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Mandrake the Magician: The Hidden Kingdom of Murderers – Sundays 1935-1937


By Lee Falk & Phil Davis (Titan Books)
ISBN: 978-0-85768-572-8 (HB)

Win’s Christmas Gift Recommendation: Because We Believe in Magic… 10/10

Regarded by many as the first superhero, Mandrake the Magician debuted as a daily newspaper strip on 11th June 1934. An instant hit, it was soon supplemented by a full-colour Sunday companion page which launched on February 3rd 1935.

Creator Lee Falk had actually sold the strip to King Features Syndicate years earlier as a 19-year old college student, but asked the monolithic company to let him finish his studies before dedicating himself to it full time. With his schooling done, the 23-year old master raconteur settled in to begin his life’s work: entertaining millions with his astounding tales.

Falk – who also created the first costumed superhero in moodily magnificent mystery man The Phantom – spawned an actual comicbook subgenre with his first creation. Most publishers of the Golden Age boasted at least one (and usually many more) nattily attired wonder wizards amongst their gaudily-garbed pantheons; all roaming the world making miracles and defeating injustice with varying degrees of stage legerdemain or actual sorcery.

Characters such Mr. Mystic, Ibis the Invincible, Sargon the Sorcerer, and an assortment of “…the Magicians” such as Zanzibar, Zatara, Kardak and so many, many more, all borrowed heavily and shamelessly from the uncanny exploits of the elegant, enigmatic white knight who graced the pages of the world’s newspapers and magazines.

In the Antipodes, Mandrake was a stalwart regular of the Australian Women’s Weekly, and also became a cherished star in the UK, Italy and Scandinavia. Over the years he has been a star of radio, movie chapter-serials, a theatrical play, television and animation as part of the cartoon series Defenders of the Earth. With that has come the usual merchandising bonanza of games, toys (including magic trick kits), books, comics and more…

Falk worked on Mandrake and “The Ghost who Walks” until his death in 1999 (even on his deathbed he was laying out one last story) but he also found time to become a playwright, theatre producer and impresario, as well as an inveterate world-traveller.

A man of many talents, Falk drew the first few weeks himself before uniting with sublimely imaginative cartoonist Phil Davis, whose sleekly understated renditions took the daily strip – and especially these expansive full-page Sunday offerings – to unparalleled heights of sophistication: his steady assured realism the perfect tool to render the Magician’s mounting catalogue of wondrous miracles…

Those in the know are well aware that Mandrake was educated at the fabled College of Magic in Tibet, thereafter becoming a suave globe-trotting troubleshooter, always accompanied by his faithful African partner Lothar and beautiful, feisty companion (and eventually, in 1997, bride) Princess Narda of Cockaigne, solving crimes and fighting evil. Those days, however, are still to come as the comics section opens in this splendidly oversized (315 x 236 mm) full-colour luxury hardback – and digital equivalents – with ‘The Hidden Kingdom of Murderers’ (which ran from February 3rd to June 2nd 1935) as the urbane Prince of Prestidigitation and his herculean companion are approached by members of the international police to help expose a secret society of criminals and killers acting against the civilised world from their own hidden country.

After officer Duval is assassinated, Mandrake and Lothar – accompanied by panther woman Rheeta and surviving cop Pierce – embark upon a multi-continental search which, after many adventures, eventually brings them to a desolate desert region where they are confronted by bloody-handed Bull Ganton, King of Killers.

With the master murderer distracted by Rheeta, Mandrake easily infiltrates the odious organisation and quickly begins dismantling the secret society of two million murderers. By the time Ganton wises up and begins a succession of schemes to end Mandrake, it’s too late…

That deadly drama concluded, Mandrake and Lothar head to India to revisit old haunts and end up playing both peacemaker and cupid in the ‘Land of the Fakirs’ (running from June 9th to October 6th).

When Princess Jana, daughter of Mandrake’s old acquaintance Jehol Khan is abducted by rival ruler Rajah Indus of Lapore, the Magician ends his mischievous baiting of the street fakirs to intervene. In the meantime, Captain Jorga – who loves Jana despite being of a lower caste – sets off from the Khan’s palace to save her or die in the trying…

After many terrific and protracted struggles, Mandrake, Lothar and Jorga finally unite to defeat the devious and duplicitous Rajah before the westerners set about their most difficult and important feat; overturning centuries of tradition so that Jorga and Jana might marry…

Heading north, the peripatetic performers stumble into amazing fantasy after entering the ‘Land of the Little People’ (13thOctober 1935 to March 1st 1936), encountering a lost race of tiny people embroiled in a centuries-long war with brutal cannibalistic adversaries. After saving the proud warriors from obliteration, Mandrake again plays matchmaker, allowing valiant Prince Dano to wed brave and formidable commoner Derina who fought so bravely beside them…

With this sequence illustrator Davis seemed to shake off all prior influences and truly blossomed into an artist with a unique and mesmerising style all his own. That is perfectly showcased in the loosely knit sequence (spanning 8th March to 23rd August 1936) which follows, as Mandrake and Lothar return to civilisation only to narrowly escape death in an horrific train wreck.

