly iron horses are few and far between, so it’s no real surprise that they catch the same one as Hillary and Company…

‘Mind the Zombies’ follows the uneasy allies’ circuitous route via steamboat to the perfectly average, undead-infested picture-perfect little town of Idyll where they meet the utterly sinister Librarian of Americana. His name is Burner, but he considers it more of a job-description…

Narrowly escaping with their legendary, literary lives Jack, Hillary and the rest resume their peripatetic journey to Cibola, unaware that Burner has set the indefatigable Leatherstocking Nathaniel “Natty” Bumppo (that’s Hawkeye to you folks) on their rapidly scampering tails…

‘On the Road’ details the inevitable clash with literature’s greatest tracker and subsequent narrow escape into more trouble amidst the Ganglands of hard-boiled crime fiction. From their it’s an epic trek to the Great White North, mythical New York City and Broadway, Witch-haunted Puritan New England, the Antebellum South and the “Injun” infested Wild West, before finally reaching their ultimate goal in ‘Goldrush’ wherein Jack achieves all his ambitions, fiscal and carnal…

It’s not long before the boom is once more lowered on the obnoxious sap and Americana concludes on a chilling cliffhanger as the Bookburner vacates the United States of Fiction, intending to eradicate all the Fables still interned at the Golden Bough…

However there’s yet one more treat for fans as the metaphysical, engagingly peculiar and trouble-attracting Pathetic Fallacy takes centre-stage for ‘Gary Does Denmark’ wherein the affable, nigh-omnipotent sad-sack recounts his history with Shakespeare’s greatest work, ably hampered by our regular cast and with Jack’s evil prototype Wicked John standing in for the named star of our show…

Written by Bill Willingham & Matthew Sturges, illustrated by Russ Braun, Tony Akins, Andrew Pepoy & Steve Leialoha this tome sees the series develop into a uniquely whimsical and absurdist meta-fictional delight that no fan of reading, high art or low comedy can afford to miss…

This imaginative and breathtakingly bold rollercoaster ride of flamboyant fantasy and snappy street-smarts is a supremely saucy, self-referential, darkly, funny fairytale for adults concocted with much more sly cynical humour and sex than your average funnybook – so po-faced moralistas and societal stickybeaks be warned!

Every enchanting volume should be compulsory reading for jaded imagineers everywhere – and in some as yet unreachable realm they actually are…

© 2007, 2008 Bill Willingham and DC Comics. All Rights Reserved.

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Approximate Continuum Comics


By Lewis Trondheim, edited & translated by Kim Thompson (Fantagraphics Books)
ISBN: 978-1-60699-410-8

With over 100 books sporting his name, (which isn’t actually Lewis Trondheim but Laurent Chabosy) the writer/artist/editor and educator is one of Europe’s most prolific comics creators: illustrating his own work and working with the industry’s top artists; overseeing animated cartoons of his print successes as La Mouche (The Fly) and Kaput and Zösky and even editing a younger readers book series Shampooing for Dargaud.

His most famous works are the global hits ‘Les Formidables Aventures de Lapinot’ (translated as The Spiffy Adventures of McConey) and, with Joann Sfar, the Donjon (Dungeon) series of nested fantasy epics (see the translated Dungeon: Parade, Dungeon: Monstres and Dungeon: the Early Years).

In his spare time he has written for satirical magazine Psikopat and his scripts for the continent’s most popular artists include Le Roi Catastrophe and Vénézia with Fabrice Parme, Les Cosmonautes du futur (Manu Larcenet), Allez Raconte and Papa Raconte (José Parrondo) and Petit Père Noël (Thierry Robin).

He is a cartoonist of uncanny wit, piercing, gentle perspicacity, comforting affability and self-deprecating empathy who prefers to control scrupulously what is known and said about him…

I first became aware of Lewis Trondheim’s subtly engaging comics mannerism in Fantagraphics’ Mome anthologies which reprinted excerpts of his comics blog Little Nothings wherein Trondheim’s friends and acquaintances, drawn as anthropomorphised animals (with him a dowdy, parrot-beaked central figure) revisit episodes of his life, flavoured with philosophy, personal introspection, whimsical inquiry and foible-filled observations.

