Author: NowReadThis

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Bunny vs Monkey: Multiverse Mix-Up!


By Jamie Smart & with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-292-2 (Digest PB)

Bunny vs. Monkey has been a staple of The Phoenix from the first issue in 2012: detailing a madcap vendetta gripping animal archenemies amidst an idyllic arcadia masquerading as more-or-less mundane but critically endangered English woodlands.

Concocted with gleefully inspired mania by cartoonist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Flember), these trendsetting, mindbending yarns have all the tail-biting tension and animal argy-bargy of a uniquely off-kilter magnum opus – not to be confused with the veritable magnificent octopus – although there’s them occasionally popping up too…

It all began yonks ago after an obnoxious little simian slapped down in the wake of a disastrous British space shot. Crashlanding in Crinkle Woods – scant miles from his launch site – lab animal Monkey believed himself the rightful inheritor of a strange new world, despite all efforts from reasonable, sensible, genteel, contemplative forest resident Bunny to dissuade him. For all his patience, propriety and good breeding, the laid-back lepine just could not contain the incorrigible idiot ape, who was – and is – a rude, noise-loving, chaos-creating loutish troublemaker…

Problems are ever-exacerbated by other unconventional Crinkle critters, particularly a skunk – AKA Skunky – who has a mad scientist’s attitude to life and a propensity to build extremely dangerous robots and overly technological super-weapons…

Here – with artistic assistance from design deputy Sammy Borras – the war of nerves and mega-ordnances is rekindled after briefly seeming to be all over. Our unruly assortment of odd bods cluttering up the bucolic paradise had finally picked sides and sorted it all out and – with battles ended – even apparently forgot the ever-encroaching Hyoomanz…

Rather than the traditional opening and tales ranked by changing seasons, this titanic trade paperback archive of insanity offers two massive chapters subdivided into short instalments. The astounding new adventure opens in Part One and ‘Pond Life’ wherein a quiet moment of skating in the chilly evening of a New Year is going so well until our apish antagonist renews old dreams of a planet united under his rule and the banner of “Monkeyopia”.

Sadly, the banner is attached to a staff with a really pointy end… and ice is really brittle…

An epoch of bewildering calamity commences when animal alternates from a parallel universe pop in through a portal. On their home plane everyone is evil but even so, their abduction of pan–universal innocent Pig Piggerton goes terribly wrong: stranding the instigator of the ‘Pig Swap’ on the wrong realm…

Meanwhile, Skunky has temporarily got rid of his annoying Monkey mate with some pointless make-work in ‘Snow Fun’ and ‘Evil Pig’ has introduced himself to the other Crinkle critters. Of course, Monkey must prove he’s the most wicked…

With Skunky, Monkey and the transplanted Pig all menacing and recruiting minions, confused Bunny calls on everyone to again ‘Choose Your Side’, but things get a bit out of hand when Metal Steve, Metal E.V.E. and brain-battered, bewildered former stuntman Action Beaver all join in the party games…

Thankfully, Eve allies with the good guys and Bunny affirms that their prime directive is “protecting the woods at all costs”: ‘A Mammoth Task’ made even harder once Skunky and Monkey unleash giant undergrounds monsters…

Dedicated to doom and destruction, the bad boys try – and ultimately fail – to synthesize Mongolian Death molluscs in ‘With Snails & I’ and try to pluck the ‘Big Moon’ out of the night sky before clashing with Evil Pig…

The transplanted transdimensional then meets his counterpart’s best bud Weenie Squirrel and has ‘A Falling Out’ even as Monkey unleashes exploding duplicates in ‘All A-Clone’ before trying his hand at scary documentary making in ‘The Sand-Witch Project’. All that cloning around comes back to bite him in the form of ‘Monkeysaurus’

Desperate for peace and quiet, Bunny, Eve and superfast Ai seek solace and silence in the river, but find only more mad excitement when evil spies get into difficulties and require their ‘Canoooe’, unaware that temporary allies Evil Pig, Skunky and Monkey were messing with serums and animals and had ‘Gone Batty’…

When Skunky tries to upgrade obsolete robotic oaf Metal Steve, reformed Eve is trapped in his bandwidth and is transformed into ‘Eve 2.0’, whilst Evil Pig – still seeking to win over Weenie – instead subverts Steve into ‘Alan the Unicorn’…

Existence gets truly meta when godlike human beings abruptly intervene, inadvertently sharing a glimpse behind the cosmic curtains of reality and by inflicting a distressing touch of The Matrix in ‘The First Glitch’ offers our quotidian cast of layered realities a hideous glimpse of what reality really means. Thoroughly re-educated, the bad guys then lose control of another experiment, unleashing shapeshifter ‘Polymorph’ on the easily embarrassed denizens of the Woods.

Fearless and stupid, Monkey discovers a sleeping beast and refuses to listen when everyone tells him ‘Don’t Wake the Bear’…

After too long and portentous an interval, the evil doppelgangers return, banishing their counterparts across many ‘Dimensions’ before ending the multiverse itself. Only Bunny escapes and with the unlikeliest of allies begins exploring ‘The Infinite’ and – thanks to a Portable Dimension Hopper – seeks ways to restore reality and rescue his comrades from the Real World.

That means many appalling experiences including ‘Babysitting’ toddler-versions of all his friends and foes, clashing with ghosts, vampires and Halloween Dimension beings before – as ‘Grumpy Bunny’ – saving a cowboy realm from the perils of a ‘Wilder West’. Bridging warring lava and frost dimensions ‘Of Fire and Ice’ that are also infested with familiar variants of everyone he knew, the thankless quest finally pays off in a commerce dimension ruled by an ‘Office Monkey’ only too glad to be rid of the annoying anarchic duplicate pestering his people and threatening his bottom line…

When the idiot ape eats Bunny’s travel tech, the status quo starts to resettle but by then the voyagers have found a dystopian desert where civilisation has gone ‘Mad to the Max’. Happily, Skunky is there to fix the gadget and get them on their way to the Christmas Dimension, and then out of the land of ‘Ho Ho Oh No’: so lovely that no one ever leaves…

The assembled animals ultimately prove that’s not true, but only at the cost of their ship which is badly hit, leaving them ‘Doomed’ to fall between 9.7 billion dimensions until they unselfishly work together in a team up. As a result they touch down at the Very End of Existence Itself! Stuck in a formless void, only Bunny and Skunky seem able to go on and use the lack of working time to recreate useful bits of what’s been eradicated. Once they rerun ‘The Birth of Science’ it’s not too long before they’re ready to fix everything and open a portal… sparking a massive time loop…

Forewarned by déjà vu, the voyagers overreact and reality goes boink! again, dumping everyone into the dimension of excrement and causing a nasty ‘Pooey Christmas’…

It looks like a fresh beginning for all as Part Two opens with ‘A New Start’. The nice animals are having picnics and Skunky and Monkey are building better mecha-weapons, but something’s still not quite right, and when the miscreants unleash transforming terror ‘Octoplops’ the repercussions really aren’t that bad…

Still off his game, cupcake-addicted Monkey is easily exposed as a ‘Thief!’ and Weenie and Pig endure the sheer horror of losing their ‘Ducky’ to a mystery fiend, before an escaped Time Droid goes berserk and generates a ‘Looooooop’ in reality…

Thanks to Transmogrification Pants, Bunny is assaulted by fake friends he never knew in ‘Pants for the Memories’ whilst Skunky, Monkey, the Beaver and Metal Steve are stuck inside their own malfunctioning ‘Chameleotron’: a chaotic debacle that results in Monkey being sucked back into the appalling ‘Poo Dimension’ where he accidentally liberates a fearsome alternate self who is a genuine threat to everyone in Crinkle Woods…

A brief dalliance as superhero ‘Brave Bunny’ quickly palls for our genteel star and ‘Law and Order’ is brutally abused when ultra-efficient Office Monkey begins to modernise and corporatize the green paradise…

Initially set back and hindered by the workforce he has to work with, OM retrenches and debuts his polluting ‘Furps’ engine (don’t ask and don’t breathe in!) before forming a merger with Skunky…

The other critters are all enjoying ‘Lobnut Day!’ and trying to gather the most nuts, but wise up when the apish alternate dimension asset-stripper launches Monkey Corp. and seeks to put all the furry time-wasters ‘To Work’. However, by casually betraying Skunky, Office Monkey has sown the seeds of his own downfall and his ‘Streamlining’ the Woods into a modernistic business park triggers a groundswell of consumer resistance…

After losing a contest and being acclaimed ‘The Worst Inventor’ Skunky joins that rebellion, and ‘Wrong Monkey’ finds him planning to dismantle the corporate stronghold of Monkeytopia, revealing to the astounded woodlanders that the menace is not the annoying idiot they’re used to, but an extradimensional invader…

That said, the mercurial monochrome megamind recruits some alternate selves with his Time-o-tron and he and ‘Father Skunky’ plunge into the vortex void to unmake their current dire situation…

Tragically, all that multiversal mismanagement causes a few ‘Portal Problems’ and an unwise stopover at their starting point (three in one book!) prompts an unexpected self-promotion as  Office Monkey exploits the confusion to become Boss Level and ‘Takeover’ the universe…

Ejected from Reality, archnemesis Bunny is flung into the Poo Dimension where his usual enemy has become ‘King Monkey’. Implausibly, he has a plan to save the day and put everything back the way it was… more or less…

The narrative animal anarchy might have pawsed (not sorry!) for now but there’s more secrets to share thanks to detailed instructions on ‘‘How to Draw Cowboy Monkey!’, ‘How to Draw Hellcage Monkey!’ and ‘How to Draw Office Monkey!’ to wind down from all that angsty parallel peril and future-bending furore…

The zany zenith of absurdist adventure, Bunny vs Monkey is weird, wild wit, brilliantly bonkers invention, potent sentiment and superb cartooning all crammed into one eccentrically excellent package. These tails never fail to deliver jubilant joy for grown-ups of every vintage, even those who claim they only get it for their kids. This is the kind of comic parents beg kids to read to them. Shouldn’t that be you?
Text and illustrations © Jamie Smart 2023. All rights reserved.