Crawling from the wreckage, our heroes help ‘The Circus People’ recapture and calm the animals freed by the crash, subsequently sticking around as the close-knit family of nomadic outcasts rebuild. Mighty Lothar has many clashes with jealous bully Zaro the Strongman, culminating in thwarting attempted murder, whilst Mandrake uses his hypnotic hoodoo to teach sadistic animal trainer Almado lessons in how to behave, but primarily the newcomers act as a catalyst, making three slow-burning romances finally burst into roaring passionate life…

Absolutely the best tale in this tome and an imaginative tour de force which inspired many soon-to-be legendary comicbook stars, ‘The Chamber into the X Dimension’ (30th August 1936 to March 7th 1937) is a breathtaking, mind-bending saga starting when Mandrake and Lothar search for the missing daughter of a scientist whose experiments have sent her literally out of this world.

Professor Theobold has discovered a way to pierce the walls between worlds but his beloved Fran never returned from the first live test. Eager to help – and addicted to adventure – Mandrake and Lothar volunteer to go in search of her and soon find themselves in a bizarre timeless world where the rules of science are warped and races of sentient vegetation, living metal, crystal and even flame war with fleshly humanoids for dominance and survival.

After months of captivity, slavery, exploration and struggle our human heroes finally lead a rebellion of the downtrodden fleshlings and bring the professor the happiest news of his long-missing child…

Concluding this initial conjuror’s compilation is a whimsical tale of judgement and redemption as Mandrake uses his gifts to challenge the mad antics of ‘Prince Paulo the Tyrant’ 14th (March 14th – 29th August 1937).

The unhappy usurper stole the throne of Ruritanian Dementor and promptly turned the idyllic kingdom into a scientifically created madhouse. Sadly, Paulo had no conception of what true chaos and terror were until the magician exercised his mesmeric talents…

This epic celebration also offers a fulsome, picture-packed and informative introduction to the character – thanks to Magnus Magnuson’s compelling essay ‘Mandrake the Magician Wonder of a Generation’ – plus details on the lives of the creators (‘Lee Falk’ and ‘Phil Davis Biography’ features) plus a marvellous Davis pin-up of the cast to complete an immaculate confection of nostalgic strip wonderment for young and old alike.
Mandrake the Magician © 2016 King Features Syndicate. All Rights Reserved. “Mandrake the Magician Wonder of a Generation” © 2016 by Magnus Magnuson.

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Blackwood


By Hannah Eaton, (Myriad Editions)
ISBN: 978-1-908434-71-5 (PB) eISBN: 978-1-908434-72-2

It’s all about personal tastes in the end, but when I assessed the many horror-themed and Halloween-adjacent review copies despatched from kind creators, PR sentinels and hopeful publishers this month (thank you one and all!), from very early on I knew we had to end on this one. Read on, read Blackwood itself and learn just why…

As nations and cultures, we all think we’re special, but every so often a piece of art comes along and you think “no other nationality could have produced this…” That’s an especially inescapable conclusion after indulging in the glorious melange that is this intriguing annal of Albion.

Rendered and reproduced as soft and subtle pencil drawings, Blackwood is quintessentially English: channelling our beloved countryside, quirky folk of different classes (co-existing if not actually living in harmony), witchcraft, cosy murder-mysteries, corrupt councils, devil-worshipping mystic masons, ordinary people well in over their heads, inbred insularity and racism, an extremely reserved, controlled sense of events getting away from you. There’s also a chilling sense that there’s always more going on under the surface of civility and respectability than meets your eye…

Best of all, as this tale of identical rural murders occurs simultaneously 65 years apart, we get to see – up close and personal – just how much and how little society has changed, especially when the modern-day killing draws in troublesome nosy strangers from outside the community… and even foreigners…

Augmented by an Afterword detailing the generational tale’s real-world inspirations, this is a yarn that only comes from gifted, thoughtful artists like Hannah Eaton (check out Naming Monsters while you’re at it) who have seen a bit of the world before settling down to devise their own.

Channelling delicious notes of Gary Spencer Milledge’s Strangehaven and the first series of Gracechurch, this very human-scaled drama is funny, scary and seductively compelling, like the best Scandi-dramas, but with tea and a Victoria Sponge all laid on.

Is Blackwood a heartfelt paean to a forgotten place and time or a devious attack on oppressive social structures and change-based bias that still hold us apart and down? Yes, no, maybe and mind your own business. It is a chilling, delightful and utterly compelling mystery that, once read, will not be forgotten.

So, go do that then, right?
© Hannah Eaton 2020. All rights reserved.

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The Joker: His Greatest Jokes


By Bill Finger, Bob Kane, David Vern, John Broome, Denny O’Neil, Gerry Conway, Doug Moench, Paul Dini, Tom Seeley, Lew Sayre Schwartz, Sheldon Moldoff, Bob Brown, Irv Novick, José Luis García-López, Don Newton, Don Kramer, Sami Basri, Otto Schmidt, Jerry Robinson, George Roussos, Charles Paris, Joe Giella, Dick Giordano, Dan Adkins, Alfredo Alcala, Wayne Faucher & various (DC Comics)
ISBN: 978-1-4012-9441-0 (TPB)

When this year started, I expected to spend lots more time celebrating and commemorating the comics anniversaries that had rolled around. We all know how and why that didn’t happen, so with some frantic re-jigging I’ve shoehorned one of the most enduring arch-foes in fiction in to this Halloween segment.

