JLA volume 1: New World Order


By Grant Morrison, Howard Porter & John Dell (DC Comics)
ISBN: 978-1-56389-369-8

After the Silver Age’s greatest team-book died a slow, painful, wasting death, not once but twice, DC were taking no chances with their next revival of the Justice League of America and tapped Big Ideas wünderkind Grant Morrison to reconstruct the group and the franchise.

And the idea that clicked? Put everybody’s favourite Name superheroes in the team.

Of course it worked, but that’s only because as well as star quantity there was a huge input of creative quality. The stories were smart, compelling, challengingly large-scale and drawn with desperate vitality. With JLA one could see all the work undertaken to make it the best it could be.

This slim album collects the first four issues of the revival and covers a spectacular landmark tale that altered the continuity landscape of the DC Universe by introducing a family of alien superbeings called the Hyperclan whose arrival on Earth could have ushered in a new Golden Age – a least by their standards.

Superman, Batman, Wonder Woman, the Martian Manhunter, Flash, Green Lantern and Aquaman are the legends who see their methods and careers questioned only to uncover a deadly secret that threatens to doom the planet they’re pledged to protect in a splendid old-fashioned goodies ‘n’ baddies romp that re-sparked fan interest in the “World’s Greatest Superheroes”.

If you haven’t read this sparkling slice of fight ‘n’ tights wonderment then your fantastic life just isn’t complete yet…

© 1997, 1998 DC Comics. All Rights Reserved.

Marshal Law: Fear Asylum


By Pat Mills & Kevin O’Neill with Mark A. Nelson (Titan Books)
ISBN: 978-1-84023-699-6

In 1987 Marvel’s creator-owned imprint, Epic Comics, published a six-issue miniseries starring a hero superficially very much in the vein of Judge Dredd, but one who took the hallowed American creation of the superhero genre and gave it a thorough duffing-up, Brit-boy style, in the tale of a costumed cop who did the Right Thing and did it His Way…

San Futuro is a Metropolitan urban dystopia built on the Post- Big Quake remnants of San Francisco. America is recovering from another stupid, exploitative war in somebody else’s country, and as usual the discharged and brain-fried veterans are clogging the streets and menacing decent society. Unfortunately this war was fought with artificially manufactured superheroes: now they’re home and a very dangerous embarrassment.

Marshal Law was one of them, but now he’s a cop; angry and disillusioned. His job is to put away masks and capes. This establishing series was collected as Marshal Law: Fear and Loathing.

Being a creator-owned property, old zipper-face went with Mills and O’Neill to the British independent outfit Apocalypse, publishers of the talent-heavy 2000AD rival Toxic, which ran from March to October 1991. But before that a final Epic one-shot ‘Marshal Law takes Manhattanwas released in 1989, and forms the first part of this final collection.

With some art assistance from Mark A. Nelson and Mark Chiarello, the Hero-Hunter was dispatched to New York to extradite a war criminal (and Law’s old army trainer) The Persecutor. Unfortunately (for them) the perp has hidden himself amongst the inmates of “The Institute” – a colossal Manhattan skyscraper housing all the Big Apple’s native superheroes; each and every one a brilliant, barmy, bile-filled parody of Marvel’s Mightiest.

Naturally carnage and mayhem are the result, but not before author Mills slips a few well-aimed pops at US covert practices and policies in South America under the door.

Less contentious – unless you’re a fan of the movie “Alien” or the Legion of Super Heroes – is ‘Secret Tribunal’ wherein the Marshal is sent to an orbiting Space Station where the government grows its manufactured superbeings just as a nasty incursion of fast-breeding carnivorous space-beasts starts ripping the immature supermen and wonder women to gory gobbets…

The book closes with the decidedly odd pairing of ‘The Mask/Marshal Law’ which finds the militant cape-crusher on the verge of resigning just as the magical mask that made mucho moolah for Dark Horse and a star out of Jim Carrey resurfaces in San Futuro… Cue chaos, carnage and lots of deadly silliness…

Although still fiercely polemical and strident, this is probably the least effective of the Marshal Law books. The feeling that Mills has said all he wanted or needed to say is ominously prevalent and although O’Neill’s art seemingly improves with every page – and the sketch and unseen art sections are engrossing and powerful – the overall feeling is one of tired duty rather than passionate verve.

Although still tremendously entertaining it’s clear than the Marshal hung up his barbed wire and boots just in time. Hero-Harriers Pat Mills and Kevin O’Neill produced a wonderful edgy parody, but until the industry annoys them enough to come back with all Honking Great Guns blazing, fans should just content themselves with this one last hurrah.

© 2003 Pat Mills & Kevin O’Neill. Art © 1993 Kevin O’Neill. The Mask is © 2003 Dark Horse Comics, Inc. All Rights Reserved.

