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Bunny vs Monkey: Machine Mayhem!


By Jamie Smart, with Sammy Borras (David Fickling Books)
ISBN: 978-1-78845-297-7 (TPB)

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

Concocted with gleefully gentle mania by cartoonist, comics artist and novelist Jamie Smart (Fish Head Steve!; Looshkin; Flember), these trendsetting, mind-bending yarns have been wisely retooled as graphic albums available in remastered, double-length digest editions such as this one. Now brilliantly beach-ready comes a handy pocket paperback edition to consult when the surf’s all unsanitary and there’s sand or sandwiches in the Gameboy…

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

Problems are exacerbated by other unconventional Crinkle creatures, particularly a skunk called Skunky who has a mad scientist’s attitude to life and a gift for building robots and super-weapons…

With artistic assistance from design deputy Sammy Borras, the saga resumes with the war of nerves and mega-ordnances apparently over. The unruly assortment of critters cluttering up the bucolic paradise had finally picked sides and the battles at last ended. They even seemingly forgot the ever-encroaching Hyoomanz…

Following a double-page pin-up of the ever-expanding cast, this archive of anarchic insanity opens in the traditional manner: divided into seasonal outbursts, and starting with a querulous teaser tale as Spring begins in ‘D.I.Whyyyy?’

As the animals gather to help Bunny repair his much-abused house, universal innocents Pig Piggerton and Weenie squirrel – more keen than skilled – realise that cheese is not a suitable substitute for wallpaper paste, plaster or cement…

Despite the subsequent collapse, times are good and very peaceful since the awful ape went away and Ai (an Aye-aye) acts quickly to keep it that way when Bunny feels nostalgic for the old days. Sadly, somebody’s listening and brings in a ‘Makeshift Monkey!’ – until the real deal returns in ‘The Little Monkey Who Cried…’

Before long Skunky is back too and everyone’s fleeing for their lives from deadly underground tentacles, but life quickly slips into its old pattern… until obsolescence rears its ugly head and cyborg gator Metal Steve is pronounced ‘Out of Warranty’: left to wither on Skunky’s scrapheap…

Back and still bad, Monkey briefly inflicts himself on Bunny and wrecks the joint again in ‘The Housemate’ after which our mercurial monochrome megamind constructs a replacement for the gone gator: triggering ‘Robot Rampage’ when infinitely superior mechanoid Metal E.V.E. lay down her own law…

Falling foul of another near-lethal prank the silly simian is scientifically resurrected and evolved in ‘Curse of the Monkey’ only to trip on his own incompetence and barely escape a fishy final fate in ‘Toilet Run!’

A close call with humans in ‘Bunny vs Monkey Jellybeans!’ precedes piratical pretenders Weenie and Pig’s ‘A Dangerous Voyage’, before Monkey endures his own Journey into the Unknown. As “The Most Brilliant Animal in the Woods” Skunky convinces his erstwhile ally to shrink down and explore the inner cerebellum of brain-battered, bewildered ex-stuntman Action Beaver for ‘The Lost Memory’ of a misplaced ultimate weapon, which is what probably inspires him to make his own, after entering a competition and prematurely unleashing his ‘Winning Entry’…

Metal E.V.E. is forming her own plans but they have to wait a bit as she’s ‘Keepin’ Busy’ with some domestic chores in Skunky’s lab, but it’s not long until Summer begins and the woods are imperilled by subterranean invasion from new menace ‘Roland T. Mole’…

Hijinks in parallel dimensions herald the arrival of doomsayer ‘Skunky?’ as the forgotten stuntman stumbles with catastrophic consequences into his ancestral homeland in ‘Beaverville’. Monkey meanwhile creates unexpected carnage but precious little terror with super-cute kaiju ‘Rofl Axolotl’ before being painfully reminded how dangerous the woods can be in ‘So Beautiful’…

After a brief and deceptive flirtation with ‘The Dark Arts’, the hairy halfwit returns to science by creating little golden minions, but his ‘Gloobs’ prove too smart for servitude, so instead embraces high fashion in ‘C’est Chic!’ Utterly uncaring, Weenie and Pig go about their business until a ‘A New Friend’ almost breaks up the partnership. The swiftly-developing relationship of ‘Weenie and Winnie’ seems set to end the good old days, but another robotic invasion sets the world to rights in ‘Just Checking’…

A reality-altering beast threatens in ‘Wishful Thinking’ and the entire woods go all French just as aliens invade in ‘L’Honk Honk’ before Monkey & Skunky explore artisanal dining in ‘Eat Up!’, with appalling consequences for their customers, after which Ai and Monkey discover uncanny ‘Night Lights’ in the deep dark woods…

The season concludes with Metal E.V.E. getting ahead by installing crucial ‘Upgrades’ and inadvertently making contact with an unsuspected predecessor just as Autumn opens with ‘Bumblesnatch’ and pig & squirrel enjoying super-powers-inducing chewing gum whilst Crinkle Woods is catapulted into a different kind of chaos when broached by pet pooch ‘Fluffy’…

When ‘The Summoning’ invokes some pretty indifferent forest gods, Skunky lodges with over-accommodating Bunny, who is soon sucked into unwanted adventure ‘Down Below’ and unearths E.V.E.’s brave new world. Hopeless old ally Metal Steve then runs amok with nano-bots and spawns unlikely armageddon beast ‘Pig-Kira!’

Once that menace vanishes into vapour, the mostly organic animals unite to formulate ‘Some Kind of Plan’ for fighting E.V.E. – all except ‘Nurse Monkey’ who’s keen to explore other lifestyles – before reenlisting in ‘Roll Up! Roll Up!’ with a barmy spinning machine. It has no chance of easing their plight but will probably end their lives before she does…

The crusade pauses for Weenie’s birthday and the hunt for ‘The Best Present in the World’, but restarts again when E.V.E. crashes the party with ‘Something to Say’ about the “rise of the machines” and end of all flesh…

Skunky’s response is yet another monster, but giant mecha-hedgehog ‘Thunderball!’ is easily overcome, and as so-distractable Monkey goes wild among the fallen leaves in ‘Leaf it Alone’, the machine rise begins in ‘Nahhhhh!’…

Sadly, Metal E.V.E. makes a big mistake then, spilling Monkey’s drink and kicking the conflict to an unprecedented new level…

Pausing for Weenie, Pig, Ai and Bunny to share some ‘Scary Stories’ around a nighttime campfire, the constant crisis enters a new phase when the ghost of local legend Fantastic Le Fox manifests, even as our ape oaf is transformed into E.V.E.’s ‘Metal Monkey’…

Le Fox is ‘An Old Friend’ resolved to help the animals survive and his strategic advice is welcome, but the turning point comes in ‘Clash of the Robots’ as Metal Monkey and Steve duel, even as their mecha-mistress takes full charge, unleashing DNA-altering microbots that put the fleshy freedom fighters to flight in ‘Uh-Oh-Nano!’

Winter sets in and hostilities suddenly cease as all concerned succumb to the temptation of chucking ‘Snowballs’ and the end gets nigher in a wave of robotic attacks triggered by ‘Metal Mania’. Yet again, everything pauses as Christmas provides a moment to unwrap ‘Presents’ but – drenched in seasonal spirit – ‘An Unlikely Hero’ dares to bring the message of the moment right to the robot queen. The act unwittingly changes the course of history in the woods, leaving only some ‘Tidying Up’ to restore everything to what passes for normal…

The animal anarchy might have ended for now, but there’s more secrets to share thanks to detailed instructions on ‘How to Draw Metal Steve’ and ‘How to Draw Metal E.V.E.’ to wind down from all that angsty furore…

The zany zenith of absurdist adventure, Bunny vs Monkey is weird wit, brilliant 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 2022. All rights reserved.

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The Bluecoats volume 15: Bull Run


By Willy Lambil & Raoul Cauvin, translated by Jerome Saincantin (Cinebook)
ISBN: 978-1-80044-061-6 (Album PB/Digital edition)

Devised by Louis “Salvé” Salvérius & Raoul Cauvin – who scripted the first 64 volumes until retirement in 2020 – Les Tuniques Bleues (and/or Dutch-language iteration De Blauwbloezen) debuted at the end of the 1960s: created to supplant the irreplaceable Lucky Luke when that laconic maverick defected from weekly anthology Le Journal de Spirou to rival publication Pilote.

From its first sallies, the substitute strip swiftly became hugely popular: one of the most popular bande dessinée series in Europe. In case you were wondering, it is now scribed by Jose-Luis Munuera and the BeKa writing partnership and we’re up to 66 tomes…

Salvé was a cartoonist of the Gallic big-foot/big-nose humour school, and after his sudden death in 1972, successor Willy “Lambil” Lambillotte gradually adopted a more realistic – yet still overtly comedic – tone and manner. Lambil is Belgian, born in 1936 and, after studying Fine Art in college, joined publishing giant Dupuis in 1952 as a letterer.

Born in 1938, scripter Cauvin was also Belgian and – before entering Dupuis’ animation department in 1960 – studied Lithography. He soon discovered his true calling was comedy and began a glittering, prolific writing career at Le Journal de Spirou.

In addition, he scripted dozens of long-running, award winning series including Cédric, Les Femmes en Blanc and Agent 212: more than 240 separate albums. Les Tuniques Bleues sold alone has over 15 million copies… and counting. Cauvin died on August 19th 2021, but his vast legacy of barbed laughter remains.

Here, designated The Bluecoats, our long-suffering protagonists are Sergeant Cornelius Chesterfield and Corporal Blutch; worthy, honest fools in the manner of Laurel & Hardy: hapless, ill-starred US cavalrymen defending America during the War Between the States.

The original format offered single-page gags set around an Indian-plagued Wild West fort, but from second volume Du Nord au Sud, the sad-sack soldiers were situated back East, perpetually fighting in the American Civil War.

All subsequent adventures – despite often ranging far beyond the traditional environs of the sundered USA and taking in a lot of genuine and thoroughly researched history – are set within the timeframe of the Secession conflict.

Blutch is your run-of-the-mill, whinging little-man-in-the street: work-shy, mouthy, devious and ferociously critical of the army and its inept orchestrators and commanders. Ducking, diving, deserting whenever he can, he’s you or me – except at his core he’s smart, principled and even heroic… if no easier option is available.

Chesterfield is big and burly, a professional fighting man and proud career soldier of the 22nd Cavalry who passionately believes in patriotism and the esprit-de-corps of the Military. He is brave, never shirking his duty and hungry to be a medal-wearing hero. He also loves his cynical little troll of a pal. They quarrel like a married couple, fight like brothers but simply cannot agree on the point and purpose of the horrendous war they are trapped in: a situation that once more stretches their friendship to breaking point in this cunningly conceived instalment.

Coloured by Vittorio Leonardo, Les Tuniques Bleues – Bull Run was originally serialised in Le Journal de Spirou (#2558-2562) during 1987 and collected into another mega-selling album before the year was out. The 27th continental album, it was Cinebook’s 15th translated Bluecoats album.