These mini-treats have since been gathered into three terrific tomes of drawn diaries for constant re-reading (Little Nothings: Curse of the Umbrella, The Prisoner Syndrome and Uneasy Happiness) and are available as collected gift set entitled Bigger Nothings.

However, before all that Trondheim first explored the idea as a four issue American styled comicbook project in 1993 and those prototypical slices of wry and winning reportage are finally available in a translated black and white softcover collection.

Some of the very first autobiographical works on the French bande dessinée scene, these little gems were a genuine game-changer for cartoonists and storytellers, prompting a rise in personal stories that has produced many works to rival the best of Harvey Pekar himself…

In the collected Approximate Continuum Comics the trademark blend of visualised introspection and self-condemnatory flagellation finds the younger Trondheim questioning his own professional integrity, violently and graphically wish-fulfilling his way through rush-hour crowds (haven’t we all?), planning – for which read risk-assessing – his marriage, and dealing with his unfathomable Japanese publisher during the early days of creating his multi-media hit La Mouche.

He regularly gets lost in his own free-associating daydreams and rightly fears being castigated by his own conscience for swimming in megalomania, indecisiveness, forthrightness and deference.

Trondheim’s many inner voices don’t like him very much: there are myriad incidences of self-abuse where his alternate egos beat the crap out of him; counterbalanced with gloriously loaded “real-world” episodes where he lampoons and embarrasses his fellow studio-mates of publishing collective L’Association.

(To be fair these are fabulously balanced by a marvellous section at the book’s end where such maligned and injured creative colleagues as David B., Emile Bravo, Didier Tronchet, Jean-Christophe Menu, Killofer and Philippe Dupuy among others, as well as civilian friends, his wife Brigitte and even his mother all get a trenchant and often hilarious right-to-reply.)

The first inklings of the artist’s perennial problems with technology in general and computer games in particular appear here, as do many childhood memoirs and sundry diatribes against people and places either experienced or sometimes only imagined.

One of the best sequences concerns the trip-of-a-lifetime to America (first of many, but he didn’t know that then…) and his apparent inability to think of one single strip idea about it, only surpassed by his behaviour at a raucous party held in his beloved studio.

During the course of these cartoon capers, Trondheim married his fiancée, sired his first child and moved into a new home, but although these major events are thoroughly and compellingly covered they still pale into insignificance against the spectacular battles against his inevitably spreading paunch, obsessively mean-spirited self-criticism and the thunderbolt-like occasional phone call from his mum…

…And whenever that’s no longer painful enough there’s always the violent physical assaults and punishment-beatings from his inner selves…

Superbly skilled at switching imperceptibly from broad self-parody to cripplingly painful personal revelation, wild surrealism to powerful reportage and from clever humorous observation to howling existentialist inquisition, Trondheim’s cartoon interior catalogue is always a supremely rewarding and enjoyable experience and, as these ancient texts prove, always has been…

© 2001 Lewis Trondheim and Cornélius. This edition © 2011 Fantagraphics Books. All Rights Reserved.

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Yeah!


By Peter Bagge & Gilbert Hernandez, with Jaime Hernadez & Eric Reynolds (Fantagraphics Books)
ISBN: 978-1-60699-412-2

More generally known for their challenging (I so loathe that word “alternative”) material for mature audiences, cartooning legends Peter (Neat Stuff, Hate, Buddy Bradley) Bagge and Gilbert (Love & Rockets, Birdland, Sloth) Hernandez collaborated in 1999 on an intriguing and manically enticing, all-ages cartoon romp for the grievously underserved juvenile girls market, published by mainstream industry leader DC under their WildStorm imprint.

Said feature has finally been collected – regrettably without the gloriously vivid colour – in a superbly silly upbeat collection that will hopefully, in these more enlightened graphic times, find the approving audience it deserved.

