Batman 3D

Batman 3D
Batman 3D

By John Byrne & various: 3-D process by Ray Zone (DC Comics)
ISBN: 0-930289-77-3

The comic-book 3-D process was invented by Joe Kubert and Norman Maurer in 1953 and fed into the wider craze in movies. It resulted in some pretty spectacular comic-books but died out pretty quickly, although it still persists and periodically resurfaces. I’ve worked on a couple of 3-D projects in my other life as an advertising free-lancer, and can honestly say it’s harder than it looks to get right, but when you do it’s utterly mind-boggling.

Having said that and acknowledging that it’s a way of enhancing the visual impact of comics it’s always gratifying when the actual story works too. This forgotten tome from 1990 is a nice example, and is only the second time John Byrne wrote Batman, and is his first full art job on the character. ‘Ego Trip’ features a solid old-fashioned murder-mystery, a helter-skelter chase, dynamic action and a deadly competition between The Joker, The Penguin, The Riddler and Two-Face with Gotham City as their playground.

Although the dialogue is a little stiff, this is still a very readable Batventure for fans of all ages with many tributes to all the best iconic features of the strip and a measured understanding of what the stereoscopic process can add. There’s also a reprint of ‘Robot Robbers’ (with art attributed to Curt Swan and Sheldon Moldoff) which originally appeared in Batman #42 in 1947. It was one of four tales turned into 3D strips for Batman Adventures in Amazing 3D Action during that first boom period in 1953, and re-released in 1966 at the height of the TV Batmania craze. It’s a wonderful science crime romp well worth reliving.

This book also features eleven 3D pin-ups from name-artists commemorating the iconic nature and history of the Caped Crusader. Alex Toth draws the hero in his autogyro from 1939, Bret Blevins and Al Williamson define the Batcave, and both Dave Gibbons and Barry Windsor-Smith give us their unique interpretations of The Joker. George Pérez draws the 1950’s Catwoman, Art Adams handles The Penguin and Mike Zeck produces Two-Face. Jerry Ordway teams Batman and Superman, Jim Aparo illustrates Rā’s Al GhÅ«l, Mike Mignola captures Man-Bat and Klaus Janson shows us the Batman of Today.

This is great little book and even if 3D is currently not in vogue, stories and art of this quality shouldn’t be ignored or forgotten.

© 1947, 1953, 1966, 1990 DC Comics. All Rights Reserved.

Paper Dolls from the Comics

Paper Dolls from the Comics

Compiled and written by Trina Robbins (Eclipse Books)
ISBN: 0-913035-20-3

The newspaper comic strip was a powerful and ubiquitous tool used to raise circulation and promote customer loyalty in the first half of the twentieth century, and as well as laughs, thrills and escapism creators often added games, cut-out collectibles and paper toys to their output in their efforts to succeed. The common belief was that young children and girls loved this kind of “dress-up” play, but I suspect many young men also joined in the fun.

One of the most popular and effective – even to this day (and don’t take my word for it, crank up that search engine and see for yourself), was the addition of favourite characters in their underwear, with fashions you could dress them in – and even design your own outfits for.

This practise graduated from the strips to comic books, and every title from Sugar and Spike to Millie the Model had their own paper-doll pages. Even my quite smart and utterly sensible wife is not immune to the seditious allure of these things.

Feminist cartoonist and comic historian Trina Robbins produced this slim and entertaining book to commemorate the subject (and we’re well overdue for a bigger, longer, updated edition) reproducing some of America’s greatest strip characters by some of the industry’s top creators.

So grab those scissors – don’t run! – and revel in the modes and fashions of Alley Oop, Winnie Winkle, Dixie Dugan, Brenda Star, Dick Tracy, Flyin’ Jenny, Torchy Brown, Mopsy, Boots, Smilin’ Jack, Jane Arden, both Terry and the Dragon Lady from Terry and the Pirates, Miss Fury, The Gumps and Katy Keene. It’s so oddly seductive… yet strangely satisfying…

Text © 1987 Trina Robbins. All Images © 1987, 2007 their respective holders.