Divine Melody Volume 4


By I-Huan, translated and adapted by Lobelia Cheng & Sue Yang (DrMaster)
ISBN: 978-1-59796-176-9

Time is running out for the Celestial Fox-Demons. Only vixens remain and if they wish to advance their status, let alone survive as a race, they must propagate their kind at all costs. To add to their woes their beloved leader, the Shifu (teacher/leader) who devised the plan to steal the baby girl deity Cai-Sheng and train her to transform into a male and father another generation is fading; her energies and lifespan are almost exhausted.

Her plan was necessarily a very long-ranging one. Over the centuries the Fox Demons had grown impatient. Some, like Hui-Niang, renounced their powers in order to marry mortals, whilst bold Yu-Niang turned to the darkest paths and began to steal little boys as “offerings”…

Little Cai-Sheng was a lonely child. On the day she escaped from her lessons and met two village children she formed an eternal bond with them. The girl Xiao-Que and boy Duo Xi saved the divine toddler from a dog attack (canines are the mortal enemies of foxes), suffering bloody wounds in her defence. Just in time guardian Hui-Niang appeared and killed the hound, and to thank the humans marked the boy’s torn forehead and the girl’s bitten hand with mystic tattoos. No matter how long, nor how many incarnations passed, their sacrifice would be rewarded.

Promising to meet again tomorrow, the children parted, but time is different for celestial beings and the humans never saw their new friend again.

Two centuries passed. Cai-Sheng completed her training and gained the ability to become a beautiful man at will, but the Chosen One had never forgotten her joyous day with mortal children, where she learned of freedom from duty and destiny. Reunited now with their current reincarnations – wealthy Su Ping and apprentice exorcist Han Yun-Sh – she had determined to repay their kindness by acting as matchmaker for the pair.

Unfortunately Ping had seen Cai-Sheng’s male form Qin Cai-Sheng, and become enamoured with “him” whilst Yun-Shi had become smitten with Su Ping – but he also held inexplicable feelings for the “weird girl” Cai-Sheng.

The debased fox-demon Yu-Niang had haunted Cai-Sheng, grown strong on centuries of stolen blood. She also wants the power of Cai-Sheng’s male form and preys relentlessly on the humans of the city. Even though Yu-Niang’s cat familiar is torn between serving Yu-Niang and Cai-Sheng, and is playing a double-game, the wicked fox-demon’s schemes are nearing fruition.

To further complicate her life a Heavenly Envoy named Wei Zi-Qiu has been sent to retrieve and purify Cai-Sheng, or if she has shed mortal blood, to kill her. He too has fallen for her, and tries to cover up the fact that she has slain the exorcist that killed her childhood guardian Hui-Niang…

With volume 4 the plot rapidly advances when Yun-Shi finds a new and decidedly nastier Shifu to train him as an exorcist-priest, Su Ping is possessed by the evil of Yu-Niang, and is in danger of becoming her next murderous familiar, whilst Wei Zi-Qiu and Yun-Shi face-off as rivals and one of them proposes marriage to the bewildered Cai-Sheng…

As an aura of inescapable tragedy falls over this enchanting shōjo tale of legendary China, I-Huan’s flawless blend of mythology and soap-opera moves into high-gear. How this web of intrigue and passion could ever resolve into a happy ending is beyond me. Perhaps it won’t…

This easy combination of passion, comedy and action examines the big issue of Predestination and Free Will, with family expectation always at odds with personal desire. The beautiful, lyrical art perfectly captures a forgotten age as the eternal triangle enlarges to admit another victim of love and their worlds spiral towards a painful, disastrous collision. A lovely series for the fanciful and romantic, this latest volume seems to hint that not all Ever Afters are Happy…

This book is produced in the traditional Japanese format and should be read from back to front and right to left.

© 2003 I-Huan/Tong Li Publishing Co. Ltd. English translation © 2009 DrMaster Publications, Inc. All Rights Reserved.

Comics Journal #299


By various (Fantagraphics Books)
ISBN: 978-1-60699-147-3

As I reviewed the last Comics Journal and nobody complained I think I’ll do it again.

The Journal is the foremost English-language publication dedicated to the Art of graphic narrative, covering comics and related events domestic and global, interviewing creators, disseminating the facts and even advertising the best and most challenging product. They’ve done it competently, passionately and proudly for decades. You may not always agree with the opinions expressed – editorial or from the many insiders who have been featured – but you’d be an idiot to ignore or dismiss them if you care at all about the industry or the medium.

This latest offering, another substantial square-bound format, black and white with lots of colour where necessary (and not just as a glossy, shiny lure for the easily distracted) features a short cartooned interview (this time with John “King-Cat” Porcellino) rendered in cartoon form by Noah Van Sciver, lots of industry information on events and publications and some genuinely heartbreaking obituaries including unsung giants Frank Springer, Ric Estrada and our own Adrian Kermode.