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Mighty Marvel Masterworks The Avengers volume 1: The Coming of The Avengers


By Stan Lee & Jack Kirby, Don Heck, Dick Ayers, Paul Reinman, George Roussos, Chic Stone, Sam Rosen, Art Simek & various (MARVEL)
ISBN: 978-1302929787 (TPB/Digital edition)

Probably Marvel’s biggest global franchise success, The Avengers celebrate their 60th anniversary in September 2023, so let’s start the New Year with acknowledgement of that landmark event and a promise of more of the same over the next 12 months…

These stories are timeless and have been gathered many times before but here we’re looking at The Mighty Marvel Masterworks line: designed with economy in mind and newcomers as target audience. These books are far cheaper, on lower quality paper and smaller – about the dimensions of a paperback book. Your eyesight might be failing and your hands too big and shaky, but at 152 x 227mm, they’re perfect for kids. If you opt for the digital editions, that’s no issue at all.

After a period of meteoric expansion, in 1963 the burgeoning Marvel Universe was finally ready to emulate the successful DC concept that had cemented the legitimacy of the Silver Age of American comics. The notion of putting a bunch of all-star eggs in one basket had made the Justice League of America a winner and subsequently inspired the moribund Atlas outfit – primarily Stan Lee, Jack Kirby & Steve Ditko – into conceiving “super-characters” of their own. The result – way back in 1961 – was the Fantastic Four…

Nearly 18 months later, the fledgling House of Ideas had generated a small and (mostly) successful stable of costumed leading men (but still only 2 sidekick women!), allowing Lee & Kirby to at last assemble a select handful of them into an all-star squad, moulded into a force for justice and soaring sales…

Seldom has it been done with such style and sheer exuberance. Cover dated September 1963, and on sale from Early July, The Avengers #1 launched as part of an expansion package which also included Sgt. Fury and his Howling Commandos and The X-Men…

This premier volume gathers The Avengers #1-10 (running to cover-date September 1965): a stellar sequence of groundbreaking tales no lover of superhero stories can do without…

The tense action kicks off with ‘The Coming of the Avengers!’ where – rather than starting at a neutral beginning – Stan & Jack (plus inker Dick Ayers) assumed buyers had a passing familiarity with Marvel’s other heroes and wasted very little time or space on introductions.

In Asgard, immortal trickster Loki is imprisoned on a dank isle, hungry for vengeance on his noble half-brother Thor. Whilst malevolently observing Earth, the god of evil espies the monstrous, misunderstood Hulk and mystically engineers a situation wherein the man-brute seemingly goes on a rampage, simply to trick the Thunder God into battling the monster.

When the Hulk’s teen sidekick Rick Jones radios the FF for assistance, Loki scrambles and diverts the transmission, smugly awaiting the blossoming of his mischief. Sadly for the schemer, Iron Man, Ant-Man and the Wasp also pick up the redirected SOS…

Only after the alerted heroes all converge on the American Southwest to search for the Jade Giant, do they realise that something is oddly amiss…

This terse, epic, compelling and wide-ranging yarn (New York, New Mexico, Detroit and Asgard in 22 pages) is Lee & Kirby at their bombastic best, and remains one of the greatest stories of the Silver Age (it’s certainly high in my own top ten Marvel Tales) and is followed by ‘The Space Phantom’ (Lee, Kirby & Paul Reinman), wherein an alien shape-stealer infiltrates and almost destroys the team from within.

With latent animosities exposed by the malignant masquerader, the epic ends with the volatile Hulk quitting the team in disgust, only to return in #3 as an outright villain in partnership with ‘Sub-Mariner!’ This globe-trotting romp delivers high-energy thrills and one of the blistering best battle scenes in comics history as the assorted titans clash in abandoned World War II tunnels beneath the Rock of Gibraltar. The tale was preceded hereby the galvanic house ad announcing the clash as seen in Avengers #2…

Inked by George Roussos, Avengers #4 was an indisputable, game-changing landmark as Marvel’s greatest Golden Age sensation returns for another increasingly war-torn era. ‘Captain America joins the Avengers!’ has everything that made the company’s early output so fresh and vital. The majesty of a legendary warrior returned in our time of greatest need; stark tragedy in the loss of his boon companion Bucky; aliens, gangsters, tragedy-drenched antagonist The Sub-Mariner and even subtle social commentary, all naturally wrapped up in vast amounts of staggering Kirby Action. It even begins with a cunning infomercial as Iron Man unsuccessfully requests the assistance of the company’s other fresh young stars, giving readers a taste of the other mighty Marvels on offer to them…

Reinman returned to ink ‘The Invasion of the Lava Men!’: another staggering adventure romp wherein the team – with the unwilling assistance of the ever-incredible Hulk – battle incendiary subterraneans and a world-threatening mutating mountain…

However, even all that pales before the supreme shift in artistic quality that is Avengers #6.

Chic Stone – arguably Kirby’s most effective inker of the period – joined the creative team just as a classic arch-foe was born. ‘The Masters of Evil!’ reveals how Nazi super-scientist Baron Zemo (who debuted that same month as a Nazi scientist in Sgt. Fury and his Howling Commandos #8) returns from self-exile in South America.

The petty tyrant is forced by his own arrogance and paranoia to emerge from the anonymity of the jungle he’s been skulking in since the Third Reich fell, after learning his despised nemesis Captain America has returned from the dead…

To this end, the war-criminal recruits a gang comprising previously established supervillains to attack New York City and destroy the Avengers. The unforgettable clash between valiant heroes and vile murdering mercenaries Radioactive Man, Black Knight (Nathan Garrett) and The Melter is to this day an unsurpassed example of prime Marvel magic.

Issue #7 followed up with two more malevolent recruits for the Masters of Evil, as Asgardian outcasts Enchantress and The Executioner are exiled to Midgard by Odin and waste no time allying with Zemo. This coincides with Iron Man being suspended from the team, due to “misconduct” occurring in his own series at that time. This was the start of the era of close-continuity where events in one series were regularly referenced and built upon in others. The practise quickly became a rod for the creators’ own backs and led to a radical rethink…

It might have been ‘Their Darkest Hour!’, but follow-up Avengers #8 delivered the team’s greatest triumph and tragedy as Kirby (inked with fitting circularity by Ayers) relinquished his full drawing role with a superbly entrancing invasion-from-time thriller. Riffing on The Day the Earth Stood Still, the B-movie-toned classic introduced ‘Kang the Conqueror!’: depicting an impossible powerful foe defeated by the cunning of ordinary teenagers and the indomitable spirit of Earth’s Mightiest Heroes…

Whenever Kirby left a title he’d co-created, it took a little while to settle into a new rhythm, and none more so than with these collectivised costumed crusaders. Although Lee and the fabulously utilitarian Don Heck were perfectly capable of producing cracking comics entertainments, they never had The King’s uncanny sense of panoramic scope and scale which constantly sought bigger, bolder blasts of excitement.

The Avengers evolved into an entirely different series when the subtle approachability of Heck’s human-scaled vision replaced Kirby’s larger-than-life bombastic bravura. The series had advanced to monthly circulation and even King Kirby could not draw the massive number of pages his expanding workload demanded.

Heck was a gifted and trusted artist with a formidable record for meeting deadlines and, progressing under his pencil, sub-plots and character interplay finally got as much space as action and spectacle. After Kirby, stories increasingly focused on scene-stealing newcomer Captain America: concentrating on frail human beings in costumes, rather than wild modern gods and technological titans bestriding and shaking the Earth…

Inked by Ayers, Heck’s first outing was memorable tragedy ‘The Coming of the Wonder Man!’ wherein the Masters of Evil plant superhuman Trojan Horse Simon Williams within the heroes’ ranks, only to have the conflicted infiltrator find deathbed redemption by saving them from the deadly deathtrap he creates…

Another Marvel mainstay debuted with the introduction of (seemingly) malignant master of time Immortus, who briefly combines with Zemo’s devilish cohort to engineer a fatal division in the ranks by removing Cap from the field in ‘The Avengers Break Up!’ A sign of the Star-Spangled Sentinel’s increasing popularity, the issue is augmented by a Marvel Masterwork Pin-Up of ‘The One and Only Cap’, courtesy of Kirby & Ayers, and is followed by a 1963 house ad for Avengers #1 to close this pocket-sized bombshell of wonders.

These are immortal tales that defined the early Marvel experience and are still a joy no fan should deny themselves or their kids. How can you survive without them?
© 2021 MARVEL.

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Worry Doll


By Matt Coyle (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80616-7 (PB/Digital edition)

In the comics biz it’s far too infrequent that something truly different, graphically outstanding and able to subvert or redirect the medium’s established forms comes along. Sadly, when it does we usually ignore it whilst whining that there’s nothing fresh or new in view. That’s certainly the case with this sublime chiller first released internationally in 2016 and still not globally infamous…

Actually, Matt Coyle’s astounding Worry Doll was initially unleashed – after six years of work on the dark epic – by Mam Tor in 2007 to sink from the collective audience’s sight after causing but the barest of ripples.

To be fair, British-born, Australia-based Coyle (see also, if you can, his mordant, socio-political satire Registry of Death) did win the 2007 Rue Morgue Award for Best Comic Book Artist for his incredible photo-realistic line-art on Worry Doll, but the innovative delivery of one of the creepiest tales in comics history never garnered the acclaim it deserved in our superhero/sci-fi saturated toy, TV and film license-loaded entertainment arena.

Then, thanks to Dover Books’ Comics & Graphic Novels division, another lost classic of the art form won a second chance to shine…

A soft-cover monochrome landscape affair; enigmatic observations and conversations are delivered in the oldest format of pictorial narrative, with blocks of text on one page balanced by an illustrated panel or sequence of images on the facing folio. Via this venerable mechanism, a most distressing story unfolds…

A happy home becomes a charnel scene of slaughter and in the aftermath, amidst the bloody remains of a recently-despatched family, a trio of beloved mannequins intended to assuage anxiety take on ghastly animation and leave in search of answers – or perhaps just different questions?