Mort: A Discworld Big Comic

Mort: A Discworld Big Comic

By Terry Pratchett & Graham Higgins (VG Graphics/Gollancz)
ISBN: 0-575-05699-1

Us old codgers have always maintained that a good comic needs a good artist and this superb adaptation of Terry Pratchett’s fourth Discworld novel proves that point. The Discworld is a flat planet supported on the backs of four elephants standing on the back of a giant turtle swimming across the universe. Magic works there and the people are much too much like us. This, of course, makes it an ideal location for spleen-venting, satire, slapstick and social commentary…

Scripted by the author and brilliantly illustrated by Graham Higgins it tells a complex and darkly witty tale of Death (big grim chap, carries a scythe) and the hapless, literal-minded, sort-of-useless young goof Mort, whom he hires as his apprentice.

Of course that’s not all there is to it, with sub-plots including an orphaned princess and her dangerously ambitious guardian, Death’s vacation, the daughter he adopted and the mystery of his most peculiar servant Albert to season a very impressive spin on a very familiar myth.

Higgin’s light, dry touch adds volumes of texture to the mix and the leaden slavishness of the first graphic adaptation (The Colour of Magic – ISBN: 0-552-13945-9) is utterly forgotten in a superb mix of Pratchett’s acerbic dialogue and the artist’s deft sense of timing and comedy pacing, which is most reminiscent of Hunt Emerson.

If you have to have adaptations of great novels this is how it should be done.

Text © 1994 Terry and Lyn Pratchett. Illustrations © 1994 Graham Higgins. All Rights

Addams and Evil

Addams and Evil

By Charles Addams (Methuen)
ISBN 0-413-55370-1

Charles Addams was a cartoonist who made his real life as extraordinary as his dark, mordantly funny drawings. Whether he manufactured his biography to enhance his value to feature writers or was genuinely a warped and wickedly wacky individual is irrelevant, (although it makes for great reading: Once again the internet awaits the siren call of your search engine…).

What is important is that in all the years he drew and painted those creepily sardonic, and macabre gags and illustrations for The New Yorker, Colliers, TV Guide and others (from 1932 onwards, but regularly and consistently from 1938 until his death) he managed to enthral his audience with a devilish mind and a soft, gentle approach that made him a household name long before television turned his characters into a hit and generated a juvenile craze for monsters and grotesques that lasts to this day.

This volume is a reissue of his second collection of cartoons, first published in 1947, and semi-occasionally ever since. Although his works are long overdue for a definitive collected edition, many of his books (eleven volumes of drawings and a biography) are still readily available and should you not be as familiar with his actual cartoons as with their big and small screen descendents you really owe it to yourself to see the uncensored brilliance of one of America’s greatest humorists.

© 1940-1947 the New Yorker Magazine, Inc. In Canada © 1947 Charles Addams.

Scorchy Smith: Partners in Danger

Scorchy Smith: Partners in Danger

By Noel Sickles (Nostalgia Press)
ISBN: 0-87897-029-0

Noel Sickles had a very short and barely acknowledged career as a newspaper cartoonist. He worked as a jobbing illustrator in the features department of the Associated Press – an organisation that provided cheap high-quality filler material such as cartoons, ads, comic strips, recipes, horoscopes, puzzles: All the pages that local newspapers needed but couldn’t afford to produce themselves.

In 1934 he took over the inexplicably popular aviation strip Scorchy Smith from John Terry, who had contracted a terminal illness. The publisher’s required him to emulate Terry’s style, which he did until the artist’s death, when he was invited to make the strip his own. A driven experimenter, he replaced the scratchy cross-hatched and feathered method of Terry with a moody impressionism that used volume, solid blacks and a careful manipulation of light sources to tell his tales. He also made backgrounds and scenery an integral part of the story-telling process.

A very straight adventure series, Smith is a stout hearted, valiant Knight of the Skies, complete with trusty sidekick, ‘Heinie’, flying about and Doing Good. That’s it.

Sickles famously never worked to a plan when writing the strip, he just made it up as he went along to avoid boring himself. (For an extended exploration of his process read R C Harvey’s Meanwhile… a superb biography of Sickles’s friend and studio-mate Milton Caniff published by Fantagraphics Books ISBN: 978-1-56097-782-7).

Stories abound that the two collaborated often. Certainly Caniff admitted to helping out with deadlines and story-polishing but the bold visuals were always the product of a driven and dedicated seeker of artistic truths. The Chiaroscurist style developed by Sickles was adopted by Caniff, although he largely eschewed the lavish use of photo-mechanical dot-screens that Sickles used to create a different flavour of Black in his monochrome masterpieces.