It’s safe to assume that almost everybody knows some iteration of the Joker – probably more than one – so kudos to the editors of this curated historical compilation for unearthing some of the less well-known clown-clashes here. Therefore, sit back and ponder just why the Monarch of Malignant Mirth known got to survive 80 gory-ous years and enjoy…

However, fascinating and informative as those features are, the real literary largesse is to be found in the 19 stirring tales which comprise the bulk of this tome…

A good old-fashioned chronological compendium of the Harlequin of Hate’s ever-changing, so-mutable antics and aggressive transgressions, this trade paperback/digital treat re-presents stories from Batman #8, 67, 145, 260, 353, 366, Detective Comics #388, 833-834, The Spectre #51 and Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1, and opens sans preamble with ‘The Cross Country Crimes’ (Batman #8, by Bill Finger, Bob Kane, Jerry Robinson & George Roussos; December 1941/January 1942) which sees the plundering poltroon rampage across America in a classic blend of larceny and lunacy.

A decade later, the edgy, implied violence was replaced by smart plotting and bizarre situations as David Vern, Kane, Lew Sayre Schwartz & Charles Paris’ ‘The Man Who Wrote the Joker’s Jokes’ (Batman #67, by October/November 1951) sees the Crime Clown hire literary ghosts to plot his capers before ultimately overreaching by blackmailing Batman into writing his next – and last – heist…

Finger & Sheldon Moldoff t told a tale within a tale as ‘The Son of the Joker’ (Batman #145; February 1962) sees butler Alfred penning his own brand of fanfic, detailing how the next generation of Caped Crusaders (an adult Dick Grayson and Bruce Wayne‘s son) clash with the inheritors of the Clown’s colours…

Detective Comics #388 (June 1969) saw John Broome make a major course correction, moving the Joker away from buffoonery back towards the insane killer we all cherish in ‘Public Luna-tic Number One!‘ – a classy sci-fi thriller totally reinventing the Laughing Loon, in no small part thanks to the artistic efforts of artists Bob Brown & Joe Giella.

‘This One’ll Kill You, Batman!’ by Denny O’Neil, Irv Novick & Dick Giordano from Batman #260 (January/February 1975) sees the grim, po-faced Darknight Detective racing to save his own life after being poisoned by Joker Toxin that acts like an irresistible, lethal laughing gas, after which ‘Last Laugh’ (Batman #353, November 1982) sees Gerry Conway, the incomparable José Luis García-López and inker Dan Adkins detail the Mountebank of Mayhem’s latest ego boost, by attempting to immortalise his face in mountainous stone whilst getting rid of his greatest enemy forever…

Batman #366 – from December 1983 and courtesy of Doug Moench, Don Newton & Alfredo Alcala offers some contemporary unrealpolitik as the Joker brings his singular taste for chaos to war-torn Guatemala as he attempts to take over the nation. He is foiled by a unique team consisting of journalist Vicki Vale, Batman and the hero’s latest recruit… a masked kid named Jason Todd…

‘A Savage Innocence’ (The Spectre #51, by John Ostrander & Tom Mandrake; March 1997) takes a peek behind the lunacy, as God’s instrument of Divine Wrath faces the Crazy Clown. After the Joker kills everyone in New York comedy club The Killing Joke, the Spectre enters the maniac’s mind and is horrifically compromised and converted…

Crafted by Paul Dini, Don Kramer & Wayne Faucher, ‘Trust’ (parts one and two, from Detective Comics #833-834; August and September 2007), ostensibly feature an encore performance for warped and homicidal stage magician Ivar Loxias, but all too soon, the chilling tale of slaughter and trickery guest-starring the bewitching Zatanna turns up a Joker in the stacked deck…

This box of exotic delights ends with a recent but thoroughly entertaining slice of catharsis from Batman: Prelude to the Wedding: Harley Quinn vs The Joker #1 (August 2018). Written by Tom Seeley, with art by Sami Basri, Otto Schmidt & Jessica Kholinne, ‘Till Death Do Us Part’ finds the Grinning Ghoul diverted from his intended disruption of Batman and Catwoman‘s wedding, by old flame Harley Quinn, who feels there are unresolved issues from their own unique romantic interlude. She wants to talk it all out and she’s brought the necessary restraints and weaponry…

The Joker has spanned DC’s entire continuity, adding mirth, mayhem and madness to the shining clockwork universe. If you need to walk a bit wild and enjoy straying from the paths most taken, this intriguing confection might be just up your dark and threatening alley…
© 1941, 1951, 1962, 1969, 1974, 1982, 1983, 1997, 2007, 2018, 2019 DC Comics. All rights reserved.

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Joker (10th Anniversary Edition)


By Brian Azzarello & Lee Bermejo, with Mick Gray & Patricia Mulvihill (DC Comics Black Label)
ISBN: 978-1-4012-9428-1 (HB)

I’m going to voice what is probably a minority opinion here, so please be aware that this is possibly one of those books that you’ll need to make your own mind up about – but then again, aren’t they all?

Brian Azzarello & Lee Bermejo have, singly and in partnership, created some of the best and most popularly received comics tales of the last decade or so: tough, uncompromising, visually memorable yarns that explore the darkest facets of human nature, yet with a deep core of sardonic wit – thoroughly readable but always-challenging.