The feature article relates the incredible story of one of those all-too-frequent, tragically missed moments that could have re-shaped our industry. Canadian Michel Choquette is a brilliant man and has always been fascinated by the creative arts – all of them. Among his many achievements: he was a key part in the birth of the incredibly influential National Lampoon. He had this idea in 1971 to produce the greatest comic in the world.

Just how close he got to putting Harvey Kurtzman, Jack Kirby, Federico Fellini, Art Spiegelman, Wally Wood, Abbie Hoffman, Neal Adams, the Buscemas, Gene Colan, William Burroughs, Ralph Steadman, Gahan Wilson, Moebius, Barry Windsor-Smith, Will Eisner, Archie Goodwin, Goscinny and Uderzo, Gray Morrow, CC Beck, Frank Zappa, Salvador Dali and many more between four-colour covers and how it all fell apart makes for incredible reading…

But wait: there’s more! Following a fabulous Josh (Skyscrapers of the Midwest) Cotter interview, there’s hordes of scintillating reviews for such disparate gems as Kramers Ergot #7, American Flagg!: the Definitive Collection, Diana Prince: Wonder Woman Volumes 1-4, Jockie Ormes: The First African-American Woman Cartoonist and many more. There’s an extended look at Jiro Taniguchi and Natsuo Sekikawa’s astounding manga series ‘The Times of Botchan’ and a superb retrospective on animator Myron Waldman and his truly unique creation Eve, (running to 41 glorious picture-packed pages) and challenging articles on Gender and Comics in Chicago and comics dealing with Autism (Circling Autism by Kevin Greenlee) plus regular columnist RC Harvey contributes another unmissable piece with his appraisal of cartoonist Kirk Anderson in The Banana Republic in the Mirror.

French Comics festival Angoulême stars in the Continental Drift section ‘Hicksville 2009′, whilst Donald Phelps analyses the Prophetic Romances of MP Shiel in Cosmic Vagrant and Kenneth Smith continues his New Logic of the Psyche with part 3: The Secret Language of the Ineffable Self.

Content this intriguing and challenging can only whet the appetite for the great big celebratory issue #300 looming on the horizon. I can’t wait…
www.tcj.com
© 2009 Fantagraphics Books, Inc. All images/photos/text © their respective copyright holders.

The Casebook of Sexton Blake


By various, edited by David Stuart Davies (Wordsworth Editions)
ISBN: 978-1-84022-170-1

Here’s a welcome blast from the past: a mainstay of magazines and children’s comics since the end of the 19th century and yet one who’s comics appearances are – as yet – comprehensively uncollected. So we’ll just have to make do with these selected prose adventures of the most prodigious and prolific crimebuster in British fiction: Sexton Blake.

Back in the days when even the shabbiest waif and ragamuffin could read, story periodicals for young and old ruled. Just as The Strand Magazine published the “last Sherlock Holmes story” ‘The Adventure of the Final Problem’ in1893, (it nearly was: Conan Doyle held out against incredible pressure from fans, editors and bankers until 1901 when ‘The Hound of the Baskervilles’ began serialisation) another British criminologist was beginning his even more spectacular – if less well celebrated career.

Sexton Blake was created by freelance journalist Harry Blyth, writing as Hal Meredeth, for the powerful Populist – if cut-rate – publisher Alfred Harmsworth, whose monolithic Amalgamated Press would eventually grow and swallow most other British publishers becoming today’s colossus IPC. In the same Christmas week that Holmes bowed out in the Strand a new star (if only “in the making” at this stage) strode in, solving the mystery of ‘The Missing Millionaire’ in The Halfpenny Marvel (#6, 20th December, 1893). It was a frankly inauspicious start, and Meredeth’s lacklustre prose and dull plots won no fans. He was replaced after his seventh script and other hands took over.

The detective moved to Union Jack in 1902 with that story-paper’s second issue, but Blake still had no true character or individuality even though the pace and logic of the adventures improved. He soldiered on as a workhorse property with scripts by William de Montmorency, William Shaw Rae, Percy Bishop and Alec Pearson, but the first real improvement came in 1904 when W.J. Lomax invented the role of Boy Sidekick by introducing cockney sparrow and indefatigable problem-solver Tinker, a young feisty street orphan with the heart of a lion. Tinker first met and assisted “The Guv’nor” in ‘Cunning Against Skill’ (Union Jack #53) and became both lab assistant and archivist for the great man.

Even though securely ensconced in the Union Jack story paper (large but flimsy pamphlets brightly coloured with lots of prose and a few illustrations: comics without strips), he could often be found in other Amalgamated titles such as Boys’ Friend Weekly (from 1905) with much longer tales; often upwards of 60,000 words as well as Penny Pictorial from 1907-1913.