Furtively making their way across familiarly picturesque and simultaneously terrifying country, the dolls increasingly depend on the kindness of strangers, until their nightmare road-trip is eventually subsumed in someone else’s story. As our perspective shifts, we get clues that other hands are working these puppets and the story is not as it seems nor quite done yet…

Spooky and subversive, blending classic noir mood and tone with storybook quests and psychologically daunting introspection, Worry Doll operates on multiple layers of revelation, both in the staggeringly detailed illustration and the prose accompaniment; constantly offering hints and forebodings, if not answers…

With a Foreword from comics author and filmmaker Shaun Tan (The Lost Thing, The Red Tree, The Arrival, Cicada) who sagely deconstructs the journey and Coyle’s virtuosity with line and form, this is a complex, engaging and ominously beautiful masterwork no true lover of comics or addict of sinister suspense can afford to miss.
© 2007 by Matthew Coyle. Foreword © 2016 by Shaun Tan. All rights reserved.

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House of Mystery: Room & Boredom


By Matthew Sturges, Bill Willingham, Luca Rossi & various (Vertigo)
ISBN: 978-1-401220792 (TPB)

I suspect we’re on the cusp of another periodic global wave of interest in supernatural suspense fiction. Even if we’re not, there’s a lot of superb comics of that genre that should be reviewed and revisited. Here’s one that hasn’t been seen for a dozen years; long overdue for a digital edition…

Re-imagined under the impressive Vertigo umbrella, one of DC’s most venerable titles returned after years in limbo as a tribute to Something Old cunningly disguised as Something New. Apart from a brief period in the Bat-crazed super-heroic mid-1960s when the Martian Manhunter and the ineffably quirky Dial H for Hero seized control, House of Mystery was an anthology title telling tales of mystery and imagination in the tasteful, sedate manner of its parent company.

The series launched with a December 1951/January 1952 cover-date and ran for 321 issues, before finally folding in October 1983. When superheroes fell out of favour at the end of the 1960s, a little deft retooling made it one of DC’s top selling titles.

Here, however, at a place where realities meet – or at least overlap – a ramshackle house of indeterminate size, shape and age sometimes stands. In its own capacious grounds the unique structure offers a welcome to the star-crossed and time-lost souls of infinity. The lower floor has been converted into a welcoming hostelry.

Like the bar in Cheers, creatures from literally anywhere (many looking like characters out of the previous comic book incarnation) drop in for a brew and a chinwag, often paying their way with a novel yarn. For a select few – such as the Bartender, the Poet, the Pirate and the Drama Queen – the House is more like the Hotel California – in that they can check out any time they like, but they can never leave…

Fig Keele is an architecture student with a problem and a history. Her home fell apart and two spectral, floating horrors started chasing her. Fleeing in panic, she fortuitously found an entrance to the House, and now it won’t let her go. Surprisingly, she adapts pretty quickly to the inhabitants, but what really freaks her out is that the House speaks to her…

Writer Matthew Sturges, with sometime collaborator Bill Willingham, managed the nigh-impossible task of combining the best elements of the old within this compellingly fresh horror yarn, and even concocted a cocktail of actual mysteries to keep the pot boiling away. Strikingly illustrated by Luca Rossi, who incorporated a stylistic ghost of Bernie Wrightson into the artwork, the story of Fig and her fellow residents is punctuated by a series of very classy “pub-stories”, illustrated by some of the industry’s best and brightest talents.

The vignettes include two by Willingham; ‘The Hollows’ – a disturbing love-story by Ross Campbell – and the delightfully far-fetched ‘In Too Deep’ (from Jill Thompson), whilst Sturges scripted the remaining three ‘Spats and the Neck’ (with Zachary Baldus), ‘Familiar’ by Steve Rolston and ‘Jordan’s Tale’ by Sean Murphy.

Collecting issue #1-5 of the much-missed Vertigo comic book series, this is an enchanting blend of ancient & modern, horror & comedy and mystery & adventure, delivering a colossal portion of fearful fun for anyone old enough to handle a little sex and a smidgen of salty language: all whilst unravelling the intricacies of a great big, all-absorbing puzzle.

Just remember once you’re in, you might never want to come out…
© 2008 DC Comics. All Rights Reserved.

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Mighty Marvel Masterworks Spider-Man volume 2: The Sinister Six


By Stan Lee & Steve Ditko, with Sam Rosen & Art Simek (MARVEL)
ISBN: 978-1-3029-3195-7 (TPB/Digital edition)

As any fule kno, The Amazing Spider-Man celebrated his 60th anniversary in 2022. However, I’m one of those radicals who feel that 1963 was when he was really born, so let’s start the New Year with acknowledgement of that opinion and warning of many more of the same over the next 12 months…

These stories are timeless and have been gathered many times before but this time we’re looking at The Mighty Marvel Masterworks line: designed with economy in mind and newcomers as target audience. These new books are far cheaper, on lower quality paper and smaller, about the dimensions of a paperback book. Your eyesight might be failing and your hands too big and shaky, but at 152 x 227mm, they’re perfect for kids. If you opt for the digital editions, that’s no issue at all.

Marvel is often termed “the House that Jack Built” and King Kirby’s contributions are undeniable and inescapable in the creation of a new kind of comic book storytelling. However, there was another unique visionary toiling at Atlas-Comics-as-was, one whose creativity and philosophy seemed diametrically opposed to the bludgeoning power, vast imaginative scope and clean, gleaming futurism that resulted from Kirby’s ever-expanding search for the external and infinite.

Steve Ditko was quiet and unassuming, diffident to the point of invisibility, but his work was both subtle and striking: innovative and meticulously polished. Always questing for affirming detail, he ever explored the man within. He saw heroism and humour and ultimate evil all contained within the frail but noble confines of humanity. His drawing could be oddly disquieting… and, when he wanted, decidedly creepy.

Crafting extremely well-received monster and mystery tales for and with Stan Lee, Ditko had been rewarded with his own title. Amazing Adventures/Amazing Adult Fantasy featured a subtler brand of yarn than Rampaging Aliens and Furry Underpants Monsters: an ilk which, though individually entertaining, had been slowly losing traction in the world of comics ever since National/DC had successfully reintroduced costumed heroes.

Lee & Kirby had responded with The Fantastic Four and so-ahead-of-its-time Incredible Hulk, but there was no indication of the renaissance ahead when officially just-cancelled Amazing Fantasy featured a brand new and rather eerie adventure character…

This compelling compilation re-presents the rise of the wallcrawler as first seen in Amazing Spider-Man #11-19 and Amazing Spider-Man Annual #1 (spanning cover-dates April – December 1964) and is lettered throughout by unsung superstars Sam Rosen & Art Simek, allowing newcomers and veteran readers to comprehensively relive some of the greatest moments in sequential narrative.

The parable of Peter Parker began when a smart but alienated high schooler was bitten by a radioactive spider on a science trip. Discovering he’d developed arachnid abilities – which he augmented with his own ingenuity and engineering genius – Peter did what any lonely, geeky nerd would when given such a gift… he tried to cash in for girls, fame and money.

Creating a costume to hide his identity in case he made a fool of himself, Parker became a minor celebrity – and a vain, self-important one. To his eternal regret, when a thief fled past him, he didn’t lift a finger to stop the thug, and days later returns discovered that his Uncle Ben has been murdered by the same criminal…

Crazy for vengeance, Parker stalked and captured the assailant who made his beloved Aunt May a widow and killed the only father he had ever known. Since his social irresponsibility led to the death of the man who raised him, the boy swore to always use his powers to help others…

It wasn’t a new story, but the setting was familiar to every kid reading it and the artwork was downright spooky. no gleaming high-tech world of moon-rockets, mammoth monsters and flying cars here… this stuff could happen to anyone…

Amazing Fantasy #15 came out the same month as Tales to Astonish #35 – the first to feature the Astonishing Ant-Man in costume, but it was the last issue of Ditko’s Amazing playground. However, the tragic last-ditch tale struck a chord with the public and by year’s end a new comic book superstar launched in his own title, with Ditko eager to show what he could do with his first returning character since the demise of Charlton’s Captain Atom…

Holding on to the “Amazing” prefix to jog reader’ memories, the Amazing Spider-Man #1 hit newsstands in December sporting a March 1963 cover-date and two complete stories.

Sans frills and extras, the ongoing saga resumes here with Amazing Spider-Man #11. Ditko’s preference for tales of gangersterism drove the stories and his plot for ‘Turning Point’ involves the reappearance of a major supervillain and a growing dependence on soap opera drama, but his solitary, driven hero was always a loner, never far from the streets and small-scale-crime…

In the aftermath of the webspinner crushing a prison riot single handed and defeating the Big Man and The Enforcers, longer plot-strands were introduced as Peter’s potential girlfriend Betty Brant mysteriously vanishes.

Resolved to find her, Parker discovers she’s somehow involved with the multi-armed menace and the Philadelphia mob and goes after her, clashing again with the lethally deranged scientist whilst seeking to expose a long-hidden secret which had haunted Brant for years. It all ended in a spectacularly climactic fight scene on a ship that has still never been beaten for action-choreography…

The wonderment actually intensifies with ‘Unmasked by Dr. Octopus!’, detailing a dark, tragedy-filled tale of extortion and excoriating tension that stretches from Philadelphia to the Bronx Zoo: cannily tempering trenchant melodrama with spectacular clashes in unusual and exotic locations, before culminating in a truly staggering super-powered duel as only the masterful Ditko could orchestrate it.

A new super-foe premiered in Amazing Spider-Man #13 with ‘The Menace of Mysterio!’ as a seemingly eldritch bounty-hunter hired by Daily Bugle publisher J. Jonah Jameson to capture Spider-Man eventually lets slip his own dark criminal agenda, whilst ASM #14 delivers an absolute milestone in Marvel History when a hidden criminal mastermind manipulates a Hollywood studio into making a movie about the wall-crawler.

Even with guest-star opponents The Enforcers and The Incredible Hulk (his last true guest shot before moving into his new residency in Tales to Astonish), ‘The Grotesque Adventure of the Green Goblin’ is most notable for introducing Spider-Man’s most perfidious and flamboyant enemy.