Bull Run offers the creators’ trenchant and bitterly hilarious account of the infamous and calamitous first full clash between North and South, which took place on July 21st 1861, in Prince William County, Virginia. That was only 30 miles from national capital Washington DC, near the city of Manassas, from which the Confederates derived their own name for the debacle – the Battle of First Manassas.

A story within a story, it’s the account of what just happened as told by one who survived the debacle sharing confidences with a new recruit who can’t understand why nobody will speak of it…

Safely hidden away Blutch starts talking, telling how before any fighting began, President Lincoln’s generals gave the leader bad advice and pompous assurances, and a publicity campaign to recruit volunteers was badly administered. Moreover, the crisis fostered a festival atmosphere and civilians flocked to the proposed battleground to see the spectacle…

It was certainly impressive. The Union forces included not just American infantry, cavalry and artillery, but also many foreign contingents and brigades: Crimean Zouaves, Italian Garibaldians, Bavarians, Croats, Cossacks, Chinese and more. What a pity nobody drilled them in taking orders in English…

Still angry from being tricked into joining up, Blutch was already wary and could not bear to see the eagerness on the face of his glory-struck comrade Chesterfield. That’s why – when the call came from on high – he broke the habit of a lifetime and volunteered to join the proud few called on to serve drinks and refreshments to the spectators and upper ranks…

Already class divisions had appeared: the cavalry were expressly ordered not to speak to foot soldiers. That would prove catastrophically crucial as the battle unfolded and messages could not be passed…

Most telling of all, the Confederate forces were well-trained, well-disciplined and did not overconfidently consider the battle a foregone conclusion…

With carnage and confusion everywhere, Blutch’s deepest convictions are completely confirmed, and the jolly adventure becomes a complete rout, made all the worse for death-or-glory Chesterfield, who is ignominiously saved from capture or worse by his sneaky pal’s ungentlemanly behaviour and dirty tricks. That’s why the sergeant never talks about Bull Run…

Painfully cleaving to the bald facts of history, this episode is far darker than most, with the underlying horror leavened by a narrative distancing that allows ridiculously surreal black comedy and bitter satire to blossom constantly.

Combining pointedly seditious polemic with stunning slapstick, Bull Run mordantly manipulates the traditions of war stories to hammer home the point about the sheer stupidity of war and crushing cruelty of arrogant elitism. These yarns weaponise humour, making occasional moments of shocking verity doubly powerful and hard-hitting. Funny, thrilling, beautifully realised and eminently readable, Bluecoats is the best kind of war-story and Western: appealing to the best, not worst, of the human spirit.
© Dupuis 1987 by Lambil & Cauvin. All rights reserved. English translation © 2021 Cinebook Ltd.

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The Invaders Classic: The Complete Collection volume 1


By Roy Thomas, Frank Robbins, Rich Buckler, Dick Ayers, Don Heck, Jim Mooney, Carl Burgos, Don Rico, Lee Elias, Alex Schomburg, Sal Buscema & various (Marvel)
ISBN: 978-0-7851-9057-8 (TPB/Digital edition)

The adage never grows stale: the best place to see American superheroes in action is in World War II, thrashing Nazis and their evil Axis allies. And yes, that includes their so-numerous copycats and contemporary legatees like Hydra, The National Southern Baptist Convention, Reclaim, The LGB Alliance and The Bullingdon Club too… whether contemporaneously or retroactively…

That was especially true in the 1970s when many guilt-free hours were devoted to portraying the worst people on Earth getting their just deserts (or just getting mocked in shows like Hogan’s Heroes and films like The Producers or To Be or Not to Be). In an era of generational backward-looking fostering cosy familiarity and with Lynda Carter on TV screens crushing the Third Reich every week in The New Adventures of Wonder Woman, admitted aficionado and irredeemable nostalgist Roy Thomas (Conan the Barbarian, X-Men, All-Star Squadron, Wonder Woman, Shazam!, Fantastic Four, Thor, Spider-Man, Daredevil ad infinitum) sought to revisit the “last good war”. Here he would back-write a super-team comprising Marvel’s (or rather Atlas/Timely’s) “Big Three” – Captain America, Sub-Mariner and the Human Torch – and however many minor mystery-men as he could shoehorn in…

Long before this series debuted, Prince Namor, the Sub-Mariner was the hybrid offspring of a sub-sea Atlantean princess and an American polar explorer: immensely strong, highly resistant to physical harm, able to fly and thrive above and below the waves. Created by young Bill Everett, Namor technically predates Marvel/Atlas/Timely Comics.

He first caught the public’s attention as part of the elementally electrifying “Fire vs. Water” headlining team in Marvel Comics #1 (October 1939 and Marvel Mystery Comics from the next issue) alongside The Human Torch, but had debuted earlier in the year in monochrome Motion Picture Funnies, a weekly promotional giveaway handed out to moviegoers.

Swiftly becoming one of the new company’s biggest draws, Namor gained his own title at the end of 1940 (cover-dated Spring 1941) and was one of the last super-characters to go at the end of the first heroic age. In 1954, as Atlas, the company briefly revived the Big Three and Everett returned for an extended run of superb fantasy tales. The time wasn’t right and the title sunk again.

When Stan Lee & Jack Kirby began reinventing comics in 1961 with Fantastic Four, they revived the forgotten amphibian as a troubled, semi-amnesiac, yet decidedly more regal and grandiose anti-hero, embittered at the loss of his sub-sea kingdom – seemingly destroyed by American atomic tests. He also became a dangerous bad-boy romantic interest: besotted with the FF’s Sue Storm.

Namor knocked around the budding Marvel universe, squabbling with assorted heroes like Daredevil, The Avengers and X-Men before securing his own series as half of “split-book” Tales to Astonish with fellow antisocial antihero The Incredible Hulk, eventually returning to solo stardom in 1968.

Crafted by Carl Burgos, the original Flaming Fury burst into life as a humanoid devised by troubled, greedy Professor Phineas Horton. Instantly igniting into a malfunctioning uncontrollable fireball whenever exposed to air, the artificial innocent was consigned to entombment in concrete but escaped to accidentally imperil New York City until he fell into the hands of malign mobster Sardo. His attempts to use the android as a terror weapon backfired and the hapless, modern day Frankenstein’s Monster became a misunderstood fugitive. Even his creator only saw the fiery Prometheus as a means of making money.

Gradually gaining control of his flammability, the angry, perpetually rejected android opted to make his own way in the world. Instinctively honest, he saw crime and wickedness everywhere and resolved to do something about it. Indistinguishable from human when not afire, he joined the police as Jim Hammond, tackling ordinary thugs even as his volcanic alter ego battled outlandish fiends like Asbestos Lady. Soon after, the Torch met his opposite number when the New York City Chief of Police asked him to stop the savage Sub-Mariner from destroying everything. The battles were spectacular but inconclusive, and only paused after policewoman Betty Dean brokered a tenuous ceasefire.

The Torch gained a similarly powered junior sidekick Toro, but both vanished in 1949: victims of organised crime and Soviet spies working in unison. They spectacularly returned in 1953’s revival, renewing their campaign against weird villains, Red menaces and an assortment of crooks and gangsters before fading again. In the sixties it was revealed that atomic radiation in the Torch’s body finally reached critical mass and Jim – realising he was about to flame out in a colossal nova – soared into the desert and went up like a supernova…

Jim Hammond was resurrected many times in the convoluted continuity that underpinned the modern House of Ideas and is with us still…

Created by Joe Simon & Jack Kirby in an era of national turmoil and frantic patriotic fervour, Captain America was a dynamic, emphatically visible response to the horrors of Nazism and the threat to democracy. Consequently, the concept quickly lost focus and popularity once hostilities ceased. The Sentinel of Liberty was lost during post-war reconstruction, only to briefly reappear after the Korean War: a harder, darker Cold Warrior hunting monsters, subversives and “Reds” who lurked under every American bed.

He vanished once more, until the burgeoning Marvel Age resurrected him just in time to experience the Land of the Free’s most turbulent, culturally divisive era. He became a mainstay of the Marvel Revolution in the Swinging Sixties, but arguably lost his way after that, except for a politically-fuelled, radically liberal charged period under scripter Steve Englehart.

Despite everything, Captain America evolved into a powerful symbol for generations of readers and his career can’t help but reflect that of the nation he stands for…

Devised in the fall of 1940 and on newsstands by December 20th, Captain America Comics #1 was cover-dated March 1941, and an instant monster, blockbuster smash-hit. He had boldly and bombastically launched in his own monthly title with none of the publisher’s customary caution, and instantly was the undisputed star of the Big Three. He was, however, the first to fall from popularity as the Golden Age ended.

You know the origin story like your own. Simon & Kirby depicted scrawny, enfeebled patriot and genuinely Good Man Steven Rogers – after constant rejection by the Army – is recruited by the Secret Service. Desperate to stop Nazi expansion, the passionate kid joined a clandestine experiment to create physically perfect super-soldiers.

I have no idea if the irony of American Übermenschen occurred to the two Jewish kids creating that mythology, but here we are…

When a Nazi infiltrated the project and murdered the pioneering scientist behind it all, Rogers was the only successful result and became America’s not-so-secret weapon. When he was lost, others took up the role and have periodically done so ever since. I might be wrong, but as I recall every substitute and replacement was white and male…

When Thomas was writing The Avengers, issues #69-71 featured a clash with Kang the Conqueror spanning three eras. It saw some of the team dumped in WWII Paris and manipulated into fighting in situ Allied costumed champions. When that memorable minor skirmish was expanded and extrapolated upon in 1975, history was (re)made…

Re-presenting Giant-Sized Invaders #1, The Invaders #1-22 & Annual #1, Marvel Premiere #29-30, and Avengers #71 – collectively spanning June 1975 to November 1977 – this initial foray charts the course of the team and exponentially expands Marvel lore and history, opening with an extended multi-chapter romp.

Cover-dated June 1975, and crafted by Thomas, Frank Robbins (Johnny Hazard, Batman, Superboy, The Shadow, Morbius/Adventure into Fear, Captain America, Man from Atlantis) & Vince Colletta, ‘The Coming of the Invaders!’ saw a revisionist Big Three saving British Prime Minister Winston Churchill during a US visit in December 1941…

Nazi spies and saboteurs are crushed by boy marvel Bucky and ‘A Captain Called America!’ who is then recruited by the FBI to safeguard a mystery dignitary. The duo are ordered to cooperate with another extraordinary operative in ‘Enter: the Human Torch!’.

A tale of sinister super-science unfolds, revealing how Nazi Colonel Krieghund and the enigmatic Brain Drain have bult their own super-soldier. Master Man (AKA Ubermensch) has already beaten the Fiery Fury and sidekick Toro in pursuit of the plot. Grudging associates at best, the quartet of heroes rush to Chesapeake Bay in time to see how ‘The Sub-Mariner Strikes!’ when Master Man targets Churchill’s battleship. On the clash’s conclusion, the grateful premier suggests the saviours shelve their innate animosity for the duration and work together to crush the Axis alliance.