In 1915 The Sexton Blake Library began, running for five volumes until 1968. The first issue, dated 20th September, ‘The Yellow Tiger’ by G.H. Teed introduced Wu Ling and Baron de Beauremon, initiating a classic period of incredible confrontations with literary super-baddies that would shape the aesthetics of criminal masterminds from Bond Villains to Lex Luthor.

Blake also got a new home in 1905 (Baker Street no less!) and an imposing landlady/cook, Mrs. Bardell. To perfect the formula in that same year he also acquired Pedro, the world’s smartest Bloodhound (‘The Dog Detective’ Union Jack #100, 9th September 1905). Another of Blake’s groundbreaking and much copied innovations was his penchant for labeled gadgets. He had both a cool car – a bullet-proof Rolls-Royce named the Grey Panther – and even a similarly themed customised Moth monoplane. Union Jack evolved into the racier Detective Weekly in 1933, with Blake as cover star and only World War II’s paper shortages stopped him – if only temporarily.

Continuously published from December 1893 to the end of 1978, more than 4,000 complete stories have been written by over 200 different authors – and that just the prose material.

A global sensation, translated into numerous languages throughout the Empire and the World, with several stage plays (from 1907), 20 silent movies (1909-1928) plus three “talkies”, vast amounts of toys and merchandise, a radio show on the BBC (from January 1939 to 1940), another in 1967 on Radio 4, and (although played too much for laughs for my taste) more in 2006 and again this year (the collected audio-book is scheduled for release on September 10th so will probably be out by the time you read this). A successful TV series ran from 1967-1971, with its own tie-in comic strip, one of many over the years, beginning with a prominent cartoon feature in the legendary Knockout Comic, beginning with issue #1 (4th March, 1939). Comic strips starring the unstoppable Blake appeared in The Knock-Out through its many amalgamations such as Knock-Out Comic & Magnet and, to finally, just plain Knockout from 1939 to 1960.

Written by Edward Holmes and illustrated by Jos Walker, successive artists included Alfred Taylor, Eric Parker (who painted most of the superb Sexton Blake Library covers and indeed the cover of this very book as seen at the top of this review), Robert MacGillivray, Reginald Heade, Frank Plashley, Graham Coton, George Parlett, and William Bryce Hamilton. Modern writers, although not necessarily of the strip, include John Creasy, Jack Trevor Story and Michael Moorcock.

From there Blake and his team appeared in Valiant, (1968-70, and tying-in to the TV series) and, more-or-less, Tornado. A seven-part adventure was drawn up but inexplicably retitled and re-lettered as Victor Drago.

Sexton Blake is a thinker, but he’s also a man of constant, instant action. His reasoning skills and intuitive manner, his “have-a-go” nature and world girdling exploits have made him the earliest and greatest epitome of crime-busting Renaissance Man.

The Casebook of Sexton Blake is a hefty but remarkably inexpensive tome gathering some of the very best exploits of the archetypical “Brains and Brawn” hero. Often described as “the poor man’s Sherlock Holmes” – most notably by Professor Jeffrey Richards on the BBC in ‘The Radio Detectives’ in 2003 – in fact he almost immediately grew beyond those commercial expedient origins to become so very much his own man.

This initial volume reprints some of the very best tales from the Golden Age of Sexton Blake beginning with The Slave Market! by Cecil Hayter (1907) which finds the detective and Tinker in darkest Africa rescuing an old friend in tumultuous Allen Quartemain Style, This is followed by the delightfully whimsical A Football Mystery (by W.J. Lomax, 1907). Blake and Tinker play for England and invent training shoes almost as an afterthought.

The Man from Scotland Yard by (Ernest Sempill writing as Michael Storm, 1908) tells the tale of a bent copper and introduces the hero’s greatest super-foe George Marden Plummer, whilst The Law of the Sea (1912) mirrors the incredible saga of the Titanic in a dynamic tale released within months of the event. Perhaps it was the result of swift opportunism, but it appears that writer William Murray Graydon may have anticipated the tragedy in his plot!

The Brotherhood of the Yellow Beetle by G.H. Teed (1913) is Blake’s own version of the prevalent “Yellow Peril” fad, introducing Oriental Mastermind Wu Ling whilst Robert Murray Graydon followed in his dad’s authorial footsteps with A Case of Arson (1917), a brilliant mystery pitting the team against the Raffles-like super-thief Dirk Dolland the Bat!

The book concludes with the unforgettable revenge-thriller The Black Eagle (by G.H. Teed, 1923) inspired by the cause celebré Dreyfus-Affaire wherein a man wrongly sent to Devil’s Island escapes to seek revenge on those who wronged him…

These are classic adventures from an age where people held different views on race, class, religion and just about everything. To that extent (and I’m not sure I’m particularly comfortable with the decision) certain words have been amended to conform with contemporary sensibilities.