Reprinted in this slim tome are three of the thrillers from that brief period. ‘Lafarge’s Gold’ (10th October 1935-January 30th 1936), ‘New York, N. Y.’ (January 31st 1936-March 18th 1936) and ‘Desert Escape’ (March 19th 1936- August 14th 1936) come from the very end of Sickles’s strip career, with a pretty girl swindled out of a goldmine, big-city conmen, and Tuaregs and the Foreign Legion providing the admittedly lacklustre narrative maguffins. But the bravura vivacity and artistic flair employed by Sickles to tell the tales elevate these B-Movie plots into breathtaking high art drama by the sheer magnificence of the drawing and design.

Noel Sickles left the restricted and drudge-work world of newspaper strips in 1936 for the greater challenge of higher education and eventually settled into the more appreciative and challenging magazine illustration field, making new fans in the Saturday Evening Post, Life and Readers Digest. His few months in narrative story-telling changed our entire industry, not so much with what he did but by the way he did it and who he shared his discoveries with. He is an unsung immortal, and his brief output deserves a commemorative, retrospective collection more than any other creator that I can think of. Until then lost gems like this will have to suffice.

© 1936 The A. P.

Innocent W, Book 1

Innocent W, Book 1

By Kei Kusunoki (Tokyopop)
ISBN: 1-59816-498-8

Everybody knows that witches are bad, so when Private Eye Makoto Hirasaka, a detective with an absolutely uncanny ability to find his quarry is accused of being one he laughs it off. But even though his pretty young client is “mistaken”, she still wants him to ride a bus and meet someone at the last stop. And that person will actually be a witch…

And so begins a dark and nasty splatter-fest of shock and gore. When the bus crashes in the wilds, Makoto discovers that in fact all the pretty young girls are witches and moreover the locals have turned the crash-site into a private hunting preserve, which is okay since they’re witches and witches are evil and evil witches must die…

This decidedly odd and amoral tale is well-paced, thrilling in the classic modern-horror manner and beautifully illustrated. In spellbinding images we see the girls – and to be fair, their pursuers – die in increasing splashy and bizarre ways as Makoto realises that maybe not only his client could be mistaken as to his mystical status…

If you love mood and action and can overlook any sense of plot this rather nonsensical piece of fluff might call to you.

This book is printed in the ‘read-from-back-to-front’ manga format.

© 2004 Kei Kusunoki. All Rights Reserved. English script © 2006 Tokyopop Inc.

DC Archive: Adam Strange Volume 1

Adam Strange Archive

By Gardner Fox, Carmine Infantino & Mike Sekowsky (DC Comics)
ISBN: 1-4012-0148-2

For many of us the Silver Age of comics is the ideal era. Varnished by nostalgia (because that’s when most of us caught this crazy childhood bug) the clear, clean-cut, uncomplicated optimism of the late 1950s and early 1960s produced captivating heroes and villains who were still far less terrifying than the Cold War baddies who troubled the grown-ups. The sheer talent and professionalism of the creators working in that temporarily revitalised comics world resulted in triumph after triumph which brightened our young lives and remarkably still shine today with quality and achievement.

One of the most compelling stars of those days was an ordinary Earthman who regularly travelled to another world for spectacular adventures, armed with nothing more than a ray-gun, a jetpack and his own ingenuity. His name was Adam Strange, and like so many of that era’s triumphs he was the brainchild of Julius Schwartz and his close team of creative stars.

Showcase was a try-out comic designed to launch new series and concepts with minimal commitment of publishing resources. If the new character sold well initially a regular series would follow. The process had already worked with phenomenal success. The revised Flash, Challengers of the Unknown and Lois Lane had all won their own titles and Editorial Director Irwin Donenfeld now wanted his two Showcase editors to create science fiction heroes to capitalise on the twin zeitgeists of the Space Race and the popular fascination with movie monsters and aliens.

Jack Schiff came up with the futuristic crime fighter Space Ranger (who debuted in issues #15-16) and Schwartz went to Gardner Fox, Mike Sekowsky and Bernard Sachs to craft the saga of a modern-day explorer in the most uncharted territory yet imagined.

Showcase #17 (cover-dated November-December 1958) launched ‘Adventures on Other Worlds’, and told of archaeologist Strange who, whilst fleeing from enraged natives in Peru, jumps a 25 ft chasm only to be hit by a stray teleport beam from a planet orbiting Alpha Centauri. He materialises in another world, filled with giant plants and monsters and is rescued by a beautiful woman named Alanna who teaches him her language.