The blockbuster origin tale is augmented here by its accompanying editorial ‘Another Agonizingly Personal Recollection by Rascally Roy Thomas’…

The launch was a huge success and The Invaders #1 (August) was rushed out. Like Giant-Size X-Men #1, an in production second issue was rapidly retooled, with the first half appearing as ‘The Ring of the Nebulas!’ and ‘From the Rhine… a Girl of Gold!’ with the new team relocated to blitz-blasted London and arriving in the middle of shattering air raid. As their flying compatriots bring down German bombers, Cap and Bucky land Namor’s Atlantean sky-sub Flagship and help clear burning buildings of casualties and rescue a strange, shellshocked woman who – although amnesiac – proves to be ‘A Valkyrie Rising!’ With “Hilda’s” help the heroes infiltrate ‘Beyond the Siegfried Line!’ and invade Brain Drain’s citadel only to be ambushed by a trio of Teutonic gods…

Following second editorial ‘Okay Axis, Here We Come!’, the saga explosively concludes in the second bimonthly issue (cover-dated October) as ‘Twilight of the Star-Gods!’ reveals the incredible truth about Hilda, Loga, Donar and Froh, the source of Brain Drain’s scientific advances and why it’s bad to abuse and exploits guest from other planets…

Action was never far away and #3 opened with the triumphant Invaders saving a convoy from U-Boats before briefly returning to America to forestall a ‘Blitzkrieg at Bermuda’. The crisis was instigated by an Atlantean traitor siding with and working for the Nazis.

Namor’s alliance with the Allies only existed because the Germans had depth-charged his undersea city to eradicate its sub-human inhabitants, but now a rogue named Merrano has artificially augmented his strength and led a cadre of Atlanteans and sea beasts against surface bases. The aquatic blockbuster was once Namor’s chief scientist and has misused Atlantean technology for his own purposes as U-Man. Regal pride stung, Namor demands to fight the traitor alone, sparking a split with his newfound comrades. In the end, he and Bucky go on without the others or any official sanction….

As the marine man-monster and his hordes head for Churchill’s secret meeting in the Caribbean, the quarrellers at last agree that ‘U-Man Must be Stopped!’ and take all necessary steps, spurred on and umpired by Namor’s human girlfriend Betty Dean.

The drama intensified with #5 (March 1976) as Thomas expanded his niche universe by creating a second squad of masked stalwarts. Pencilled by Rich Buckler and Dick Ayers, with inks from Jim Mooney. ‘Red Skull in the Sunset!’ opens a 4-issue epic which sees the Invaders captured by the ultimate fascist and turned into weapons against America. Only Bucky – disregarded as too puny to exploit – remained free. The tale continued in #6 (‘…And Let the Battle Begin!’ with art by Robbins & Colletta May) and also crossed over into Marvel Premiere #29’s ‘Lo, The Liberty Legion!’ & 30’s ‘Hey Ma,! They’re Blitzin’ the Bronx’ (April and June 1976) wherein Bucky recruited a number of new superheroes and made them into a team to defeat the Invaders and scupper the Skull’s schemes.

As delivered by Thomas, Don Heck, & Colletta the recruits – The Patriot, Whizzer, Miss Marvel, Blue Diamond, Red Raven, Jack Frost and the Thin Man – came from assorted Timely strips of the 1940s and remained state-side as Home Front heroes. A fabulously engaging primal romp, the epic is inexplicably divided, with the Marvel Premiere instalments (the second and fourth/final chapters) relegated to the back of the book along with editorial features ‘Give Me Liberty – or Give Me The Legion!’ parts 1 and 2.

With the confusion and reputations all cleared up, the liberated Invaders return to war-torn London for #7 (July 1976) to tackle ‘The Blackout Murders of Baron Blood!’, with a costumed German vampire terrorising the capital. During a nighttime assault, the Torch saves Air Raid Warden Lady Jacqueline Falsworth from the bloodsucker and is gratefully introduced to her father: a legendary “masked spy-buster of World War One”.

James Montgomery Falsworth had worked with an international group of proto-superheroes dubbed Freedom’s Five, and on hearing of the vampire, comes out of retirement to finish his duel with the Kaiser’s top secret weapon…

Meanwhile, the other Invaders have also clashed with Baron Blood and are happy that ‘Union Jack is Back!’ (inked by Frank Springer): blithely unaware that the beast is actually a member of Falsworth’s household waiting to pick them off at his leisure. It begins as Union Jack is crippled by Blood and seemingly helpless to save his daughter from being drained in #9’s ‘An Invader No More!’

With justice finally served, the need for a deadline-saving reprint sees #10 mix new framing sequence ‘The Wrath of the Reaper!’ with a remembrance amongst the heroes as they rush father and daughter to hospital: ‘Captain America Battles the Reaper!’ by Al Avison & Al Gabriele as first seen in Captain America #22 (January 1943) rowdily recounted the failure of one of Adolf Hitler’s top agents…

The new history resumed in #11 as Montgomery learns he will never walk again, and Jacqueline is saved by an emergency transfusion of the Torch’s artificial, instantly regenerating blood. However, the combination of vampiric body fluids and the Torch’s liquid fuel source transform her into something new and powerful…

In another wing of the hospital, refugee Dr Gold has been building an advanced warsuit which he inexplicably turns on the Invaders until Jacqui lends a fast and fiery hand on the ‘Night of the Blue Bullet!’

As she seeks to replace her father on the team as Spitfire, Captain America ferrets out the reason for Gold’s betrayal and orders a rescue mission ‘To the Warsaw Ghetto!’ to save the boffin’s hostage brother Jacob. The foray is a complete disaster and the squad is captured by macabre Gauleiter Eisen, but his triumph is short-lived as it provokes Jacob to summon ancient forces in #13’s ‘The Golem Walks Again!’

A new team debuted in the next issue with ‘Calling… The Crusaders!’ as a (mostly) British ensemble – comprising Spirit of ‘76, Ghost Girl, Captain Wings, Thunderfist, Tommy Lightning and Dyna-Mite – start outshining The Invaders and boosting morale. Tragically all is not as it seems and a deadly propaganda coup is barely thwarted in concluding episode ‘God Save the King!’

Penciller Jim Mooney joined Thomas and inker Springer for #16 and the start of an extended epic in ‘The Short, Happy Life of Major Victory!’ It begins when US soldier Biljo White (that’s an in-joke I’m not explaining here) is snatched off London’s streets despite the best efforts of Captain America and Bucky. It transpires that the young PFC is the creator of a comic book hero whose origin so-closely mirrors the actual process that turned Steve Rogers into a living weapon that the Nazis have deduced he must have inside knowledge…

Fuelled by guilt and outrage, Cap leads the team straight to Hitler’s Berchtesgaden fortress, only to have entire team ambushed and defeated by a re-invigorated Master Man.

Biljo has been tortured by sadistic officer Frau Rätsel, but only revealed under deep hypnosis how he heard the story of a super soldier in a bar: recalling a key clue allowing her to perfect Brain Drain’s Master Man process.

At that moment a male superior reprimands her for exceeding her authority (Aryan dogma being that women were only meant for breeding and entertainment purposes) and her violent rebuttal causes an explosion that wrecks the lab and totally changes her. ‘The Making of Warrior Woman, 1942!’ consequently frees the Allied captives, but their short-lived liberty ends when Master Man and the newly-minted Krieger-Frau (Warrior Woman) double-team them. With Captain America hurled to his death and the others despatched to Berlin to provide an obscene spectacle, events take a sudden shocking turn in #18 as ‘Enter: The Mighty Destroyer!’ reintroduces another Golden Age Great by way of a complex web of family ties and debts of honour finally repaid…

When Cap was thrown off the mountain, he was saved by a mystery-man who had been fighting behind enemy lines since 1941, terrorising the Wehrmacht through a one-man war of attrition. He reveals that he was imprisoned in Hamburg where fellow inmate Professor Erich Schmitt made him swallow his own version of the super-soldier serum to keep it from the Nazis. The potion made him a veritable superman and he’s been making them pay ever since. He also reveals to Cap his real name…

As they prepare an assault to free The Invaders, in England Spitfire has met with former Crusader Dyna-Mite and discovered some painful family secrets. Ignoring orders to say out of harms way, she commandeers a plane and heads for Germany with the Tiny Titan. Insubordination is a proudly inherited trait however, and the heroes cannot prevent wheelchair-bound Lord Falsworth and his “chauffeur” Oskar joining the expeditionary force…

Bach in Berchtesgaden, the ruthless infiltration is successful but too late. Namor, Bucky, Torch and Toro have already been shipped to Berlin for public execution, before #19’s ‘War Comes to Wilhelmstrasse’ sees Captain America’s futile attempt to save them foiled and his capture, augmented by the untold tales of Falsworth’s son Brian and companion Roger Aubrey. Conscientious objectors, they had shamefully gone to Berlin before vanishing years prior to war being declared, only for one of them to suddenly return as Dyna-Mite.

Another deadline debacle allowed a brace of classic reprints to resurface in #20 and 21 with climactic conclusion ‘The Battle of Berlin!’ cleft in two. The first half sees the Allied heroes saved from death by a revitalised Union Jack and the resultant battle for freedom allow Krieger-Frau to dodge the forced marriage to Master Man that Hitler had ordered…

That issue also held a colorized reshowing of ‘The Sub-Mariner’ by Everett from Motion Picture Funnies, after which ‘The Battle of Berlin! Part Two!’ follows the traumatic flight bac to Britain and the critical injury suffered by one of the heroes…

Another Everett ‘The Sub-Mariner’ mini-masterpiece – from Marvel Mystery Comics #10 (August 1940) – then sees the sea prince targeted by murderous surface men…

Their plane ditched in the English channel, The Invaders are saved by the Navy and treatment begins for bullet-riddled Toro. Again reduced to anxious waiting, the team learn how he began his career in #22’s ‘The Fire That Died!’ (by Thomas, Mooney & Springer and adapted from The Human Torch #2: September 1940).

Ending the official chronology is Invaders Annual #1 (November 1977),which tells the other side of the originating story from Avengers #71, from the viewpoint of the 1940s heroes. Moreover, each individual chapter is crafted by a veteran who worked on the characters during the Golden Age. The mission begins with ‘Okay, Axis… Here We Come!’ by Thomas, Robbins & Springer, with the heroes separately pursuing insidious supervillains. ‘The Human Torch’ battles The Hyena as limned by Alex Schomburg; Don Rico’s ‘Captain America’ clashes with Agent Axis and ‘Sub-Mariner’ sinks The Shark thanks to Lee Elias & Springer, before the Invaders are teleported to Paris by a mysterious power.

That’s Kang and his opponent the Grandmaster meddling with time to facilitate a duel with three Avengers from 1969, and concludes here with ‘Endgame: Part II’. A semblance of sense is afforded by Thomas’ essay ‘Okay, Axis… Here We Come – Again!’