A book dedicated to the grotesque antithesis and ultimate foe of the coldly logical Dark Knight therefore, would seem like the ideal vehicle for their talents and particular world-views…

The Joker is getting out of Arkham Asylum. Incredibly, the Clown Prince of Crime and undisputed ruler of all Gotham City’s rackets has been judged sane. He’s coming out, and he’s going to want his old position back. The mobsters that now run the city are terrified but resigned. He’s coming back, so somebody has to go fetch him…

Made Man on a downward spiral, Johnny Frost volunteers to be the guy, becoming the terrifying clown’s chauffeur and bodyguard in the process. The Joker is a murderous time-bomb everybody expects to explode at any moment, and as soon as he hits the city, he recruits Killer Croc as his enforcer, and begins working his way back to the top of the heap, using his reputation and horrifying propensity for baroque bloodletting the way a rattlesnake uses his tail.

Many of Batman’s rogues’ gallery (Penguin, Two-Face, Riddler and so on) are in paying attendance in various uncharacteristic positions of nefarious authority, and the events – narrated with growing desperation by helpless witness Frost – spiral towards an inevitable and bloody climax of madness and conflict. Clearly constructed for modern movie audiences, this is more a post-modern take on the classic gangster plot of a ruthless thug reclaiming his territory, rather than a yarn featuring the bizarre costumed crooks older fans might be more familiar and comfortable with.

No matter how beautiful or well executed (and it really is), nor how much overlap there is with most recent film franchise, for many of us emotionally wedded to the overarching continuity, this just does not work as a Joker story. Scar-Face, Blackmask, Maxie Zeus, even a real criminal like Al Capone perhaps, but the Joker shouldn’t be a “Goodfella” with a grudge and some gory peccadilloes: he’s the ultimate expression of random, bloody chaos, a bundle of “Impulse Issues” wrapped tight in a spiky ball of psychosis…

Devised as a miniseries and “promoted” to a high-profile original hardback before release, this is a taut and nasty thriller, immaculately illustrated: but there’s very little Batman in there, and no Joker at all…

Please feel free to disagree, and this certainly is a unique work that should be seen by all with the stomach for it – especially in this 80th anniversary year. The book is available in numerous iterations, but this Black Label edition rerelease (in Hardcover and digital formats) offers further enticements in the form of bonus section ‘Held for Observation’. Here be evaluations from Azzarello & Bermejo, promotional art, the original miniseries proposal, cover art for Wizard Magazine, character studies, previous edition cover art, unused covers, lots of pre-coloured story pages, and an outrageously irreverent Calvin and Hobbes spoof strip by Azzarello & Bermejo which saw print as Joker and Lex in Superman/Batman #75 (Summer 2010).

Trust me, this joke you should get…
© 2008, 2013 DC Comics. All Rights Reserved.

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Love on the Isle of Dogs


By Jude Cowan Montague, (Friends of Alice Publishing)
ISBN: 978-1-9160306-7-1 (PB)

Terror comes in many forms but I imagine there’s nothing to beat the moment your best beloved turns into a monster. Tragically, that doesn’t happen all at once…

Jude Cowan Montague (Caretaker of Animals around the World, The Originals, The Wires, The Leidenfrost Effect, Young Hitch in Forbidden Flames: Young Alfred Hitchcock in the Sidney Street Siege [The Adventures of Young Alfred Hitchcock]) has lived a full life so far, and it isn’t anywhere near over yet.

Born in Manchester, the artist, writer, composer, film historian, poet and broadcaster now abides in London where this intriguing and frequently heart-rending personal memoir takes place, way back in the heady cauldron of Docklands in the 1990s.

Trust me, I was a newlywed then and there myself and it was not a good time to be starting a new life. At least me and mine got out relatively unscathed…

This is a is a beautiful, powerful and personal account of a time of tragedy kindly shared, so I’m curtailing my usual verbosity regarding plot and events, and concentrating on technical stuff to entice you to get your own copy. An internationally exhibited gallery artist and acclaimed writer of prose and poesy, the auteur here approaches the same vent in two ways, firstly as highly immediate, evocative, primitivist freeform strips and images in black, white and grey ‘Pictures’ and latterly reworked – like someone trying to make senses of events – in ‘Words’.

Way back then, an introspective creative type working in a Newham arts centre restarted a relationship with the perfect guy. A charmer, brilliant and the owner of a house he had built with his own hands on the legendary but counter-charismatic Isle of Dogs.

For a while it was all “living the dream”, until the accident and progressive brain injury. Then, oh so slowly, he grew into someone else: a guy who was sometimes still a great dad and provider of surprise pet dogs, but at others a terrified, angry, paranoid figure of fear who couldn’t recognise or remember his nearest and dearest.

And, unlike made up stories, love and devotion don’t always save the day…

Earnest and candid, Love on the Isle of Dogs is a full-on confrontation with the everyday dramas and joys that turn dazzling bright young things into your mum and dad. It’s as simple and shocking as that…
© 2020 Jude Cowan Montague 2020. All rights reserved.

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Sucker Bait and Other Stories


By illustrated by Graham Ingels, written by Al Feldstein with Ray Bradbury & Bill Gaines (Fantagraphics Books)
ISBN: 978-1-60699-689-8 (HB)

For most people who have heard of them, EC Comics mean one thing only: shocking, appalling, stomach-turning horror. Moreover, the artist they’re probably picturing – even if they can’t name him – is Graham Ingels, who wryly sighed his work “Ghastly”…

The company began in 1944 when comicbook pioneer Max Gaines – presumably seeing the writing on the wall – sold the superhero properties of his All-American Comics company to half-sister National/DC, retaining only Picture Stories from the Bible. His plan was to produce a line of Educational Comics with schools and church groups as the major target market.