Nonetheless, as a society we’re not at a stage yet where a sticker saying “Warning! Not Written Recently! Contains views WE don’t actually hold, believe, endorse or condone!” is enough to forestall controversy, so if old prejudices can still tick you off, maybe you should skip this chance to enjoy some rousing, rip-roaring fun and thrills. It’s your call…

© 2009 Wordsworth Editions, Limited. All Rights Reserved.

Kelly Green volume 3: The Million Dollar Hit


By Stan Drake & Leonard Starr (Dargaud International Publishing)
ISBN: 2-205-06576-9

After the murder of her cop husband by his own superiors (Kelly Green: The Go-Between) Dan Green’s grieving and furious widow began a dubious new career in the twilight world between the law-abiding and the criminal aided by three of her husband’s reformed “cases”: con-man Spats Cavendish, thief Jimmy Delocke and pugnacious leg-breaker “Meathooks.”

With her life slowly getting back on track – although still not without moments of exotic glamour and extreme tension – the widow Green agrees to courier a large sum of cash to a conman who has already absconded with five million dollars of an oil company’s money. So why does OkalCo want Kelly to bring him more?

This sharp, wry thriller has plenty of surprises in store. The gorgeous go-between is dispatched to Alaska to deliver a hush-money payment and to bring back the secret method by which Cyrus Worthing – AKA Gus Arakian – managed to siphon away all that loot without anybody noticing. In the wilds of Big Snow country, can she even find him let alone prevent the conman selling his million-buck grift to others?

Further complicating matters is an unwise, unwelcome yet seemingly unstoppable fling with a US senator hiding some dark secrets of his own, a pair of hit-men with their own agenda dogging her heels and the small matter of a plane crash during the worst blizzard in recent memory…

These spectacular thrillers are intensely powerful, uncompromising stories, strictly for adults and not just because of the casual nudity; there’s a touch of chilling violence here that’s all the more distressing because it’s so skilfully underplayed. This series still works so well because it falls into a too rare category of crime-story where character not plot drives the narrative and it’s delivered with all the skill and artistry that two of the best storytellers comics have ever produced can command. The crash scenes in the mountains are alone worth every penny you might pay for this book.

For over three decades Stan Drake and Leonard Starr worked individually on some of the most successful family strips in the world. After years of critical and commercial rewards the pair teamed with French publisher Dargaud to flex their creativity unrestrained, producing a no-holds-barred contemporary crime-thriller that remains to this day one of the most exciting, vibrant and powerful in all strip history.

Copies of all volumes are still readily available (if a little pricey), but true quality has no upper limit and there are still rumours of a full revival of the character soon. Perhaps you could wait, but I wouldn’t…
© 1983 Dargaud Editeur. All Right Reserved.

Walt Disney’s Donald Duck – Gladstone Comic Album #2


By Carl Barks (Gladstone)
No ISBN:

Carl Barks is one of the greatest storytellers America has ever produced, and was just getting the public recognition he’d always deserved when he died in 2000, a few months shy of his hundredth birthday.

His early life is scrupulously well-documented elsewhere if you need detail, but in brief, Barks started as a jobbing cartoonist, then worked as a animator at Walt Disney’s studio before quitting in 1942 to work in comics. With studio partner Jack Hannah he adapted a Bob Karp script for an unmade cartoon short into the comicbook Donald Duck Finds Pirate Gold which was published as Dell Four Color Comics Series II #9 in October of that year. Although not his first published comics work, it was the story that shaped the rest of his career.

Until the mid-1960s Barks worked in productive seclusion writing and drawing a vast array of comedic adventure yarns for kids, creating a Duck Universe of characters like Gladstone Gander (1948), the Beagle Boys (1951), Gyro Gearloose (1952), and Magica De Spell (1961) to augment the stable of cartoon actors from the Disney Studio. His greatest creation was the crusty, paternalistic, money-mad bajillionaire Scrooge McDuck.

So magical were his creations that they actually influenced the animation output of the parent company itself, even though his work was actually done for the licensing company Whitman/Dell/Gold Key, and not directly for Disney.

Throughout this period Barks was blissfully unaware that his work, uncredited by official dictat (as was all the company’s output cartoon or comicbook), was nevertheless singled out by a rabid and discerning public as being by “the Good Duck Artist.” When some of his most dedicated fans finally tracked him down, his belated celebrity began. As well as justice being served it also led to an awful lot of great work now being conscientiously reprinted by an adoring and grateful band of well-intentioned aficionados.

Gladstone Publishing began re-releasing classic Barks material – and a selection of other Disney comics work – in a variety of formats beginning in the 1980s and this album is another one of my favourites. Whilst producing all that landmark innovative material Barks was just a working Joe, producing covers to spec, illustrating other people’s scripts when necessary as well as contributing story and art to the burgeoning canon of Donald Duck and other Big Screen characters.