Jungle superman and thrill-junkie ‘Kraven the Hunter!’ makes Spider-Man his intended prey at the behest of embittered Spidey-foe The Chameleon in #15, and – after ignominiously failing to trap his target in the wilds of Central Park – promptly reappears in the first Amazing Spider-Man Annual…

A timeless landmark and still magnificently thrilling Fights ‘n’ Tights tussle, the ‘Sinister Six!’ begins after a team of villains comprising Electro, Kraven, Mysterio, The Sandman, Vulture and Doctor Octopus abduct Aunt May and Betty. Briefly deprived of his powers – lost to a guilt-fuelled panic attack – Peter is forced to confront them without nothing but courage & determination.

A staggeringly enthralling combat clash, with Spider-Man systematically taking down each enemy in a death-defying duels, this influential tale featured cameos (or, more honestly, product placement segments) by every other extant hero of the budding Marvel universe: everyone from The Avengers to The X-Men…

Also included from that colossal comic book are special feature pages on ‘The Secrets of Spider-Man!’; comedic short ‘How Stan Lee and Steve Ditko Create Spider-Man’ and a gallery of pin-up pages starring ‘Spider-Man’s Most Famous Foes!’ (namely the Burglar, Chameleon, Vulture, Terrible Tinkerer, Dr. Octopus, Sandman, Doctor Doom, The Lizard, Living Brain, Electro, The Enforcers, Mysterio, Green Goblin and Kraven the Hunter).

There are also pin-ups of Betty and Jonah, Peer Parker’s House and classmates plus a heroic guest stars page…

Amazing Spider-Man #16 extended that circle of friends and foes as the webslinger battles the Ringmaster and his Circus of Crime: consequently meeting – and inevitably battling – a fellow loner hero in a dazzling and delightful ‘Duel with Daredevil’.

We conclude this outing with an ambitious 3-part saga that began in Amazing Spider-Man #17, wherein the rapidly-maturing hero touches emotional bottom before rising to triumphal victory over all manner of enemies. It begins with ‘The Return of the Green Goblin!’ as the wallcrawler endures renewed print assaults from the Daily Bugle and its obsessed publisher J. Jonah Jameson, just as the enigmatic Green Goblin commences a war of nerves and attrition, using the Enforcers, Sandman and an army of bargain basement thugs to publicly humiliate the Amazing Arachnid and make him look like a fool in front of rival frenemy Johnny Storm – The Human Torch.

To exacerbate matters, Peter’s beloved Aunt May’s health takes a drastic downward turn…

In ‘The End of Spider-Man!’ pressure continues to mount and the troubled champion quits, concentrating exclusively on finding money to pay for his aunt’s treatment and leaving the Torch to handle the Goblin’s crime rampage…

It all explosively concludes in ‘Spidey Strikes Back!’ – featuring a turbulent team-up with the Torch – as a powerful pep talk from May galvanises the disgruntled teen terror and sets him back on his fated path: to the everlasting regret of the Goblin, his gangsters, the Enforcers and Sandman… and Jameson…

This extended tale proved fans were ready for every kind of narrative experiment (single issue or even two stories per issue were still the norm in 1964) and Stan & Steve were more than happy to try anything…

I claimed no extras here, but I lied. Closing the book are some lovely art treats: an unedited view of Ditko’s original cover for ASM #11, the original splash page art for #12 plus page 12and the closing page of #18; every one reason enough to buy this book…

These immortal epics are something no serous fan can be without, and will make an ideal gift for any curious newcomer or nostalgic aficionado.

Happy Unbirthday Spidey and many, many more please…
© 2021 MARVEL.

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Marsupilami volume 6: Fordlandia


By Yann & Batem; created by Franquin, coloured by Leonardo and translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-026-5 (Album PB/Digital edition)

One of Europe’s most popular and evergreen comic stars is an eccentrically irascible, loyally unpredictable, super-strong, rubber-limbed yellow-&-black ball of explosive energy with a seemingly infinite elastic tail. The mighty manic Marsupilami is a wonder of nature and icon of European entertainment invention who originally spun-off from another immortal comedy adventure strip…

In 1946 Joseph “Jije” Gillain was crafting the eponymous keystone strip for flagship publication Le Journal de Spirou when he abruptly handed off the entire kit and caboodle to his assistant André Franquin. The apprentice gradually shifted format from short complete gags to pioneer longer adventure serials, and began introducing a wide and engaging cast of new characters.

For 1952’s Spirou et les heritiers, he devised a beguiling and boisterous South American critter and tossed him like an elastic-arsed grenade into the mix. Thereafter – until his resignation from the feature – Franquin frequently included the bombastic little beast in Spirou’s increasingly exotic escapades…

The Marsupilami returned over and over again: a phenomenally popular magical animal who inevitably grew into a solo star of screen, toy store, console games and albums all his own.

In 1955 a contractual spat with Dupuis resulted in Franquin signing up with publishing rivals Casterman on Le Journal de Tintin: collaborating with René Goscinny and old pal Peyo and concocting raucous gag strip Modeste et Pompon. However, Franquin quickly patched things up with Dupuis and returned to Le Journal de Spirou. In 1957, he unleashed Gaston Lagaffe, whilst still legally obligated to carry on his Tintin strip work too and, in 1959, writer Greg and background artist Jidéhem formally began assisting him, but after ten more years the artist had reached his Spirou limit. In 1969 Franquin quit for good, taking his mystic yellow monkey with him…

Plagued by bouts of depression, Franquin passed away on January 5th 1997, but his legacy remains: a vast body of work that reshaped the landscape of European comics. Moreover, having learned his lessons about publishers, Franquin retained all rights to Marsupilami and in the late 1980’s began publishing his own adventures of the rambunctious miracle-worker…

Tapping old comrade Greg as scripter and inviting commercial artist/illustrator Luc Collin (pen-name “Batem”), he launched his new raucous comedy feature. The first of these was La Queue du Marsupilami, released in 1987 (translated by Cinebook as The Marsupilami’s Tale) by Franquin’s own Marsu Productions. Ultimately, his collaborators monopolised the art duties, and in recent years, crass commercialism triumphed again. Since 2016 the universes of Marsupilami and Spirou have reconnected, allowing the old gang to act out in shared stories again…

Fordlandia was released in November 1989: the sixth of 33 solo albums (not including all-Franquin short-story collection/volume #0 Capturez un Marsupilami), a gripping comedy action romp, bigging up the fantasy element and capitalising on both weird-but-true history and a growing cast of regular players…

Blessed with a talent for mischief, the Marsupilami is a deviously adaptive anthropoid regarded as one of the rarest animals on Earth. It inhabits the rain forests of Palombia, speaking a language uniquely its own, and has a reputation for causing trouble and instigating chaos. The species is rare and is fanatically dedicated to its young. Sometimes that extends to associates of different species…

The tale is set in the timeless but increasingly fragile teeming life-web of the Palombian rainforest, as it endures its latest environmental disaster. The current grandiose folly of the humans from Palombian capital city Chiquito is a huge dam that has dried up the Amazonian tributary of the once inaccessible Rio Huaytoonarro.

El Presidente’s pride & joy – dubbed “Huetnomor” – has triggered a domino effect for all who depend upon the river waters, from the ubiquitous piranha and crocodiles infesting it to the savage Havoca folk exploiting it, and the lost and broken degenerates of many nations hiding along its length…

Normally such projects would have failed from human malfeasance or due to the interference of the mighty Marsupilami and his extended clan, but our golden wonder is currently preoccupied by a mystery: the disappearance of his adored mate Marsupilamie …and even rival primate Mars the Black …

A creature of great empathy and primordial sensitivity, the bereft beast quickly deduces they have been taken by an old enemy: vile hunter Bring M. Backalive…

Left alone to care for their three cubs, Marsupilami’s vengeful screams alert jungle-dwelling white kids Sarah and Bip, who have been raising themselves in the green hell – with a little oversight from the Marsupilami patriarch they call “Marsu”. The human youngsters soon save the babies from drugged darts and – as enraged papa goes after the abductors – set off on a parallel investigation which takes then to disreputable shanty town and den of thieves Leyofdasaus…

It’s a canny move, as the rogues and scoundrels squatting and rotting there are currently being beguiled by a deadly glamour queen also looking for Backalive. A serial millionaire marrier, “Gringa” Rosanna Roquette is tracking down a couple of old spouses whilst ostensibly seeking the location of 20th century lost city Fordlandia.

If you’ve never heard of the place I strongly urge you to crank up your search engine of choice right now…

Also converging on the tatty township and the craven hunter is animal trainer Noah, currently helping Mars’ beastly bride Venus find her missing mate. Soon he and she are working with Sarah and Bip to save all the stolen Marsupilamis.

Marsu’s search has been plagued by misfortune. He too is closing in on Backalive and his former flunky (dissolute riverboat captain Bombonera) but cannot stop Roquette and the shabby captain teaming up and heading for the fabled missing metropolis…

Fortune finally shifts the good guys’ way when Marsu links up with Sarah, Bip, Noah and Venus. By dubious means, they then secure their own steamboat from an outcast who used to work in Fordlandia. After many more trials and tribulations, they finally confront the tawdry trapper and consequently uncover a bizarre and deranged plot by one of Rosanna’s former husbands…

Croesus Gummyfeather is convinced the world will soon suffer a second biblical flood and has been paying Backalive to gather two of every animal to stock his fabulous flying ark, and the inevitable confrontation between all aggrieved parties occurs just as the cloud-wracked heavens open…

And, as the deluge kicks off a climactic clash, back at Huetnomor, the engineers and architects wish they hadn’t skimped and grafted and cut so many corners when building the massive – but apparently soluble – hydro-megalith…

Combining astute political commentary with high octane blockbuster action and outrageous comedy antics, this tale is a superbly smart fantasy and masterfully madcap rollercoaster of hairsbreadth escapes, close shaves and sardonic character assassinations, packed to the whiskers with wit and hilarity.

These eccentric exploits of the garrulous golden monkeys are moodily macabre, furiously funny and pithily pertinent, offering engagingly riotous romps and devastating debacles for wide-eyed kids of every age all over the world.
© Dupuis, Dargaud-Lombard s.a. 1991 by Franquin, Yann & Batem. All rights reserved. English translation © 2021 Cinebook Ltd.

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Best of Year: 2022

Let’s face it: this past year was bloody awful for everybody. Nevertheless some very gifted people created some remarkable comics works and I’ll be damned if I don’t give you all one last chance to see that for yourselves.