He augmented his flagship title with Picture Stories from American History, Picture Stories from Science and Picture Stories from World History but the worthy projects were all struggling when he died in a boating accident in 1947.

As detailed in the comprehensive closing essay of this superb graphic compilation (‘Crime, Horror, Terror, Gore, Depravity, Disrespect for Established Authority – and Science Fiction Too: the Ups and Downs of EC Comics’ by author, editor, critic and comics fan Ted White), his son William was dragged into the company by unsung hero and Business Manager Sol Cohen who held the company together until the initially unwilling Bill Gaines abandoned his dreams of being a chemistry teacher and transformed the ailing Educational enterprise into Entertaining Comics…

After a few tentative false starts and abortive experiments copying industry fashions, Gaines took advantage of his multi-talented associate Al Feldstein, who promptly graduated from creating teen comedies and westerns into becoming Gaines’ editorial supervisor and co-conspirator.

As they began co-plotting the bulk of EC’s stories together, they changed tack, moving in a boldly impressive fresh direction. Their publishing strategy, wisely utilising the most gifted illustrators in the field, was to tell a “New Trend” of stories aimed at older and more discerning readers, not the mythical semi-literate 8-year-old all comicbooks ostensibly targeted.

From 1950 to 1954 EC was the most innovative and influential publisher in America, dominating the genres of crime, horror, war and science fiction and originating an entirely new beast: the satirical comicbook…

Feldstein had started life as a comedy cartoonist and, after creator/editor Harvey Kurtzman departed in 1956, Al became Mad‘s Editor for the next three decades…

This seventh volume of the Fantagraphics EC Library gathers a mind-boggling selection of Feldstein’s most baroque and grotesquely hilarious horror stories – most co-plotted by companion-in-crime Gaines – and all illuminated by the company’s enigmatic yet unsurpassed master of macabre mood, in a lavish monochrome hardcover or digital edition packed with supplementary interviews, features and dissertations.

It begins with historian and lecturer Bill Mason’s touching and revelatory commentary ‘Mr. Horror Builds his Scream House’ before dipping into this diary of disgust and dread with ‘Hook, Line, and Stinker!’ (Vault of Horror #26, August/September 1952): the tale of a spinster’s vengeance after she finds the gentleman she’s been affianced to for fifteen years spends his weekends in the arms of a young floozy rather than on his precious – and fictitious – fishing trips…

The most memorable assets of EC’s horror titles were the uniquely memorable hosts whose execrable wisecracks bracketed each fantastic yarn. The Vault-Keeper, Crypt-Keeper and Old Witch were the company’s only returning characters during the New Trend era, becoming beloved favourites of the “Fan Addict” readership. Haunt of Fear #14 (July/August 1952) revealed the shocking and hilarious origins of the scurvy sorceress herself in a sublime pastiche of the Christian Nativity dubbed ‘A Little Stranger!’…

A murderous elephant trainer’s infidelities come back to haunt him in circus chiller ‘Squash… Anyone?’ (Tales From the Crypt #32, October/November 1952), whilst in that same month, in Vault of Horror #27, a rat-infested kingdom where starving peasants are tormented by their over-stuffed queen provide grisly meat for ‘A Grim Fairy Tale!’

‘Chatter-Boxed!’ (Haunt of Fear #15, September/October 1952) is a superb blend of maguffins as a man terrified of premature burial takes special steps to ensure he’s never buried alive, but even after factoring in that his wife is always gabbing on the phone, there’s one element he could never have foreseen…

Next follows a wealth of material published in titles cover-dated December 1952/January 1953, beginning with ‘Private Performance’ from Crime SuspenStories #14, wherein a burglar witnesses a murder in an old Vaudevillian’s home before hiding in exactly the wrong place, whilst ‘None but the Lonely Heart!’ (Tales from the Crypt #33) reveals the ultimate downfall of a serial bigamist and black widower.

‘We Ain’t Got No Body’ (Vault of Horror #28), ghoulishly revels in the vengeance of a man murdered by fellow train commuters before ‘Sugar ‘n Spice ‘n…’ (Shock SuspenStories #6) toys wickedly with the fable of Hansel and Gretel, proving some kids get what they deserve…

A pioneering surgeon is blackmailed for decades by his greatest triumph in ‘Nobody There!’ (Haunt of Fear #16, November/December 1952), whilst ‘Hail and Heart-y!’ (from Crime SuspenStories #15 February/March 1953) sees a lazy husband driving his enduring wife to exhaustion and over the edge by feigning disability, before Ingels superbly captures the macabre eccentricity of Ray Bradbury’s story of a crusty dowager too mean to stay decently dead in ‘There Was an Old Woman!’ – from Tales from the Crypt #34 (February/March).