In the wonderfully enlarged but increasingly scarce European oversized format (278mm x 223mm) this glorious little gem reprints the contents of Four Color Comics #108, probably best known as Donald Duck and the Terror of the River!! (1945) wherein The Duck and his nephews accidentally buy a houseboat and decide to experience the dream-adventure of an idyllic holiday down the Ohio and Mississippi Rivers. After many typically Donald-like mishaps their dream finally starts to come true – only to be threatened by a gigantic and voracious river-serpent!

Barks always excelled at blending comedy with drama and charm with action and this is one of his very best as the feisty kids solve the mystery (this story is a perfect template of what’s kept Scooby Doo in yummy snacks for all those years) of the predatory sea-beast whilst “Unca Donald” gets to be a fairly respectable hero as well as the irascible old goat we all know and love.

From the same comicbook comes the 10 page full-on gag feature ‘Seals are So Smart!’ as Huey, Dewey and Louie discover a trained seal when out beachcombing, but ever cocky and always avaricious Donald sees a chance to make a fast buck, and the book finishes in style with Donald as ‘Camp Counselor’ (from Walt Disney’s Vacation Parade # 1, 1950), an 8 page laugh-riot as the kids’ smug camping superiority (they are, after all, superior products of the Junior Woodchuck scouting program) gets a little dented by their uncle’s rather cruel practical joking

Thankfully even if you can’t find this particular volume, Barks’ work is now readily accessible through a number of publications and outlets. So if you’ve never experienced his captivating brand of magic, no matter what your age or temperament you can easily experience the magic of the man Will Eisner called “the Hans Christian Andersen of Comics.”

© 1987, 1950, 1946 The Walt Disney Company. All Rights Reserved.

You Shall Die by your own Evil Creation!: More comics by Fletcher Hanks


By Fletcher Hanks, edited by Paul Karasik (Fantagraphics Books)
ISBN: 978-1-606699-160-2

The work of troubled artisan Fletcher Hanks was lost to posterity until relatively recently rediscovered by comics’ intelligentsia in such magazines as Raw! His unique visual style and manner of storytelling resulted in only 51 complete stories created over less than three years (1939-1941) – but those were the make-or-break formative times that shaped the entire American comic-book industry.

Hanks was an artist and cartoonist plagued by a dependence on alcohol and a tendency to violence. He abandoned his wife and four children in 1930 and disappeared until the incredible commercial drive to fill comic-book pages saw him resurface in 1939 as part of the Jerry Iger/Will Eisner production “Shop” producing whole stories (script, art, lettering and probably even colour-guides) for some of the most successful publishers of the Golden Age.

Now coming to prominence as a key Outsider Artist (defined by critic Roger Cardinal as an English equivalent to the French movement Art Brut or Raw/Rough Art: art created outside the boundaries of official culture). Jean Dubuffet connected it especially and specifically to the paintings and drawings of insane asylum inmates but Cardinal extended the definition to include Naïve art, some Primitivism and sustained bodies of work by creators working at all fringes of the mainstream.

In his woefully short career the impact of those 51 stories were further reduced since he only worked in a few returning characters. This book follows on from and concludes the complete works compilation begun in editor Karasik’s I Shall Destroy all the Civilized Planets! (which I simply must track down and review too).

Presented in chronological order this book contains seven Space Smith adventures ‘Captured by Skomah!’ (Fantastic #1, December 1939), ‘The Martian Ogres!’ (Fantastic #2, January 1940), ‘The Leopard Women of Venus’ (#3, February 1940), ‘The Thinker’ (#4, March 1940), ‘The Hoppers’ (#5, April 1940), ‘The Vacuumites’ (#6, May 1940) and ‘Planet Bloodu’ (#8, July 1940), a single tale of Tabu, Wizard of the Jungle from Jungle Comics #1 (‘The Slave Raiders’, from January 1940) and a bunch of red-blooded lumberjack yarns starring Big Red McLane: ‘King of the North Woods’, ‘The Timber Thieves’, ‘The Lumber Hijackers’, ‘The Sinister Stranger’, ‘The Paper Racketeers’, ‘Sledge Sloan Gang’, ‘The Monk’s War Rockets’ and  ‘Searching for Sally Breen’ from the monthly Fight  Comics (#1, January 1940, and #3 to 9, September, inclusive).