Thus here’s our compilation of the best graphic novels of 2022. You should check them out…

Happy New Year from all of us to all of you.

Mature reading/General  

No Surrender
By Constance Maud: adapted by Scarlett & Sophie Rickard (SelfMadeHero)
ISBN: 978-1-91422-406-5 (TPB/Digital edition)
© 2022 SelfMadeHero. Text © 2022 Sophie Rickard. Artwork © 2022 Scarlett Rickard. All rights reserved.

Algorithmic Reality
By Damian Bradfield & David Sánchez (NBM) ISBN: 978-1-68112-306-6 (PB) eISBN: 978-1-68112-307-3
Text and illustrations © 2021, 2022 Damian Bradfield and David Sánchez. All rights reserved. © 2022 NBM for the English translation.

Captain America – Truth
By Robert Morales, Kyle Baker & various (MARVEL)
ISBN: 978-1-3029-3427-9 (TPB/Digital Edition) 978-0785136668 (Premiere HB)
© 2022 MARVEL.

The Steel Claw: The Reign of the Brain
By Tom Tully, Jesús Blasco & various (Rebellion)
ISBN: 978-1-78108-681-2 (TPB/Digital Edition) © 1963, 1964 & 2022 Rebellion Publishing IP Ltd. All Rights Reserved.

White All Around
By Wilfrid Lupano & Stéphane Fert, translated by Montana Kane (Europe Comics)
No ISBN: digital only edition
© 2021 DARGAUD BENELUX, (Dargaud-Lombard s. a.) – LUPANO & FERT. All rights reserved. English translation © 2009 Cinebook Ltd.

Colored – The Unsung Life of Claudette Colvin
By Émilie Plateau, with Tania de Montaigne, translated by Montana Kane (Europe Comics)
No ISBN: digital only edition © 2019 – DARGAUD – Émilie Plateau. All rights reserved. This graphic novel is based on the book Noire, by Tania de Montaigne. © Éditions Grasset & Fasquelle, 2015.

Suzanne: The Jazz Age Goddess of Tennis
By Ted Humberstone (Avery Hill Publishing)
ISBN: 978-1-910395-69-1 (HB)
© 2022 Tom Humberstone.

Adam Eterno – A Hero for All Time
By Tom Tully, Tom Kerr, Colin Page Francisco Solano López, Eric Bradbury Ted Kearon, Rex Archer & various (Rebellion)
ISBN: 978-1-78108-869-2 (TPB/Digital edition) © 1970, 1971, 1972, 1973, & 2021 Rebellion Publishing IP Ltd. All Rights Reserved.

One Beautiful Spring Day
By Jim Woodring (Fantagraphics Books)
ISBN: 978-1-68396-555-8 (TPB/Digital edition) 978-1-68396-588-6 (slipcased HB)
© 2022 Jim Woodring. This edition © 2022 Fantagraphics Books. All rights reserved.

Letters to Margaret
By Hayley Gold, with Andy Kravis, Mike Selinker & various (Lone Shark Games)
ISBN: 978-1-7356380-2-7 (TPB/Digital edition)
© 2021 Hayley Gold, Andrew Kravis and Mike Selinker on behalf of Lone Shark Games, Inc..

Hitchcock: Master of Suspense
By Noel Simsolo & Dominique Hé, translated by Matt Maden (NBM)
ISBN: 978-1-68112-296-0 (HB) eISBN: 978-168112-289-2
© 2018 Dargaud-Benelux. © 2020 NBM for the English Translation. All rights reserved. © DUPUIS 2020 by Rubio, Efa. All rights reserved.

Cyberman – An On-Screen Documentary
By Veronika Muchitsch AKA L.B. Jeffries (Myriad Editions)
ISBN: 978-1-8383860-2-3 (TPB) eISBN: 978-1-8383860-3-0
© Veronika Muchitsch 2021.

Georgia O’Keeffe
By Maria Herreros; translated by Lawrence Schimel (SelfMadeHero)
ISBN: 978-1-914224-05-8 (TPB/Digital edition)
Text and illustrations © 2021 by Maria Herreros. All rights reserved. English translation © 2021 SelfMadeHero.

The Boxer – The True Story of Holocaust Survivor Harry Haft
By Reinhardt Kleist; translated by Michael Waaler (SelfMadeHero)
ISBN: 978-1-906838-77-5 (TPB/Digital edition)
© Text and illustrations 2012 CARLSEN Verlag GmbH, Hamburg, Germany. © Appendix 2012 Martin Krau & CARLSEN Verlag. English translation © 2021 SelfMadeHero. All rights reserved.

Boot Black
By Mikael, translated by Matt Maden (NBM)
ISBN: 978-1-68112-296-0 (HB) eISBN: 978-1-68112-297-7
© 2019, 2020 Dargaud-Benelux (Dargaud-Lombard s.a.) – Mikael.

Welcome Home
By Clarrie & Blanche Pope (Minor Compositions)
ISBN: 978-1-57027-394-0 (PB) © Clarrie & Blanche Pope, 2022.

Days of Sand
By Aimee De Jongh, translated by Christopher Bradley (SelfMadeHero)
ISBN: 978-1-914224-04-1 (HB) Jours de sable © DARGAUD-BENELUX (DARGAUD-LOMBARD S.A.) 2021, by Aimee De Jongh. All rights reserved.

Alice Guy: First Lady of Film
By Catel & Bocquet, translated by Eward Gauvin (SelfMadeHero) ISBN: 978-1-914224-03-4 (TPB/Digital edition)
© Casterman 2021. All rights reserved.

Big Scoop of Ice Cream
By Conxita Herrero Delfa: translated by Jeff Whitman (NBM)
ISBN: 978-1-68112-294-6 (PB) eISBN: 978-1-68112-295-3
© 2016 Conxita Herrero Delfa and apa apa comics. © 2022 NBM for the English translation. All rights reserved.

Dungeon: Twilight Vols. 1-2 – Cemetery of the Dragon
By Joann Sfar, Lewis Trondheim & Kerascoet, translated by Joe Johnson (NBM)
ISBN: 978-1-68112-293-9, (TPB/Digital)
© Editions Delcourt 1999-2005. (Donjon Crepescule #101-104, by J. Sfar, L.Trondheim & Kerascoet). © 2006 NBM for the English translation.

The Con Artists
By Luke Healy (Faber)
ISBN: 978-1-91274-008-6 (HB)
© Luke Healy, 2022. All rights reserved.

The Ragged Trousered Philanthropists
By Robert Tressell; adapted by Scarlett & Sophie Rickard (SelfMadeHero)
ISBN: 978-1-910593-92-9 (TPB/Digital edition)
© 2020 SelfMadeHero. Text © 2020 Sophie Rickard. Artwork © 2020 Scarlett Rickard. All rights reserved.

Kid Friendly Classics
I don’t suppose kids ever rush to the comics racks and shelves these days, but if they did, This Baker’s Dozen is what we think they might like:  a purely random number of potent picture books made with you and me in mind. Enjoy and don’t be snobbish… check out the kids’ stuff too…

Batman’s Mystery Casebook
By Sholly Fisch, Christopher A. Uminga & various (DC Comics)
ISBN: 978-1-7795-0586-6 (TPB/Digital edition)
© 2022 DC Comics. All Rights Reserved.

Bunny vs Monkey: Machine Mayhem!
By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-285-4 (Digest HB)
Text and illustrations © Jamie Smart 2022. All rights reserved.

Primer
By Jennifer Muro & Thomas Krajewski, illustrated by Gretel Lusky (DC Comics)
ISBN: 978-1-4012-9657-5 (TPB/Digital edition)
© 2020 DC Comics. All Rights Reserved.

Mega Robo Bros: Meltdown
By Neill Cameron with Abby Bulmer & Lisa Murphy (David Fickling Books)
ISBN: 978-1-78845-281-6 (TPB)
Text and illustrations © Neill Cameron 2022. All rights reserved.

Mighty Marvel Masterworks Thor volume 1
By Stan Lee & Jack Kirby with Larry Lieber, Robert Bernstein, Joe Sinnott, Al Hartley, Don Heck & various (MARVEL)
ISBN: 978-1-302931681 (PB)
© 2021 MARVEL

The Bible
By Sheldon Mayer & Nestor Redondo, with Joe Kubert (DC Comics)
ISBN: 978-1-4012-3425-6 (HB/Digital edition)
© 1975 National Periodical Publications, Inc. All Rights Reserved.

Bunny vs. Monkey: Rise of the Maniacal Badger
By Jaimie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-280-9 (TPB) 978-1-78845-118-5 (Waterstones Exclusive Edition)
Text and illustrations © Jamie Smart 2022. All rights reserved.

Tails of the Super-Pets
By Jerry Siegel, Robert Bernstein, Otto Binder, Leo Dorfman, Bill Finger, Edmond Hamilton, William Moulton Marston, Jim Shooter, Curt Swan, Jim Mooney, Pete Costanza, John Forte, Ramona Fradon, Sheldon Moldoff, George Papp, Harry G. Peter, Sy Barry, Stan Kaye, George Klein, Charles Paris & various (DC Comics)
ISBN: 978-1779513397 (TPB/Digital edition)
© 1947, 1955, 1958, 1959, 1960, 1961, 1962, 1964, 1965, 1968, 2022 DC Comics. All Rights Reserved.

Ken Reid’s Football Funnies – The First Half
By Ken Reid (Rebellion Studios)
ISBN: 978-1-78108-883-8 (HB/Digital edition)
© 1970, 1971, 1972, & 2021 Rebellion Publishing Ltd. All Rights Reserved.

Cedric vol. 7: Isn’t It Past Your Bedtime?
By Laudec & Cauvin; colours by Leonardo, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-025-8 (PB Album/Digital edition)
© Dupuis 1995 by Cauvin & Laudec. All rights reserved. English translation © 2021 Cinebook Ltd.

Popeye volume 1: Olive Oyl and Her Sweety
By Elzie Crisler Segar with Sergio Ponchione, Cathy Malkasian & various(Fantagraphics Books)
ISBN: 978-1- 68396-462-9 (PB/digital edition)
© 2021 Fantagraphics Books Inc. All Segar comics and drawings © 2021 King Features Syndicate. Inc./ Hearst Holdings, Inc. All rights reserved.