As Bagge relates in his introduction, the original concept was an updating of Dan DeCarlo’s Josie and the Pussycats (voluntarily created under the strictures of the Comics Code) which would appeal to a pre-teen market; inspired by the writer’s complete immersion in the Girl-Power culture of the Spice Girls and their many imitators, thanks to his own daughter turning eight and discovering pop music…

Yeah! follows the trials and tribulations of fresh young New Jersey girls Woo-Woo, Honey and Krazy, who with their on-again, off-again, sleazy-hippie-burn-out manager Crusty seek stardom and a steady paycheque. Naturally it’s not quite that straightforward…

The girls’ extremely unique situation is introduced in ‘Everybody Say Yeah!’ as they finish a tour of the galaxy which sees them crowned “the Most Popular Band in the History of the Universe” before returning to Earth where they are still completely unknown and unable to land a single gig. Crusty has unique contacts and connections but none of them are on the planet of his birth. The best he can manage here is a cheesy school talent contest with their arch rival boy-band The Snobs…

Fed up, fame-hungry keyboardist Woo-Woo sets up a meeting with disgusting mega-millionaire Mongrel Mogul, who agrees to manage and promote them – but only if guitarist Krazy agrees to marry him. Although Woo-Woo thinks it’s worth it the girls eventually decline and Mogul instead aligns himself with their arch-enemy Miss Hellraiser…

None of the performers in Yeah! are ordinary or average. Woo-Woo’s ambitions are all-encompassing, diminutive drummer Honey is a Vegan eco-activist with a befuddled hippie boyfriend called Muddy and Krazy has telepathic powers. … And old Crusty really does commune regularly with extraterrestrials…

We meet the parents in ‘Woo-Woo, Phone Home!’ as the girls fail at a succession of menial jobs whilst waiting for the Big Time (alien money being useless on Earth) before giving up and moving to the Planet Erb where they’re properly appreciated. Unfortunately they – and especially Muddy’s goat – can’t handle the food and they have to go back when Woo-Woo’s terrifyingly blue-collar dad gets ill – but not before Crusty signs up and then abandons an Erbian tribute act called “!yaeH”…

‘Stalky’ reveals that whilst they’ve been gone an alien has been crashing at Krazy’s place, consuming her stupendous stash of junk-food (the only thing she ever eats), but the girls have bigger problems: Crusty has lined them up to be Miss Hellraiser’s backing band – and for free!

‘The Origins of Yeah!’ reveals how the girls met, when The Snobs became their enemies and why Hellraiser isn’t in Yeah! anymore, whilst ‘Yeah! Takes Off!’ uncovers Crusty’s alien connections and the girls first intergalactic successes, before ‘Honey’s Crisis!’ highlights corporate skulduggery and girly passions as Krazy and Woo-Woo become rivals for the attention of Hobo Cappilletto – the most successful boy pop-star in the World – culminating in the minor mega-sensation making his romantic play in ‘Hobo’s in Love!’

The band gets caught up in an interplanetary conflict when ‘Yeah! Goes to War!’, unexpectedly becoming folk heroes of planet Sunburnia before the fight for fame comes to an abrupt end in ‘Make Way for !yaeH’ as the erstwhile Erbian trio become a sensation on Earth whilst Yeah! still can’t get arrested in their own home town…

The volume ends with creator biographies and a mini-saga written and illustrated by Bagge hilariously depicting ‘A Day in the Life of The Snobs’…

There’s precious little around for kids and especially girl readers in American funnybooks: their options relegated to Archie Comics’ prodigious, but generally safe, output or whatever manga makes it into English translation so this intriguing and wildly imaginative series which seamlessly combined fantasy, science fiction, fashion, pop and school cultures in a wild blend of frantic fun and thoroughly deserves another chance to shine.

Moreover let’s hope the publishers follow up with more of the same and Bagge’s marvellous warts-and-all comedic comics-industry expose Sweatshop is soon to follow…

© 2011 Peter Bagge. This edition © 2011 Fantagraphics Books. All Rights Reserved.

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Eye of the Majestic Creature


By Leslie Stein (Fantagraphics Books)
ISBN: 978-1-60699-413-9

Help Wanted: Girl cartoonist seeks meaning of contemporary existence and like minded individuals to share bewilderment and revelations with.