The incomparable Stardust the Super-Wizard (whose slick, sleek costume surely influenced our own Mick Anglo when he redesigned Captain Marvel into the All-English Marvel Man in 1954!) is stirringly represented by ‘Rip the Blood’ from Fantastic #2 (January 1940), ‘The Mad Giant’ (#4), ‘The Emerald Men of Asperus’ (#8) ‘The Super Fiend’ (#10), ‘Kaos and the Vultures’ (#12), ‘The Sixth Columnists’ (#14) and ‘The World Invaders’ (Fantastic #15, February 1941), whilst sword-wielding barbarian hero Tiger Hart romped through the jungles of Saturn in ‘The Dashing, Slashing Adventure of the Great Solinoor Diamond’ from Planet Comics #2, February 1940.

From Daring Mystery #4 (May 1940) and #5 come ‘Mars Attacks’ and ‘Planet of Black-Light’ two exploits of brawny, clean-limbed Whirlwind Carter of the Interplanetary Secret Service whilst Yank Wilson, Super Spy Q-4 performed much the same role for the contemporary USA in ‘The Saboteurs’ from Fantastic #6 (May 1940).

But for me the biggest, most enjoyable revelation is the captivating batch of uncanny tales featuring the frankly indescribable Fantomah. The “Mystery Woman of the Jungle”, a blend of witch, goddess and animated corpse, used startling magic to monitor and defend the green places of the world against all manner of threats from poachers to mad scientists and aliens. Here her beguiling feats begin with ‘The Elephants Graveyard’ (Jungle Comics #2, February 1940) and just get wilder and wilder, continuing with ‘The Super-Gorillas’ (#4), ‘Mundoor and the Giant Reptiles’ (#5), ‘Phantom of the Tree-Tops’ (#6), ‘The Temple in the Mud Pit’ (#8), ‘The Scarlet Shadow’ (#11), ‘The New Blitzers’ (#12), ‘The Tiger-Women of Wildmoon Mountain’ and conclude with ‘The Revenge of Zomax’ from Jungle #14, February 1941

These stunningly surreal and forceful stories created under the pseudonyms Barclay Flagg, Hank Christy, Henry and Chris Fletcher, Charles Netcher, C.C. Starr and Carlson Merrick are a window into a different, bolder, “anything goes” era and the troubled mind of a true creative force. Seen in conjunction with Karasik’s insightful introduction and the many early sketches and illustrations from before that too-brief foray into comics present a fascinating man at a crossroads he was clearly able to shape but never grasp.

This is a magical book for both fans of classical comics and the cutting edge of modern art: and just in case you were wondering, the stories a re weird but read wonderfully.

It Must Be Yours!!!

All stories are public domain but the specific restored images and design are © 2009 Fantagraphics Books.

Mome 15: Spring 2009


By various (Fantagraphics Books)
ISBN: 978-1-60699-152-7

The latest volume of the inimitable showcase of alternative graphic narrative features the landmark conclusion of Tim Hensley’s Wally Gropius; a fixture since the fifth issue (Fall 2006) among the usual unusual treats of comics and art illustration, and also sees the debut of T. Edward Bak’s enchanting pictorial biography of Georg Wilhelm Steller, the German naturalist who with Polar explorer Vitus Bering endured so much on the Second Kamchatka Expedition in 1741. There’s also a translated classic from Spanish cartooning master Max…

After three stylishly intriguing Nipponese Bestiary illustrations, Urashima and Tarô, Ryûjin and Ningyo from Andrice Arp, (who also provided the evocative cover image) Hensley concludes his contemporary saga of hip modernity with Jillian in “Spoilers”, Gropius Besieged and Nondenominational, all nicely book-ended by one more Arp creature, Umibôzu.

Sara Edward-Corbett explores the pressures of childhood romance in Pool Party, Ray Fenwick once again provides a telling exercise in design and narrative typography with How I Do It, and Conor O’Keefe shows his impressive virtuosity and quirky sense of humour with Ducks.

Bak’s Stellar then begins, a tour-de-force of black and white illustration techniques married to a challenging narrative methodology that is funny, sad, terrifying and utterly absorbing, followed by the third and final part of legendary underground cartoonist Gilbert Shelton and the enigmatic Pic’s Last Gig in Shnagrlig, featuring that lost music super-group Not Quite Dead in a valiant escape bid from a desert nation pummelled by Uncle Sam’s unwanted attentions… and tanks.

Delia’s Love by Nathan Neal beguilingly examines the pitfalls of modern romance whilst newcomer Noah Van Sciver impressively relates some spooky urban history in The True Tale of the Denver Spider Man, Robert Goodman delineates a charming fable of reincarnation in Living Like a Pig and Dash Shaw treats us to a wonderfully imaginative and uniquely expressive experience in the dream-like My Entire High School… Sinking into the Sea!

The superb Paul Hornschemeier ends the book with the penultimate instalment of Life with Mr. Dangerous (part 10) and that aforementioned Max story The Confederacy of Villains (first published in Spain’s legendary El Vibora (#93, 1987) is stitched into the back as a complete colour and black-&-white mini-comic. Fabulous!