Young Hellboy – The Hidden Land
By Mike Mignola, Thomas Sniegoski, Craig Rousseau, Dave Stewart & Clem Robins (Dark Horse Books)
ISBN: 978-1506723983 (HB) eISBN: 978-1-50672-399-0
Young Hellboy ™ and © 2021 Mike Mignola. All rights reserved.

Mighty Marvel Masterworks The Incredible Hulk volume 1
By Stan Lee & Jack Kirby, with Steve Ditko & various (MARVEL)
ISBN: 978-1-3029-3180-3 (TPB)
© 2021 MARVEL

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Mighty Marvel Masterworks Captain America volume 1: The Sentinel of Liberty


By Stan Lee, Jack Kirby, Dick Ayers, George Tuska, John Romita & various (MARVEL)
ISBN: 978-1302946159 (PB/Digital edition)

During the natal years of Marvel Comics in the early 1960s Stan Lee & Jack Kirby opted to mimic the game-plan which had paid off so successfully for National/DC Comics, albeit with mixed results. Beginning cautiously in 1956, Julie Schwartz had scored incredible, industry-altering hits by re-inventing the company’s Golden Age greats, so it seemed sensible to try and revive the characters that had dominated Timely/Atlas in those halcyon days two decades previously.

A new Human Torch had premiered as part of the revolutionary Fantastic Four, and in the fourth issue of that title the amnesiac Sub-Mariner resurfaced after a 20-year hiatus (everyone concerned had apparently forgotten the first abortive attempt to revive an “Atlas” superhero line in the mid-1950s).

The Torch was promptly given his own solo lead-feature in Strange Tales (from issue #101 on) where, eventually (in Strange Tales #114), the flaming kid fought a larcenous villain impersonating the nation’s greatest lost hero…

Here’s a quote from the last panel…

“You guessed it! This story was really a test! To see if you too would like Captain America to Return! As usual, your letters will give us the answer!” I guess we all know how that turned out…

With reader-reaction strong, the real McCoy was promptly decanted in Avengers #4 and, after a captivating, centre-stage hogging run in that title, won his own series as half of a “split-book” with fellow Avenger and patriotic barnstormer Iron Man, beginning with #59.

This premiere Mighty Marvel Masterworks Cap collection assembles those early appearances from Tales of Suspense #59-77, spanning November 1964 to May 1966) in a cheap, kid-friendly edition that will charm and delight fans of all vintages…

Scripted throughout by Lee, it begins with eponymous opening outing ‘Captain America’ – illustrated by the staggeringly perfect team of Kirby & Chic Stone. The plot is non-existent, but what you do get is a phenomenal fight as an army of thugs invades Avengers Mansion because “only the one without superpowers” is at home. They soon learn the folly of that misapprehension…

The next issue offered more of the same as ‘The Army of Assassins Strikes!’ on behalf of evil arch enemy Baron Zemo, before ‘The Strength of the Sumo!’ proves insufficient when Cap invades Viet Nam to rescue a lost US airman. Incidentally, that flyer was a black serviceman, signalling early on Kirby’s resolve to break comic books’ colour bar…

The Star-Spangled Swashbuckler then took on an entire prison to thwart a ‘Break-out in Cell Block 10!’: a glorious action riot simply dripping with irony…

After these simplistic romps, the series took an abrupt turn and began telling tales set in World War II. Crafted by Lee, Kirby & Frank Ray (AKA Frank Giacoia), ‘The Origin of Captain America!’ recounts how patriotic, frail physical wreck Steve Rogers is selected to be guinea pig for an experimental super-soldier serum, only to have the scientist responsible cut down by a Nazi bullet and die in his arms…

Now regarded as forever unique, he is given the task of becoming the fighting symbol and guardian of America, all while based as a regular soldier in a US boot camp. There he is accidentally unmasked by Camp Mascot Bucky Barnes, who then blackmails the hero into making the kid his sidekick.

The next issue (Tales of Suspense #64, cover-dated April) kicked off a string of spectacular episodic thrillers adapted from Kirby & Joe Simon’s Golden Age run, with the flag-bedecked heroes defeating Nazi spies Sando and Omar in ‘Among Us, Wreckers Dwell!’ before Chic Stone returned heralding Cap’s greatest foe in landmark saga ‘The Red Skull Strikes!’

‘The Fantastic Origin of the Red Skull!’ sends the series shooting into high gear – and original material – as sub-plots and characterisation are added to the ardent action and spectacle. At last we learn the backstory of the most evil man on Earth: revealed to a captive Sentinel of Liberty… Then ‘Lest Tyranny Triumph!’ and ‘The Sentinel and the Spy!’ (both inked by Giacoia) combine espionage and mad science in a late-exposed plot to murder the head of Allied Command…

The All-American heroes stay in England for moody gothic suspense shocker ‘Midnight in Greymoor Castle!’ (illustrated by Dick Ayers over Kirby’s layouts) before second chapter ‘If This be Treason!’ finds Golden Age veteran and contemporary Buck Rogers newspaper strip artist George Tuska perform the same function.

The final part – and last wartime operation – then reveals what happens ‘When You Lie Down with Dogs…!’ with Joe Sinnott inking Tuska over Kirby’s layouts to deliver a rousing conclusion to this frantic tale of traitors, madmen and terror-weapons.

We return to the present – that’s 1964 to you – ToS #72 where Lee, Kirby & Tuska reveal that Cap has been telling war stories to his fellow Avengers for our last nine months. The reverie triggers a long dormant memory when ‘The Sleeper Shall Awake!’, kicking off a classic catastrophe countdown as a dormant Nazi super-robot activates 20 years after Germany’s defeat, programmed to exact world-shattering vengeance.

Continuing in ‘Where Walks the Sleeper!’ and concluding in ‘The Final Sleep!’, this masterpiece of tense suspense deftly demonstrates the indomitable nature of the perfect American hero.

With John Tartaglione inking, Ayers returns to pencil Kirby’s breakdown designs in ‘30 Minutes to Live!’: introducing both Gallic mercenary Batroc the Leaper and a mysterious girl who would eventually become Cap’s long-term girl-friend. In deference to the era’s fascination with superspies, S.H.I.E.L.D. was rapidly gaining dominance throughout Marvel continuity and one of their best was Agent 13 – Sharon Carter.

The taut 2-part countdown to disaster ends with ‘The Gladiator, The Girl and the Glory!’, limned by John Romita: the first tale with no official artistic input from Kirby, although he did lay out the next issue (TOS #77) for Romita & Giacoia. ‘If a Hostage Should Die!’ again focuses on WWII, hinting at both a lost romance and tragedy to come, and a possible connection between Agent 13 and the girl Steve Rogers lost in the dying days of war…

Rounding out this patriotic bonanza is a brief gallery of original art pages by Kirby, Stone & Ayers, taken from these tales of dauntless courage and unmatchable adventure.

Fast-paced and superbly illustrated, these adventures introduced a new generation to Captain America, restoring the Sentinel of Liberty to the heights his Golden Age compatriots the Human Torch and the Sub-Mariner never truly regained. These yarns are pure escapist magic: unmissable reading for the eternally young at heart and constantly thrill-seeking.
© 2022 MARVEL.

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Gomer Goof volume 4: The Goof is Out There


By Franquin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-84918-439-7 (PB Album/Digital edition)

Like so much in Franco-Belgian comics, it started with Le Journal de Spirou. The magazine had debuted on April 2nd 1938, with its engaging lead strip created by Rob-Vel (François Robert Velter). In 1943, publishing house Dupuis purchased all rights to the comic and its titular star, after which comic-strip prodigy Joseph Gillain (Jijé) took the helm for the redheaded kid’s exploits. Ultimately the publisher would become a character in its own periodicals publications…

In 1946 Jijé’s assistant André Franquin was handed creative control of the Spirou strip. He gradually switched from short gag vignettes to extended adventure serials, introducing a broad, engaging cast of regulars and in 1952 created phenomenally popular wonder-beast The Marsupilami. Debuting in Spirou et les héritiers, this critter grew into a spin-off star of screen, plush toy stores, console games and albums in his own right. Franquin continued crafting increasingly fantastic tales and absorbing Spirou sagas until his resignation in 1969.

Franquin was born in Etterbeek, Belgium on January 3rd 1924. Drawing from an early age, the lad only began formal art training at École Saint-Luc in 1943. When the war forced the school’s closure a year later, he worked at Compagnie Belge d’Animation in Brussels, where he met Maurice de Bévére (AKA Lucky Luke creator “Morris”), Pierre Culliford (“Peyo”, of The Smurfs and Benny Breakiron) and Eddy Paape (Valhardi, Luc Orient). All but Peyo signed on with Dupuis in 1945.

Franquin began his career as a jobbing cartoonist and illustrator, producing covers for Le Moustique and scouting magazine Plein Jeu. During those early days, Franquin and Morris were tutored by Jijé, at that time chief illustrator at LJdS. He made them – and fellow newbie Willy Maltaite (AKA “Will” – Tif et Tondu, Isabelle, Le jardin des désirs) – into a smoothly functioning creative bullpen known as La bande des quatre or “Gang of Four”. They would ultimately revolutionise Belgian comics with their prolific and engaging “Marcinelle school” style of graphic storytelling…

Jijé handed Franquin all responsibilities for the flagship strip part-way through Spirou et la maison préfabriqué (#427, June 20th 1946) and eager office junior ran with it for two decades; enlarging the feature’s scope and horizons until it became purely his own. Almost every week fans met startling new characters like comrade and rival Fantasio or crackpot inventor and Merlin of mushroom mechanics the Count of Champignac…

Spirou & Fantasio became a globetrotting journalist team, visiting exotic places, exposing crimes, exploring the fantastic and clashing with a coterie of bizarre and exotic arch-enemies. Throughout all that, Fantasio was still a full-fledged reporter for Le Journal de Spirou and had to pop into the Dupuis office all the time. Sadly, lurking there – or was it just in the artist’s head? – was an accident-prone, smugly big-headed office junior in charge of minor jobs and dogs-bodying. Franquin called him Gaston Lagaffe…

There’s a long history of fictitiously personalising those mysterious back room creatives and all the arcane processes they indulge in to make our favourite comics, whether it’s Stan Lee’s Marvel Bullpen or DC Thomson’s lugubrious “Mr. Editor” and underlings at The Beano and Dandy. Let me assure you that it’s a truly international practise and the occasional asides on text pages featuring well-meaning foul-up/office gofer Gaston (who debuted in #985, cover-dated February 28th 1957) grew to be one of the most popular components of the comic, whether as short illustrated strips or in faux editorial reports in text-feature form.