That same month Vault of Horror #29 featured ‘Pickled Pints!’, as unscrupulous rogues buying cut-rate blood from winos push their plastered pumps a little too far, after which Haunt of Fear #17 (January/February) offers the acme of sinister swamp scare stories in ‘Horror We? How’s Bayou?’: a tale of rural madness and supernatural revenge long acclaimed as the greatest EC horror story ever crafted…

An irritated and merciless mummy stalks an Egyptian dig in ‘This Wraps it Up!’ (Tales from the Crypt #35, April/May 1953; the same month Vault of Horror #30 told a truly chilling tale of human retribution when the good citizens of a small town finally find the writer of cruel poison-pen letters in ‘Notes to You!’, after which ‘Pipe Down!’ (Haunt of Fear#18, March/April) goes completely round the bend to describe how a young wife and handsome plumber get rid of her rich old man… and what the victim does about it…

Bradbury’s disturbing yarn ‘The Handler’ was adroitly adapted in Tales from the Crypt #36 (June/July) depicting how an undertaker’s secret liberties – inflicted upon the cadavers in his care – came back to haunt him, whilst over in Vault of Horror #31 that month ‘One Good Turn…’ revealed one little old lady’s gruesome interpretation of the old adage, and Haunt of Fear #19 (May/June 1953) discloses the incredible lengths some men will go to in order to kill vampires in eponymous shocker ‘Sucker Bait!’…

From August/September, ‘The Rover Boys’ in Tales from the Crypt #37 is a purely bonkers tale of brain transplantation gone wild, whilst Vault of Horror #32 offers up more traditional fare with ‘Funereal Disease!’, describing how a murdered miser gets back what he loves most, and ‘Thump Fun!’ (Haunt of Fear #20, July/August) archly revisits Poe’s Tell-Tale Heart whilst adding a little twist…

‘Mournin’ Mess’ (Tales from the Crypt #38, October/November) is a stylish and clever mystery about rich men funding a paupers graveyard – and why – whilst over in Vault of Horror (#32) ‘Strung Along’ depicts the revenge marionettes inflicted on the greedy woman who murdered their elderly puppeteer before the artistic arcana all ends with ‘An Off-Color Heir’ (Haunt of Fear #21, September/October 1953) and the salutary tale of an artist’s wife who discovers just too late her man’s habits and horrific heritage …

Adding final weight to the proceedings is S.C. Ringgenberg’s biography of the tragic genius ‘Graham Ingels’, the aforementioned history of EC and a comprehensively illuminating ‘Behind the Panels: Creator Biographies’ feature by Mason, Spurgeon and Janice Lee.

The short, sweet but severely limited output of EC has been reprinted ad infinitum in the decades since the company died. These astounding stories and art not only changed comics but also infected the larger world through film and television and via the millions of dedicated devotees still addicted to New Trend tales.

However, the most influential stories are somehow the ones least known these days. Although Ingels turned his back on his comics career, ashamed of the furore and frenzy generated by closed-minded bigots in the 1950s, his incredible artistic talent and narrative legacy are finally gaining him the celebrity he should have had in life.

Sucker Bait is a scarily lovely tribute to the sheer ability of an unsung master of comics art and offers a fabulously engaging introduction for every lucky fear fan encountering the material for the very first time. Whether you are an aging fear aficionado or callow contemporary convert, this is a book you should have…
Sucker Bait and Other Stories © 2014 Fantagraphics Books, Inc. All comics stories © 2014 William M. Gaines Agent, Inc., reprinted with permission. All other material © 2014 the respective creators and owners.

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Melusine volume 2: Halloween


By Clarke (Frédéric Seron) & Gilson, coloured by Cérise and translated by Erica Jeffrey (Cinebook)
ISBN: 978-1-905460-34-2 (Album PB)

Teen witches have a long and distinguished pedigree in fiction and one of the most engaging first appeared in venerable Belgian magazine Le Journal de Spirou in 1992.

Mélusine is actually a sprightly 119 year-old who spends her days working as an au pair in a vast, monster-packed, ghost-afflicted chateau whilst diligently studying to perfect her craft at Witches’ School…

The long-lived feature offers everything from one-page gag strips to full-length comedy tales on supernatural themes detailing her rather fraught life, the impossibly demanding master and mistress of the castle and her large circle of exceedingly peculiar family and friends.

Collected editions began appearing annually or better from 1995, with the 27th published in 2019 and hopefully more to come. Thus far five of those have transformed into English translations thanks to the fine folk at Cinebook.

The strip was devised by writer François Gilson (Rebecca, Cactus Club, Garage Isidore) and cartoon humourist Frédéric Seron – AKA Clarke – whose numerous features for all-ages LJdS and acerbic adult humour publication Fluide Glacialinclude Rebecca, Les Cambrioleurs, Durant les Travaux, l’Exposition Continue… and Le Miracle de la Vie.

Under pseudonym Valda, Seron also created Les Babysitters and, as Bluttwurst, Les Enquêtes de l’Inspecteur Archibaldo Massicotti, Château Montrachet, Mister President and P.38 et Bas Nylo.

A former fashion illustrator and nephew of comics veteran Pierre Seron, Clarke is one of those insufferable guys who just draws non-stop and is unremittingly funny. He also doubles up as a creator of historical and genre pieces such as Cosa Nostra, Les Histoires de France, Luna Almaden and Nocturnes and apparently is free from the curse of having to sleep…

Halloween – available in paperback and in digital formats – was the eighth European-released Mélusine album, originally released in 2001, and gathers a wealth of stunning seasonally sensitive strips. This makes it a great place for newcomers to start as the majority of the content comprises one or two-page gags starring the sassy sorceress who – like a young but hot Broom Hilda – makes excessive play with fairy tale and horror film conventions and themes. Not that what she looks like should make a (witch’s) wit of difference, but hey, it’s comics and it’s France…

When brittle, moody Melusine isn’t being bullied for her inept cleaning skills by the matriarchal ghost-duchess who runs the castle, or ducking cat-eating monster Winston and frisky vampire The Count, she’s avoiding the attentions of horny peasants, practising her spells or consoling and coaching inept, un-improvable and lethally unskilled classmate Cancrelune.