‘Secret of the Eternal City!’ reveals that Rann is a planet recovering from an atomic war, and the beam was in fact a simple flare, one of many sent in an attempt to communicate with other races. In the four years (speed of light, right? As you Know, Bob… Alpha Centauri is about 4.3 light-years from Sol) the Zeta-Flare travelled through space cosmic radiation converted it into a teleportation beam. Until the radiation drains from his body Strange would be a very willing prisoner on a fantastic new world.

And an incredibly unlucky one apparently, as no sooner has Adam started acclimatising than an alien race named The Eternals invade, seeking a mineral that will grant them immortality. His courage and sharp wits enable him to defeat the invaders only to have the radiation finally fade, drawing him home before the adoring Alanna can administer a hero’s reward. And thus was established the principles of this beguiling series. Adam would intercept a follow-up Zeta-beam hoping for some time with his alien sweetheart only to be confronted with a planet-menacing crisis.

The very next of these, ‘The Planet and the Pendulum’ saw him obtain the crimson spacesuit and weaponry that became his distinctive trademark in a tale of alien invaders which also introduced the subplot of Rann’s warring city-states, all desperate to progress and all at different stages of recovery and development. This tale also appeared in Showcase #17.

The next issue featured the self-explanatory ‘Invaders from the Atom Universe’ and ‘The Dozen Dooms of Adam Strange’ wherein the hero must outwit the dictator of Dys who plans to invade Alanna’s city of Rannagar. With this story Sachs was replaced by Joe Giella as inker, although he would return as soon as #19’s Gil Kane cover, the first to feature the title ‘Adam Strange’ over the unwieldy ‘Adventures on Other Worlds’. ‘Challenge of the Star-Hunter’ and ‘Mystery of the Mental Menace’ are classic puzzle tales as the Earthman must out wit a shape-changing alien and an all-powerful energy-being. These tales were the last in Showcase (cover-dated March-April1959). With the August issue Adam Strange took over the lead spot and cover of the anthology comic Mystery in Space.

As well as a new home, the series also found a new artist. Carmine Infantino, who had worked such magic with The Flash, applied his clean, classical line and superb design sense to create a stark, pristine, sleekly beautiful universe that was spellbinding in its cool but deeply humanistic manner, and genuinely thrilling in its imaginative wonders. MIS #53 began an immaculate run of exotic high adventures with ‘Menace of the Robot Raiders!’ by Fox, Infantino and Sachs, followed in glorious succession by ‘Invaders of the Underground World’ and ‘The Beast from the Runaway World!’

With #56 Murphy Anderson became the semi-regular inker, and his precision brush and pen made the art a thing of unparalleled beauty. ‘The Menace of the Super-Atom’ and ‘Mystery of the Giant Footprints’ are sheer visual poetry, but even ‘Chariot in the Sky’, ‘The Duel of the Two Adam Stranges’ (MIS #58 and #59, inked by Giella) and ‘The Attack of the Tentacle World’, ‘Threat of the Tornado Tyrant’ and ‘Beast with the Sizzling Blue Eyes’ (MIS #60-62, inked by Sachs) were – and still are – streets ahead of the competition in terms of thrills, spectacle and imagination.

Anderson returned with #63, which introduced some much-needed recurring villains who employed ‘The Weapon That Swallowed Men!’, #64’s chilling ‘The Radio-active Menace!’ and, ending this volume, ‘The Mechanical Masters of Rann’, all superb short-story marvels that appealed to their young readers’ every sense – especially that burgeoning sense of wonder.

The deluxe Archive format makes a fitting home for these extraordinary exploits that are still some of the best written and drawn science fiction comics ever produced. Whether for nostalgia’s sake, for your own entertainment or even to get your own impressionable ones properly indoctrinated, you really need this book in your home.

© 1958, 1959, 1960, 1961, 2003 DC Comics. All Rights Reserved.

Fruits Basket Fanbook – Cat –

Fruits Basket Fanbook — Cat (Neko)

By various.

Fruits Basket Created by Natsuki Takaya (TokyoPop)
ISBN: 978-1-4278-0293-4

Fruits Basket is an incredibly popular Manga – and latterly anime – series that tells of the romantic adventures and life of a young orphan girl adopted by the benevolent but cursed Sohma family. Tohru is just an average girl but she soon adapts to the fact that whenever one of her new family hug a person of the opposite sex they are transformed into an animal from the Chinese Zodiac. A Shojo (girl’s story) story, it is funny, sad, charming and incredibly convoluted. Hence this frankly daunting companion volume that charts relationships explains details and tells you absolutely everything you might ever want to know about the series and the characters.