Mome is more magazine than book and features strips, articles, interviews and graphic artworks from a variety of earnest and dedicated comics creators – both internationally renowned or soon-to-be – from the capital “A” end of the art form. It is intense, occasionally hard to read and produced to the highest production standards. Considered by many to be the successor to Art Spiegelman’s seminal Raw, it doesn’t come out nearly often enough.

Whether you’re new to comics, just now exploring the areas beyond the mainstream or merely want something fresh and clever and honest rather than ingeniously recycled; these strips and this publication will always offer a decidedly different read. You may not like all of it, and perhaps the serializations should provide recaps (they still don’t) but Mome will always have something you can’t help but respond to. And since copies of all volumes are still readily available, you really should try it…

Mome © 2009 Fantagraphics Books. Individual stories are © the respective creator. All Rights Reserved.

Divine Melody Volume 3


By I-Huan, translated and adapted by Lobelia Cheng & Sue Yang (DrMaster)
ISBN: 978-1-59796-175-2

Celestial Fox-Demons have almost vanished from the land: only vixens remain and if they wish to advance their status, let alone survive as a race, they must propagate their kind at all costs…

To this end their Shifu (leader/teacher) long ago stole the baby girl deity Cai-Sheng, who with the proper training and refinement would, when grown, be able to transform into a male to father another, superior generation. But this plan was necessarily a very long-ranging one. On the haunted mountain they inhabited the Fox clan grew impatient. Some, like Hui-Niang, renounced their powers in order to marry mortals, whilst bold Yu-Niang began to steal little boys as “offerings”…

Little Cai-Sheng was a bored and very lonely child. One day she escaped from her lessons and met two village children. With the girl Xiao-Que and boy Duo Xi they cavorted and played until a dog attacked the magical child (canines are the mortal enemies of foxes). Brave Duo Xi fought the hound and little Xiao-Que suffered a cruel bite protecting Cai-Sheng. Just in time her guardian Hui-Niang appeared and killed the hound with a well-aimed arrow…

To thank the humans for spilling their blood to defend the chosen child, guardian Hui-Niang marked the boy’s torn forehead and the girl’s bitten hand with mystic marks. No matter how long, nor how many incarnations passed, their sacrifice would be rewarded. Promising to meet again tomorrow, the children parted, but time and duty is different for celestial beings and the humans never saw their new friend again.

Two hundred years passed and Cai-Sheng finished her training. The Chosen One had never forgotten her joyous day with the mortal children, and more importantly, for one glorious afternoon, she learned of freedom from duty and destiny. Centuries later she was reunited with them – or at least their latest reincarnations, beautiful, rich scholar’s daughter Su Ping and apprentice priest/exorcist Han Yun-Shi. To repay them for their kindness Cai-Sheng determined to act as matchmaker for the pair, but Ping had seen Cai-Sheng’s male form Qin Cai-Sheng, and become enamoured with “him”.

Yun-Shi is smitten with Su Ping but can’t understand why the weird girl Cai-Sheng is always hanging around, making herself a nuisance. Moreover, while performing his appointed duties for his disreputable master the apprentice realizes he has a rival in Cai-Sheng’s male form, even if the transforming neo-deity doesn’t…

The debased fox-demon Yu-Niang has haunted Cai-Sheng, grown strong on two centuries of blood taken from boy children. She wants the power tied up in Cai-Sheng’s male form and has begun preying on the humans of the city. Even though Yu-Niang’s cat familiar now (supposedly) serves Cai-Sheng, the wicked fox-demon’s evil schemes are advanced in this third captivating volume as tragedy and death strike, destroying the Chosen One’s oldest friend and protector as well as the only mortal capable of thwarting Yu-Niang’s evil plans…

Cai-Sheng is confused, heartbroken and angry. She wants revenge and justice, but unknown to her the Goddess Lady Peony has informed her celestial envoy Wei Zi-Qiu – who has developed ungodly feelings for Cai-Sheng – that should the Chosen One advance the Fox-Demon cause in any way or harm a human then he must kill her…

This enchanting shōjo tale of legendary China moves into the arena of grand tragedy as events are set in motion that will have disastrous repercussions for all, in Taiwanese creator I-Huan’s flawless blend of mythology and soap-opera. Huan seamlessly blends passion, comedy and action to tell a charming tale of duty versus free-will, and familial expectation battling personal desire. The beautiful, lyrical art perfectly captures the sense of a lost age and the enduring immediacy of three people falling in love in a world spiralling into cataclysm. A lovely series for the fanciful and romantic, this latest volume finally shows the claws beneath the velvety fur…

This book is produced in the traditional Japanese format and should be read from back to front and right to left.

© 2003 I-Huan/Tong Li Publishing Co. Ltd. English translation © 2009 DrMaster Publications, Inc. All Rights Reserved.