Woefully misfiled, the contents of Marvel Premiere #29 & 30 are next, before we end with the opening shot from the Avengers #71, by Thomas, Sal Buscema & Sam Grainger. ‘Endgame!’ was the final chapter in a triptych that saw the World’s Mightiest Heroes hijacked to the future to by old enemy Kang: living pieces in a cosmic chess-game with an omnipotent alien. If the Avengers fail – Earth would be eradicated from reality. the tale was significant for introducing 2/3 superteams: Squadron Supreme, Squadron Sinister and The Invaders. The saga culminated with The Vision, Black Panther and Yellowjacket sent to 1941 to fight the WWII incarnations of Namor, Human Torch and Captain America…

With covers by Robbins, John Romita Sr., Jack Kirby, Gil Kane, Ed Hannigan, Alex Schomburg, Joe Sinnott & Frank Giacoia, this is a no-nonsense, albeit convoluted thrill-ride for continuity-addicts and fervent Fights ‘n’ Tights fans that is full of fun from first to finish.
© 1969, 1975, 1976, 1977, 2014 Marvel Characters, Inc. All Rights Reserved.

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(The Tragedie of) Macbeth


By William Shakespeare, adapted by K. Briggs (Avery Hill Publishing)
ISBN: 978-1-910395-73-8 (HB)

Depending on how you liken it, William Shakespeare may be one of the most prolific comic scripters in the business. His mighty works have been staged and adapted as graphic narratives for decades in every language you might consider, and frequently allow contemporary artistic collaborators opportunity to be bold, experimental and vibrantly daring.

This is certainly the case with the lovingly crafted vision of American illustrator, performer and educator K. Briggs (Resistance, The New Chapter Tarot) who opts for colour-blind and gender-balanced casting to recount a visually striking and vivid interpretation which makes Scotland itself a player in the mix. Combining the full text with an abundance of mixed media including collage, paints, markers and pure linework, in a procession of nature-informed, magically-motif-ed page designs referencing ancient charts and maps, Illuminated manuscripts, tapestries, Tarot iconography, medical grimoires, nigh-abstract mood-enhancing tableaux and found historical artworks. These function as a moving backdrop to the actors unfolding the tale before your eyes.

What you already know: valiant general Macbeth meets three witches after saving the kingdom of his liege lord Duncan, and comes away with the notion that he will be King instead. Egged on by greed, ambition and his wife, the Thane of Cawdor personally kills the King whilst the monarch graces them with a visit. The red trail includes framing the guards and heirs and then progressively removing all threats to his reign.

However, both he and his Lady cannot escape their own consciences and the witches’ prophecy leads to delusion, disaster, derangement and death, but never glory…

As far as we can tell, Macbeth was first performed in 1606, written for Shakespeare’s patron King James I of England/VI of Scotland. It is an epic tragedy of ill-starred political ambition, the psychological costs of guilt, the consequences of betrayal and inevitability of tyranny, all wrapped up in veneer of supernatural horror.

The story is one of the greatest in world literature, but also a studied hatchet job, with the Bard shamelessly currying favour by ignoring facts and bigging up James’ distant ancestor and antecedent Macduff. The text first appeared in print in the Folio of 1623, but there have been plenty of editions since then.

The immortal story has frequently made it into comics form. If you’re one of the precious few people unfamiliar with the tale in its intended format (firstly, shame on you and secondly, go watch it right now; there are many excellent filmed versions in every possible language), this imaginatively welcoming rendition is extremely enthralling and powerful…

Moreover, the plot lends itself to many eras and milieux. You may even have already enjoyed it in epics as varied as Joe MacBeth (UK 1951), Throne of Blood (Japan 1957), Teenage Gang Debs (USA 1966), Men of Respect (USA 1991), and Mandaar (India 2021), amongst so many more interpretations – or even thematically as Blackadder Season 1…

Maybe you have seen it all before, but this is better….

Or if you will permit, “By the pricking of my thumbs, Something Wicked your way comes…”
© K. Briggs, 2023. All rights reserved.

Macbeth will be published on 23rd July 2023 and is available for pre-order now.

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Showcase Presents Legion of Super-Heroes volume 1


By Otto Binder, Jerry Siegel, Robert Bernstein, Edmond Hamilton, Al Plastino, Curt Swan, John Forte, Jim Mooney, & various (DC Comics)
ISBN: 978-1- 4012-1382-4 (TPB)

Once upon a time in the far future, super-powered kids from many alien civilisations took inspiration from the greatest legend of all time and banded together as a club of heroes. One day those Children of Tomorrow came back in time and invited that legend to join them…

Thus, began the vast and epic saga of the Legion of Super-Heroes, as first envisioned by writer Otto Binder & artist Al Plastino when the many-handed mob of juvenile universe-savers debuted in Adventure Comics #247 (April 1958), just as the revived superhero genre was gathering an inexorable head of steam in America. Happy 65th Anniversary, team!

Since that time the fortunes and popularity of the Legion have perpetually waxed and waned, with their future history tweaked and rebooted, retconned and overwritten again and again to comply with editorial diktat and popular whim.

This glorious, far-and-wide ranging collection assembles the preliminary appearances of the valiant Tomorrow People, tracking their progress towards and attainment of their own feature. It re-presents in stunning monochrome all pertinent tales from Adventure Comics #247, 267, 282, 290, 293, 300-321, Action Comics #267, 276, 287, 289, Superboy #86, 89, 98, Superman #147, Superman Annual #4 and Superman’s Pal Jimmy Olsen #72 and 76.

As already stated, the many-handed mob of youthful worlds-savers debuted in Adventure #247, dreamed up for a Superboy tale wherein three mysterious kids invite the Boy of Steel to the 30th century. He is being vetted to join a team of metahuman champions unanimously inspired by his historic career. Binder & Plastino’s throwaway concept inflamed public imagination and after a slew of further appearances throughout Superman Family titles, the LSH eventually took over Superboy’s lead spot in Adventure: thereafter enjoying their own far-flung, quirky escapades, with the Kid Kryptonian reduced to “one of the in-crowd”…

However here the excitement was still gradually building as the kids returned for an encore 18 months later, Adventure #267 (December 1959) saw Jerry Siegel & George Papp make the Boy of Steel ‘Prisoner of the Super-Heroes!’ when the teen wonders attacked and incarcerated Superboy of Steel because of a misunderstood ancient historical record…

The following summer Supergirl met the Legion in Action Comics #267 (Siegel & Jim Mooney, August 1960) as Lightning Lad, Saturn Girl and Cosmic Boy secretly travelled to “modern day” America to invite the Maid of Might onto the team, in a repetition of their offer to Superboy 15 years previously (in nit-picking fact they claimed to be the children of the original team – a fact glossed over and forgotten these days. Don’t time-travel stories make your head hurt?).

Due to a dubious technicality, young and eager Kara Zor-El failed her initiation at the hands of ‘The Three Super-Heroes’ and was asked to reapply later – but at least we got to meet a few more Legionnaires, including Chameleon Boy, Invisible Kid and Colossal Boy.

With the editors still cautiously testing the waters, it was Superboy #86 (January 1961) before the ‘The Army of Living Kryptonite Men!’ by Siegel & Papp turned the LSH into a last-minute Deus ex Machina to save the Smallville Sentinel from juvenile delinquent Lex Luthor’s most insidious assault. Two months later, in Adventure #282, Binder & Papp introduced Star Boy as a romantic rival for the Krypton Kid in ‘Lana Lang and the Legion of Super-Heroes!’

Action Comics #276 (May 1961) debuted Supergirl’s Three Super Girl-Friends’ (Siegel & Mooney) which finally saw her crack the plasti-glass ceiling and join the team, sponsored by Saturn Girl, Phantom Girl and Triplicate Girl. We also met for the first time Bouncing Boy, Shrinking Violet, Sun Boy and potential bad-boy love-interest Brainiac 5 (well at least his distant ancestor Brainiac was a very bad boy…)

Next comes pivotal 2-part tale ‘Superboy’s Big Brother’ (by Robert Bernstein & Papp from Superboy #89 and June 1961) in which an amnesiac, super-powered space traveller crashes in Smallville, speaking Kryptonese and carrying star-maps written by the Boy of Steel’s long-dead father…

Jubilant, baffled and suspicious in equal amounts, Superboy eventually, tragically discovers ‘The Secret of Mon-El’ by accidentally exposing the stranger to a lingering, inexorable death, before providing critical life-support by depositing the dying alien in the Phantom Zone until a cure can be found…

Sporting an August 1961 cover-date, Superman #147 unleashed ‘The Legion of Super-Villains’ (Siegel, Curt Swan & Sheldon Moldoff): a stand-out thriller featuring Luthor and an evil adult Legion coming far too close to destroying the Action Ace until the temporal cavalry arrives…

In Adventure #290 (November), Bernstein & Papp seemingly gave Sun Boy a starring role in ‘The Secret of the Seventh Super-Hero!’ – a clever tale of redemption and second chances, which is followed in #293 (February 1962) by a gripping thriller from Siegel, Swan & George Klein. ‘The Legion of Super-Traitors’ sees the future heroes turn evil, prompting Saturn Girl to recruit a Legion of Super-Pets – comprising Krypto, Streaky the Super Cat, Beppo, the monkey from Krypton and magical Super-horse Comet to save the world…

‘Supergirl’s Greatest Challenge!’ (Siegel & Mooney, Action #287 April) sees her visit the Legion (quibblers be warned: for some reason it was mis-determined as the 21st century in here) to save future Earth from invasion). She also meets a telepathic descendent of her cat Streaky. His name is Whizzy (I could have omitted that fact but chose not to – once more for smug, comedic effect and in sympathy with all humans-with-cats everywhere)…

Action #289 featured ‘Superman’s Super-Courtship!’ wherein the Girl of Steel scours the universe to locate an ideal mate for her cousin. One highly possible candidate is adult Saturn Woman, but her husband Lightning Man objects…

Perhaps charming at the time, although modern sensibilities might quail at the conclusion that his perfect match is a doppelganger of Kara herself… albeit – and thankfully – a bit older…

By the release of Superboy #98 (July 1962), the decision had been made. The buying public wanted more Legion stories and after ‘The Boy With Ultra-Powers’ by Siegel, Swan & Klein introduces an enigmatic lad with greater powers than the Boy of Steel, focus shifted to Adventure Comics #300 (cover dated September 1962) where the super-squad finally landed their own gig; even occasionally taking an alternating cover-spot from still top-featured Superboy.

Tales of the Legion of Super-Heroes opened its stellar run with Siegel, John Forte & Plastino’s ‘The Face Behind the Lead Mask!’; a fast-paced premier pitting Superboy and the 30th century champions against an unbeatable foe until Mon-El, long-trapped in the Phantom Zone, temporarily escapes a millennium of confinement to save the day…

In those halcyon days humour was as important as action, imagination and drama, so many early exploits were light-hearted – if a little  moralistic. Issue #301 offered hope and role model to fat kids everywhere with ‘The Secret Origin of Bouncing Boy!’ by regular creative team Siegel & Forte. This yarn formalised a process of open auditions – providing devoted fans with loads of truly bizarre and memorable applicants over the years – whilst allowing the rebounding human rotunda to give a salutary pep talk and inspirational recount of heroism persevering over adversity.