Interests/Hobbies include: drinking, counting sand, growing stuff, antiquing for pop culture “trash”, drinking, meaningful conversations with musical instruments, playing board games with same, recreational herbal intoxicants, reminiscing about wild-times with gal-pals and old cronies, drinking, visiting difficult relatives…

After graduating from the New York School of Visual Arts Leslie Stein began producing unbelievably addictive cartoon strips in the self-published Yeah, It Is. Winning a Xeric Grant for her efforts, she started the even better comicbook Eye of the Majestic Creature, blending autobiographical self-discovery, surreal free-association, philosophical ruminations, nostalgic reminiscences and devastatingly dry wit to describe life filtered through a seductive meta-fictional interior landscape. This lady laconically tans under vastly different suns and the results are enchanting and entrancing.

This volume collects the first four issues in a dreamy, beautifully realised manner of visual mood-music – loose, flowing line-work, detailed stippling, hypnotic pattern-building and honest-to-gosh, representational line-drawing, each at the most appropriate juncture – eschewing chronological narrative for a easy, breezy epigrammatic mode of delivery.

As seen in the opening vignettes ‘The Country is Calling!’, ‘Seashell Arrives’ and ‘Someone is Yelling At Me over the Phone: You Are Disgusting!’ Larrybear is a girl deliberately and determinedly on her own, trying to establish her uniquely singular way of getting by. She has friends (most especially her talking guitar Marshmallow) interests and ambitions of a sort, but just isn’t looking for an average life, just more companions to share with …

In ‘Fun Time with “I Eat Peanut Butter Between Naps”’ the cast expands as Larrybear goes walkabout, beginning with house-sitting for some very individualistic friends…

Encountering ‘Insanity at Every Turn’ she travels across America to visit her difficult family in Chicago and very-welcome old school friends, taking in San Francisco too before settling for New York in ‘Back For More’…

Delivered in mesmerising, oversized (7½ x 11″/192 x 280mm) black & white, these incisive, absurdist, whimsically charming and pictorially intoxicating invitations into a singularly creative mind and fabulous alternative reality are a glorious rewarding cartoon experience and one no serious fan of fun can afford to miss.

© 2011 Leslie Stein. All Rights Reserved.

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Warlock 5 the Graphic Album


By Gordon Derry & Denis Beauvais (Aircel)
ISBN: 0-921052-08-1

The late 1980s were a fertile time for American comics-creators. It was as if an entire new industry had been born with the proliferation of the Direct Sales market and dedicated specialist retail outlets; new companies were experimenting with format and content, and punters even had a bit of spare cash to play with.

Moreover much of the “kid’s stuff” stigma had finally abated and the country was catching up to the rest of the world in acknowledging that sequential narrative might just be a for-real actual art-form…

Consequently many young start-up companies began competing for the attention and cash of punters who had grown accustomed – or resigned – to getting their on-going picture stories from DC, Marvel, Archie and/or Harvey Comics. European and Japanese material had been creeping in and by 1983 a host of young companies such as WaRP Graphics, Pacific, Eclipse, Capital, Now, Comico, Dark Horse, First and many others had established themselves and were making impressive inroads.

New talent, established stars and fresh ideas all found a thriving forum to try something a little different both in terms of content and format. Even smaller companies had a fair shot at the big time and a lot of great material came – and too often, quickly went – without getting the attention or success it warranted.

One of the most critically acclaimed and just plain fun features came from Canadian outfit Aircel Publishing, founded by prolific all-rounder Barry Blair. Aircel began publishing at the start of the black and white comics bubble of 1985-1986 with strong, impressively airbrush-toned monochrome fantasy/adventure titles such as Samurai, Elflord, Adventurers and Dragonring; swiftly becoming one of the movement’s major players and most prodigious publishers.

After weathering the worst of the industry’s vicissitudes Aircel merged with Malibu/Eternity Comics in 1988 before the entire agglomeration was purchased by Marvel in 1994.