Mel’s boyfriend is a werewolf so he only bothers her a couple of nights a month…

Daunting dowager Aunt Adrezelle is always eager and happy to share the wisdom of her so-many centuries but so, unfortunately, is family embarrassment cousin Melisande, who spurned the dark, dread and sinisterly sober side of the clan to become a Fairy Godmother; all sparkles, fairy-cakes, pink bunnies and love. She’s simplicity, sweetness and light itself in every aspect, so what’s not to loathe…?

This turbulent tome riffs mercilessly on the established motifs and customs of Halloween, where kids fill up to lethal levels on sweets and candies, monsters strive to look their worst, teachers try to keep the witches-in-training glued to their books and grimoires even as their over-excitable students experiment most unwisely on what to do with pumpkins – including how to grow, breed or conjure the biggest ones – whilst the fearfully pious local priest and his human flock endeavour to ruin all the magical fun…

Even Melisande gets in on the party atmosphere in her own too-nice-to-be-true manner, lightening the happy shadows with too much sunshine and saccharine before the collection ends with the extended eponymous ‘Halloween’, wherein Melusine and Cancrelune learn the true meaning of the portentous anniversary when they inadvertently join creaking, clacking cadavers of the Risen Dead as they evacuate their graves on their special night to fight and drive away for another year the Evil Spirits who haunt humanity…

Wry, sly, fast-paced and uproariously funny, this compendium of arcane antics is a great taste of the magic of European comics and a beguiling delight for all lovers of the cartoonist’s art. Read before bedtime and don’t eat any hairy sweets…
Original edition © Dupuis, 2000 by Clarke & Gilson. All rights reserved. English translation 2007 © Cinebook Ltd.

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Plutocracy: Chronicles of a Global Monopoly


By Abraham Martínez, translated by Montana Kane (NBM)
ISBN: 978-1-68112-268-7 (HB) eISBN: 978-1-68112-269-4

Do you want to read something that is really scary?

Almost everybody loves a good cathartic chiller, but every one of us also has a point where it stops being safe entertainment and becomes instead disturbing, unsettling and extremely unwelcome. For me – and Spanish author Abraham Martínez – it’s clearly the terrifying prospect envisioned in his 2017 graphic novel translated for profitable outreach by those fine folk at NBM.

Of course, the concept of a corporate superstate is not new, but I’ve never seen it better thought out or more crushingly realised down to the finest penny-pinching detail than here… and I’ve been reading Judge Dredd since 1977…

Rendered in drear industrial tones (mostly neutral greens and basic blues) and shapes very reminiscent of bog-standard informational stencil forms in a devastatingly underplayed agitprop manner, Plutocracy ostensibly follows one insignificant drone through a corporate landscape as he breaks free and begins digging for answers in a world where profit is everything.

After years of closer and closer ties between big business and national governments, in 2051 the last corporations swallowed each other and merged into one all-encompassing unit – “the Company” – that simply bought out nationhood and established a system to cost-effectively run the world. Everybody worked for, were paid by and bought goods and services from the same entity: a perfect perpetual motion machine for society.

They even managed to remain democratic, though there was only ever one party or candidate to vote for on any occasion.

Detective Homero Durant grew bored when the majority of police work became desk-based investigations involving fraud and deception. With precious little to do, he took a career sidestep and eventually became a writer.

Growing increasingly interested in how the world has reached its present state, he applies to write a book about it, and is astounded to discover, instead of closed ranks and obfuscation, the powers that be welcome his project and provide every possible access, even to personal interviews with the far-sighted mogul who had single-handedly engineered the death of nations and triumph of the Plutocracy…

As the deeply suspicious investigator plunges on meeting nothing but cooperation at every step, his resolve begins to falter, but his tell-all exposé has taken on a life of its own, and nothing can stop it from becoming the biggest sensation in The Company’s past history or projected profit forecasts…

Dark, bleak and brimming with mordant satire, this trenchant tale is an ideal metaphor and warning for our times and one no contemplative rational consumer can afford to miss.
© Text & illustrations Abraham Martínez 2017 © Bang. ediciones, 2017. © 2020 NBM for the English translation.

Plutocracy: Chronicles of a Global Monopoly is scheduled for release in hardback on November 19th and digitally on December 15th 2020, and is available for pre-order now.

NBM books are also available in digital formats. For more information and other great reads see http://www.nbmpub.com/

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World of Warcraft: Comic Collection Volume One


By Raphael Ahad, Robert Brooks, Matt Burns, Christie Golden, Micky Neilson, Andrew Robinson, Antonio Bifulco, Linda Cavallini, Sebastian Cheng, Alex Horley, David Kegg, Ludo Lullabi, Miko Montilló, Nesskain, Suqling, Emanuele Tenderini & various (Blizzard Entertainment/Titan Books)
ISBN: 978-1-95036-613-2 (HB Blizzard Entertainment) 978-1-78909-646-0 (HB Titan Books)

World of Warcraft is a Massive Multiplayer Online Role-Playing Game (MMORPG) that began in 2004. It’s very popular.