Also included in this lavishly illustrated book are games, puzzles, story-synopses’ for the first 17(!) volumes and even beautiful stickers of Tohru, some of her scrumptious boyfriends and loads and loads of cute, cuddly zodiac animals. These manga chaps certainly know the meaning of “added-value”…

© 1998 Natsuki Takaya. All Rights Reserved. English text © 2007 TOKYOPOP Inc.

Daddy is So Far Away… And We Must Find Him!

Daddy is So Far Away… And We Must Find Him!

By Wostok & Grabowski, translation edited by Chris Watson (Slab-O-Concrete)
ISBN: -1-899866-10-9

In the last decade of the last century independent, alternative and international cartooning really took off in the UK. It’s not that it suddenly got good, it’s simply that due to the efforts of a few dedicated missionaries the rest of the country finally noticed what Europe had known for years. Graphic narrative is as much about the art and the individual as it is about the money.

A superb case in point is this slim and eccentric tome produced in English by that much-missed Slab-O-Concrete outfit. Daddy is So Far Away… is the surreal and absorbing account of two-year old Poposhak and her faithful dog Flowers. The sad little lass stands at her mother’s grave and wonders where her father is. She sees the tip of his beard sticking out of the front door and rushes towards it despite wise Flowers’ words of caution.

She will not stop, but follows the beard, through rooms, down tunnels, across plains, under oceans and even across the Milky Way itself, finding friends and escaping monsters throughout time and space. Always that long white beard unfurls ahead of them, an enigma and a promise…

An eerie yet comforting blend of fable, bedtime story, shaggy dog tale, and vision-quest, this is a compulsive and brilliantly drawn epic more rollercoaster than narrative and encompassing the very best storytelling techniques of Eastern European animation.

Wostok and Grabowski, from the north Serbian town of VrÅ¡ac have worked together since 1992; both in the incredibly fertile Eastern European market but also internationally, and as is usually the case are criminally unfamiliar to the average comic punter. I hope you can find their work without too much trouble, because it’s well worth the effort.

© 1995-1998 Wostok, Lola & Grabowski. All Rights Reserved.

Warlord: The Savage Empire

Warlord: The Savage Empire

By Mike Grell (DC Comics)
ISBN: 1-56389-024-0

During the troubled 1970s the American comics industry suffered one of its periodic downturns and publishers cast about for other genres to bolster the flagging sales of superhero comics. By revising their self-imposed industry code of practice (administered by the Comics Code Authority) to allow supernatural and horror comics, the publishers tapped into the global revival of interest in spiritualism and the supernatural, and as a by-product opened their doors to Sword-and-Sorcery as a viable genre, with Roy Thomas and Barry Smith’s adaptation of R. E. Howard’s Conan the Barbarian an early exemplar.

DC launched a host of titles into that budding market but although individually interesting (especially the fascinating Stalker, illustrated by Steve Ditko and Wally Wood) nothing seemed to catch the public’s eye until number #8 of the try-out title First Issue Special.

In that comic superhero artist Mike Grell launched his pastiche and tribute to Edgar Rice Burroughs’s Pellucidar – At the Earth’s Core, which after a rather shaky start went on to become, for a time, DC’s most popular title.

In 1969 Colonel Travis Morgan, a U2 spy-pilot is shot down whilst filming a secret Soviet base, although he manages to fly his plane over the North Pole before ditching. Expecting to land on frozen Tundra or pack-ice he finds himself inside the Earth, in a lush tropical Jungle populated by creatures from every era of history and many that never made it into the science books. There are also cavemen, savages, mythical beasts, barbaric kingdoms and fabulous women.

Time does not seem to exist in this Savage Paradise and as Grell’s stated goal was to produce a perfect environment for yarn-spinning, not a science project, the picky pedant would be well advised to stay away. These are pure escapist tales of action and adventure, light on plot and angst but aggressively and enthusiastically jam-packed with fun and thrills. There is a basic plot-thread to hang the stories on, but you’ll thank me for not sharing it as the real joy of these tales (reprinting that try-out and issues #1-10 and #12) is in the reading. This is a total-immersion comic experience to be felt, not considered. Go for it!

© 1975, 1976, 1977, 1978, 1991 DC Comics. All Rights Reserved.