This original iteration of Warlock 5 (a rebooted second volume version came later, written by Blair himself) debuted in 1987 and instantly caught the comic-buying public’s attention, due in large part to its manic narrative style, luscious art and glorious blend of contemporary cultural tropes, fads and icons, happily poaching striking imagery from Cyberpunk, popular movies, rock and punk music scenes and role-playing gaming.

Conceived and crafted by Gordon Derry and Denis Beauvais the series posited a universe of multiple worlds in a splintered reality, each divergent slice shepherded by a supreme mystic being dubbed “warlock”.

This collection reprints the first five issues of the initial run (with selected text and background features from #6) and details the escalating conflict between a handful of warlocks competing, colluding and double-dealing their way to sole dominion of the world.

In eons past the universe fractured into disparate realities and time-lines, cosmically overlaying and overlapping each other in a fantastic web of being referred to as The Grid. Each of these varied Realities converge in a present-moment under a certain North American city on Our Earth and the ongoing situation has resulted in a highly volatile multiverse with new Realities born or destroyed every moment.

Each reality has a Gate to the convergence with a warlock guardian and, since the Cosmos is constantly seeking to realign and balance itself, these gatekeepers are constantly battling each other. In the end when Reality finally corrects itself… there can be only one Warlock.

Starting explosively and getting faster and more frenetic, the saga opens with malign medieval magician Doomidor assembling his knights to attack his rivals at their latest parlay in a vast subterranean car-park; just as Terminator inspired robot Argon does the same…

When White Witch Tanith and man-dragon Savashtar (a serpentine mage from the far future) try to mediate the clash they and their armies are also sucked into the battle. When punkette, zombie-slut-queen Zania arrives she resolves the dispute by attacking everybody indiscriminately…

As the madness escalates the wildly warring warlocks tear a hole in the Grid itself allowing the dead of all realities to begin pouring in to our world…

…And that’s just issue #1. The drama recommences in issue #2 with the mutually inimical and hostile forces compelled to grudgingly work together and rectify the situation, but even under such conditions they cannot act honestly and shifting alliances begin to tear the crisis-management team apart even before they can start…

Moreover even the Warlocks’ trusted familiars and servants are looking to betray their masters and as events unfold, intriguing peeks into the back-stories of the protagonists only reveal deeper darknesses and more exploitable chinks in their mystic armours…

Raw, frantic, hyper-violent, explosively imaginative and beautifully compelling, Warlock 5 is a fabulous forgotten treasure from a wild and crazy time, long overdue for a comprehensive review and reappraisal.
© 1987, 1988 Gordon Derry and Denis Beauvais. All rights reserved.

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JLA vol. 13: Rules Of Engagement


By Joe Kelly, Rick Veitch, Darryl Banks, Doug Mankhe, Duncan Rouleau & various (DC Comics)
ISBN 978-1-84023-923-5

When the Justice League of America, driving force and cornerstone of the Silver Age of Comics, were relaunched in 1997 (see JLA: New World Order) the sheer bravura quality of the stories propelled the series back to the forefront of industry attention, making as many new fans as it recaptured old ones; but the intoxicating sheen of “fresh and new” never lasts and by the time of these tales there had been numerous changes of creative personnel – usually a bad sign…

However Joe Kelly’s tenure proved to be a marvellous blend of steadying hands and iconoclastic antics through which the JLA happily continued their tricky task of keeping excitement levels stoked for a fan-base cursed with a criminally short attention span.

Kelly’s run on the series has some notable highs (and lows) and this portmanteau collection (gathering issues #77-82 of the monthly comicbook) happily falls into the former category as the team readjusted to modern life after the time-lost traumas of the Obsidian Age (see JLA:The Obsidian Age).