If you needed to look up any part of that paragraph, this might not be the book for you – although if you’re a fantasy fan with a penchant for convoluted sagas and love of bombastic comics art, it might be worth sticking around to the end of the review.

Like Tolkein’s Middle Earth, Game of Thrones or other complex invented environments, WoW is more about worldbuilding and made-up history than individual heroes like Conan or Elric excelling and triumphing. Here variety is the spice of life (and Unlife, Orc-kind, wizards, Dwarves, Gnomes, automata etc). This collection of tales – originally an online supplement and enticement to the game – might feel a little formulaic, but that’s pretty much the point…

These lavish auxiliary tales were all released between 2014- 2018 as World of Warcraft: Warlords of Drainor, World of Warcraft: Legion, and World of Warcraft: Battle for Azeroth: moody, action-heavy and suspenseful vignettes, packaged as digital comics miniseries specifically linked to one of the eight Expansion Packs released to sustain that frantic MMORPG mythmaking momentum.

First freshly arrayed in Warlords of Draenor as ‘Gul’Dan and the Stranger’ (by Micky Neilson & Alex Horley), the opening yarn reveals bloodshed brewing, whilst ‘Blackhand’ (Robert Brooks & Horley) details the fate of the feared and fabled Doomhammer, before ‘Blood and Thunder’ (Raphael Ahad, Cynthia Hall & Horley) offers some historical context with the origins of mighty warrior the Iron Wolf…

Legion opens with Matt Burns & Ludo Lullabi’s ‘Magni: Fault Lines’ as the daughter of the venerable King under the Mountain awakens him to meet the growing crisis facing the dwarves. Meanwhile, Night Elves are having a few difficulties with monstrous Gul’Dan in ‘Nightborne: Twilight of Suramar’ (Burns & Lullabi) whilst the animalistic tribes are called to action in ‘Highmountain: A Mountain Divided’ (Brooks & David Kegg) before the humans of Stormwind Keep survive a royal assassination attempt, inspiring King Wrynn to mobilise in Brooks & Nesskain’s ‘Anduin: Son of the Wolf’…

It ends with reports from the Battle for Azeroth, as a repentant mage reassesses her life choices in ‘Jaina: Reunion’(Andrew Robinson, Linda Cavallini & Emanuele Tenderini) before wandering Dwarf-King ‘Magni: The Speaker’ (Burns & Suqling) endures a moment of existential crisis…

Steve Danuser, Christie Golden, Robinson, Antonio Bifulco & Sebastian Cheng detail the past and futures of ‘Windrunner: Three Sisters’ after which the gathering storms pause with the salutary tale of ‘Mechagon’ (by Burns & Miko Montilló), proving you should watch what you wish for even if you’re a dedicated master smith like Kervo the Explorer…

Garnishing all the drama and mayhem, the book also offers a vast selection of production art – from preliminary designs and roughs to full finished pages – in a Sketchbook section.

Gathered into a lavish luxury hardback that just screams “Christmas gift”, these adventures won’t be everyone’s goblet of grog, but for those who covertly yearn to resolve their daily annoyances with a honking great Warhammer or dismemberment spell, this should be subject of your very next quest…
World of Warcraft: Comic Collection © 2020 Blizzard Entertainment, Inc. All Rights Reserved.

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Maids


By Katie Skelly (Fantagraphics Books)
ISBN: 978-1-68396-368-4 (HB)

Sorry for the brief interruption. Disease and deadlines are things you just don’t dick with…

With Halloween pretty much on hold this year, our annual humour/horror fest has been pretty much decimated too. However, if you stretch a point, most of the recommendations over the next few days will qualify…

Illustrator Katie Skelly hails from Brooklyn by way of Bethlehem, Pennsylvania and caught the comics bug early, thanks to her newsstand owner dad. Her Barbarella inspired series Nurse, Nurse began after graduating from Syracuse University with a BA in Art History and becoming a postgrad at City College of New York.

Thanks to her inquisitive insights, striking art style and potent narrative voice, Skelly has been the subject of many gallery shows and is a star on the global lecture circuit.

Her first graphic novel – again inspired by Jean-Claude Forrest but also horror-meister director Dario Argento – was My Pretty Vampire (2017), supplanted by the collection Operation Margarine and The Agency. All her works ask uncomfortable questions about the role and permitted position of women in society as seen through exploitation genres of mass entertainment, and that’s never been more effectively seen than in this “semi-autobiographical” tome (available in present-worthy luxury hardback and accessible eBook formats) recounting the true-crime story of the Papin sisters.

History says that on February 2, 1933, former convent girls Christine and Léa (working as maids for the wealthy Lancelin family in Le Mans) one night bludgeoned and stabbed to death Madame Léonie to and her daughter Genevieve. The case was open and shut but became a Cause Célebre in France after reports of the killers’ early lives and years of service and physical abuse became public. Intellectuals championed them and the case was cited as a perfect example of the dangers of inequality and privilege…

Here, Skelly brings her own incisive interpretation to the case, and it’s a little gem that you will find hard to put down and impossible to forget…
© 2020 Katie Skelly. This edition © 2020 Fantagraphics Books, Inc. All rights reserved.