Adventure #302 featured ‘Sun Boy’s Lost Power!’, as the golden boy is forced to resign until fortune and boldness restore his abilities, whilst ‘The Fantastic Spy!’ in #303 provides a tense tale of espionage and possible betrayal by new member Matter-Eater Lad.

The readership was stunned by the events of #304 when Saturn Girl engineers ‘The Stolen Super-Powers!’ to make herself a one-woman Legion. Of course, it was for the best possible reasons, but still doesn’t prevent the shocking murder of Lightning Lad…

With cosy complacency utterly destroyed, #305 further shook everything up with ‘The Secret of the Mystery Legionnaire!’ who turns out to be the long-suffering Mon-El finally cured and freed from his Phantom Zone prison.

Normally I’d try to be more obscure about story details – after all my intention is to get new people reading old comics, but these “spoiler” revelations are key to further understanding here and you all know these characters are still around, don’t you?

Pulp science fiction writer Edmond Hamilton took over the major scripting role with #306, and introducing ‘The Legion of Substitute Heroes!’ (quirkily, perfectly illustrated by John Forte). This is a group of rejected applicants who selflessly band together to clandestinely assist the champions who spurned them, after which transmuting orphan Element Lad joins the major team. He seeks vengeance on space pirates who had wiped out his entire species in ‘The Secret Power of the Mystery Super-Hero!’ before #308 seemingly sees ‘The Return of Lightning Lad!’

Actual Spoiler Warning: skip to the next paragraph NOW!!! if you don’t want to know it’s actually his similarly empowered sister who – once unmasked and unmanned – takes her brother’s place as Lightning Lass…

‘The Legion of Super-Monsters!’ is a straightforward clash with embittered applicant Jungle King who takes rejection far too personally and gathers a deadly clutch of space beasts to wreak havoc and vengeance, whilst #310’s ‘The Doom of the Super-Heroes!’: a frantic battle for survival against an impossible foe.

Adventure #311 opens ‘The War Between the Substitute Heroes and the Legionnaires!’ with a cease-and-desist order from the A-Team that turns into secret salvation as the plucky, stubborn outcasts carry on regardless under the very noses of the blithely oblivious LSH…

The next issue (September 1963) features the ‘The Super-Sacrifice of the Legionnaires!’ and inevitable resurrection of Lightning Lad – but only after the harrowing sacrifice of one devoted team-member, after which Superman’s Pal Jimmy Olsen #72 (October, by Siegel, Swan & Klein) visits ‘The World of Doomed Olsens!’ Depicting an intriguing enigma as the cub-reporter is confronted by materialisations of his most memorable metamorphoses, it’s all just a prank by those naughty Legion scamps – but one with a serious purpose behind the jolly japery…

Adventure #313’s ‘The Condemned Legionnaires!’ (Hamilton, Swan, Klein & Forte) affords Supergirl a starring role after the sinister Satan Girl infects the team with a deadly plague, forcing them all into perpetual quarantine, before ‘The Super-Villains of All Ages!’ (art by Forte) reveals how a manic mastermind steals a Legion Time-Bubble to recruit the greatest monsters and malcontents of history – Nero, Hitler and John Dillinger – as his irresistible army of crime.

Why he’s surprised when they double-cross him and possess Superboy, Mon-El and Ultra Boy is beyond me , but happily, the lesser legionnaires still prove more a match for the brain-switched rogues. Then ‘The Legionnaires Super-Contest!’ in #315 finally sees the Substitute Heroes go public, for which the primary team offer to allow one of them to join the big boys. Which one? That’s the contest part…

Issue #316’s ‘The Renegade Super-Hero!’ outs one trusted teammate as a career criminal who then goes on the run, but there’s more to the tale than at first appears, after which the heroes confront ‘The Menace of Dream Girl!’: a ravishing clairvoyant who beguiles her way into the Legion for her own obscure, arcane reasons. In her knowing way she presages the coming of deadly foe The Time Trapper and even finds time to convert electrically redundant sister of recently-resurrected Lightning Lad into gravity-warping Light Lass.

Adventure #318 sees ‘The Mutiny of the Legionnaires!’ as Sun Boy succumbs to battle fatigue and became a draconian Captain Bligh during an extended rescue mission, whilst in Superman’s Pal Jimmy Olsen #76 (April 1964) Siegel & Forte describe ‘Elastic Lad Jimmy and his Legion Romances!’ wherein the plucky journo is inveigled into the future and finds himself inexplicably irresistible to the costumed champions of Tomorrow. It isn’t his primitive charm, though…

Hamilton & Forte began a strong run of grittier tales from #319 on, beginning with ‘The Legion’s Suicide Squad!’ as the Science Police ask the team to destroy, at all costs, a monolithic space fortress, whilst #320 debuts daring new character in Dev-Em, a forgotten survivor of Superman’s dead homeworld who was little more than a petty thug when Superboy first defeated him. Now in ‘The Revenge of the Knave From Krypton!’ ( Siegel, Forte, Papp, Moldoff & Plastino), the rapscallion returns as either a reformed undercover cop or the greatest traitor in history…

The story portion of this titanic tome concludes with Adventure Comics #321 and Hamilton, Forte & Plastino’s ‘The Code of the Legion!’, revealing the team’s underlying Articles of Procedure during a dire espionage flap, simultaneously testing one Legionnaire to the limits of his honour and ingenuity and actually ending another’s service forever.

Perhaps. Sort of…

An appropriate extra from Superman Annual #4, follows: featuring a 2-page informational guide and pictorial check-list illustrated by Swan & Klein which was amended and supplemented in Adventure #316 with additional pages of stunning micro-pin-ups, all faithfully included here. This fabulously innocent and imaginative chronicle also includes every cover the team starred on: mostly the work of honorary Legionnaire Curt Swan and inkers George Klein, Stan Kaye & Sheldon Moldoff.

The Legion is undoubtedly one of the most beloved and bewildering creations in American comic book history and largely responsible for the growth of the groundswell movement that became Comics Fandom. Moreover, these sparkling, simplistic and devastatingly addictive stories as much as the legendary Julie Schwartz Justice League fired up the interest and imaginations of a generation of young readers and built the industry we all know today.

These naive, silly, joyous, stirring and utterly compelling yarns are precious and fun beyond any ability to explain – even if we old lags gently mock them to ourselves and one another. If you love comics and haven’t read this stuff, you are the poorer for it and need to enrich your future life as soon as possible.
© 1958-1964, 2007 DC Comics. All Rights Reserved.

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Last of the Dragons


By Carl Potts, Denny O’Neil, Terry Austin, Marie Severin & various (Dover Comics & Graphic Novels)
ISBN: 978-0-486-80357-9 (TPB/Digital edition)

The creative renaissance in comics during the 1980s resulted in some utterly wonderful stand-alone sagas which shone briefly and brightly – within what was still a largely niche industry – before passing from view as the business and art form battled spiralling costs, declining readerships and the perverse and pervasive attitude in the wider world that comic books were a ghetto and the natural province of mutants, morons and farm animals (I’m paraphrasing).

Unlike today, way back then the majority of grown-ups considered superheroes adolescent power fantasies or idle wish-fulfilment for the uneducated or disenfranchised, so an entertainment industry perceived as largely made up of men in tights hitting each other got very little notice in the wider world of popular fiction.

That all changed with the rise of comics’ Direct Sales Market. With its carefully targeted approach to selling, specialist vendors in dedicated emporia had leeway to allow frustrated creators to cut loose and experiment with other genres – and even formats.

All the innovation back then led inexorably to today’s high-end, thoroughly respectable graphic novel market which – with suitable and fitting circularity – is now gathering and re-circulating many breakthrough tales from those times, and not as poorly distributed serials but in satisfyingly complete stand-alone proper books.

Marvel was the unassailable front-runner in purveying pamphlet fiction back then, outselling all rivals and monopolising the lucrative licensed properties market (like Star Wars and Indiana Jones) which had once been the preserve of the Whitman/Dell/Gold Key colossus. This boosted a zeitgeist which proved that for open-minded readers, superheroes were not the only fruit…

As the Direct Sales market hit an early peak, Marvel unleashed its own rights-friendly creator-owned fantasy periodical in response to overwhelming success amongst older readers of Heavy Metal magazine. Lush, slick and lavish, HM had even brought a new, music-&- literature based audience to graphic narratives…

That response was Epic Illustrated: an anthological magazine offering stunning art and an anything-goes attitude – unhindered by the censorious Comics Code Authority – which saw everything from adaptations of Moorcock’s Elric and Harlan Ellison novellas to ‘The Last Galactus Story’, the debuts of comic book stars-in-the-making like Vanth Dreadstar and Cholly and Flytrap, plus numerous close-ended sagas which would become forerunners of today’s graphic novel industry.

These serialised yarns of finite duration included Rick Veitch’s Abraxas and the Earthman, Claremont & Bolton’s Marada the She-Wolf and a fabulously enchanting East-meets-West period fantasy entitled Last of the Dragons…

The fable was conceived by then-newcomer Carl Potts, who plotted and pencilled a globe-trotting drama for Denny O’Neil to script, before inker Terry Austin and colourist Marie Severin finished the art for Jim Novak to inscribe with a flourish of typographical verve.

The stylish opus ran intermittently in Epic Illustrated #15 through #20 (October 1982 to the end of 1983) and was collected in 1988 as a Marvel Graphic Novel under the Epic Comics aegis in the expansively extravagant, oversized European Album format: a square, high-gloss package which delivered so much more bang-per-buck than a standard comic.

Thankfully Dover retained those generous visual proportions for their glorious 2016 edition which begins with ‘The Sundering’: opening in grudgingly-changing feudal Japan of the late 19th century where aged master swordsman Masanobu peacefully meditates in the wilderness…

His Zen-like calm and solemn contemplation are callously shattered by a callow, arrogantly aggressive warrior who rudely attacks a beautiful dragon basking nearby in the sun. These magnificent reptiles are gentle, noble creatures, but the foolish samurai is hungry for glory and soon takes his bloody trophy…

After the arrogant victor has left, Masonobu meets Ho-Kan, a priestly caretaker of Dragons. The youth is overcome with horror and misery at such brutal sacrilege, but worse is to come. When the tearful cleric heads back to his temple home, he stumbles upon a corrupt faction of his brother monks covertly conditioning young forest Wyrms; shockingly brutalising them to deny their true natures and kill on (human) command…

‘The Vision’ sees traumatised Ho-Kan returned to the temple too late: ambitious, reactionary monk Shonin has returned from a journey to the outer world gripped by an appalling revelation. He has divined that the quiescent Dragons must be used to preserve Japan from outside influence – especially the insidious changes threatened by the encroaching white man’s world. In fact he has already been training the creatures to be his shock-troops…

When the elders object, Shonin’s zealots slaughter all the protesting monks before embarking for the barbarous wilds of America where they will breed and train an army of killer lizards in the lap of and under the very noses of the enemy. Ho-Kan is one of precious few of the pious to escape the butchery and vows to stop the madness somehow…

A meditative vision shows him Takashi: a half-breed boy whose Christian sailor father abandoned him. The juvenile outcast was eventually adopted by the Iga ninja clan and became a great fighter. Somehow he holds the key to defeating Shonin…

‘The Departure’ sees Ho-Kan hire the Iga to stop the corrupted monks but, when he tries to enlist Masanobu, Shonin’s acolytes capture him. Under torture all is revealed, and the debauched clerics trick the sword-master into fighting the ninjas for them. After despatching all but Takashi, the monks “invite” Masanobu to join them in the West. The elderly swordsman has no idea the saurian beasts he guards are hopelessly degraded monsters now.