However the adventure actually kicks off with an impressive, clever and fast-paced fill-in tale from Rick Veitch, Darryl Banks & Wayne Faucher wherein the team – Batman, Superman, Atom, Wonder Woman, Flash, Green Lantern John Stewart and Firestorm – are attacked by a civilisation-crushing cosmic wanderer which achieves its goals by invading brains and stealing knowledge in ‘Stardust Memories’…

That threat successfully circumvented, the World’s Greatest Superheroes learn of an interplanetary conflict that looks likely to divide the team forever in the eponymous two-parter ‘Rules of Engagement’ by Kelly, Doug Mankhe and Tom Nguyen. With half the team travelling, uninvited, many light-years to stop a war, the remainder of the JLA stay to police Earth, giving the opportunity to add some long-missed sub-plots to the usually straightforward storytelling; specifically some unpleasant hints into new member Faith’s clouded past, a long-deferred romantic dinner for Bruce Wayne and Amazonian Princess Diana and the beginnings of a very hot time for the Martian Manhunter with fiery potential paramour Scorch…

On the distant world of Kylaq, Leaguers Superman, Wonder Woman, Major Disaster, Manitou Raven, John Stewart and Faith act unilaterally to prevent the invasion of the Peacemaker Collective but are keenly aware that once they succeed they leave the rescued world to the mercies of its own highly suspect government… especially Defense Minister Kanjar Ro, intergalactic slave-trader and one of their oldest, most despotic foes…

The last half of the book fills in some of Faith’s background as the reunited team are called to an Oregon cult compound where a new Messiah has created Safe Haven: a separatist enclave for metahuman children. Unfortunately, the Federal Authorities are not prepared to leave them alone and the resultant clash of ideologies leaves a thousand dead children on the crippled consciences of the devastated superheroes…

Yet something isn’t right: why does each JLA-er believe that they alone are responsible for the massacre? Moreover, what is the actual goal of master manipulator Manson and how does neo-Nazi team Axis America fit into the scheme?

This thrilling, action-packed three-part mystery saga comes courtesy of Kelly, Duncan Rouleau & Aaron Sowd and satisfyingly closes this fast and furious selection of witty, engaging, beautiful and incredibly exciting yarns: some of the best modern superhero adventures ever created and a reading treat well worth your time and attention.

© 2003, 2004 DC Comics. All Rights Reserved.

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Bram Stoker’s Dracula


Adapted by Roy Thomas, Mike Mignola & John Nyberg (Topps/Titan Books edition)
ISBN: 978-1-85286-474-3

Vampires have never been more popular and the undisputed icon of the cult-fiction genre is indisputably Dracula. One of the best looking graphic novels ever to feature the immortal undead Count came from Topps Comics in 1992 when they produced a four part adaptation of Francis Ford Coppola’s flawed film masterpiece.

Whatever your opinions of the movie, the brutally dark story of love, reincarnation and second chances did generate an exceptionally impressive comics interpretation by master adapter Roy Thomas and moody Meisters-of-the-Macabre Mike Mignola & John Nyberg…

This stripped-down UK edition released by Titan Books opens with the prologue wherein Christian knight Vlad Dracula returns to his castle after a magnificent victory against the invading Turks in 1462, to discover that his beloved wife Elisabeta is dead. The tragic beauty committed suicide when she received a malicious message stating that her husband had been killed…

Grief-stricken, the bloody warrior Vlad turns his back on God and Man…

May 1897 and Jonathan Harker travels to Transylvania following the loss of his colleague R.M. Renfield  to facilitate the voyage of aged wealthy Count Dracula to the thriving modern Metropolis of London. He stumbles into a scene of unbridled terror…

Meanwhile in the heart of the Empire his fiancée Mina Murray indulges her wildly wanton friend Lucy Westenra as the famous beauty strings along three ideal suitors, Dr. Jack Seward, Texan Quincy P. Morris and Arthur Holmwood, the future Lord Godalming.

Mina is a perfect double for the long dead Elisabeta and when Dracula, freshly arrived in England and already causing chaos and disaster, sees her he begins to seduce her. He is less gentle with Lucy and his bestial, bloodletting assaults prompt her three beaus to summon the famed doctor and teacher Abraham Van Helsing to save her life and cure her increasing mania.