On a strictly personal note, I still think current English designation Gomer Goof (this name comes from an earlier, abortive attempt to introduce the character to American audiences) is unwarranted. The quintessentially Franco-Belgian tone and humour doesn’t translate particularly well (la gaffe translates as “blunder” not “idiot”) and the connotation contributes nothing here. When he surprisingly appeared in a 1970s UK Thunderbirds annual as part of an earlier syndication attempt, Gaston was rechristened Cranky Franky. Perhaps they should have kept that one or, best of all, his original designation…

In terms of actual schtick and delivery, older readers will recognise beloved beats of Benny Hill and Jacques Tati in timeless elements of all-consuming, grandiose self-delusion, and recognise recurring situations from Some Mothers Do Have ’Em or Mr Bean. It’s all surreal slapstick, paralysing puns, infernal ingenuity and invention, pomposity lampooned and no good deed going noticed, rewarded or unpunished…

As previously stated, Gomer makes his living (let’s not dignify or mis-categorise what he does as “work”) at the Spirou editorial offices: occasionally reporting to go-getting journalist Fantasio, complicating the lives of office manager Léon Prunelle and other staffers, generally ignoring the minor design jobs like paste-up, “gofer-ing” and office maintenance he’s paid to handle. There’s also editing readers’ letters… the official reason why fan requests and suggestions are never answered…

Gomer is lazy, peckish, opinionated, ever-ravenous, impetuous, underfed, forgetful and eternally hungry, with his most manic moments all stemming from “inventing”, cutting work corners and stashing or illicitly consuming contraband food in the office…

This leads to constant clashes with police officer Longsnoot and fireman Captain Morwater, yet the office oaf remains eternally easy-going and incorrigible. Only two questions are really important here: why does Fantasio keep giving him one last chance, and what can gentle, beguiling, flighty, impressionable, utterly lovelorn secretary Miss Jeanne possibly see in the self-opinionated idiot?

Originally released in 1969 as the sixth collection of Le Journal de Spirou strips Gaston – Un gaffeur sachant gaffer, this fourth Cinebook compilation eschews longer cartoon tales and comedic text “reports” from the comic’s editorial page to deliver non-stop all-Franquin comics gags in single-page bursts.

It begins at the New Year and here the office hindrance – as ever – invents stuff that makes life harder for everyone; amiably passes on bugs and ailments; sets driving records no one can believe or probably survive and scotches attempts by financier De Mesmaeker (in-joke analogue of fellow creator Jidéhem – real name is Jean De Mesmaeker ) the explosively irate businessman whose ever-failing efforts to get his contracts signed render him a constant foil for and unfortunate victim of the Goof…

There is also an unwelcome return for his devastating musical invention as the recurrent saga of his truly terrifying Brontosaurophone/Goofophone continues to disrupt commerce, glass, the environment and most organic life in earshot…

Set in snowy, foggy wonderlands, Gomer disastrously pioneers powered ice skating before revolutionising record keeping and book storage with his mechanical successor to ladders, prior to embarking upon an extended sequence of episodes wherein Gomer’s attempts to do away with unsightly, annoying, constantly shedding Christmas tree needles results in the birth of a monster. He should never have dabbled with glue and pressure hoses, but at least he had his Goofophone music to console him…

All too soon, though, he’s back to breaking laws physicists consider sacrosanct – such as when he began dabbling with perpetual motion technology – or upsetting traffic cops, firemen and clients. Somehow, always and in all ways, the Goof keeps letting down his colleagues and employers, like when he decided to fix the big clock on the building exterior, or tweaked the overstretched office fuse board to accommodate his new secret electric stove…

Many strips involve manic efforts to modify the motorised atrocity he calls his car: an appallingly decrepit and dilapidated Fiat 509 auto(barely)mobile desperately in need of his many well-meant attempts to counter its lethal road pollution. It’s the reason he always has the sniffles or wears some kind of bandage, plaster or splint…

At heart, though, Gomer is a Good Samaritan and champion of animals. Many strips here prove how his love of all creatures great and small trumps minor considerations like personal safety, traffic laws or city ordinances, even though his distinctly novel approach to cookery borders on criminal perversity…

This time out there’s also a deep concentration on home – and office – improvements and novel – if somewhat risky – variations on established and beloved sports all given a fresh makeover by the unique innovator, such as when he showed Prunelle and Fantasio how he had beefed up bouncy amusement “the spacehopper”…

And he should never ever have been allowed to bring his chemistry set to work…

In this volume, we meet his opposite number from across the road. Jules-from-Smith’s-across-the-street is a like-minded soul and born accomplice always eager to slope off for a chat, and a devotee of Gomer’s methods of passing the time whilst at work. He even collaborates on such retaliations as Gomer inflicts on officer Longsnoot…

Far better enjoyed than précised or described, these strips allowed Franquin to flex whimsical muscles and even subversively sneak in some satirical support for his beliefs in pacifism and environmentalism. However, at their core the gags remain supreme examples of all-ages comedy: wholesome, barbed, daft and incrementally funnier with every re-reading.

Have you started Goofing off yet?
© Dupuis, Dargaud-Lombard s.a. 2009 by Franquin. All rights reserved. English translation © 2019 Cinebook Ltd.

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Airboy Archives volume 1


By Chuck Dixon, Tim Truman, Stan Woch, Benn Dunn, Bill Jaaska, Tom Lyle, Larry Elmore, & various (IDW)
ISBN: 978-1-61377-900-2 (TPB) 978-1-62302-641-7 (IDW Digital edition)

Airboy was one of the very best adventure strips of the Golden Age: one with a terrific pedigree and a profound legacy. Created for Hillman Periodicals by the brilliant Charles Biro (Steel Sterling, Crimebuster, the original Daredevil, The Little Wiseguys and landmark genre prototype Crime Does Not Pay number among his many triumphs), it featured a plucky teen and his fabulous super-airplane, affectionately dubbed “Birdie”.

Airboy and Birdie both debuted in the second issue of Air Fighters Comics, cover-dated November 1942 (so Slightly Belated Happy Birthday guys!). The title was packed out with similarly-themed and oddly off-kilter aviator heroes such as Skywolf, The Iron Ace, The Black Angel, The Bald Eagle, The Flying Dutchman, The Flying Fool and a landmark horror proto archetype dubbed The Heap – forerunner of all comic muck monsters…

In December 1945, and after 23 issues, the title was redesignated Airboy Comics and soldiered on until 1953, when Hillman with great foresight got out of the funnybook biz just as hostile clouds of censorship were gathering. In over a dozen years of publication, the boy-warrior had tackled the Axis powers, crooks, aliens, monsters, demons and every possible permutation of sinister threat and horror-tinged terror – even subversive giant rats and conqueror ants!

The gripping scripts – initially the work of Biro and Dick Wood before the latter assumed complete control – took the avenging aviator/soldier-of-fortune all over the world to confront some of the most striking adversaries in comics and often some of the sexiest. The most notable of these was undoubtedly the conflicted Nazi Air Ace known as Valkyrie, who flew the killer skies with a squadron of lethal lovelies codenamed The Airmaidens.

However, as the world and tastes changed, Airboy vanished with many other gaudy comic book champions whose time had run out. Clearly, memories remained fresh for many, no doubt rekindled by a superb popular history series in the early 1970s. The Steranko History of Comics and its effusive chapter on the lethal lad led to a speculative venture reprinting two issues of the early run.

Airboy was also the inspiration for Jetboy – originating lynchpin of the Wild Cards franchise by Howard Waldrop, George R.R. Martin, Melinda M. Snodgrass and their many friends. That began in January 1987 and is still going strong with 30 books as of 2022…

In 1982 comics devotee and champion archivist Ken Pierce had collected early Airboy exploits featuring the voluptuous, absurdly pneumatic Nazi-turned-freedom-fighter Valkyrie, and this apparently inspired budding independent comics company Eclipse to reboot and revive the character …and many of his Hillman comrades.

Always innovative, Eclipse were experimenting at that time with fortnightly (that’s twice a month, non-Brits) comics with half the page count of industry standard books, but at a markedly reduced price. To be honest, at 16 pages of story per issue, it wasn’t that different from the 17-18 pages Marvel and DC had been reduced to working with during the late 1970s…

Airboy premiered at 50¢ a copy in July 1986 and quickly found a vocal, dedicated following. Rereading – in either trade paperback or digital editions – this first archival compilation, it’s easy to see why…

Collecting Airboy #1-16 spanning July 15th 1986 February 27th 1987, this superb, so very Eighties all-action romp opens with a revelatory Introduction by instigator and near-exclusive scripter of the entire resurrected franchise Chuck Dixon who asks and answers ‘Why Airboy?’: detailing the events that led to all-star packager/indie maverick Tim Truman getting involved with one of the biggest and most influential series of that era. With Dixon scripting, Truman co-plotting, editing and pencilling, Tom Yeates inking, Tim Harkins lettering and Ron Courtney applying a then-radical colour palette, the initial 5-issue story arc (collected in 1989 as graphic novel Airboy: The Return of Valkyrie) explodes into action…

Issue #1 begins ‘On the Wings of Death’ as, in California’s Napa Valley, a broken man rails against an unjust fate. David Nelson II is bitter and angry. Not even his teenaged son can bring joy to his life. The boy barely knows and certainly has no warm memories of his dad: an aviation magnate who switched from building civilian planes to forging deadly high-tech weapons for any dictator to buy…

Trained since birth by former Japanese WWII fighter ace and deadly martial artist Saburo Hirota, young Davy has become a brave, confident fighter who cannot imagine why his life has been one of constant combat training.