‘The Arrival’ sees the monks and their hidden cargo sailing for California, unaware that an enigmatic “half-breed” has enlisted on a ship closely following. Sole surviving Iga ninja Takashi is bound in his duty and hungry for vengeance. He will not be denied…

When the priests disembark on a remote bay on the American coast their plan to slaughter the sailors and Masanobu goes badly awry after a baby dragon escapes. In the ensuing melee the aged warrior realises the true state of play and flees into the forests.

The First Nation tribes of the Californian forests are helpless before the martial arts and war-dragons of Shonin, until – in ‘The Meeting’ – they meet vengeful Takashi hot on the dragon-lords’ trail. After proving his prowess in combat by defeating the indigenous fighters, he joins with the braves, stalking the monks until they encounter Masanobu who is also determined to end this dishonourable travesty once and for all…

All of which results in a tumultuous and breathtakingly spectacular climax in ‘The Decision’ as the disparate factions collide, clashing one last time to forever decide the fate of a nation, the nature of a species and the future of heroes…

Rounding out this superb resurrection is a splendid and informative treasure trove of extra features comprising creator biographies, sample script pages, art breakdowns layouts, pencilled pages, promo art and portfolio illustrations and an effulgent, fondly reminiscent, informative Afterword from Potts – then embroiled in the laborious process of transferring Last of the Dragons from page to screen…

In its small way, this sublimely engaging pioneering prototype martial arts fantasy did much to popularise and normalise the Japanese cultural idiom at a time of great tumult and transition in the comics business but more important than that, it still reads superbly well today.

This is a magically compelling tale for fantasy fans and mature readers: an utterly delightful cross-genre romp to entice newcomers and comics neophytes whilst simultaneously beguiling dedicated connoisseurs and aficionados renewing an old acquaintance.
© 1982, 1988, 2015 Carl Potts. All rights reserved.

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Kurt Cobain & Mozart Are Both Dead – A Leonard & Larry Collection


By Tim Barela (Palliard Press)
ISBN: 978-1-88456-804-6 (Album PB)

We live in an era where Pride events are world-wide and commonplace: where acceptance of LGBTQIA+ citizens is a given… at least in all the civilised countries where dog-whistle politicians, populist “hard men” totalitarian dictators (I’m laughing at a private dirty joke right now) and sundry organised religions are kept in their generally law-abiding places by their hunger for profitable acceptance and desperation to stay tax-exempt, scandal-free, rich and powerful.

There’s still too many places where it’s not so good to be Gay but at least Queer themes and scenes are no longer universally illegal and can be ubiquitously seen in entertainment media of all types and age ranges and even on the streets of most cities. For all the injustices and oppressions, we’ve still come a long, long way and it’s and simply No Big Deal anymore. Let’s affirm that victory and all work harder to keep it that way…

Such was not always the case and, to be honest, the other team (with religions proudly egging them on and backing them up) are fighting hard and dirty to reclaim all the intolerant high ground they’ve lost thus far.

Incredibly, all that change and counteraction has happened within the span of living memory (mine, in this case). For English-language comics, the shift from simple illicit pornography to homosexual inclusion in all drama, comedy, adventure and other genres started as late as the 1970s and matured in the 1980s – despite resistance from most western governments – thanks to the efforts of editors like Robert Triptow and Andy Mangels and cartoonists like Howard Cruse, Vaughn Bod?, Gerard P. Donelan, Roberta Gregory, Touko Valio Laaksonen/“Tom of Finland” and Tim Barela.

A native of Los Angeles, Barela was born in 1954, and became a fundamentalist Christian in High School. He loved motorbikes and had dreams of becoming a cartoonist. He was also a gay kid struggling to come to terms with what was still judged illegal, wilfully mind-altering psychosis and perversion – if not actual genetic deviancy – and an appalling sin by his theological peers and close family…

In 1976, Barela began an untitled comic strip about working in a bike shop for Cycle News. Some characters then reappeared in later efforts Just Puttin (Biker, 1977-1978); Short Strokes (Cycle World, 1977-1979); Hard Tale (Choppers, 1978-1979) plus The Adventures of Rickie Racer, and cooking strip (!) The Puttin Gourmet… America’s Favorite Low-Life Epicurean in Biker Lifestyle and FTW News.

In 1980, the cartoonist unsuccessfully pitched a domestic (or “family”) strip called Ozone to LGBT news periodical The Advocate. Among its proposed quotidian cast were literal and metaphorical straight man Rodger and openly gay Leonard Goldman… who had a “roommate” named Larry Evans…

Gay Comix was an irregularly published anthology, edited at that time by Underground star Robert Triptow (Strip AIDs U.S.A.; Class Photo). He advised Barela to ditch the restrictive newspaper strip format in favour of longer complete episodes, and printed the first of these in Gay Comix #5 in 1984. The remodelled new feature was a huge success, included in many successive issues and became the solo star of Gay Comix Special #1 in 1992.

Leonard & Larry also showed up in prestigious benefit comic Strip AIDs U.S.A. before triumphantly relocating to The Advocate in 1988, and – from 1990 – to its rival publication Frontiers. The lads even moved into live drama in 1994: adapted by Theatre Rhinoceros of San Francisco as part of stage show Out of the Inkwell.

In the 1990s their episodic exploits were gathered in a quartet of wonderfully oversized (220 x 280 mm) monochrome albums which gained a modicum of international stardom and glittering prizes. This compendium was the second compiled by Palliard Press between 1993 and 2003, following Domesticity Isn’t Pretty and paving the way for Excerpts from the Ring Cycle in Royal Albert Hall and How Real Men Do It.

Triptow provides sly and witty Foreword ‘Discovering the World of Leonard & Larry’ before a copious, detailed and lengthy Introduction reintroduces the huge byzantinely interwoven cast in tasty bite-sized Gordian knots (sorry, the classical and literary allusions peppering the comics are eerily infectious…).

‘The Cast of Characters – So Far’ re-briefs us on star couple Leonard Goldman and Larry Evans, ‘Larry’s Relatives’, ‘Leonard Relatives’, ‘The In-Laws’ and ‘Friends and Acquaintances’ which prominently features the dream manifestations – or is it the actual ghosts? – of composers Peter Ilyich Tchaikovsky and his bitter frenemy Johannes Brahms…

This family saga is primarily a comedic comedy of manners, played out against social prejudices and grudging popular gradual acceptances, but it also has shocking moments of drama and tension and whole bunches of heartwarming sentiment set in and around West Hollywood.

The extensive and extended Leonard & Larry clan comprise the former’s formidable unaccepting mother Esther – who still ambushes him with blind dates and nice Jewish girls – and the latter’s ex-wife Sharon and their sons Richard and David.

Teenaged Richard recently knocked up and wed equally school-aged Debbie, and promptly made Leonard & Larry unwilling grandparents years (decades even!) before they were ready. The oldsters adore baby Lauren – who is two when this book starts – but will soon relive all that aging trauma when Debbie announces the kid will soon be an older sister…

Maternal grandparents Phil and Barbra Dunbarton are ultra conservative and stridently Christian, and spend a lot of time fretting over Debbie and Lauren’s souls and social standing. They’re particularly concerned over role models and what horrors she’s being exposed to whenever the gay grandpas babysit…

David Evans is as Queer as his dad, and works in Larry’s leather/fetish boutique store on Melrose Avenue. That iconic venue provides plenty of quick, easy laughs and even some edgy moments thanks to local developer/predatory expansionist Lillian Lynch who wants the store at any cost. It’s also the starting point for the many other couples in Leonard & Larry’s eccentric orbit.

Their friends and clients enjoy even larger roles this time around whilst cunningly presenting other perspectives on LA life and the ever-evolving scene. Flamboyant former aerospace engineer Frank Freeman lives with acclaimed concert pianist Bob Mendez and has an obsessive yen for uniforms, which comes in handy when Bob is targeted by a sex-crazed celebrity stalker. It’s no use at all though, when she kidnaps them at gunpoint and demands Bob satisfies her every desire…

Larry’s other employee is Jim Buchanan, whose alarming dating history suddenly picks up when he meets a genuine cowboy at one of L & L’s parties. Merle Oberon is a newly “out” Texan trucker who adds romance and stability to Jim’s lonely life. Sadly, that’s only until Merle is discovered by Hollywood and pressured by agents, manager and co-star to go right back “in” again if he really wants to be a movie megastar…

Jim, by the way, is the original and main focus of the overly-critical dead composers’ puckish visits…

Among the highlights this time are the cast’s participation on the “March on Washington” in April 1993 in support of Gay Rights, Larry’s jury duty and the introduction of a draconian Judge who is also a major purchaser of the Melrose’ stores most imaginative BDSM under-apparel, jury service, and Jim and Merle’s fraught but fun foray to Texas to get the blessing of the cowboy’s fundamentalist parents…

The opposing sides/families in the “lifestyle vs sin” debate meet often and outrageously and there’s even a couple of ceremonies (this is long before same sex weddings were legal) to confirm that the heart wants what the heart wants.

Terrifyingly there’s also a second episode of “queer-bashing” (David being the first in the previous volume) that results in Larry’s death.

Thankfully his trip to heaven is pleasant and his prompt return to the mortal coil proves “God Loves Gays” and provides sublimely satisfying satirical laughs whilst scoring major points… When he revives it’s to meet his new – and so very, very ugly – grandson… and thus life goes on…

As well as featuring a multi-generational cast, Leonard & Larry is a strip that progresses in real time, with characters all aging and developing accordingly. The strips are not and never have been about sex – except in that the subject is a constant generator of hilarious jokes and outrageously embarrassing situations. Deftly skewering hypocrisy and rebuking ignorance with dry wit and great drawing, episodes cover various couples’ home and work lives, constant parties, physical deterioration, social gaffes, rows, family revelations, holidays and even events like earthquakes and fanciful prognostications. Tchaikovsky and Brahms are also regular visitants and serve to keep the proceedings wry, sarcastic and surreal…

Leonard & Larry is a traditionally domestic marital sitcom/soap opera with Lucille Ball & Desi Arnaz – or more aptly, Dick Van Dyke & Mary Tyler Moore – replaced by a hulking bearded “bear” with biker, cowboy and leather fetishes and a stylishly moustachioed, no-nonsense fashion photographer. Taken in total, it’s a love story about growing old together, but not gracefully or with any dignity…

Populated by adorable, appetising fully fleshed out characters, Leonard & Larry is about finding and then being yourself: an irresistible slice of gentle whimsy to nourish the spirit and beguile the jaded.