Harker has survived his Transylvanian ordeal and hurriedly marries Mina in Romania. Enraged, Dracula renews his assaults and Lucy dies to be reborn as a predatory monster. After dispatching her to eternal rest, Van Helsing, Holmwood, Seward and Quincy Morris, joined by the recently returned and much altered Harker and his new bride, determine to destroy the ancient evil in their midst…

Dracula however, has incredible power and centuries of experience on his side and taints Mina with his blood-drinking curse, before fleeing back to his ancestral lands. Now the mortal champions must follow and excise his awful power before Mina – now aware of her previous existence as Dracula’s wife Elisabeta – succumbs forever to his unholy influence…

Dark, moody, visually stunning and compulsively frenetic, this interpretation is a memorable and intensely fulfilling iteration on a modern myth and one that no fan can ignore.

The Titan version of this lost gem is probably the most readily available but the two Topps editions are still around if you’re persistent. The first printing also contains in its 112 pages an introduction from Coppola and an afterword by the film’s writer James V. Hart (whose other credits include screenplays for Contact, Tuck Everlasting, Mary Shelley’s Frankenstein, Hook and Muppet Treasure Island amongst others, whilst the 120 page Previews Exclusive Edition tops that (sorry, my will was suborned by irresistible malign forces) by including a poster, behind-the-scenes glimpses at the film’s creation and cards from the spin-off Dracula Collectible Card set.
© 1993 Columbia Pictures Industries, Inc. All Rights Reserved.

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Alien Legion: A Grey Day to Die – An Epic Graphic Novel


By Carl Potts, Alan Zelenetz, Frank Cirocco, Terry Austin & Steve Oliff (Marvel)
ISBN: 0-87135-207-9

During the 1980s the American comics scene experienced a magical proliferation of new titles and companies following the creation of the Direct Sales Market. With publishers now able to firm-sale straight to retail outlets rather than overprint and accept returned copies from non-specialised shops, the industry was able to support less generic titles and creators were able to experiment without losing their shirts.

In response Marvel developed its own line of creator-owned properties during the height of the creative explosion, generating a number of supremely impressive, idiosyncratic series on better quality paper in a variety of formats under the watchful, canny eye of Editor Archie Goodwin. The delightfully disparate line was called Epic Comics and the results reshaped the industry.

One of the earliest hits was a dark, lovely and compelling science fiction serial with a beautifully simple core concept: the Foreign Legion of Space. Created by Carl Potts, Alan Zelenetz and Frank Cirocco, The Alien Legion debuted in its own on-going series in April 1984, running for 20 issues, before re-booting into a second, 18 issue volume. The series has come and gone ever since, most recently from Dark Horse Comics – who have begun compiling the series into collected omnibuses -and there is, of course, a movie in the offing…

In 1986 the creators produced an all-new one-shot for the satisfyingly oversized Marvel Graphic Novel line (#25 if you’re counting): a venue for a variety of  “big stories” told on larger than normal pages (285 x 220mm rather than the now customary 258 x 168mm, similar to the standard European format of the times) featuring not only proprietary characters but also licensed assets like Conan, creator-owned properties like Jim Starlin’s Dreadstar and media tie-ins like Willow or Who Framed Roger Rabbit?

The Legion keeps the peace of the pan-galactic Galarchy on a million worlds spread over three galaxies: a broad brotherhood of outcast sentients united by a need to belong and a desire to escape their pasts. For such beings honour and tradition are the only things holding them together.

This grimly engaging tale finds series regular Commander Sarigar dispatching his best troops from Nomad Squadron (humanoid liberal Torrie Montroc, self-serving sociopath Jugger Grimrod, telepathic Meico, serving grunts Durge and Torqa Dun plus despondent retiring veteran Skathe Mescad) to a distant world for a dirty “wet-work” mission. Although most find the task distasteful, Grimrod is eager to practise the skills the Legion usually punishes him for indulging in…

The Technoids are a growing movement among many sentient species, espousing participant evolution and the replacement of organic features with cybernetic and mechanical parts. These aggressive cyborgs believe flesh is outmoded and aren’t too fussy about whether the surgeries are voluntary…

Technoids have battled the forces of the Galarchy for decades: in fact the most cherished victory legend of the Legion involves four heroic troopers who held off a thousand cyborg foes and chose death before surrender…