Suddenly, a horde of assassins attacks the compound and the senior Nelson dies in a hail of bullets. Only then does Davy discover the truth about his father. Once upon a time, the aloof martinet was war veteran and roving hero Airboy: battling against and alongside valiant comrades and piloting a truly unique super-aircraft. Second feature ‘Phoenix’ sees the aging samurai tell of the lost hero and – armed with the truth – Davy Nelson III swears to avenge his father and atone for his own inactions and neglect…

Two weeks later, ‘The Wolf and the Phoenix’ reintroduces WWII legend Skywolf who tangentially enters the saga whilst clearing out South American drug traffickers who have been using his isolated Florida Keys island/US military dump for decommissioned ordnance as a staging post for their enterprise. When Hirota and the kid turn up, it’s not just to share the news of a fallen comrade, but also to reclaim and rebuild the shell that used to be Birdie…

As they reassemble and modify the super plane, stories are told and Davy discovers another shocking truth. His mother was not his father’s true love. Once he loved a beautiful German woman-warrior named Valkyrie. However, for the last thirty years she has been trapped in suspended animation by Misery, a phantasmal being who feeds on evil and steals the souls of lost fliers…

Forced to do the monster’s bidding for three decades – such as providing weapons for South American despots to slaughter and enslave innocents – the old hero had gradually died inside. Now his son is ready to avenge him and free the beautiful sleeper. Soon Skywolf’s drug-dealer problem are connected to the death of the original Airboy, leading them all to tropical Bogantilla and despotic General Orista – one of Nelson Aviation’s biggest customers and a staunch anti-Communist whose regime is proudly supported by the Reagan Administration…

With #3’s ‘Misery Loves Company’, Willie Blyberg began inking Woch as – after a tragic and costly misunderstanding – the reunited Air Fighters ally with rebels resisting Orista’s depredations. It’s been a hard struggle as the dictator army is fully supplied with Nelson’s armaments, backed up by black magic. Ghastly Misery has been extorting the ordnance from his arch foe by threating to kill the comatose Valkyrie: a process that had slowly poisoned the heart and crushed the soul of Davy’s dad. Now, however, the tide is turning…

Months previously, from deep in the Florida Everglades the monstrous bog-creature known as The Heap stirred after decades of inactivity. Something momentous was beginning to unfold and – vaguely remembering a previous life, brave heroes and a diabolical evil – it began shambling southwards…

Now the rebels and yanqui heroes raid the General’s citadel in Gamada Cruz, assisted by the Heap and a local shaman, triumphantly completing their ‘Assault on Villa Miserio’ by rescuing the dormant sleeping beauty, weaking bloody vengeance on Orista and driving off the immortal emotion vampire behind all the death and destruction in concluding chapter ‘Misery Takes A Holiday’ (illustrated by Woch, Blyberg & Emil Novak). Not all the good guys make it back, and most uncomfortably of all the revived captive is unaware that the hero she tries so passionately and amorously to reward is not “her Davy”…

Fast-paced, beautifully illustrated and written with all the gung-ho bravado of a Rambo movie, this tale of liberation and revolution rattles along, a stirring blend of action and supernatural horror that sweeps readers along with it, setting the scene for a tense confrontation in #6 as ‘Back in the USA’ covers the aftermath wherein the time-displaced “aviatrix” seeks to adjust to a strange and frustrating new world and form some kind of relationship with the son of her lost lover…

Hirota leaves them to it: he’s more concerned with another long-term rehabilitation project: helping an old ally from WWII with very different yet eerily similar problems. Davy is trying to cleanse his corporation of the last taint of scandal and corruption only to discover that – thanks to CEO Emil Kronenberg – it has been happily supplying appalling weapons and support to almost every gang, terror group and corrupt regime on the planet. He has no idea that other eyes are upon the aging European: hungry, implacable, vengeful ones…

In #7, Valkyrie accepts a vast wad of cash and heads to New York City to lose herself in hedonism. Inked by Jeff Butler, ‘Partytime’ then sees Davy ambushed by his entire complicit Board and abducted by Kronenberg who resumes the indoctrination experiments he devised back in the camps in Germany. Unluckily for him, whilst losing herself, Valkyrie has impossibly found an old friend from the War who also has not aged a day…

Fellow former Luftwaffe pilot Baron Victor Heller has his own magical secrets to keep but makes a useful ally once Davy’s disappearance galvanises Hirota to enlist Val’s assistance in finding the boy…

Davy’s in big trouble in #8 (illustrated by Woch & Blyberg with colours from “Air Rescue”), trapped ‘Down in the Darkness’ and tortured. The extreme hostile takeover move proves initially unsuccessful and as the next issue hikes the price up to $1.25 and extends the page count, ‘Body Count!’ sees his friends move in for a savage showdown.

Inked by Mark Nelson & coloured by Moondoggies, it was offset by a new back-up series exploring the post war career of Skywolf and other Golden Age Air Fighters characters. Concluding in the next issue, ‘China Hands’ by Dixon, Larry Elmore, Harkins & Steve Oliff/Olyoptics, is set in 1948 as China falls to communist control. Here Link Thorne – AKA The Flying Fool – ferries food and medical supplies to the simple peasants caught up in the political carnage, only to be framed by US spook Jensen of what will become the CIA and imprisoned by Chang Kai Shek’s Nationalist army.

Desperate to help, American freight company owner Riot O’Hara reaches out to aimless drifters Skywolf to spring Thorne. Their rescue attempt is sabotaged by agents of the American government and officially they all die in the attempt… Officially…

With John Nyberg inks, #10 concludes Davy’s rescue and sees Kronenberg at last get what’s coming to him in ‘Tooth and Claw’, even as ‘China Hands part 2’ reveals how Skywolf became the man of mystery we all know and love…

Airboy #11 was written by Truman, with art from Ben Dunn & Hilary Barta. ‘…I Am Birdie’ peers into the past and retells the origin of David Nelson II and his sentient wonder craft whilst Dixon & Bill Jaaska combine for another historical 2-parter starring Skywolf. Set in 1949, ‘I Don’t Need My Grave!’ (with the concluding chapter inked by Jeff Darrow) sees the masked wanderer in Tokyo, resolved to stop criminal upstart Billy Yee, strongarming Riot O’Hara.

Yee wants her to export his drugs to America, but as “sangokujin” (displaced Korean or Chinese foreigners) must work outside Japan’s established criminal hierarchy. That’s proved when Skywolf’s attack is interrupted by members of the Yamataki syndicate and before long Yakuza and Yankee outlaw are united in the same goal. All they have to do is deal with the US soldiers Jensen has set on their tails and it’s clear sailing from then on…

The Airboy story in #10 had ended with a portentous teaser as an aerial assault force devastated Skywolf’s Florida island retreat in 1985. Leading the raid was a bloodthirsty loon dubbed Manic. The saga properly kicks off in #12’s ‘Gone to Texas’ (by Dixon, Woch, Kim DeMulder), as – whilst Hirota counsels former ally The Iron Ace (angrily trapped inside the world’s most advanced full body prosthesis) – Davy and Valkyrie tentatively explore their new normal. Both are understandably disturbed by the thought of renewing her relationship by proxy, switching her avid affection from father to son, but thankfully Skywolf distracts them with his latest problem…

Amidst the rubble of his home is a message from his unseen enemies: the burned body of a cop from the banana republic of the Grand Coronicos Islands…

A hastily arranged meeting brings Davy and Hirota to Galveston, Texas and a frankly hilarious encounter with Skywolf’s older, smarter, tougher, wheelchair-bound mother. She thinks her boy’s an idiot and refuses to call him anything but “Lawrence”, but her advice is welcome and leads to Nelson Aviation fronting Skywolf a new top-of-the-line helicopter gunship for their upcoming visit to the Grand Coronicos…

In #13 Dixon, Woch, Nelson & Steve Haynie craft a chilling ‘Tag-Team’ as Manic and his psycho partner Cowgirl apprise their boss of the situation. The nation is supposedly ruled by avid anti-Communist El Presidente Generalissimo Valasquez, but it’s his wife who has really pulled the strings for much of the last 50 years. The methodical scheme to corner America’s entire drug trade is hers, but that starts unravelling as soon as Davy and Birdie start shooting down drug-filled cargo planes…

The response is swift and savage and teams are despatched by Manic to kill everyone close to Nelson and Skywolf. Of course no drug cabal assassin is a match for Hirota, Valkyrie or Lawrence’s mom…

The drama intensifies in ‘A Barrel Full of Sharks’ (Woch & Nelson) as the intended victims all converge on the Islands for a little payback…

Airboy #13 & 14 also offer a fantastic history mystery by Dixon, Tom Lyle & Romeo Tanghal, as ‘Queen of Yeti Valley’ reveals how Skywolf and the Bald Eagle unite to exfiltrate the British Ambassador’s daughter in the Himalayas and end up saving a lost race from human monsters…

In 15 & 16 the posterior back-ups see supposedly deceased Skywolf sneak back into Texas in 1950 for ‘White Lightning’ (Dixon, Woch & Vern Henkel). Happily anonymous, the outlaw says hi to his ma and puts paid to a preacher opening up a Ku Klux Klan franchise to deal with all them uppity, invasive Mexicans in a deeply satisfying and cathartic dose of bigot-trashing catharsis…

At the fronts and in the Eighties, Airboy and his crew go undercover to infiltrate Puerto Oloroso, poverty stricken capital of the Grand Coronicos Island Chain, inevitably unleashing a ‘Caribbean Rampage’ over the final two episodes in this spectacular opening compilation. By scuttling the scheme to flood America with cut-price coke, Airboy, Hirota, Valkyrie and Skywolf (and his mom) achieve a brief moment of pure Eighties synergy: marrying style, outrageous fashion, ostentation, Contras, drugs, the CIA and always over-the-top action with a spurious motive, and wicked humour in a high octane romp translating the fighting stars of WWII to the era of Airwolf, Nightrider and Miami Vice.

Including stunning covers by Truman, Woch, Dave Stevens, Tex Blaisdell, Paul Gulacy, Flint Henry, Howard Bender, Yeates, John Totleben. Davis Dorman and Ron Randall, this is a true lost delight of sheer escapism well worth tracking down, with the promise of more and even better still to come.
Airboy Archives volume 1. Airboy © 2014 Chuck Dixon. © 2014 Idea and Design Work’s LLC. All rights reserved.