If you feel like taking a Walk on the Mild Side now this tome is still at large through internet vendors. So why don’t you?
Kurt Cobain & Mozart Are Both Dead © 1993 Palliard Press. All artwork and strips © 1996 Tim Barela. Introduction © 1996 Robert Triptow. All rights reserved.

After decades of waiting, the entire ensemble is available again courtesy of Rattling Good Yarns Press. Sublimely hefty hardback uber-compilation Finally! The Complete Leonard & Larry Collection was released in 2021, reprinting the entire saga – including rare as hens’ teats last book How Real Men Do It (978-1955826051). It’s a little smaller in page dimensions (216 x280mm) and far harder to lift, but it’s Out there if you want it…

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DC Pride 2021


By Vita Ayala, Sina Grace, Sam Johns, Danny Lore, Nicole Maines, Steve Orlando, Andrea Shea, Mariko Tamika, James Tynion IV, Andrew Wheeler, Stephen Byrne, Elena Casagrande, Klaus Janson, Nic Klein, Trung Le Nguyen, Amancay Nahuelpan, Slylar Patridge, Amy Reeder, Ro Stein & Ted Brandt, Lisa Sterle, Rachael Stott, Luciano Vecchio & various (DC Comics)
ISBN: 978-1-88456-804-6 (HB/Digital edition)

Since the 1960s and the birth of the Civil Rights Movement, comics have always been at the forefront of the battle for equality. Maybe more so in terms of racial issues at the start and not so much on gender disparity or sexual complexity, but now most print and screen superheroes work towards greater diversity and inclusion. The most noticeable strides and breakthroughs have come from industry leaders DC and Marvel, but maybe it’s just that more is expected of them…

In 2021, the former celebrated accumulated personal freedoms by collecting one-shot DC Pride #1 and select material from similarly-themed specials New Years Evil #1, Mysteries of Love in Space #1 and Young Monsters in Love #1 (cumulatively spanning 2018-2021), celebrating the infinite variety of interpersonal relationships focusing on LGBTQIA+ characters in the DC catalogue as interpreted by creators equally all-embracing.

The compilation – variously lettered by Aditya Bidikar, Josh Reed, Arian Maher, Becca Carey, Steve Wands, Tom Napolitano and Dave Sharpe – opens with a fulsome Foreword from Out & Proud bestselling author and comics scribe Mark Andreyko before we plunge into assorted antics…

James Tynion IV & Trung Le Nguyen begin the festivities with ‘The Wrong Side of the Looking Glass’ as Batwoman Kate Kane confronts memories of her twin sister/deranged arch nemesis Alice and how her enforced solitude after Beth Kane seemingly died may have affected her own life path, after which John Constantine meets magician Extraño in a pub and starts chatting. Gregorio de la Vega was officially DC’s first openly gay super-character, debuting in weekly megaseries Millennium #2 (January 1988) and latterly as a member of The New Guardians. For ‘Time in a Bottle’ creators Steve Orlando & Stephen Byrne pit him in a tall tale contest co-starring Midnighter and featuring queer Nazi vampire cultist Count Berlin…

Vita Ayala, Skylar Patridge and colourist José Villarrubia then set lesbian cop Renee Montoya and her alter ego The Question on the trail of a missing politician in ‘Try the Girl’ whilst Mariko Tamaki, Amy Reeder & Marissa Louise have Harley Quinn & Poison Ivy spectacularly and near-lethally address their unique relationship problems in ‘Another Word for a Truck to Move Your Furniture’.

After being in the closet since the 1930s, original Green Lantern Alan Scott shares the story of his first love with openly out son Todd AKA Obsidian. As related by Sam Johns, Klaus Janson & colourist Dave McCaig, ‘He’s the Light of My Life!’ is a sweet romantic interlude balanced by ‘Clothes Makeup Gift’ – by Danny Lore, Lisa Sterle & Enrica Angiolini – a female wherein future Flash multitasks prepping for a date with a new girlfriend and taking down a Mirror Master knockoff Reflek…

The Flash connection continues with reformed Rogue Pied Piper foiling and then mentoring social activist outlaw Drummer Boy in wry caper ‘Be Gay, Do Crime’ by Sina Grace, Ro Stein & Ted Brandt before DCTV superhero Dreamer makes their comic book debut in ‘Date Night’, courtesy of Nicole Maines, Rachael Stott and Angiolini.

Arch villains Monsieur Mallah and The Brain prove to gay cop Maggie Sawyer that love truly comes in all forms in Orlando & Nic Klein’s moving confrontation ‘Visibility’ after which Lobo’s troubled, long-abandoned daughter Crush learns some hard truths from the wrong role model in ‘Crushed’ by Andrea Shea and Amancay Nahuelpan Trish Mulvihill…

Harley Quinn offers her particular seasonal felicitations to Renee Montoya and Gotham City in Ayala, Elena Casagrande & Jordie Bellaire’s rendition of ‘Little Christmas Tree’ prior to a host of gay heroes attending a Pride March and forming a team of their own to battle Eclipso in ‘Love Life’ by Andrew Wheeler, Luciano Vecchio & Rez Lokus.

The combination of Aqualad Jackson Hyde, Aerie, Wink, Apollo & Midnighter, Bunker, Tasmanian Devil, The Ray, Shining Knight, Steel/Natasha Irons, Sylvan Ortega, Tremor, Traci 13, Extraño, Batwoman and Crush proved unbeatable and led to them proudly declaring themselves Justice League Queer…

This award-winning collection also comes with a cover gallery including 17 variant covers for DC titles during Pride Month and featuring many other out stars, crafted by David Talaski, Brittney Williams, Kevin Wada, Kris Anka, Nick Robles, Sophie Campbell, Travis Moore & Alejandro Sánchez, Jen Bartel, Paulina Ganucheau, Stephen Byrne and Yoshi Yoshitani and closes with a screen-loaded fact feature.

‘DCTV: The Pride Profiles’ offers brief interviews, and Q-&-As of LGBTQ characters in The CW shows – including Batwoman/Ryan Wilder (played by Javicia Leslie), Dreamer (Nicole Maines), White Canary/Sara Lance (Caity Lotz), John Constantine (Matt Ryan), Thunder (Nafessa Williams) and Negative Man (Matt Bomer).

Forthright, fun, thrilling and fabulous, feel free to find and feast on these comics and stories.
© 2018, 2019, 2021, 2022 DC Comics. All Rights Reserved.

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Incredible Hulk Epic Collection volume 7: And Now… The Wolverine (1974-1976)


By Len Wein, Chris Claremont, Herb Trimpe, Sal Buscema & various (MARVEL)
ISBN: 978-1302933609 (TPB/Digital edition)

Bruce Banner was a military scientist caught in a gamma bomb detonation of his own devising. As a result of ongoing mutation, stress and other factors caused him to transform into a giant green monster of unstoppable strength and fury.

After an initially troubled few years, the irradiated idol finally found his size-700 feet and a format that worked, becoming one of young Marvel’s most popular features. After his first solo-title folded, Hulk shambled around the slowly-coalescing Marvel Universe as guest star and/or villain of the moment, until a new home was found for him in “split-book” Tales to Astonish: sharing space with fellow misunderstood misanthrope Namor the Sub-Mariner, who proved an ideal thematic companion from his induction in #70.

As the 1970s tumultuously unfolded, the Jade Juggernaut settled into a comfortable – if excessively, spectacularly destructive – niche. A globe-trotting, monster-mashing plot formula saw Banner hiding and seeking cures for his gamma-curse, alternately aided or hunted by prospective father-in-law US General Thaddeus “Thunderbolt” Ross and his daughter – the afflicted scientist’s unobtainable inamorata – Betty, with a non-stop procession of guest-star heroes and villains providing the battles du jour.

Herb Trimpe made the Hulk his own, displaying a gift for explosive action and unparalleled facility for drawing technology – especially honking great military ordnance and vehicles. Beginning with Roy Thomas, a string of skilful scripters effectively played the Jekyll & Hyde card for maximum angst – and ironic impact – as the monster became a ubiquitous foundational pillar of Marvel’s pantheon. You were nobody in the MU until you fought the Hulk…

This compulsive compendium revisits Incredible Hulk #179-200 and Annual #5 (cover-dates September 1974 to June 1976), heralding big changes. it opens without preamble as the Gamma Goliath returns to Earth after a cosmic collision with Adam Warlock on Counter Earth. Soon, the artistic reins would pass to another illustrator inextricably associated with the Jade Juggernaut, whilst writer Len Wein continued to insert fresh ideas and characters, redefining the man-monster for the modern age…

Incredible Hulk #179 signalled a long-overdue thematic reboot as Wein signed on as writer and editor with strong ideas on how to put some dramatic impact back into the feature. Illustrated by Trimpe & Jack Abel, ‘Re-enter: The Missing Link!’ sees the Hulk lose patience during his return rocket-ship trip: bursting out of his borrowed vessel just as America’s military defences start shooting at it.

Crashing to earth in the mining district of Appalachia, he reverts to befuddled Bruce Banner, and is kindly cared for by the dirt-poor Bradford family. They have a habit of taking in strays and have already welcomed a strange, huge yet gentle being they’ve christened Lincoln.

As time passes Banner recognises his fellow lodger as a former Hulk foe known as the Missing Link. The colossal brute is neither evil nor violent (unless provoked) but is lethally radioactive, and the fugitive physicist faces the dilemma of having to break up a perfect happy family before they all die slowly and horribly.

Link, of course, refuses to cooperate or go quietly…

Next comes the second most momentous story in Hulk history which starts with ‘And the Wind Howls… Wendigo!’ (#180, October 1974,). Here the Green Giant gallivants across the Canadian Border and encounters a witch attempting to cure her brother of a curse which has transformed him into a rampaging cannibalistic monster. Unfortunately, that cure means Hulk must become a Wendigo in his stead…

It is while the Great Green and Weird White monsters are tearing into each other that mutant megastar Wolverine first appears – in the very last panel – leading into the savage fist, fang and claw fest that follows.

‘And Now… The Wolverine!’ captivatingly concludes the saga as the Maple nation’s top-secret super-agent is unleashed upon both the Emerald Goliath and the mystical man-eating Wendigo in an action-stuffed romp teeming with triumph, tragedy and lots of slashing and hitting. The rest is history…

Back south of the border, Major Glenn Talbot – after being captured and tortured by (Soviet-era) Russians – has been reunited with his wife and family and is eagerly expecting a meeting with President Gerald Ford. With Trimpe taking sole charge of the art chores, ‘Between Hammer and Anvil!’ finds the ever-isolated Hulk meeting and forever losing a true friend in compassionate welcoming hobo Crackerjack Jackson.