Now the Technoid leader Deathron has moved into politics and stands ready to convince an entire planet to trade their flesh for steel and plastic – a perfect opportunity to assassinate the head of the insidious movement. However nothing is ever easy for Nomad and Dethron has a hidden surprise waiting for the already unsettled and disconcerted soldiers…

Terse, tense and compellingly action-packed, this imaginative yarn by Potts and Zelenetz is splendidly readable and instantly accessible to those unfamiliar with the series, whilst the larger pages allow Cirocco and Terry Austin’s magnificent art and the inspired colouring of Cirocco and Steve Oliff to leap out and grab the reader. Sheer space opera gold and well worth tracking down.
© 1986 Carl Potts. All Rights Reserved.

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The Mighty Thor: I, Whom the Gods Would Destroy

– a Marvel Graphic Novel

By Jim Shooter, James Owsley, Paul Ryan & Vince Colletta (Marvel)
ISBN: 978-0-87135-268-0

When it was released in 1987, I, Whom the Gods Would Destroy offered a decidedly different take on the bombastic fantasy-hero – which perhaps explains why it has unfairly languished in obscurity ever since…

The plot itself is delightfully simple and fiendishly clever: Thor is an immortal of Asgard with all the responsibilities of a warrior prince and champion of justice. Moreover, he can transform at will into mere mortal iteration Don Blake – a crippled surgeon who revels in the minutiae of humanity, regularly and literally holding people’s lives in his hands…

After Blake loses a patient on the operating table he suffers a debilitating crisis of conscience and begins to question his own Divine right to and manner of existence.

Rebuffing the dutiful pleadings of his betrothed, beloved Lady Sif, he goes thoroughly off the rails, decrying the callous, patronising disregard the gods show to mortals.

After a tawdry fling with a girl in a bar Blake decides to abandon his immortal identity intending to live and die as a man, but the ever-present dangers of city-life soon compel him to become the crime-busting saviour-hero once more. Now, however this heroic role is dull and unappetising to him. He attempts to end his undying life…

Traumatised beyond endurance Blake tries to prove the myriad attractions of raw humanity to celestial Sif, but she cannot understand his fascination and rejects the world of mortals. Not even for him can she embrace or understand mankind…

An emotional Rubicon is confronted and crossed when Blake is once more called to operate on a dying patient. This time it’s a child and if he can’t save her, nobody can…

This compelling drama takes the most macho, two-fisted action-hero of the Marvel Universe and puts him through emotional hell in a tale with no villains where strength is irrelevant and compassion is the only weapon…

I can’t recall when Marvel last published an all-original graphic novel as opposed to a collection of previously printed material, but once they were the market leader with an entire range of “big new stories” told on larger than normal pages (285 x 220mm rather than the comic-sized standard 258 x 168mm of today’s books), featuring not only proprietary characters in out-of-the-ordinary adventures but also licensed assets like Conan, creator-owned properties like Alien Legion and new character debuts.

Nonetheless, their ambitious dalliance with the form in the 1980s and 1990s produced some classy results that the company has seldom come close to repeating since. Whether original concepts, licensed projects or their own properties, that run generated a lot of superb or at least different stories that still stand out today – or would if they were actually in print.

Released in 1987, I, Whom the Gods Would Destroy was conceived by Jim Shooter, written by James Owsley and illustrated by Paul Ryan & Vince Colletta; fitting comfortably into the tightly policed continuity of the mainstream Marvel Universe, just before Walt Simonson reinvigorated the title with issue #337 (for which see Mighty Thor: the Ballad of Beta Ray Bill).

A million miles from the usual Fights ‘n’ Tights, Mallets and Monsters monkey-shines, this thought-provoking, long-neglected tale takes Thor in a totally different direction that will similarly delight and surprise new readers and old fans. A cut above the average and well worth an open-eyed reappraisal, this is a Marvel Masterpiece well worth tracking down…
© 1987 Marvel Entertainment Group/Marvel Characters, Inc. All Rights Reserved.