The action portion of the tale centres on two escaped convicts who despise each other but are forced to endure togetherness because of an alien chain which shackles them together. Whilst it imparts overwhelming physical power and endurance it means they are tied together forever. It’s not nearly enough, however, to stop a fighting-mad, heartbroken Hulk…

Restlessly roaming, the broken behemoth stumbles into a return match with voltaic vampire and life-stealer ZZZAX in ‘Fury at 50,000 Volts!’, promptly wrecking a new life Banner surreptitiously starts carving out for himself in Chicago…

‘Shadow on the Land!’ finds the wandering man-mountain battling shadily insubstantial extraterrestrial invader Warlord Kaa – a revival from the company’s pre-superhero monsters & aliens anthology era – who foolishly takes possession of the Hulk’s shadow and thinks himself untouchable and indestructible…

Their close encounter leads to Banner’s capture by Hulkbuster Base commander Colonel Armbruster just in time for the US President’s visit and a shocking ‘Deathknell!’ as the truth about Banner’s romantic rival (and Betty’s new husband) Glenn Talbot is exposed when the so-trustworthy Major attempts to assassinate the Commander-in-Chief.

During the attendant death and chaos, Hulk busts out and General Ross regains his shattered credibility by recapturing the man-beast. Sadly, Soviet infiltration of the base is rife and a hidden traitor dons experimental super-armour to continue the deadly attacks in ‘The Day of the Devastator!’ This time, when the Jade Juggernaut smashes their common foe, the American army are suitably grateful…

Sometime later, S.H.I.E.L.D. intelligence gatherers discover the real Talbot is still a prisoner in Siberia and that Hulkbuster Base’s current problems have all been caused by a vindictive Soviet mutant genius they’ve all battled before…

With Joe Staton joining the team as inker, ‘There’s a Gremlin in the Works!’ (IH #187) sees the return of the sinister spawn of the man-monster’s very first foe The Gargoyle. The son is a vicious and ambitious juvenile mastermind with vast resources and secret plans far beyond merely serving the Soviet state, and is holding Talbot at his polar fortress Bitterfrost…

He is fully prepared and eagerly anticipating Ross and S.H.I.E.L.D. agent Clay Quartermain’s clandestine rescue bid, but all the cyborg super-soldiers and giant mutant monster dogs in the world are not enough when stowaway Banner joins the mission subsequently gets scared and goes full green…

The freakish fiend’s personality-altering technology is exposed in ‘Mind Over Mayhem!’, but as the stalwart heroes desperately flee the base with Talbot’s comatose body, Hulk seemingly dies in the citadel’s explosive death-throes. Nothing is further from the truth and #189 sees the monster battle The Mole Man to secure a miracle-remedy for a sightless little Russian girl in ‘None Are So Blind…!’

Veteran Hulk illustrator Marie Severin inks Trimpe on ‘The Man Who Came Down on a Rainbow!’ as alien philanthropist Glorian whisks the solitary colossus to a veritable promised land in the stars, only to have the idyll shattered by invading Toad Men hungry for the secret power fuelling the personalised paradise…

Despite murdering Glorian, ‘The Triumph of the Toad!’ (Trimpe & Staton) is short-lived and catastrophically self-destructive when the enraged Hulk and cosmically puissant Shaper of Worlds extract a measure of justice for their fallen friend…

Unwillingly banished back to Earth, the Green Giant lands in Scotland and gets between feuding hotheads with violently opposing attitudes to ‘The Lurker beneath Loch Fear!’, after which Banner makes his way home way to America where Ross and Quartermain have recruited a famous psychologist to fix the catatonic Talbot…

‘The Doctor’s Name is… Samson!’ finds formerly gamma-powered psychiatrist Leonard Samson falling victim to another scientific fustercluck. Accidentally resurrected as a lime-tressed superstrong superhero, he is still unable to cure his current patient. For that he needs Banner, but when the wish comes true, the savant just isn’t tough enough to hold onto him…

After almost a decade pencilling the strip, Trimpe moved on to other things and Incredible Hulk #194 saw Sal Buscema take over in ‘The Day of the Locust!’ (with Wein & Staton still doing what they did best).

Lost in the American heartland, the Hulk stumbles upon young lovers pursued by an overly possessive dad determined to end the affair. However, this angry, overreaching tiger-parent is a former X-Men adversary who can enlarge insects to immense size, so the kids are more than grateful for the assistance of a Jolly Green Cupid. With Samson and the US Army one step behind, the meandering man-monster then befriends a small boy running away from home in ‘Warfare in Wonderland!’

Eager for any advantage, Ross tricks gamma-powered maniac The Abomination into attacking the Hulk but is unprepared for the green gladiators teaming up rather than tussling again in #196’s ‘The Abomination Proclamation!’…

Typically, the villain’s innate viciousness soon alienates his temporary ally and, after triumphing in another spectacular battle, Hulk blasts off on a runaway rocket and is apparently atomised when it blows up…

To Be Continued?

You bet and right away as #197 (by Wein, Buscema & Joe Staton) reveals that the detonation merely left Hulk unconscious in the Florida Everglades, where the invidious Collector has made his latest lair and gleefully gathers up a trio of terrors. The phenomena fanatic is on a monster kick and – having scooped up Banner and a mute young man who is in actuality undead transmorph The Glob – feels he secured the perfect set as ‘…And Man-Thing Makes Three!’.

However, the immortal maniac has grossly underestimated the deeply-buried humanity of his living trinkets and inevitably faces a mass-escape and loss of all his living exhibits after sparking ‘The Shangri-La Syndrome!’

Behind a Jack Kirby cover, Hulk Annual #5 (November 1976) was the first all-new King-Size compendium since 1968 and featured a massive monster-mash, reviving a half dozen iconic threats and menaces from the company’s pre-superhero phase. Written by Chris Claremont, with art by Sal B & Jack Abel, ‘And Six Shall Crush the Hulk!’ offers little in the way of plot but mountains of monumental action as a procession of resurrected relics and reprobates attack one after another. It begins with ‘Where There’s Smoke, There’s Diablo!’, ‘And Taboo Shall Triumph!’ before ‘It Is Groot, the Monster from Planet X!!’ who weighs in. Outnumbered but undaunted, Hulk fights on in ‘For I am Goom!!’ whilst ‘Beware the Blip!’ piles on the pressure until an evil mastermind in the shadows is revealed as grudge-bearing Defenders foe Xemnu in ‘A Titan Shall Slay Him!’ Even exhausted, the Hulk is too much for the spiteful schemer, whom I’m sure you recall was called “The Living Hulk” on his 1960 debut in Journey Into Mystery #62…

Back in monthly mag and building up to a spectacular anniversary, Incredible Hulk #199 finds ambivalent frenemies Leonard “Doc” Samson and General Ross employing all of America’s most advanced assets in ‘…And SHIELD Shall Follow!’ (Wein, Sal B & Staton) to capture the critically necessary Green Gargantuan, but in the end it’s the headshrinker’s sheer guts and determination which win the day, allowing a big anniversary issue #200 resolution as Hulk is reduced to infinitesimal size and injected into amnesiac Glenn Talbot’s battered brain. There he battles materialised memories and a cruel sentient tumour as ‘An Intruder in the Mind!’

The struggle to restore the mind of Banner’s rival for Betty Ross-Talbot’s undying affections is not without complications, however, and at the moment of his greatest triumph and sacrifice, Hulk suffers a major setback and begins uncontrollably shrinking beyond the ability of Samson and his team to reach or rescue him…

Now it’s To Be Hulk-inued…

This catastrophically cathartic tome is rounded out with the cover to Giant-Size Hulk #1, the covers and some interior pages from Hulk-themed Marvel Treasury Edition #5, crafted by John Romita, Marie Severin and Trimpe, as well as the last’s double page pin-up of Hulk foes from that tabloid-sized graphic treat, as well as house ads, #1 and a gallery of original art pages by Trimpe and Buscema. Also included is Sal’s 1960s try-out art page, doubling as a FOOM caption competition, and the corresponding winning entry from Russ Nicholson. John Romita’s first design sketches for Wolverine precede more house ads as well as covers and frontispieces by John Byrne & Abel and Trimpe from later Hulk/Wolverine reprint collections and closes with unused covers by Ed Hannigan and Trimpe.

The Incredible Hulk is one of the most well-known comic characters on Earth, and these stories, as much as the movies, cartoons, TV shows, games, toys and action figures are the reason why. For an uncomplicated, earnestly vicarious experience of Might actually being Right, you can’t do better, so why not Go Green – even if it’s only in your own delirious head?
© 2022 MARVEL.

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Pet Peeves


By Nicole Goux (Avery Hill Publishing)
ISBN: 978-1-910395-72-1 (PB)

Since college, Bobbie has just coasted. Saddled with massive debt, she lives with her lifelong friend and co Ohio U alumnus Clara. She pays her – far less than fair – share of the rent by tending bar in crappy booze-&-music dive The Pig’s Knuckles: beguiled by a lack of professional impetus, and the (constantly never-materialising) promise of a performance slot, someday. There’s late starts and free drinks to offset being harassed by the frat-boy clientele. At least there’s no pressure and plenty of time to work on her songs and it keeps her away from Clara’s ghastly cat Poptart and obnoxious new girlfriend…

Just getting by is bad enough, with manager Richard always stalling her and customers being jerks, but it all gets too much when her ex Carlos comes in with his new trophy trollop and deliberately tries to spoil Bobbie’s day. In response all she can do is drink on the job.

Too smashed to drive – or even hold her keys – Bobbie staggers home and is adopted by the ugliest dog she has ever seen…

She wakes up at home after the strangest dreams, with the mutt happily ensconced and already making trouble.

She calls him Barkley, and he’s an instant wedge between her and Clara, creating utter chaos and revolting messes, tormenting Poptart and somehow taking up so much time that Bobbie even stops writing music. At least he cares about her and always helps alleviate the drudgery and misery of her life…

What Bobbie doesn’t see is how that life is spiralling: slowly changing into something even more petty and desperate…

Eschewing her regular digital process, Eisner-award nominee Nicole Goux (for illustrating DC’s Shadow of the Batgirl) goes old-school and back to pen &-ink basics in Pet Peeves. Unleashing her own narrative notions in a boldly experimental, creepily compelling, itchily abrasive yet understated urban horror story trading marauding monsters for animosity, angst, disappointment and despair, the author presents here a youthful cast who aren’t shallow morons and slasher-fodder in a beastly fable where the protagonist is the victim and the secondary characters slowly turn on each other in a most engaging and appetising way because of an unwelcome new addition to the group…

Deploying imaginative page layouts reminiscent of Ditko’s Mr A and Avenging World, Goux (Forest Hills Bootleg Society, Everyone is Tulip, F*ck Off Squad at Silver Sprocket Bicycle Club) delivers a charming edgy fable about surrendering your dreams that conceals a wicked and chilling shock ending to die for…
© Nicole Goux, 2023. All rights reserved.